DOCSLIB.ORG

Introduction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction Cambridge University Press 978-0-521-19192-0 - The Selected Letters of Joseph Conrad Edited by: Laurence Davies Excerpt More information INTRODUCTION i Biography frequently relies on diaries and letters, but because few let- ters and no diaries from Joseph Conrad’s first thirty years have sur- vived, reliance goes the other way.1 Even if we had more documents written in his hand, a life as remarkable as his, involving two vocations, several languages, and many polities, needs a fuller introduction than the brief chronologies that begin each section of this volume. All the same, readers well acquainted with his history may care to skip this opening section. Conrad’s story is one both of steadfastness and circumstance. His parents and most of his extended family were devoted to the restora- tion of Polish independence, lost in the partitions of 1782, 1793, and 1795 as Russia, Prussia, and Austria divided up the Polish-Lithuanian Commonwealth among themselves. He grew up carrying a burden of sacrificial duty, an imperative he admired for its demands on courage and tenacity but, in his life as exile, sailor, author, could never follow absolutely. As he told his close friend Cunninghame Graham, who was mourning the loss of his wife, ‘Living with memories is a cruel business. I – who have a double life one of them peopled only by shadows grow- ing more precious as the years pass – know what that is’ (7 October 1907). He had become a British subject on 19 August 1886, at the age of 29, not only as a practical necessity but as a demonstration of loyalty to a nation whose institutions he admired and whose merchant navy had afforded him a career. Conrad detested being labelled as a maritime author at the expense of the great political novels, Nostromo, The Secret Agent,andUnder Western Eyes. The distinction was artificial, largely created by publishers and some (but by no means all) review- ers who had a romanticised view of life at sea, especially in the tropics, and were unable to imagine, let alone understand the experiences of tyranny, self-sacrifice, conspiracy, and cruelty that shaped his early life. 1 His only known journals are the two notebooks from his time in the Congo basin, when he was age 32. xix © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19192-0 - The Selected Letters of Joseph Conrad Edited by: Laurence Davies Excerpt More information xx Introduction Born on 3 December 1857, he spent the first ten years of his life under Russian and the next six and a half years under Austro- Hungarian rule. His full name was Józef Teodor Konrad Nałecz ˛ Korzeniowski, or, for short, Konradek. The name Konrad was his par- ents’ tribute to the exiled Polish-Lithuanian poet Adam Mickiewicz, evoking patriotic characters in the narrative poem Konrad Wallenrod, where the villains are Teutonic Knights, and the verse drama Fore- fathers’ Eve, where the villains are Russian. The Ukrainian name of Kon- radek’s birthplace is Berdychiv, and the Polish, Berdyczów. The town was in Volhynia, a province formerly part of the old Commonwealth and now a Russian guberniya (governorate); Ukrainian was the major- ity language in the province, followed by Yiddish; roughly five per cent of Volhynia’s population, mostly of the landowning and professional classes, spoke Polish as their mother tongue, and a smaller percentage, Russian, the language of officialdom.1 It is clear from Conrad’s later correspondence that he came to understand the ethnic tensions and instabilities of his home territory all too well. He told Hugh Walpole, who had been doing war-work in Petrograd: ‘It’s very curious. I feel startled when I remember that my foster-brother is an Ukrainian peas- ant. He is probably alive yet. What does he think? I am afraid that what he thinks bodes no good to the boys and girls with whom I used to play and to their children’ (18 May 1917). In 1861, Conrad’s father, Apollo Korzeniowski, formerly an estate manager and still a poet, dramatist, and translator, moved to Warsaw to work clandestinely for the left-leaning wing of the independence movement (which stood for the abolition of serfdom and the indepen- dence of Ukrainians and Lithuanians as well as Poles). A few months later, he was arrested by the Russian authorities, and was jailed with other dissidents in the fearsome Tenth Pavilion of the Warsaw Citadel, a place ever associated with torture and execution. Meanwhile, Konradek’s mother, Ewa Korzeniowska, endured four interrogations about her own and her husband’s activities. In 1862, the family was sent under armed guard to Vologda, a town in deep Russia of harsh winters and soggy, fly-plagued summers. The following year, they were moved to Chernikhov, where conditions were a little easier, but Ewa’s health was failing, and she died there of tuberculosis in 1865. These events gave Conrad a lifelong detestation of Russians, which he could only sometimes overcome. 