Conrad's first novel, "Almayer's Folly," was printed in 1895. He tells us in "A Personal Record" that it took him seven years to write it—seven years of pertinacious effort, of trial and error, of learning how to write. He was, at this time thirty-eight years old. Seventeen years before, landing in England to fit himself for the British merchant service, he had made his first acquaintance with the English language. The interval had been spent almost continuously at sea—in the Eastern islands, along the China coast, on the Congo and in the South Atlantic. That he hesitated between French and English is a story often told, but he himself is authority for the statement that it is more symbolical than true. Flaubert, in those days, was his idol, as we know, but the speech of his daily business won, and English literature reaped the greatest of all its usufructs from English sea power. To this day there are marks of his origins in his style. His periods, more than once, have an inept and foreign smack. In fishing for the right phrase one sometimes feels that he finds a French phrase, or even a Polish phrase, and that it loses something by being done into English.
The credit for discovering "Almayer's Folly," as the publishers say, belongs to Edward Garnett, then a reader for T. Fisher Unwin. The book was brought out modestly and seems to have received little attention. The first edition, it would appear, ran to no more than a thousand copies; at all events, specimens of it are now very hard to find, and collectors pay high prices for them. When "An Outcast of the Islands" followed, a year later, a few alert readers began to take notice of the author, and one of them was Sir (then Mr.) Hugh Clifford, a former Governor of the Federated Malay States and himself the author of several excellent books upon the Malay. Clifford gave Conrad encouragement privately and talked him up in literary circles, but the majority of English critics remained unaware of him. After an interval of two years, during which he struggled between his desire to write and the temptation to return to the sea, he published "The Nigger of the Narcissus."[7] It made a fair success of esteem, but still there was no recognition of the author's true stature. Then followed "Tales of Unrest" and "Lord Jim," and after them the feeblest of all the Conrad books, "The Inheritors," written in collaboration with Ford Madox Hueffer. It is easy to see in this collaboration, and no less in the character of the book, an indication of irresolution, and perhaps even of downright loss of hope. But success, in fact, was just around the corner. In 1902 came "Youth," and straightway Conrad was the lion of literary London. The chorus of approval that greeted it was almost a roar; all sorts of critics and reviewers, from H. G. Wells to W. L. Courtney, and from John Galsworthy to W. Robertson Nicoll, took a hand. Writing home to the New York Times, W. L. Alden reported that he had "not heard one dissenting voice in regard to the book," but that the praise it received "was unanimous," and that the newspapers and literary weeklies rivalled one another "in their efforts to express their admiration for it."
This benign whooping, however, failed to awaken the enthusiasm of the mass of novel-readers and brought but meagre orders from the circulating libraries. "Typhoon" came upon the heels of "Youth," but still the sales of the Conrad books continued small and the author remained in very uncomfortable circumstances. Even after four or five years he was still so poor that he was glad to accept a modest pension from the British Civil List. This official recognition of his genius, when it came at last, seems to have impressed the public, characteristically enough, far more than his books themselves had done, and the foundations were thus laid for that wider recognition of his genius which now prevails. But getting him on his legs was slow work, and such friends as Hueffer, Clifford and Galsworthy had to do a lot of arduous log-rolling. Even after the splash made by "Youth" his publishing arrangements seem to have remained somewhat insecure. His first eleven books show six different imprints; it was not until his twelfth that he settled down to a publisher. His American editions tell an even stranger story. The first six of them were brought out by six different publishers; the first eight by no less than seven. But today he has a regular American publisher at last, and in England a complete edition of his works is in progress.
Thanks to the indefatigable efforts of that American publisher (who labours for Gene Stratton-Porter and Gerald Stanley Lee in the same manner) Conrad has been forced upon the public notice in the United States, and it is the fashion among all who pretend to aesthetic consciousness to read him, or, at all events, to talk about him. His books have been brought together in a uniform edition for the newly intellectual, bound in blue leather, like the "complete library sets" of Kipling, O. Henry, Guy de Maupassant and Paul de Kock. The more literary newspapers print his praises; he is hymned by professorial critics as a prophet of virtue; his genius is certificated by such diverse authorities as Hildegarde Hawthorne and Louis Joseph Vance; I myself lately sat on a Conrad Committee, along with Booth Tarkington, David Belasco, Irvin Cobb, Walter Pritchard Eaton and Hamlin Garland—surely an astounding posse of literati! Moreover, Conrad himself shows a disposition to reach out for a wider audience. His "Victory," first published in Munsey's Magazine, revealed obvious efforts to be intelligible to the general. A few more turns of the screw and it might have gone into the Saturday Evening Post, between serials by Harris Dickson and Rex Beach.
