Notes on My Books Part 2

The period is that which follows on my connection with _Blackwood's Magazine_. I had just finished writing The End of the Tether and was casting about for some subject which could be developed in a shorter form than the tales in the volume of "Youth" when the instance of a steams.h.i.+p full of returning coolies from Singapore to some port in northern China occurred to my recollection. Years before I had heard it being talked about in the East as a recent occurrence. It was for us merely one subject of conversation amongst many others of the kind. Men earning their bread in any very specialized occupation will talk shop, not only because it is the most vital interest of their lives but also because they have not much knowledge of other subjects. They have never had the time to get acquainted with them. Life, for most of us, is not so much a hard as an exacting taskmaster.

I never met anybody personally concerned in this affair, the interest of which for us was, of course, not the bad weather but the extraordinary complication brought into the s.h.i.+p's life at a moment of exceptional stress by the human element below her deck. Neither was the story itself ever enlarged upon in my hearing. In that company each of us could imagine easily what the whole thing was like. The financial difficulty of it, presenting also a human problem, was solved by a mind much too simple to be perplexed by anything in the world except men's idle talk for which it was not adapted.

From the first the mere anecdote, the mere statement I might say, that such a thing had happened on the high seas, appeared to me a sufficient subject for meditation. Yet it was but a bit of a sea yarn after all. I felt that to bring out its deeper significance which was quite apparent to me, something other, something more was required; a leading motive that would harmonize all these violent noises, and a point of view that would put all that elemental fury into its proper place.

What was needed of course was Captain MacWhirr. Directly I perceived him I could see that he was the man for the situation. I don't mean to say that I ever saw Captain MacWhirr in the flesh, or had ever come in contact with his literal mind and his dauntless temperament. MacWhirr is not an acquaintance of a few hours, or a few weeks, or a few months. He is the product of twenty years of life. My own life. Conscious invention had little to do with him. If it is true that Captain MacWhirr never walked and breathed on this earth (which I find for my part extremely difficult to believe) I can also a.s.sure my readers that he is perfectly authentic. I may venture to a.s.sert the same of every aspect of the story, while I confess that the particular typhoon of the tale was not a typhoon of my actual experience.

At its first appearance "Typhoon," the story, was cla.s.sed by some critics as a deliberately intended storm-piece. Others picked out MacWhirr, in whom they perceived a definite symbolic intention. Neither was exclusively my intention. Both the typhoon and Captain MacWhirr presented themselves to me as the necessities of the deep conviction with which I approached the subject of the story. It was their opportunity. It was also my opportunity, and it would be vain to discourse about what I made of it in a handful of pages, since the pages themselves are here, between the covers of this volume, to speak for themselves.

This is a belated reflection. If it had occurred to me before it would have perhaps done away with the existence of this Author's Note; for, indeed, the same remark applies to every story in this volume. None of them are stories of experience in the absolute sense of the word.

Experience in them is but the canvas of the attempted picture. Each of them has its more than one intention. With each the question is what the writer has done with his opportunity; and each answers the question for itself in words which, if I may say so without undue solemnity, were written with a conscientious regard for the truth of my own sensations.

And each of those stories, to mean something, must justify itself in its own way to the conscience of each successive reader.

Falk--the second story in the volume--offended the delicacy of one critic at least by certain peculiarities of its subject. But what is the subject of Falk? I personally do not feel so very certain about it. He who reads must find out for himself. My intention in writing Falk was not to shock anybody. As in most of my writings I insist not on the events but on their effect upon the persons in the tale. But in everything I have written there is always one invariable intention, and that is to capture the reader's attention, by securing his interest and enlisting his sympathies for the matter in hand, whatever it may be, within the limits of the visible world and within the boundaries of human emotions.

I may safely say that Falk is absolutely true to my experience of certain straightforward characters combining a perfectly natural ruthlessness with a certain amount of moral delicacy. Falk obeys the law of self-preservation without the slightest misgivings as to right, but at a crucial turn of that ruthlessly preserved life he will not condescend to dodge the truth. As he is presented as sensitive enough to be affected permanently by a certain unusual experience, that experience had to be set by me before the reader vividly; but it is not the subject of the tale. If we go by mere facts then the subject is Falk's attempt to get married; in which the narrator of the tale finds himself unexpectedly involved both on its ruthless and its delicate side.

