Joseph Conrad's maritime career and his writings are closely intertwined with the sea. Conrad, a master storyteller, has crafted some of the finest nautical pieces in his collection of short stories and novellas. The three stories in this book, namely "The Nigger of the Narcissus," "Typhoon," and "The Shadow-Line," showcase his literary prowess.

Conrad's work is often regarded as challenging due to his complex language and psychological depth. However, it's important to remember that English was not his native tongue, yet he managed to master it and create profound literary works. His use of language and visual imagery is truly remarkable, making him a giant of late 19th and early 20th century literature.

In "The Nigger of the Narcissus," the story follows a return voyage from India to England. The key character, James Wait, a Negro, joins the ship at the last minute, claiming to be seriously ill. The crew initially views him with hostility, suspecting him of malingering. But as the story progresses, their attitude towards him changes from skepticism to sympathy and affection. Meanwhile, an unruly crewman, Donkin, attempts to incite a mutiny but fails. The ship encounters a savage storm, which is vividly described, and through heroic efforts, it is saved. Wait eventually dies, shocking the crew. The story highlights the strong interpersonal dynamics between Wait and the crew and Conrad's ability to describe the power of the sea.

"Typhoon" is a relatively uncomplicated story that centers around the old captain MacWhirr and his young first mate, Jukes. MacWhirr, a crusty seadog, ignores conventional maritime aids and sails directly into a typhoon. This puts the ship's crew and its human cargo, a load of Chinese workers, in grave danger. During the storm, the coolies riot and must be subdued. Through a combination of superhuman efforts and luck, the ship is saved. MacWhirr's stubbornness in the face of the storm narrowly averts disaster.
Finally, "The Shadow-Line" tells the story of a young, innocent protagonist who transitions into a mature and experienced captain. Stranded at an oriental port, the young man is looking for an opportunity to command his own ship. He is appointed captain of a new ship, only to discover that the previous skipper had died after losing his mind. The return journey becomes perilous as the ship is becalmed, and the crew believes it is due to the former captain's spirit. Fever breaks out, and the supply of quinine is insufficient. Only the captain and a crewman, Ransome, are well enough to run the ship. After a tortuous period, a squall arrives, and the ship makes port. The young captain has proven his toughness and maturity during this first, perilous command.

Conrad's stories not only provide thrilling adventures at sea but also offer deep insights into human nature and the power of the ocean. His works continue to be studied and admired for their literary merit and enduring appeal.

This is a compilation of four captivating tales, with lengths ranging from that of a long short story to a novella. Each of them is at least of good quality, and some are truly excellent. The two novella-length stories stand out as the best. "Falk" is a comical narrative about courting and cannibalism,无疑是这本书中最出彩的篇章. "Typhoon" is a masterpiece in description, painting vivid pictures in the reader's mind.

The other two stories are shorter in length. I had a particular preference for "Amy Foster," which offers an intriguing perspective on being an outsider. It focuses more on the husband of Amy Foster rather than her, and it is really good, with a subtly disturbing undertone. "The Secret Sharer," despite being the most renowned, is perhaps the least remarkable of the four and not as skillfully written as the others. It employs the device of a "double" of the protagonist, though here it is only metaphorically a double. I did like it, but it reminded me of other superior stories that have used this technique more effectively.

With the exception of "Amy Foster," I have provided individual reviews of these stories. If you are already a fan of Conrad, this book is well worth reading. However, it may not be the ideal starting point for those new to his works.

\\"Tajfun\\" - it sweeps people off their feet. \\"Jutro\\" - it squeezes them in the middle. The remaining stories are interesting, coherent, different, but they don't stick in the memory, they don't leave the reader in their world for long hours after the last word.

Nevertheless, once again I am convinced that it is worth spending evenings on Conrad. I like writers who don't rush in their own books, who feel comfortable in them. Conrad's works have a certain charm that draws the reader in and makes them want to explore more. His descriptions are vivid, his characters are complex, and his plots are engaging. Reading Conrad is like taking a journey through different worlds and experiencing different emotions. It is a unique and rewarding experience that I would recommend to anyone who loves good literature.