Meanwhile, in the shadow of this painfully growing celebrity as a novelist, Conrad takes on consideration as a bibelot, and the dealers in first editions probably make more profit out of some of his books than ever he has made himself. His manuscripts are cornered, I believe, by an eminent collector of literary curiosities in New York, who seems to have a contract with the novelist to take them as fast as they are produced—perhaps the only arrangement of the sort in literary history. His first editions begin to bring higher premiums than those of any other living author. Considering the fact that the oldest of them is less than twenty-five years old, they probably set new records for the trade. Even the latest in date are eagerly sought, and it is not uncommon to see an English edition of a Conrad book sold at an advance in New York within a month of its publication.[8]
As I hint, however, there is not much reason to believe that this somewhat extravagant fashion is based upon any genuine liking, or any very widespread understanding. The truth is that, for all the adept tub-thumping of publishers, Conrad's sales still fall a good deal behind those of even the most modest of best-seller manufacturers, and that the respect with which his successive volumes are received is accompanied by enthusiasm in a relatively narrow circle only. A clan of Conrad fanatics exists, and surrounding it there is a body of readers who read him because it is the intellectual thing to do, and who talk of him because talking of him is expected. But beyond that he seems to make little impression. When "Victory" was printed in Munsey's Magazine it was a failure; no other single novel, indeed, contributed more toward the abandonment of the policy of printing a complete novel in each issue. The other popular magazines show but small inclination for Conrad manuscripts. Some time ago his account of a visit to Poland in war-time was offered on the American market by an English author's agent. At the start a price of $2,500 was put upon it, but after vainly inviting buyers for a couple of months it was finally disposed of to a literary newspaper which seldom spends so much as $2,500, I daresay, for a whole month's supply of copy.
In the United States, at least, novelists are made and unmade, not by critical majorities, but by women, male and female. The art of fiction among us, as Henry James once said, "is almost exclusively feminine." In the books of such a man as William Dean Howells it is difficult to find a single line that is typically and exclusively masculine. One could easily imagine Edith Wharton, or Mrs. Watts, or even Agnes Repplier, writing all of them. When a first-rate novelist emerges from obscurity it is almost always by some fortuitous plucking of the dexter string. "Sister Carrie," for example, has made a belated commercial success, not because its dignity as a human document is understood, but because it is mistaken for a sad tale of amour, not unrelated to "The Woman Thou Gavest Me" and "Dora Thorne." In Conrad there is no such sweet bait for the fair and sentimental. The sedentary multipara, curled up in her boudoir on a rainy afternoon, finds nothing to her taste in his grim tales. The Conrad philosophy is harsh, unyielding, repellent. The Conrad heroes are nearly all boors and ruffians. Their very love-making has something sinister and abhorrent in it; one cannot imagine them in the moving pictures, played by tailored beauties with long eye-lashes. More, I venture that the censors would object to them, even disguised as floor-walkers. Surely that would be a besotted board which would pass the irregular amours of Lord Jim, the domestic brawls of Almayer, the revolting devil's mass of Kurtz, Falk's disgusting feeding in the Southern Ocean, or the butchery on Heyst's island. Stevenson's "Treasure Island" has been put upon the stage, but "An Outcast of the Islands" would be as impossible there as "Barry Lyndon" or "La Terre." The world fails to breed actors for such rôles, or stage managers to penetrate such travails of the spirit, or audiences for the revelation thereof.
With the Conrad cult, so discreetly nurtured out of a Barabbasian silo, there arises a considerable Conrad literature, most of it quite valueless. Huneker's essay, in "Ivory, Apes and Peacocks,"[9] gets little beyond the obvious; William Lyon Phelps, in "The Advance of the English Novel," achieves only a meagre judgment;[10] Frederic Taber Cooper tries to estimate such things as "The Secret Agent" and "Under Western Eyes" in terms of the Harvard enlightenment;[11] John Galsworthy wastes himself upon futile comparisons;[12] even Sir Hugh Clifford, for all his quick insight, makes irrelevant objections to Conrad's principles of Malay psychology.[13] Who cares? Conrad is his own God, and creates his own Malay! The best of the existing studies of Conrad, despite certain sentimentalities arising out of youth and schooling, is in the book of Wilson Follett, before mentioned. The worst is in the official biography by Richard Curle,[14] for which Conrad himself obtained a publisher and upon which his imprimatur may be thus assumed to lie. If it does, then its absurdities are nothing new, for we all know what a botch Ibsen made of accounting for himself. But, even so, the assumption stretches the probabilities more than once. Surely it is hard to think of Conrad putting "Lord Jim" below "Chance" and "The Secret Agent" on the ground that it "raises a fierce moral issue." Nothing, indeed, could be worse nonsense—save it be an American critic's doctrine that "Conrad denounces pessimism." "Lord Jim" no more raises a moral issue than "The Titan." It is, if anything, a devastating exposure of a moral issue. Its villain is almost heroic; its hero, judged by his peers, is a scoundrel....
Hugh Walpole, himself a competent novelist, does far better in his little volume, "Joseph Conrad."[15] In its brief space he is unable to examine all of the books in detail, but he at least manages to get through a careful study of Conrad's method, and his professional skill and interest make it valuable.
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