The Nigger of the "Narcissus," though not Conrad's best work, is perhaps the best introduction to his work. Many of the themes he would explore in his subsequent works are addressed in this one; for example the psychological struggle with the incomprehsible and the problem of memory vs. reality. This work also has political overtones: the conservative captain and mates vs. the laboring crew as typified by the loathsome Donkin. It is a psychological tale and though it can probably be read in one sitting, it probably would be most enjoyable being read for the second or third time, as would most of Conrad's works.

Joseph Conrad is not the most straightforward author in the world and, for this reason, many find his works more difficult than they really are. Indeed he is not for everyone. However, one should read his texts closely two or three times before denigrating them, for there is much to be cherished within his oeuvre.

In my opinion, NIGGER OF THE NARCISSUS by Joseph Conrad is one of the truly great novels in English. It goes on the list with such works as THE GREAT GATSBY, TESS OF THE D'URBERVILLES, PASSAGE TO INDIA,and MOBY DICK. It is fascinating, gripping, deep, and entertaining. It defies description, analysis, or summary. (Nevertheless Doug Anderson in his review has done a pretty good job, so I won't even try.)

I don't like writing reviews of great literary works, but not everyone may be familiar with Conrad's NIGGER OF THE NARCISSUS and what a wonderful novel it is. ... I had no expectations about it and was taken completely by surprise. NIGGER OF THE NARCISSUS is not just another good novel. It is a masterpiece of literature.

Joseph Conrad provides a memory from life of the sea in the waning days of square-rigged ships. How far that age is gone is illustrated by the rebuilt Constitution. When she was gotten out in recent years after her reconstruction she really wasn't put under full sail--you couldn't assemble a crew to do so in the USA.

Conrad suggests he was among the crew but at other times assumes the stance of an omniscient observer (as when he reports that conversation between Donkin and Jim Wait in the closed deck house). Yet he does this in other novels and I can live with it for the reward of his evocation of the sea--at least I think it's a realistic evocation of the sea, I who have voyaged only in air conditioned cruise ships and a small inland sail boat.

More important than Conrad's nautical narration is his penetration into the psyche of nearly everyone on board. The first customer reviewer was wrong to say that "the loathsome Donkin" stands for the crew and to align the novel with political literature. A great humanistic work cannot be demeaned to the status of a political analysis, at least this one can't.

The last pages of the novel are as melancholy a picture of the vanished men of a dead age as I can imagine. They have undergone three fates (except for Donkin, who of course succeeds): death at sea, death by land, and transfer to a steam vessel, the latter equated with a sort of death.

Even the material remnants of that age are fragmentary and unsatisfactory, a few ships in dock as museum specimens and the great East India docks transformed to the trendy "Docklands" development.

Very well laid out, with the verbal drill sections being the best aid. This book helps in studying and teaches you how to study on your own. This is the only book I have ever found that teaches grammar in a clear and relevant format

I have purchased MANY help books in my quest to learn Italian. But this one has caught me by surprise. It is the first one that seems to be actually helping me, especially remembering the rules.

Of all the reference books and grammars out there, this is the single best: comprehensive, clear, nonacademic (in the best sense) and very intelligently laid out. Don't miss it.

Victory is in many ways more fluid and readable than Conrad's more dense works (for comparison sake I'd previously read Heart of Darkness and Conrad's collection of short stories Tales of Unrest.) In Victory we have Conrad's standard fare of tragedy and man's isolation, but in this case wrapped in a tale of adventure and swept along by an uncharacteristically eventful plot.

Conrad's works have, of course, been reviewed to exhaustion; the only thing that I could hope to add would be my emotional response to the novel as a reader.

Personally through the majority of the novel I found Heyst to be the only truly well defined character. Much of what we learn of him is revealed indirectly through the observations of others, but somehow Conrad manages to use this method to flesh out a complex and intriguing figure in Heyst. The remanding characters, while interesting, serve mostly as scenery. The villains Jones and Ricardo, while interesting, struck me not so much as human characters but as forces of impending doom; they could have as easily been an approaching storm or a plague or any other brand of natural disaster. The girl Lena in the end is the one exception; perhaps the one thing that I found most gratifying is the way in which her character developed as the novel neared its climax.