1 These estimates are based on the first and only Russian imperial census, compiled in 1897; in 1857, the Polish-speaking population was probably a little larger. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19192-0 - The Selected Letters of Joseph Conrad Edited by: Laurence Davies Excerpt More information Introduction xxi For the next four years, the boy lived with his father in two Austrian- controlled cities, Cracow and Lwów. Konradek’s health had always been precarious, and his episodes of illness meant that he had to be privately tutored as well as (probably) attending the Imperial and Royal St Anne’s Gymnasium in Cracow. He had already learned a good deal of French from his father and now had to learn Latin and Ger- man. Apollo was subject to deep melancholy, mourning his wife and the failure of the 1863 insurrection against the Russians. In between bouts of dejection, he went on writing. When he died, several thou- sand mourners followed his coffin to the cemetery in a cortège headed by his 11-year-old son. The Polish inscription on the gravestone hon- ours ‘Apollo Nałecz ˛ Korzeniowski – victim of Muscovite martyrdom’ (Najder 2007, p. 35). For the next few years Konradek was under the care of various relatives and family friends, notably his maternal grandmother Teofila Bobrowska, who tried unsuccessfully to get him Austrian citizenship, and maternal uncle Tadeusz Bobrowski. Bobrowki’s letters to him and about him are among the main biographical sources for the next quarter of a century. Politically far more cautious than his sister and brother-in-law, but also critical of the narrow lives of the local gentry, a positivist rather than an idealist, his endorsement of modernity and progress did not lessen the shock of learning that his nephew wanted to become a world traveller and perhaps a sailor. Various attempts to dissuade Konradek failed, and, at the age of 17, he set off for Marseilles. Over the next three and a half years, he made three voyages to the Caribbean. He began acquiring the skills and knowledge of a sailor on the second and third of these voyages and on shorter trips in local waters with his piratical mentor Dominique-André Cervoni, a Corsi- can and perhaps a gun-runner. On shore, Konrad frequented cafés, theatres, and the opera house, consorted with artists, journalists, and political conspirators of the far left and far right, had love affairs, lost heavily at the tables in Monte Carlo and in consequence tried to kill himself. When Bobrowski arrived from Ukraine, the bullet wound to Konrad’s chest was said to be a duelling injury. The sheer range of his liminal adventures in Marseilles, the clarity of light, and the freedom of being, mostly, out of range of disapproving eyes, gave him a fond- ness for the Mediterranean that was still there in his last two novels, The Rover (1923) and the unfinished Suspense. On 24 April 1878 he shipped as an unregistered apprentice in the Mavis, a British steamer bound for Yeysk on the Sea of Azov. Although © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-19192-0 - The Selected Letters of Joseph Conrad Edited by: Laurence Davies Excerpt More information xxii Introduction travelling on Russian papers, as the son of political dissidents he could not go ashore without running the risk of long-term conscription into the Russian army.1 When the Mavis reached Lowestoft on the return voyage, he registered at a hotel as Konrad de Korzeniowski. Thus he began his career in the British merchant navy as a Polish gentleman, a Russian subject earmarked for surveillance, and a novice sailor with some knowledge of French waters who had quarrelled with his English captain. At this point of the story, career might be the wrong word. For Kon- rad’s parents and their allies, though the prospect was of suffering and martyrdom, destiny was prospective. To speak of their son’s des- tiny as an English sailor or author only makes sense retrospectively. According to his uncle’s letters, Konrad thought of enlisting in the French navy; at various times during his life at sea, he considered other work, for instance as a whaler, some of it on shore. Yet circumstances demanded that he start learning colloquial English, he seems to have read widely in English literature during his time off-watch, and by 1886 was beginning to write fiction. In the same year, he passed the exami- nation for his master’s certificate at the second attempt.
