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.

The stories in this book are sea tales in Conrad's tradition of pessimistic, psychological fiction. Typhoon is particularly good, but the other stories are interesting as well. If it seems like Conrad is just writing adventure stories, well, that's just not true. He's writing about the most important themes, and setting them against a backdrop of exciting seafaring and travel.

If a reader finished Heart of Darkness, and enjoyed it, then that reader might want to pick this book up next, and give it a whirl.