The Penguin Classics version is well footnoted for those of you (like me) that would have missed some of the more obscure Biblical references and allusions to Paradise Lost. The notes also comment on the narrator's shifting viewpoint, and on revisions Conrad made to subsequent editions. For those readers interested in an insight into Conrad's thinking I'd recommend this version.

Victory is the story of a man named Heyst who leads an isolated life in the South Pacific. However, he is drawn out of his isolation when he brings a woman to his island home. A chance encounter between a dishonest German who dislikes Heyst and two criminals sets up the dramatic ending. Conrad's style is as fluid as in his better known books, such as Lord Jim, and it is amazing that someone could write English so well who did not learn it until later in life and who always spoke it with a heavy Polish accent. Victory is similar to Conrad's other works in that the plot flirts with melodrama, but always is rooted in realism. Those who read the book will find the title apt.

Victory is the best of the handful of Conrad novels I have read (for reference sake, the others are Lord Jim, The Secret Agent, Heart of Darkness, and Nostromo). For one thing, the other novels were much heavier in their narrative and descriptive content. As a result, I often suffered from mental imagery overload when plodding through a page-long paragraph. Victory has more dialogue, making it an easier read. Conrad's characters are always great, and the ones in this book are no exception. I also really liked the correlation between these characters and their environment. Heyst living in a serene yet isolated island matched his aloofness perfectly. As the book reaches its climax and tensions reach a boiling point, Conrad adds to this tension in godlike fashion, as the storm evinces the internal and external struggles occurring in Heyst. Of course, Conrad don't write no happy tales (sic), but in the end, I think that the title Victory was still very appropriate. This was an excellent read and one of the best novels I have read in a long time.

Conrad is a real star, I'm rather fond of him. Under Western Eyes is about living in a time of revolutionary urgency, individual fragility in a delicate system, and personal honor.

To summarize; Razumov, the 'Hero' is a university student in Russia post 1905 but pre 1917 who keeps to himself and has no real family and no close friends. A fellow student and a revolutionary, Victor Haldin, assasinates a local oppressive Tsarist autocrat. He then takes a chance and takes momentary asylum with Razumov, asking him to help him get out of the city. Razumov is an evolutionary progressive, not a revolutionary. Not willing to risk association with a radical like Haldin and destroy his entire life, Razumov turns him in to the police, and Haldin is subsequently hung.

The rest of the novel deals with Razumov's struggle with himself- he betrayed, and he has to live with a lie. Complicating things, he falls in love with Haldin's sister in exile. Raz can't bear it though, and eventually he does the right thing, but things get messy.

Thats the general plot, but the real meat of the novel is in the characters and the ideas underlying the conversations between them. The idea of how you justify revolution, the chaos of revolution vs the order of gradual reform, the unwillingness and helplessness of the individual caught in it all. And there's a continual theme of the diference between East and West.

Razumov reminds me a bit of Crime and Punishment's Raskolnikov- an isolated university student waxing the time away in a single apartment, brooding over Big Ideas and being slowly crushed by a powerful conscience. The stuff of modernity. Dostoyevsky was a little bit better, so thats why Under Western Eyes only gets 4 stars.

If you are familiar enough with Conrad's writing you will know he has a few favorite words - like "inscrutable" and "destiny". They reflect I believe Conrad's literary outlook. He likes to take characters, give them a haunted past with some shameful secret, emphasize a fatal weakness, introduce some culminating stimulae, and watch the tragic unfold. I think he could have written a brilliant biography of Richard Nixon. But to the point..."Under Western Eyes" is a quintessentially Conradian book. But unlike many of his other novels - Lord Jim, Nostromo, Victory - "Under Western Eyes" treats of period politics (namely the revolutionary movement on the rise in Europe) as he weaves his tale of betrayal and tragedy. There are no heroes in this book (save perhaps one) but only a motley collection of victims, fools, and eccentrics. There is not much action, despite its subject matter. I don't want to give away too much. The story unfolds in Moscow and Geneva, not around political machinations but around the tragedy of the central character, a young Russian thrown into the revolutionary movement entirely against his will. The saga of the young man's anger, self-loathing, and attempts to extricate himself from his "situation" form one salient plot of the novel. The ultimate solution to his unsought conundrum also serves to redeem him in his own eyes, if not those of others.