Load more

Recommended publications
  • Taos CODE: 55 ZIP CODE: 87564
    (Oct. 1990) United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES REGISTRATION FORM 1. NAME OF PROPERTY D.H. LAWRENCE RANCH HISTORIC DISTRICT HISTORIC NAME: Kiowa Ranch OTHER NAME/SITE NUMBER: Lobo Ranch, Flying Heart Ranch 2. LOCATION STREET & NUMBER: Lawrence Road, approx. 2 3/4 miles east of NM NOT FOR PUBLICATION: N/A Hwy 522 on U.S. Forest Service Rd. 7 CITY OR TOWN: San Cristobal VICINITY: X STATE: New Mexico CODE: NM COUNTY: Taos CODE: 55 ZIP CODE: 87564 3. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this _x_nomination __request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property _X_meets __does not meet the National Register criteria. I recommend that this property be considered significant _X_nationally ^locally. (__See continuation sheet for additional comments.) Signature of certifying official Date State Historic Preservation Officer State or Federal agency and bureau In my opinion, the property __meets does not meet the National Register criteria. (__See continuation sheet for additional comments.) Signature of commenting or other official Date State or Federal agency and bureau 4. NATIONAL PARK SERVICE CERTIFICATION I hereby certify that this property is: Signature of the Keeper Date of Action . entered in the National Register c f __ See continuation sheet. / . determined eligible for the National Register __ See continuation sheet.
    [Show full text]
  • From Orientalism to Cultural Capital: the Myth of Russia in British
    Bibliography Alekseev, M. P., ‘Shekspir i russkoe gosudarstvo XVI–XVII vv.’, in Shekspir i russkaia kul’tura, ed. M. P. Alekseev (Moscow and Leningrad: Akademia nauk, 1965), pp. 784–805. Alston, Charlotte, Russia’s Greatest Enemy?: Harold Williams and the Russian Revolu- tions (New York: Tauris, 2007). Amfiteatrov, Aleksandr V., ‘Gorestnye zamety’,Novaia russkaia zhizn’ (Gel’singfors) 221 (27 September 1921), p. 222 (28 September 1921). Anderson, M. S., British Discovery of Russia, 1553–1815 (London: St. Martin’s Press, 1958). Archer, William, ‘The Theatre’,World , 11 April 1905, p. 622. Aristotle, ‘Nicomachean Ethics’, in Complete Works of Aristotle, ed. Jonathan Barnes (Princeton, NJ: Princeton University Press, 1995), II, pp. 729–867. ‘Arkay’, The Tatler, 7 April 1920. Arnold, Matthew, ‘Count Leo Tolstoi’, Fortnightly Review 42 (1887), pp. 783–99. Ashton, Rosemary, Victorian Bloomsbury (New Haven, CT: Yale University Press, 2012). Asquith, Cynthia, Portrait of Barrie (London: James Barrie, 1955). Atheling, William [Ezra Pound], ‘At the Ballet’, New Age, 16 October 1919, p. 412. Baring, Maurice, Landmarks in Russian Literature (London: Methuen and Co, 1910). The Mainsprings of Russia (London: Thomas Nelson and Sons, 1914). Maurice Baring: Restored Selections from His Work, ed. Paul Horgan (London: William Heinemann, 1970). Russian Essays and Stories (London: Methuen & Co, 1908). The Russian People (London: Methuen and Co, 1911). Barrie, J. M., Letters of J. M. Barrie, ed. Viola Meynell (London: Peter Davies, 1942). ‘The Truth of the Russian Dancers’, in A. J. Pischl and Selma Jeanne Cohen, eds, Dance Perspectives 14 (1962), pp. 12–30. Bassinsky, Pavel, Strasti po Maksimu: deviat’ dnei posle smerti (Moscow: Astrel’, 2011).
    [Show full text]
  • Stephen Crane, Edward Garnett and Henry Lawson
    The Painters of Modern Life: Stephen Crane, Edward Garnett and Henry Lawson LINDSAY BARRETT University of Western Sydney The first time I saw the painting The Flax Weavers by the Berlin impressionist Max Liebermann, in the Alte Nationale Galerie in Berlin, I had the strange feeling that, somehow, I was already familiar with it; that in a sense, I had seen it before. The Flax Weavers was painted in 1887 and depicts a group of women in a wooden workshop space weaving together long plats of flax, a plant that was an indispensable component of rope and canvas making during the eighteenth and nineteenth centuries. Flax grew in vast swathes on the Baltic coast north of Berlin, and the harvesting and the fabrication of it into important military and commercial items was a mainstay of the area’s economy. Max Liebermann, native to the area, became best known for his calm impressionist meditations on the gardens around his villa by the shores of a lake near the Prussian capital, but like a number of other Berlin artists of the time, he also shared a concern with the everyday realism of working class life, even if his depictions of this life found impressionist, rather than harder-edged realist form. Liebermann’s flax-weavers mostly inhabit the right-hand foreground of the painting, pulling their strands of grass across the surface of the image from the left hand side, the background details of the workshop triangulating away from the human forms as per the established rules of visual perspective that dominated European image-making at the time.