Falk shares with one other of my stories (The Return in the "Tales of Unrest" volume) the distinction of never having been serialized. I think the copy was shown to the editor of some magazine who rejected it indignantly on the sole ground that "the girl never says anything." This is perfectly true. From first to last Hermann's niece utters no word in the tale--and it is not because she is dumb, but for the simple reason that whenever she happens to come under the observation of the narrator she has either no occasion or is too profoundly moved to speak. The editor, who obviously had read the story, might have perceived that for himself. Apparently he did not, and I refrained from pointing out the impossibility to him because, since he did not venture to say that "the girl" did not live, I felt no concern at his indignation.

All the other stories were serialized. "Typhoon" appeared in the early numbers of the _Pall Mall Magazine_, then under the direction of the late Mr. Halkett. It was on that occasion too, that I saw for the first time my conceptions rendered by an artist in another medium. Mr. Maurice Greiffenhagen knew how to combine in his ill.u.s.trations the effect of his own most distinguished personal vision with an absolute fidelity to the inspiration of the writer. Amy Foster was published in _The Ill.u.s.trated London News_ with a fine drawing of Amy on her day out giving tea to the children at her home in a hat with a big feather.

To-morrow appeared first in the _Pall Mall Magazine_. Of that story I will only say that it struck many people by its adaptability to the stage and that I was induced to dramatize it under the t.i.tle of "One Day More"; up to the present my only effort in that direction. I may also add that each of the four stories on their appearance in book form was picked out on various grounds as the "best of the lot" by different critics, who reviewed the volume with a warmth of appreciation and understanding, a sympathetic insight and a friendliness of expression for which I cannot be sufficiently grateful.

J. C.

1919.

NOSTROMO

"Nostromo" is the most anxiously meditated of the longer novels which belong to the period following upon the publication of the "Typhoon"

volume of short stories.

I don't mean to say that I became then conscious of any impending change in my mentality and in my att.i.tude towards the tasks of my writing life.

And perhaps there was never any change, except in that mysterious, extraneous thing which has nothing to do with the theories of art; a subtle change in the nature of the inspiration; a phenomenon for which I can not in any way be held responsible. What, however, did cause me some concern was that after finis.h.i.+ng the last story of the "Typhoon" volume it seemed somehow that there was nothing more in the world to write about.

This so strangely negative but disturbing mood lasted some little time; and then, as with many of my longer stories, the first hint for "Nostromo" came to me in the shape of a vagrant anecdote completely dest.i.tute of valuable details.

As a matter of fact in 1875 or '6, when very young, in the West Indies or rather in the Gulf of Mexico, for my contacts with land were short, few, and fleeting, I heard the story of some man who was supposed to have stolen single-handed a whole lighter-full of silver, somewhere on the Tierra Firme seaboard during the troubles of a revolution.

On the face of it this was something of a feat. But I heard no details, and having no particular interest in crime _qua_ crime I was not likely to keep that one in my mind. And I forgot it till twenty-six or seven years afterwards I came upon the very thing in a shabby volume picked up outside a second-hand book-shop. It was the life story of an American seaman written by himself with the a.s.sistance of a journalist. In the course of his wanderings that American sailor worked for some months on board a schooner, the master and owner of which was the thief of whom I had heard in my very young days. I have no doubt of that because there could hardly have been two exploits of the peculiar kind in the same part of the world and both connected with a South American revolution.

The fellow had actually managed to steal a lighter with silver, and this, it seems only because he was implicitly trusted by his employers, who must have been singularly poor judges of character. In the sailor's story he is represented as an unmitigated rascal, a small cheat, stupidly ferocious, morose, of mean appearance, and altogether unworthy of the greatness this opportunity had thrust upon him. What was interesting was that he would boast of it openly.

He used to say: "People think I make a lot of money in this schooner of mine. But that is nothing. I don't care for that. Now and then I go away quietly and lift a bar of silver. I must get rich slowly--you understand."

There was also another curious point about the man. Once in the course of some quarrel the sailor threatened him: "What's to prevent me reporting ash.o.r.e what you have told me about that silver?"

The cynical ruffian was not alarmed in the least. He actually laughed.

"You fool, if you dare talk like that on sh.o.r.e about me you will get a knife stuck in your back. Every man, woman, and child in that port is my friend. And who's to prove the lighter wasn't sunk? I didn't show you where the silver is hidden. Did I? So you know nothing. And suppose I lied? Eh?"

Ultimately the sailor, disgusted with the sordid meanness of that impenitent thief, deserted from the schooner. The whole episode takes about three pages of his autobiography. Nothing to speak of; but as I looked them over, the curious confirmation of the few casual words heard in my early youth evoked the memories of that distant time when everything was so fresh, so surprising, so venturesome, so interesting; bits of strange coasts under the stars, shadows of hills in the suns.h.i.+ne, men's pa.s.sions in the dusk, gossip half-forgotten, faces grown dim.... Perhaps, perhaps, there still was in the world something to write about. Yet I did not see anything at first in the mere story. A rascal steals a large parcel of a valuable commodity--so people say.