"Under Western Eyes" is also an attempt by Conrad to explore the peculiarities of the "Russian character". This is another line of development in the work. I put this in partentheses because such notions of racial character are naturally not so well received now as in Conrad's day. Whether you agree or not, Conrad (who himself was Polish) offers some interesting personal insights into the nature of the "inscrutable" Russian soul - its ability to persevere, its mysticism, its ultimate radicalism. Such issues were particular relevent to the time the book was written (1908), as Russia was then already breaking out in revolutionary violence. The story's narrator - a retired English bachelor - are the "Western eyes" under which Russia is regarded.

I might label "Under Western Eyes" a comic-tragedy, in that the primary factor behind the story's tragic chain of events is a misunderstanding. It is ultimately for the book's central character a journey of personal redemtion. Within the context of this, however, Conrad details some of his views on Russia, its people, and the nature of the revolutionary movement. I did not find it as engaging as some of Conrad's other works but anyone interested in the Russian revolutionary movement, or radical politics of the period in general, or with a bent for stories of betrayal, tragedy, and love should take a look.

"Perhaps life is just that," reflected Razumov, pacing to and fro under the trees of the little island, all alone with the bronze statue of Rousseau. "A dream and a fear." It is on this small space of remote land that young Razumov finds what we all seek after--a place for quiet contemplation (reminds me of Hemingway's "A Clean Well-Lighted Place"). And in this very thought-provoking Rousseau-inspired environment Razumov stumbles upon the thesis that all of life is but a dream--a dream full of constant fear. The taciturn, exiled, young Razumov reminds us of Joyce's Stephen Dedalus, and even more so Dostoevsky's Raskolnikov. Indeed, Conrad attempted to continue the legacy of the great Russian novelists, by forcing an eclectic grasp on some of Dostoevsky's themes (like the need for, and final apparent conclusion of, man's suffering) whilst straying away from other Dostoevskyian qualities. All in all, Under Western Eyes is about ideas--as Conrad repeatedly suggests-an ideal gripping psychological tale of a young intellectual's suffering for choosing the path of the czarist leaders. If Razumov, like Stephen Dedalus, was more skeptical, more prone to the need for exile (not the exile he indeed does embark on to Geneva via the Councilor's strategic plan) would he have ultimately had his eardrums smashed by a revolutionary brute? Certainly, Razumov must confess for his betrayal of Haldin; Razumov realizes the intelligence, love, and raison d' étre of Haldin altogether too late. Razumov, who knowingly understands that because of his actions Haldin lost his life, gives up his own body for lifelong suffering. And by doing so, Razumov seems to willingly accept his punishment, and further he lives no longer in fear. Upon completion of this wonderful novel, we can bask in the warm sunny glow of Conrad's wit that shines upon us--"Peter Ivanovitch (or any person who opposes despotic cruelty) is an inspired man." Joseph Conrad is an inspired man.

This novel formed part of my english literature curriculum almost 40 years ago. That was the last time I read the novel. Conrad put much of his own experience into the book. He descibes with great power the life of Peyrol, a brother of the coast, returning home after a life spent at sea. Retirement is planned, but this is not to be through one final call to duty. Brilliantly atmospheric style brings to life the characters and countryside. Well worth revisiting for the first time since my school days.

The high renaissance of Conrad was Nigger of the "Narcissus", Heart of Darkness, Lord Jim and Nostromo period and what a period that was. These later works are Conrad in his manneristic style. That is to say his strengths as well as his flaws show. Works like Victory, Rescue, Arrow of Gold, and Rover are like the works written by an aging Prospero, but still Prospero. Rover is by far the best of these late works though each exert a unique charm to any lover of Conrad. Rover is like a last and momentary return to glory for this master of sea tales. I bought tha Malay editions of these late works and am very glad to have these hard to find books. Rover is a pleasing meditation on the coasts of France of a mariners return to land after a long life at sea. But looming on the horizon are English ships! The old mariner has one last adventure and it will cost you much pleasure as it unfolds to a final sea confrontation. My favorite thing about this book is the meditation on the bonds and ethics of sea comraderie which here takes precedence over those of nationality.