    [Show full text]
  • Edward Garnett
    Edward Garnett: An Inventory of His Collection at the Harry Ransom Center Descriptive Summary Creator: Garnett, Edward, 1868-1937 Title: Edward Garnett Collection Dates: 1889-1937, undated Extent: 15 boxes (6.30 linear feet), 2 oversize folders (osf) Abstract: Contains mostly letters written or received by the British critic and literary editor, Edward Garnett. Major correspondents include H. E. Bates, Joseph Conrad, Ford Madox Ford, Robert Bontine Cunninghame Graham, T. E. Lawrence, Sean O'Faolain, and Liam O'Flaherty, as well as many other notable authors. Call Number: Manuscript Collection MS-1541 Language: English, French, German, and Russian Access: Open for research Administrative Information Processed by: Joan Sibley and Apryl Voskamp, 2014 Note: This finding aid replicates and replaces information previously available only in a card catalog. Please see the explanatory note at the end of this finding aid for information regarding the arrangement of the manuscripts as well as the abbreviations commonly used in descriptions. Repository: The University of Texas at Austin, Harry Ransom Center Garnett, Edward, 1868-1937 Manuscript Collection MS-1541 2 Garnett, Edward, 1868-1937 Manuscript Collection MS-1541 Works: Foreword to A modern conquistador Robert Bontine Cunninghame Graham by Container Herbert Faulkner West, carbon typescript with handwritten corrections, 3 pages, 1.1 October 1931. Foreword to The two sisters by H. E. Bates, page proofs with handwritten corrections and few emendations, 4 pages, February 1926. Report on ms. to T. Fisher Unwin, Publisher, signed handwritten manuscript on printed form, 2 pages, 10 November 1898. Re The Wistons by Miles Amber, pseudonym. Report… on Mr. Frank Horridge's books and mss., signed handwritten and typed carbon copy manuscript, 2 pages, undated.
    [Show full text]
  • Page One of Mark Twain's the Adventures of Tom Sawyer
    Page one of Mark Twain’s The Adventures of Tom Sawyer manuscript, gift of Mrs. Nicholas F. Brady. 92 Literature & Linguistics a Anglo-American Catholic Authors .................................................................................... 93 English Literature ............................................................................................................ 105 American Literature ......................................................................................................... 110 Continental Literature...................................................................................................... 117 Journalism ........................................................................................................................ 118 Linguistics ........................................................................................................................ 119 Anglo-American Catholic Authors John Henry Newman Collection A virtually complete run of first editions of the works of Cardinal Newman (gift of Martin S. Quigley) includes such rarities as the first edition of the Apologia pro vita sua in the original parts. Two important groups of Newman’s letters round out the collection: more than 350 written over many years to the author’s lifelong friend, Henry William Wilberforce, touching on a great variety of topics (gift of the Most Rev. Jeremiah F. Minihan), and a series of 33, written between 1855 and 1865, to Dr. Thomas Hayden, largely relating to the affairs of the Catholic University of Ireland.
    [Show full text]
  • Stephen Crane, Edward Garnett and Henry Lawson
    The Painters of Modern Life: Stephen Crane, Edward Garnett and Henry Lawson LINDSAY BARRETT University of Western Sydney The first time I saw the painting The Flax Weavers by the Berlin impressionist Max Liebermann, in the Alte Nationale Galerie in Berlin, I had the strange feeling that, somehow, I was already familiar with it; that in a sense, I had seen it before. The Flax Weavers was painted in 1887 and depicts a group of women in a wooden workshop space weaving together long plats of flax, a plant that was an indispensable component of rope and canvas making during the eighteenth and nineteenth centuries. Flax grew in vast swathes on the Baltic coast north of Berlin, and the harvesting and the fabrication of it into important military and commercial items was a mainstay of the area’s economy. Max Liebermann, native to the area, became best known for his calm impressionist meditations on the gardens around his villa by the shores of a lake near the Prussian capital, but like a number of other Berlin artists of the time, he also shared a concern with the everyday realism of working class life, even if his depictions of this life found impressionist, rather than harder-edged realist form. Liebermann’s flax-weavers mostly inhabit the right-hand foreground of the painting, pulling their strands of grass across the surface of the image from the left hand side, the background details of the workshop triangulating away from the human forms as per the established rules of visual perspective that dominated European image-making at the time.
