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.

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.

David Robert's depiction of the last days of the 1924 Everest expedition based on his research, Conrad Anker's candid recounting of his and Dave Hahn's successful summit attempt and perilous descent, and Anker's educated guess as to what actually may have happened to Mallory and Irvine: couldn't put it down! Less enthralling, however, from earlier in the book: quotes from men who knew Mallory in his university days who seem to have had a more-than-platonic admiration of him. Thankfully, the book is more about Mallory's passion for climbing Everest than the passion other men had for him!

I became interested in finding out more about George Mallory after watching a television documentary describing the discovery of his body in May,1999. When I learned that one of the climbers on that expedition had co-authored a book describing the historical find I knew I wanted to read it.

By reading it, a lot can be learned about climbing, even by a "grounded" reader like myself. Being a non-climber, I really wasn't aware of the mystique and high regard in which Mallory is held within the community of men and women who challenge themselves to the extremes of mental, emotional and physical endurance by pitting themselves against the unforgiving mountains "because they are there".

The book provides extensive insight into the psyche of Mallory and Conrad Anker, the man who found his body. The talent to climb, the courage to confront the ultimate challenges and the respect and awe held for the mountains, especially Everest, seem to be shared by both.

In my estimation the book accomplished what it set out to do. Most importantly, it preserved Mallory's legend. He was treated with reverance and his feats and accomplishments become more mind boggling when you consider the technological limitations with which he worked.

It helped provide insight into why people climb mountains. Mountaineering taps into the competitive nature of man; Everest is seen as an opponent that needs to be conquered. It is the proving ground that measures a person's mettle and stimulates the instinct for self survival.

The book spends time desribing Andrew Irvine, incredible in his own right, and sheds light on why he was chosen as Mallory's partner for that fateful climb.

The book also addresses the question on most readers' minds, "Did Mallory summit?". Anker followed in Mallory's footsteps and attempted to duplicate the climb. That helped him theorize that Mallory did not make it to the top. He explains clearly why he reached that conclusion and identifies several points that justify his conclusion. He even hypothesizes how Mallory and Irvine died and where Irvine's body might be located.

Finally, this illuminating book offers several anecdotes that both entertain and educate about the most dangerous and exhilirating sport known to man.

If you thought "Oh no, not another Mallory book!" then think again. For me this one is the best.

Like the other reviewers I noted the flashes of ego in Conrad Anker's account, but what a story he has to tell: HE found the body, HE climbed the second step, and HE was the clear driving force in reaching the summit. He relects on all these events with a calm and fascinating intelligence, and crucially, with the insight that comes from actually being there doing it, not looking at it through a telescope from Base Camp.

As Anker and Hahn make their way up the mountain one even has the tingling sensation of walking a few paces behind Mallory in 1924. Could he have negotiated this terrain? There's an oxygen bottle! What other clues lie ahead? There's lots of detail here that you won't find in the other books. The action on the mountain is interspersed with background and supporting chapters by Dave Roberts which serve to give a welcome breather.

All the Mallory books have their pluses and minuses. The photographs in "Ghosts of Everest" are difficult to beat. "The Lost Explorer" gives the most persuasive account of what really happened to Mallory and Irvine.

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.

It is a good book if you are dooing research on any of Conrad's books. Even if you are not but you like Conrads book this is a fun tool to use to see his point of view.

Karl is an important Conradian scholar, yet there are points at which he makes claims that are almost indefensible. For example, in this treatise, he claims that there is no "cosmic significance" to The Secret Sharer." "The Surface," he writes, "is in this case the story." The novella is, despite Leggatt's protestations to the contrary, merely "a tale for boys,' devoid of any ulterior meaning. How a respected writer could make such a claim about any Conrad narrative is beyond the pale. The Secret Sharer is amongst Conrad's deepest and most symbolically rich excursions in any genre. It is a veritable cornucopia of symbolism and divergent meanings. To reduce it to a story "about growing up," is to miss the boat entirely.

To give Karl his due, he does allow as how "The Secret Sharer" is "one of Conrad's best." But his criterium misses the mark when it comes to the multi-demensionality of the narrative. He states that as far as its "suggestiveness, it is paradoxically, one of the most straightforward and obvious works. Its narrative is a model of clarity, like those uncomplicated narratives "Youth," and "The Shadow Line." In other words, if one accepts Karl's reading, "The Secret Sharer" is the kind of "traditional" text that Roland Barthes calls "sterile," since it becomes "wholly predictable and obviously intelligible" - a sophomoric tall tale easily digested and expunged in countless high school English classes from now 'till doomsday.

I could also expound from now 'till doomsday why this is justifiably not the case and that "The Secret Sharer," like its counterpart "Heart of Darkness," are in fact fraught with meaning and enigmatic depths. Both offer rich lodes of symbolism and psychological investigation, just as Conrad's other meaningful creations invite. To dismiss "The Secret Sharer" as a book for boys undermines and in fact almost torpedos an otherwise valuable treatise.

This book helps you understand and learn more about Heinrich Boll and his many pieces of work. I found this book very helpful when I had to do a research project on him. The way it breaks down his work makes it easier to understand to a younger reader like me. (I am 15 years old.) If you love Boll's work, or are doing a project on him, I would recomend this book! It helps a lot!