This is a detailed plot summary of Joseph Conrad's Typhoon (1902).

In the story, the captain of a ship evolves from having just enough imagination for each day to doing something rather clever.

Early on, first mate Jukes updates the log as the ship labors in increasing swell. The coolies, two-hundred Chinese men with yellow faces and pigtails, are locked below with their chests containing savings.

The approaching storm is confirmed by the barometer, but Captain MacWhirr refuses to steam around it. Jukes thinks the captain is stupid.

The storm tosses the ship, causing chaos below deck as the Chinese fight over their tumbled and broken chests. The captain orders Jukes and the hands to take the men's silver.

Despite the violent storm, the Nan-Shan reaches the calm of the typhoon's center. However, Jukes fears a mutiny by the Chinese to take back their silver.

The captain agrees and leaves Jukes to watch the ship while he goes to the chart-room. There, he speaks to himself, expressing his hope that the ship will come through.

The captain returns to the bridge as the storm worsens and tells Jukes to keep the ship facing the storm.

The Nan-Shan does get through and arrives in Fu-chau. The captain's solution to avoid mutiny is revealed in the letters home. He divides the money equally among the Chinese.

The chief engineer writes that the captain, a simple man, has done something clever. Jukes' letter closes by saying that the captain got out of it well for a stupid man.

If you have an inclination towards literature that can transport you to a bygone era, filled with archaic references and a unique style, then Joseph Conrad is truly a writer worth delving into. His works are like portals that open up a world of adventure, mystery, and profound human experiences. Conrad's prose is rich and evocative, painting vivid pictures in the reader's mind.

His stories often explore themes such as imperialism, morality, and the human condition. Through his characters, we witness their struggles, their triumphs, and their descent into the darkness. Whether it's the journey of Marlow in "Heart of Darkness" or the complex web of relationships in "Nostromo," Conrad's writing has the power to captivate and engage.

Reading Conrad is not just an exercise in literature; it is an exploration of the human psyche and a reflection on the world around us. So, if you're looking for a literary experience that will leave you with a sense of wonder and a deeper understanding of life, pick up a Conrad novel and let yourself be swept away.

Having delved into Bjørneboe's remarkable The Sharks, I was seized by an urge to return to the maritime realm with an old literary maestro. Conrad and I share a special bond, having both served as boatswains on the Alcoholicus during the tumultuous waves and passionate seasons of our youth. After disembarking as brothers, we unfortunately lost touch for far too many years. But now, I have rediscovered you, Connie (as I affectionately call him), and I vow never to make that error again. We shall embark on this journey together.

Oh, and speaking of the book. Well, it's Conrad. Naturally, you find yourself in the capable hands of the heir to Melville. JC, in my opinion, is the only legitimate contender as his logical successor. Just like Melville, Conrad penned what he knew, and he knew the sea with an intimacy that few could rival.

Wait...Damn it. This is actually \\"Typhoon\\" by Joseph Conrad. Read it, don't hesitate. Its mastery is no closely guarded secret. You know exactly what to do. I'll leave you with this thought: if you have 'Hold Fast' tattooed on the knuckles that grip your lousy PBR, you're an asshole. Sorry, but someone had to break it to you.

Tally-ho!

Typhoon, Falk, Amy Foster, and The Secret Sharer are all captivating stories.

The Secret Sharer is particularly intriguing. A young Captain, on his first command, secretly takes a man aboard who appears from the sea one night. The doppelganger theme is presented with a great deal of ambiguity. It's up to the reader to determine if the stowaway is real or just a figment of the Captain's imagination. Also, the reader has to decide how much to trust the Captain's narrative. Conrad's prose in this story is truly lovely. The description of the nautical setting, especially in the early pages, is simply breathtaking. It makes the reader feel as if they are right there on the ship, experiencing everything along with the characters.