I chanced upon "The Rover" after having finished all of Patrick O'Brian's Aubrey/Maturin novels. It's a hard act to follow, but after reading "The Rover" one might almost think that O'Brian learned a trick or two from Conrad -- for example, how to describe a captain's state of mind and thought processes during a sea chase.

The course of events in this tale takes some unraveling. Devices employed by Conrad include flashbacks, sudden gaps in the chronologic sequence, and implied dialogue. Consequently, the book reads more like a detective novel than one of O'Brian's straightforward sea adventures. That is to say, it takes a bit of detective work to follow the story.

My only regret is that I read the introduction to this edition first; unfortunately it gives away the ending. That may be the only reason why I didn't rate this book five stars.

The familiar Conrad hero Captain Tom Lingard(Outcast of the Islands) comes to the rescue of an English pleasure yacht that has foundered in the shallows just as war is about to break out between Malay tribes. Tom has war supplies including gunpowder stored in his own boat that has been turned into a fort and Tom's decisions will greatly effect the outcome of the war. Meanwhile though there is the English problem which Tom sees as being just that until he spies on board a lovely woman. Thats enough to distract our hero from his more pressing war time duties. Romantic Tom recalls Lord Jim and is in fact Jims brother, but he is not as complex or as troubled as Jim was so this is more a tale of pure adventure. External events take precedence over internal conflicts and so the adventure can be enjoyed for just that. Not one of Conrads most important works but still it exerts a lot of appeal. Anything by the best writer ever of sea and island tales is worth my time.

Author writes about true piracy in Caribbean ca. 19th cent. Conrad writes with historical and experiential knowledge.

Heart of Darkness is a novel focused with strong imagery and the concepts of darkness and light as "darkness" is the heart of man while the "light" can be civilization as a whole. I found this book somewhat discriminating in the beginning but as a whole it has a very clear statement. I can see how it is one of the greatest novels but to me Marlow, the main character, has no character as he becomes obsessed with Kurtz and can instantly become him but does not. After finding what he is looking for, Marlow is still filled with the darkness. Even though I thought this book was somewhat interesting, I would not recommend it because I did not agree with Marlow's or maybe even Conrad's view of the Congo jungle and life in it with the darkness.

Conrad is among the most influential writers of our time, and his masterwork Heart of Darkness proves this. The concepts introduced in this book laid the groudwork for a new outlook on humanity, and his predictions to modern society, specifically the business world, are unparalleled. Read this book and it will give you a new view on the world.

Joseph Conrad is NOT for everyone! So many people have had their attention-span shortened by MTV, Television and the Disney version of the TITANIC (hint... the boat doesn't sink and everybody erupts in a unrecorded song from MARY POPPINS), that people have forgotten how great it is to read a well written book with piercing insite,memorable characters, and a haunting theme. The skill of the true wordsmith has thanklessly fallen by the wayside, evidenced by the fact that Stephen King is considered a literary genius (see H.P. Lovecraft for a true genius in both word and plot). If we were to turn off the electronics and allow our pure powers of imagination to work, then Conrad would be abundant treat to our senses. All of his books are fantastic, but HEART OF DARKNESS holds a special fascination for most people who read it. Not to digress, but the Turner Production of "Heart of Darkness" with Tim Roth is very good and I have always loved "Apocolypse Now" (saw it 15 times in the theater). The story is a journey of the soul, as much as it is pure adventure. It is a wake-up call for those who have forgotten what it is to care and become aware of how their lives move forward (and sometimes don't). The setting of a forgotten Africa, wedged and pierced by European superpowers is both mysterious and frightening. We see this now-lost land through the eyes of a naive man, not grounded nor necessarily wise in the ways of the world. The opening reference of the French warship bombarding the forrested coasts shows the overall blindness of the countries who seek to reap the wealth of the land's bounty... throwing artillery shells onto the coast and cannot see if they are hitting anything! The river and its trading stations connect the European desire for money and profit and the harsh reality of the Africa they cannot explain. The mission is to reach the elusive Kurtz, a brilliant mind and man who has been silenced. Now the Naive agent seeks the worldly-wise man who Africa has driven mad! What I loved about the journey is Conrad's ability to chronicle not only the countryside but the people who are drawn into this lust for ivory and money. In this case, the journey is the deal. What this edition gives us is a wonderful addition... Conrad's real-life experiences as the short-lived captain of a steam boat in the Congo. At the time, Conrad considered himself more of a sailor than a novelist, and his notations reflect the factual and relatively dull specifics of his duties. Still, one gets an acute sense of how his mind works and (later) how he turned these terse, and unexciting notes into possibly one of the greatest short stories in the history of the English Language. HEART OF DARKNESS can be a matter of patience. It does not move quickly, in places, but if one slows down and allows the story to stimulate, and inform, then it is time well spent! There is time for video stimulation (TV, VHS, etc) and there is time to find an overstuffed chair and allow the best film maker ever made, your own mind, to transport you to a place long burned away by commercial interests and "progress". Take the journey and let your soul speak back to you afterwards!