This is the central question explored by Conrad in Lord Jim. Jim is ultimately a character who inspires our sympathy due to his inability to find reconcilliation for his one tragic moment of weakness. In him we find a person of tremendous potential that remains unrealized as the tragic circumstances of his abandoning his post aboard the Patna continually haunt him and the associated guilt drives him to isolation.
Conrad successfully explores the concepts of bravery, cowardice,guilt and the alternative destinies that an individual may be driven to by these qualities.
The narrative can be a bit confusing at times as Marlowe relates the tale by recalling his encounters with Jim. The book reminded very much of Somerset Maugham's THE RAZOR"S EDGE" in style. However I believe that Maugham did a much better job of incorporating the narrator into the flow of the story. Overall LORD JIM is a wonderful classic novel that I highly recommend.

After reading this book (along with several other of Conrad's books) I am under the impression that Joseph Conrad may very well be my favorite author. Here is another masterpiece, a deeply incisive study of character of the motivation and the ultimate failure of all high-minded ideals. Granted my own personal world view falls directly in line with this realization and therefore prejudices me towards anything the man might write, but, when considering such a lofty title as 'favorite author' one must regard other aspects of the novelist's creation. As with the others, Conrad wins by the power of his stories.

Lord Jim is my least favorite of the the four books I have read by Conrad. The story is rather scattered: a righteous young man does something wrong that he holds himself far too accountable for and the public shame the action brought him exaggerates the reality of his failure and makes him believe the rumors swirling around about his so-called cowardice. He spends the remainder of his life trying to reclaim his self-regard, mostly exaggerating his own importance in matters he hardly understands. His goal is to liberate the primitive people of the jungle paradise he inadvertantly finds himself in (due to an effort to escape every particle of the world he once inhabited) and his once high-minded ideals and regard for himself lead him to allow those people to consider him almost a God.

Jim likes being a God and considers himself a just and fair one. He treats everyone equally and gives to his people the knowledge of modern science and medicine as well as the everyday archetecture and understanding of trade that those primitive folks would otherwise be years from comprehending.

Of course everything ends in failure and misery and of course Jim's restored name will be returned to its demonic status, but the whole point of the novel seems to me that one can not escape their past. Jim, for all his courage in the line of fire has tried to avoid all memory of the once shameful act of his former life and by doing so becomes destined to repeat his mistakes.

Lord Jim is far more expansive than the story it sets out to tell, ultimately giving a warning on the nature of history and general humanity that only a writer of Conrad's statue could hope to help us understand.

If there is a flaw it is not one to be taken literally. Conrad was a master of structural experimentation and with Lord Jim he starts with a standard third person narrative to relate the background and personalities of his characters and then somehow merges this into a second person narrative of a man, years from the events he is relating, telling of the legend of Jim. It is a brilliant innovation that starts off a little awkward and might lead to confusion in spots as the story verges into its most important parts under the uncertain guidence of a narrator who, for all his insight into others, seems unwilling to relate his personal relevence to the story he is relating.

Nevertheless (with a heartfelt refrain), one of the best books I have ever read.

This is the fifth book I have read by Conrad, and through these readings I have come to deeply appreciate his literary power and the perfection of his stories. Conrad has the skill to border about several similar subjects, without repeating himself. "Lord Jim" is truly a Shakespearean tragedy, mainly because of the Shakespearean nature of the main character. Jim is a young naval officer with high hopes of heroism and moral superiority, but when he faces his first test of courage, he miserably fails. While 800 Muslim pilgrims are asleep aboard the ship "Patna", Jim discovers that the boat is about to sink. There are not sufficient lifeboats for everybody. Should he wake them up or not? He gets paralyzed with fear and then sudenly jumps into a boat being set up by the rest of the officers. He is taken to trial and disposessed of his working licence.

Ashamed and humiliated, Jim dedicates the rest of his life to two things: escape the memory of that fateful night, and redeem himself. This agonizing quest to recover his dignity in front of his own eyes leads him to hide in a very remote point in the Malayan peninsula, where he will become the hero, the strong man, the wise protector of underdeveloped, humble and ignorant people. Jim finds not only the love of his people, but also the love of a woman who admires him and fears the day when he might leave for good. The narrator, Captain Marlow (the same of "Heart of Darkness") talks to Jim for the last time in his remote refuge, and then Jim tells him that he has redeemed himself by becoming the people's protector. Oh, but these things are never easy and Jim will face again the specter of failure.

Conrad has achieved a great thing by transforming the "novel of adventures" into the setting for profound and interesting reflections on the moral stature of Man, on courage, guilt, responsibility, and redemption.

Just as in "Heart of Darkness" the question is what kinds of beings we are stripped of cultural, moral and religious conventions; just as in "Nostromo" the trustworthiness of a supposedly honest man is tested by temptation, in "Lord Jim" the central subject is dignity and redemption after failure.

A great book by one of the best writers.

This book gave interesting insights into the role of dreaming among some Native American peoples at the time of the birth of our country. Interesting description of the plight of the Schoharie German immigrants. Moss could have done so much more with the conflicts inherent in those turbulent times that I cannot give this book "two thumbs up". However, anyone interested in this period of our history will find the book enjoyable. And the discussion of how to use dreaming has inspired me to read Moss's other books on this topic.

Some Native American nations thought dreams were significant--sacred even. This is a beautiful take on dreams, with the historical Mohawk interpreter as a central character. I enjoyed it immensely. Nice cover too.