“Typhoon” is renowned as a virtuoso portrayal of a storm at sea. At first glance, this novella might seem like just a tale about a dull captain who gets lucky and his irritating, inexperienced first mate Jukes. However, as is often the case with Conrad, subsequent readings uncover a far more intricate and refined story. The ship's “cargo” turns out to be not lifeless goods but a group of homebound Chinese coolies. Despite little happening during the voyage, the moral core of the story centers on the contrast between the dull MacWhirr's commitment to treating the Chinese as he would any other human being and Jukes's self-serving and racist attitude. Even more subtly, Conrad's use of the aesthetics of the sublime links the storm at sea to the political storm on board.

Conrad took numerous risks in “Falk.” It includes a female lead who never speaks (which led to the serial press rejecting the story, even in 1900) and the subject of cannibalism. The only actual cannibalism in Conrad's works is committed by a white man, Falk, suggesting a counterargument to those who view Conrad, rather than Marlow, the narrator of “Heart of Darkness,” as racist. Moreover, “Falk” also employs the double-voiced, doubly distanced narration seen in “Heart of Darkness,” written just before “Falk,” with the difference that in the latter, the story ends by emphasizing the epistemological instability of storytelling and gossip. The reception issue that “Heart of Darkness” has faced, as Chinua Achebe argues in his essay “An Image of Africa,” is its lack of an “alternative frame of reference” to guide the reader on how to receive the images of Africa and Africans. But reading “Falk” in relation to “Heart of Darkness” might have given Achebe the chance to discover that Conrad was well aware of such an alternative frame.

The story of a doomed Eastern European castaway washed ashore in an English town and rejected by the host community is both a scathing critique of the townspeople's insularity and hard-hearted indifference to the Other and a heart-wrenching tale of profound pathos. Brief yet unforgettable, in the tradition of Flaubert and Maupassant whose compressed narratives enhance emotional power, “Amy Foster” is notable for its exploration of the failure of cross-cultural language and communication. It's also one of the more successful Conrad stories in my college classroom.

More on “The Secret Sharer” will be coming soon.

Some very helpful advice for you is that you should definitely take some dramamine before reading "Typhoon".

Let me tell you why. After reading this particular work, my head has been continuously spinning.

The intensity and vividness of the descriptions in "Typhoon" can have a rather overwhelming effect on the reader.

It's as if you are right there in the middle of the storm, experiencing all the chaos and turmoil.

This can cause a strange sensation in the head, similar to motion sickness.

So, to avoid this unpleasant feeling, it's highly recommended that you take some dramamine beforehand.

Trust me, it will make your reading experience much more enjoyable and comfortable.

Don't let the dizziness get in the way of fully appreciating this great piece of literature.

Take the necessary precaution and have a wonderful time reading "Typhoon".

Conrad is truly a master when it comes to writing. His prose is so beautifully crafted that it almost seems like poetry in motion.

Every sentence is carefully constructed, filled with vivid descriptions and rich language that paint a detailed picture in the reader's mind.

However, despite the beauty of his writing, I have to admit that I didn't really enjoy the story itself.

Maybe it was the subject matter or the way the plot unfolded, but for some reason, it just didn't capture my interest.

It's a strange feeling, because on one hand, I can appreciate the artistry and skill that went into creating the story, but on the other hand, I just couldn't seem to connect with it on an emotional level.

Nevertheless, I still have a great deal of respect for Conrad as a writer, and I'm sure that many others have found great enjoyment in his work.

Conrad’s novella, TYPHOON, is truly an astonishing work that surpasses my previous memories of it.

Captain McWhirr, as described, had sailed over the vast oceans in a manner similar to how some men glide through the years of their existence, only to sink gently into a peaceful grave, remaining ignorant of the true nature of life until the very end. He had never been made to witness all that life may hold, including the perfidy, violence, and terror that lurk within it.

There are indeed such men, both on sea and on land, who are either extremely fortunate or perhaps disdained by destiny or by the sea.