I'm not sure how to feel about this book. While reading it, I really could not become absorbed by Conrad's dense prose, though, while occasionaly eloquent, is very thick, and, well, British. But now that I am finished with it, I can not get the images the novella invokes out of my head. The conquest of Africa by the Imperialist on the surface, and the corruption of man's very morality underneath. The story is deceptively simple, merely a man working for an Ivory trading company, ominously called "The Company", going up the Congo river to meet up with Kurtz, the archetype of Western Imperialism. During this trip, we are shown the inner workings of man and his heart of darkness. The novella is not perfect though. Conrad's condemnation of Imperialism is uneven. Yes, the only discernable cause of Kurtz's descent into evil and madness is the imperialist ethic of master-slave, and it is fairly clear that Marlowe (conrad) is condemning that ethic, but at the same time, he doesn't work very hard to elevate the view of the African natives any higher in the esteem of his western readers. Anyway, as the novella is only about 100 pages, it is something that can be read in a day. Invest an afternoon in it, and decide for yourself.

Heart of Darkness is a novella that really needs to be read more than just once to fully appreciate Conrad's style of writing. The story is an account of one man's simultaneous journey into the darkness of a river as well as into the shadows of a madman's mind. There is a very brilliant flow of foreshadowing that Conrad brings to his writing that provides the reader with accounts of the time period and the horrible events to come. Through Conrad's illuminating writing style we slowly see how the narrator begins to understand the madness or darkness that surrounds him.

I recommend this particular version of the novella because it contains a variety of essays, which discusses some of the main issues in the reading and historical information. Issues like racism and colonialism are discussed throughout many essays. It also contains essays on the movie inspired by the book Apocalypse Now, which is set against the background of the Vietnam War. I recommend reading Heart of Darkness and then viewing Apocalypse Now, especially in DVD format which contains an interesting directors commentary.

English majors are justly fond of Conrad, who packs his stories with subtlety, symbolism, parallels, and rich imagery. "Heart of Darkness" is a brief and strangely absorbing read. Its plot is simple enough on the surface, about a sailor who guides a steamer up the Congo in search of a vaunted ivory trader. But beneath the surface, in a palpable atmosphere of unease, lie the book's complicated themes. This isn't just a condemnation of European activity in Africa, but a glimpse at the evil within every man. In some ways this book is a precursor to "Lord of the Flies" and other twentieth century books of despair, and yet Conrad does not leave the reader without hope. In skilful, mystical passages about light and dark, black and white, tall and short, jungle and sepulchre, Conrad gives us much food for thought about the nature of humankind and the possibilities for both good and evil. I see this book more as a warning than a simple cry of despair - though it pays ample attention to "the horror" of it all.

I love any book by Joseph Conrad and am on my way to reading just about everything he wrote. My next goal is to re-read it all again.