It's either true or untrue; and in any case it has no value in itself.

To invent a circ.u.mstantial account of the robbery did not appeal to me, because my talents not running that way I did not think that the game was worth the candle. It was only when it dawned upon me that the purloiner of the treasure need not necessarily be a confirmed rogue, that he could be even a man of character, an actor and possibly a victim in the changing scenes of a revolution, it was only then that I had the first vision of a twilight country which was to become the province of Sulaco, with its high shadowy Sierra and its misty Campo for mute witnesses of events flowing from the pa.s.sions of men short-sighted in good and evil.

Such are in very truth the obscure origins of "Nostromo"--the book. From that moment, I suppose, it had to be. Yet even then I hesitate, as if warned by the instinct of self-preservation from venturing on a distant and toilsome journey into a land full of intrigues and revolutions. But it had to be done.

It took the best part of the years 1903-4 to do; with many intervals of renewed hesitation, lest I should lose myself in the ever-enlarging vistas opening before me as I progressed deeper in my knowledge of the country. Often, also, when I had thought myself to a standstill over the tangled-up affairs of the Republic, I would, figuratively speaking, pack my bag, rush away from Sulaco for a change of air and write a few pages of "The Mirror of the Sea." But generally, as I've said before, my sojourn on the Continent of Latin America, famed for its hospitality, lasted for about two years. On my return I found (speaking somewhat in the style of Captain Gulliver) my family all well, my wife heartily glad to learn that the fuss was all over, and our small boy considerably grown during my absence.

My princ.i.p.al authority for the history of Costaguana is, of course, my venerated friend, the late Don Jose Avellanos, Minister to the Courts of England and Spain, etc., etc., in his impartial and eloquent "History of Fifty Years of Misrule." That work was never published--the reader will discover why--and I am in fact the only person in the world possessed of its contents. I have mastered them in not a few hours of earnest meditation, and I hope that my accuracy will be trusted. In justice to myself, and to allay the fears of prospective readers, I beg to point out that the few historical allusions are never dragged in for the sake of parading my unique erudition, but that each of them is closely related to actuality; either throwing a light on the nature of current events or affecting directly the fortunes of the people of whom I speak.

As to their own histories I have tried to set them down, Aristocracy and People, men and women, Latin and Anglo-Saxon, bandit and politician, with as cool a hand as was possible in the heat and clash of my own conflicting emotions. And after all this is also the story of their conflicts. It is for the reader to say how far they are deserving of interest in their actions and in the secret purposes of their hearts revealed in the bitter necessities of the time. I confess that, for me, that time is the time of firm friends.h.i.+ps and unforgotten hospitalities.

And in my grat.i.tude I must mention here Mrs. Gould, "the first lady of Sulaco," whom we may safely leave to the secret devotion of Dr.

Monygham, and Charles Gould, the Idealist-creator of Material Interests whom we must leave to his Mine--from which there is no escape in this world.

About Nostromo, the second of the two racially and socially contrasted men, both captured by the silver of the San Tome Mine, I feel bound to say something more.

I did not hesitate to make that central figure an Italian. First of all the thing is perfectly credible: Italians were swarming into the Occidental Province at the time, as anybody who will read further can see; and secondly, there was no one who could stand so well by the side of Giorgio Viola the Garibaldino, the Idealist of the old, humanitarian revolutions. For myself I needed there a man of the People as free as possible from his cla.s.s-conventions and all settled modes of thinking.

This is not a side snarl at conventions. My reasons were not moral but artistic. Had he been an Anglo-Saxon he would have tried to get into local politics. But Nostromo does not aspire to be a leader in a personal game. He does not want to raise himself above the ma.s.s. He is content to feel himself a power--within the People.

But mainly Nostromo is what he is because I received the inspiration for him in my early days from a Mediterranean sailor. Those who have read certain pages of mine will see at once what I mean when I say that Dominic, the padrone of the _Tremolino_, might under given circ.u.mstances have been a Nostromo. At any rate Dominic would have understood the younger man perfectly--if scornfully. He and I were engaged together in a rather absurd adventure, but the absurdity does not matter. It is a real satisfaction to think that in my very young days there must, after all, have been something in me worthy to command that man's half-bitter fidelity, his half-ironic devotion. Many of Nostromo's speeches I have heard first in Dominic's voice. His hand on the tiller and his fearless eyes roaming the horizon from within the monkish hood shadowing his face, he would utter the usual exordium of his remorseless wisdom: "Vous autres gentilhommes!" in a caustic tone that hangs on my ear yet. Like Nostromo! "You hombres finos!" Very much like Nostromo. But Dominic the Corsican nursed a certain pride of ancestry from which my Nostromo is free; for Nostromo's lineage had to be more ancient still. He is a man with the weight of countless generations behind him and no parentage to boast of.... Like the People.