This novella is not only a marvel of action prose but also possesses many other virtues. It stands free from the constraints of http://gutenberg.org/ebooks/1142, allowing it to shine as a unique and captivating piece of literature.

Conrad’s masterful storytelling and vivid descriptions bring the characters and the events to life, making the reader feel as if they are right there on the ship, experiencing the typhoon and all its chaos.

TYPHOON is a must-read for anyone who appreciates great literature and wants to explore the depths of human nature and the power of the elements.

Anyone who closely follows politics is well aware that it is not uncommon to hear politicians or journalists assert with confidence how historical figures would feel in the present day. They frequently claim to know the stances that many of the Founding Fathers would take on contemporary debates. Of course, attributing viewpoints to those who lived long ago and have not witnessed the advancements and changes that have occurred since their passing is a challenging proposition. And if it is difficult for most, it seems even more so for Joseph Conrad. His stories are rife with apparent contradictions: authoritarian figures who demand absolute control only to later act magnanimously towards their subordinates, and numerous contrasts between sympathetic views of troublesome and lowly characters and a strict adherence to rules and social mores that imply showing mercy is ineffective. In other words, at times he appears to be both conservative and liberal.

"The opening story in the collection, 'Typhoon,' contains the first of these contradictions. It follows Captain MacWhirr, a quiet man lacking the slightest hint of imagination, as he and his crew navigate through a fierce typhoon. They head directly into the bad weather because MacWhirr fails to understand the need to change course before sighting the storm, an action that would require some degree of imagination. Initially seeming like a dim-witted captain, he later demonstrates the intelligence and tenacity to guide them safely through this immense turbulence. Not only that, but he also manages to resolve the crisis on board during the storm. The money belonging to the Chinese passengers below deck had spilled out,引发了一场绝望的争斗 when all the men attempted to retrieve their money. MacWhirr makes the decision to redistribute it equally among them. Thus, he exhibits the firm grip of an authoritarian on his crew before switching to the position of a fair-minded egalitarian.

The next story, 'Falk,' is more of a comic tale despite involving some grisly events. Its central concern is the difference between civilized and primitive man. Has man truly evolved, or is there merely a veneer covering his baser instincts? Its central character, Falk, eventually reveals the harrowing story of his past, one that can evoke both sympathy for its portrayal of the human instinct to survive and revulsion at the extreme lengths necessary to do so.

The third story, 'Amy Foster,' takes a turn back towards Conrad's more typical pessimism. It showcases Yanko, a naive foreigner from Central Europe who becomes stranded in England when his ship to America sinks. His new society, while at times somewhat accepting of him, ultimately ostracizes him until he 'perishes in the supreme disaster of loneliness and despair.' One aspect I find particularly peculiar about this story is its title. It is not named after its central character but after his wife who eventually abandons him. Perhaps this illustrates just how extreme alienation can be when even the title character deserts her husband due to his cultural differences.

The collection concludes with one of the most well-known and brooding Conrad stories (and my personal favorite): 'The Secret Sharer.' Its narrator has recently been appointed captain of the Sephora. While grappling with the jitters of his recent promotion and a crew that is somewhat skeptical of his abilities, he encounters a murderer on the run who bears an uncanny resemblance to himself. And his decision to assist this criminal is one instance where the aforementioned sympathy plays a crucial role. Readers could view this criminal as a separate individual, suggesting that the new captain believes there are circumstances in which it is morally justifiable to show leniency to lawbreakers. On the other hand, readers could perceive this criminal as the impetuous part of the captain. In this case, the aid he provides would imply that he is purging himself of his own inhibiting tendency to feel sympathy.

Although these stories are solid, with the exception of 'The Secret Sharer,' they still seem to be a touch too superficial. They touch upon serious topics but do not delve as deeply as I would have preferred. I suspect this may be because I feel that I have been spoiled by Conrad's novels, which exhaustively explore humanity and civilization in a way that short stories may not be capable of.