However, Outcast of the Island is not a "GREAT" book or piece of literature. It is interesting and worth reading especially if you like Conrad. I see it as a colonial/romance novel critical of the "British Empire" and of a man caught in the empire trade game who is led by his own devices to survive in his own game.

I like the descriptions of the exotic location, the dangerous love interest, and everything that is Conrad in style.

His writing style is too generous in his early work. He could be more sparse (needs to put his language on a stairmaster and lean it down). Anyway, I don't want to be against the book. If you are actually thinking about it, then get it and read it. It's not long and is fairly entertaining.

Bottome-line: First time Conrad readers go get a collection of his short stories. Everybody else-- sure why not.

"I know the white man...in many lands have I seen them, always the slaves of their desires..."
This is Conrads second book and like his first it deals with the colonial enterprise but in this book white men are their own worst enemies. The native Malay characters are given more in the way of identity in this book and they are seen as having complex views. There is intrigue in this book as white men from different nations try to assert their dominance in the region but the Malays too have a plan and that is to take advantage of the whites aggressive and competitive natures and set them against each other. Great plot. But Conrad also gives you each characters story and each character is always more interesting than whatever role they are playing in the overall plot. One of the most attractive and elaborated themes in this book is the one of mans place in nature and mans own nature. The beauty of the tropical locale is made even more attractive and alluring by the women who walk through the foliage like "apparitions" veiled in "sunlight and shadow". Conrad describes the forests, the light in the tree tops, and the shadows on the forest floor and all nature is seen as metaphor for mans own dualities and incongruites. A much matured writer from Almayers Folly. The plot is simpler than Almayer was but thats good. The simpler plot allows Conrad more latitude to deal with the individual characteristics and that is certainly one of Conrads strengths. He sometimes overdoes it with the repeated use of words like inscrutable and the always heavy darkness, and his overall view of man seems dim, as man in his eyes is an only partially lit(enlightened) being. To Conrad man remains a lost creature for the most part who just by chance or luck or ill omen gets caught up in events he cannot fully comprehend. A limited resource man may be but while reading it is hard not to see it his way. The summing up scene at the end of the book with a drunken Almayer(who also appeared in Conrads first book, the Almayer of Almayers Folly) relating the now long passed events of the book to a traveling and equally drunk botanist is an excellent closing comment on the continued folly that is the colonial enterprise and man in general.

Conrad has a exciting style of writing which consists of artfully mixed poetic prose and moral analysis. The language of the text alone is enough to make this a great novel, perhaps even an epic poem. The intensity of the prose is such that I was driven backwards into my seat for most of the novel. A prequel to _Almayer's Folly_, An Outcast...is a true must read.

Joseph Conrad's 1907 novel, "The Secret Agent," is a difficult little book. It's story is difficult and its characters are largely unpleasant. By difficult and unpleasant, I don't mean to say the novel isn't any good. Far from it. These terms I mean to denote the impenetrability of motive, of sense. The story of a group of anarchists, police, and a family caught in the middle in late Victorian England, "The Secret Agent" is far from Conrad's subtitle, "A Simple Tale". The novel, for me, is about hatred, mistrust, and breakdowns in communication.

"The Secret Agent" begins early one morning in 1886. Mr. Verloc, a secret agent for a foreign embassy, who lives in a small apartment with his wife Winnie, her mentally ill brother, Stevie, and their mother. Keeping an eye on a particularly ineffectual anarchist community in London, Verloc pretends to be an anarchist revolutionary himself. As the novel opens, Verloc is called in by his new employer Mr. Vladimir. Vladimir, discontented with the apparent lack of production out of his secret agent, and even further with the lackadaisical English police, wants Verloc to act as an agent provocateur, and arrange for a bomb to spur the English government to crack down on the legal system. As religion and royalty are, according to Vladimir, no longer strong enough emotional ties to the people, an attack must be made upon "Science," and he selects the Greenwich Observatory as the appropriate site for action.