In his firm grip on the earth he inherits, in his improvidence and generosity, in his lavishness with his gifts, in his manly vanity, in the obscure sense of his greatness and in his faithful devotion with something despairing as well as desperate in its impulses, he is a Man of the People, their very own unenvious force, disdaining to lead but ruling from within. Years afterwards, grown older as the famous Captain Fidanza, with a stake in the country, going about his many affairs followed by respectful glances in the modernized streets of Sulaco, calling on the widow of the cargador, attending the Lodge, listening in unmoved silence to anarchist speeches at the meeting, the enigmatical patron of the new revolutionary agitation, the trusted, the wealthy comrade Fidanza with the knowledge of his moral ruin locked up in his breast, he remains essentially a man of the People. In his mingled love and scorn of life and in the bewildered conviction of having been betrayed, of dying betrayed he hardly knows by what or by whom, he is still of the People, their undoubted Great Man--with a private history of his own.

One more figure of those stirring times I would like to mention: and that is Antonia Avellanos--the "beautiful Antonia." Whether she is a possible variation of Latin-American girlhood I wouldn't dare to affirm.

But, for me, she _is_. Always a little in the background by the side of her father (my venerated friend) I hope she has yet relief enough to make intelligible what I am going to say. Of all the people who had seen with me the birth of the Occidental Republic, she is the only one who has kept in my memory the aspect of continued life. Antonia the Aristocrat and Nostromo the Man of the People are the artisans of the New Era, the true creators of the New State; he by his legendary and daring feat, she, like a woman, simply by the force of what she is: the only being capable of inspiring a sincere pa.s.sion in the heart of a trifler.

If anything could induce me to revisit Sulaco (I should hate to see all these changes) it would be Antonia. And the true reason for that--why not be frank about it?--the true reason is that I have modelled her on my first love. How we, a band of tallish school-boys, the chums of her two brothers, how we used to look up to that girl just out of the schoolroom herself, as the standard-bearer of a faith to which we all were born but which she alone knew how to hold aloft with an unflinching hope! She had perhaps more glow and less serenity in her soul than Antonia, but she was an uncompromising Puritan of patriotism with no taint of the slightest worldliness in her thoughts. I was not the only one in love with her; but it was I who had to hear oftenest her scathing criticism of my levities--very much like poor Decoud--or stand the brunt of her austere, unanswerable invective. She did not quite understand--but never mind. That afternoon when I came in, a shrinking yet defiant sinner, to say the final good-bye I received a hand-squeeze that made my heart leap and saw a tear that took my breath away. She was softened at the last as though she had suddenly perceived (we were such children still!) that I was really going away for good, going very far away--even as far as Sulaco, lying unknown, hidden from our eyes in the darkness of the Placid Gulf.

That's why I long sometimes for another glimpse of the "beautiful Antonia" (or can it be the Other?) moving in the dimness of the great cathedral, saying a short prayer at the tomb of the first and last Cardinal-Archbishop of Sulaco, standing absorbed in filial devotion before the monument of Don Jose Avellanos, and, with a lingering, tender, faithful glance at the medallion-memorial to Martin Decoud, going out serenely into the suns.h.i.+ne of the Plaza with her upright carriage and her white head; a relic of the past disregarded by men awaiting impatiently the Dawns of other New Eras, the coming of more Revolutions.

But this is the idlest of dreams; for I did understand perfectly well at the time that the moment the breath left the body of the Magnificent Capataz, the Man of the People, freed at last from the toils of love and wealth, there was nothing more for me to do in Sulaco.

J. C.

October, 1917.

MIRROR OF THE SEA

Less perhaps than any other book written by me, or anybody else, does this volume require a Preface. Yet since all the others including even the "Personal Record", which is but a fragment of biography, are to have their Author's Notes, I cannot possibly leave this one without, lest a false impression of indifference or weariness should be created. I can see only too well that it is not going to be an easy task.

Necessity--the mother of invention--being even unthinkable in this case, I do not know what to invent in the way of discourse; and necessity being also the greatest possible incentive to exertion I don't even know how to begin to exert myself. Here too the natural inclination comes in.

I have been all my life averse from exertion.