The novel introduces us to a range of wholly unsympathetic characters. The anarchist collective roughly consists of "Doctor" Ossipan, who lives off his romantic attachments to women barely able to take care of themselves; "The Professor," explosives expert, who is so insecure, he is perpetually wired with a detonator in case he is threatened by police capture; and Michaelis, the corpulent writer, engaged upon his autobiography after a mitigated sentence in prison. Conrad's portrayal of this cabal is wholly ludicrous - a band of anarchists that are better at talking than doing anything to achieve their undeveloped goals. No better than these are their nemeses, the London police, here represented by Inspector Heat, who identifies so much with the common criminal element, you'd think he was one himself; and the Assistant Commissioner, who is so dissatisfied with his desk job, that he would do anything to get out on the streets - but not so ambitious as to upset his nagging wife and her social circle.

At the diffuse center, if it has one, of Conrad's novel, is the Verloc family, held together by ties no less tenuous and flimsy than any other community in the work. Verloc and his wife communicate and interact by monosyllables and the broken bell of their front door. Winnie Verloc knows nothing of her husband's secret life, and tries desperately to prevent him from taking offence at having to support her infirmed mother and practically useless brother by forming a society of admiration amongst them for her "good" husband. Lack of real communication and sympathy amongst the Verloc household is at the heart of Conrad's satire against late Victorian England.

As the Greenwich Bomb Outrage is an early, but central moment in the novel, it would not be spoiling anything to tell you that this is where Conrad really earns his paycheck. His mode of bringing all the disparate characters and subplots of the novel together throughout the rest of the book is both reminiscent of and radically undercutting the influence of Charles Dickens in Conrad's social critique. "The Secret Agent" is a clever novel, but exceptionally bleak. Thinking about other early 1900's British novels like Samuel Butler's "The Way of All Flesh" or Virginia Woolf's "To the Lighthouse," Conrad's "The Secret Agent" is another of these works where a British writer tries to assess the state of the Empire in the aftermath of Victoria's demise - examining past follies to be overcome, and peering without optimism at what lies ahead.

One thing that I find interesting with this novel is that it is set in London. All of the other Conrad novels I have read so far have dealt with the sea or foreign lands. The exotic quality found in his other novels is still present, as the London Conrad describes is as mysterious as the jungles of Africa and the tropics of the East Indies.

This novel also focused on a broad range of characters, unlike some of his novels that set out to tell the story of a particular character (e.g., Chance, Heart of Darkness, Lord Jim).

The story involves espionage and deception, as secret agent Adolph Verloc executes a mission to bomb a place of science (supposedly the Unabomber's inspiration). Adolph the spy/family man, Stevie the slow brother in law and unknowing pawn, the Professor with his suicide bomb, and the deceived wife Winnie are just among the unusual characters Conrad creates.

I especially liked the character Winnie, as her mounting suspicion and eventual realization of her husband's profession and his horrible act provided a moral viewpoint from within the novel (more or less in the form of revulsion and outrage).

Conrad's style of writing can be difficult at times, as he often provides lengthy narrative that can be overwhelming at times. However, acclimation to his style mitigates this, and the results are rewarding.

I really enjoyed this book, and highly recommend this and Conrad's other works.

It is amazing how well this terribly story fits into nowadays reality. Terrorism, with all its hideous irrationality and contradictions is masterly depicted by Conrad. And so is human nature. Every single character is treated here as the center of his/her own universe, which results in wonderful psychological creations. From the very Mr Verloc -the secret agent- to an apparently insignificant cabman, all of them are given here the opportunity of redemption, since they are so humanly feeble. The author reaches this goal by arriving at numerous standstills where action seems to be suspended in the air while characters are sunk in deep reflection -or else are aided by Conrad's voice on account of their difficulties to express themselves.

The whole story is encircled in a gloomy atmosphere that turns to be very difficult to escape from. It starts with Mr Verloc's visit to "the embassy" where he is assigned a mission to "justify" his work as secret agent. Being scornfully treated, he finds himself involved in a plot that leads him to take actions he would have never think of...wouldn't he...? Thus, his initial attempt to blow up the Greenwich observatory ends up in a dreadful tragedy whose unspeakable consequences had not been meant by his author.

Although not easy to follow for the non-native reader, which is my case, this appalling and great story is really worthwhile. I am glad I have made the effort.