    [Show full text]
  • THE CONRADIAN Journal of the Joseph Conrad Society (UK)
    THE CONRADIAN Journal of the Joseph Conrad Society (UK) Allan H. Simmons, St Mary’s University College, General Editor Gene M. Moore, Universiteit van Amsterdam, and J. H. Stape, Research Fellow in St Mary’s University College, Contributing Editors Owen Knowles, University of Hull Research Fellow, Advisory Editor ––––––––––––––––––––––––––––––– Spring 2008 Volume 33 Number 1 “The Fitness of Things”: Conradian Irony in “Typhoon” and The Secret Agent 1 Hugh Epstein Conrad, Schopenhauer, and le mot juste 31 Martin Ray Conrad and Exploratory Science 43 Tiffany Tsao Conrad’s Arrow of Gold 57 John Lester Joseph Conrad at the London Sailors’ Home 69 Alston Kennerley The Conrads and Alice Kinkead 103 Susan Jones Marguerite Poradowska as a Translator of Conrad 119 Anne Arnold “Who’s that fellow Lynn?”: Conrad and Robert Lynd 130 Richard Niland Conrad’s Early Reception in America: The Case of W. L. Alden 145 Owen Knowles and J. H. Stape Conrad and “Civilized Women”: Miss Madden, Passenger on the Torrens 158 Martin Ray Conrad and the Minesweepers’ Gazette: A Note 162 Owen Knowles Conrad, James, and Vertical Lintels 165 Paul Kirschner Joseph Conrad and Germ Theory: Further Thoughts 167 Martin Bock This issue of The Conradian is dedicated In memoriam Michael Lucas (1935 – 2007) Sylvère Monod (1921 – 2006) Martin Ray (1955 – 2007) Fratres, avete atque valete Contributors HUGH EPSTEIN, Honorary Secretary of The Joseph Conrad Society (UK), works in Further Education in London. He has published essays on Conrad’s fiction in The Conradian and Conradiana and has given papers at several conferences of The Joseph Conrad Society (UK) and in Vancouver (2002).
    [Show full text]
  • Early Conrad Commentary
    Cambridge University Press 978-1-107-03485-3 - Joseph Conrad's Critical Reception John G. Peters Excerpt More information Chapter 1 Early Conrad Commentary CritiCism till 1930 This first period of Conrad commentary was dominated by two critical traditions: biographical/historical criticism and belles lettres criticism. Reviewers and other commentators particularly relate Conrad’s litera- ture to his unique personal experiences and often compare him to con- temporaneous writers of sea fiction such as Louis Becke, Frank Bullen, W. W. Jacobs, and Pierre Loti, and to such writers of adventure fiction as Alexandre Dumas and Robert Louis Stevenson. Early on, critics rec- ognized aspects of Conrad’s works that would become consistent points of interest, particularly his style, atmosphere, characterization, narra- tive methodology, descriptive abilities, and psychological investigations. Before the first book on Conrad appeared in 1914, commentary was lim- ited to the many reviews of individual works and the small number of articles that considered his biography or overall writing career. Although all of these are of historical interest (as the few general commentaries on Conrad of that time), only a small number were truly insightful. Conrad commentary began with the first review of Almayer’s Folly, which appeared in The Scotsman on April 29, 1895, the day the book was published. In “New Novels,” the anonymous reviewer calls the book “remarkable” and praises Conrad’s descriptive powers and the unity of effect that colors the book with pathos. This review, in its apprecia- tion of Conrad’s abilities, resembles so many others to appear during his career. The first article on Conrad’s works, however, is an unsigned 1896 column in The Bookman, “New Writers: Mr.
    [Show full text]
  • Downloaded from Pubfactory at 09/23/2021 07:54:21PM Via Free Access 188 Chapter 5
    Chapter 5 D. H. Lawrence: ‘Russia Will Certainly Inherit the Future’ D. H. Lawrence has always provoked strong and divisive reactions among his critics, his censors and his readers, being often dismissed for celebrating sexuality and rejoicing in the lubricious moments abundantly present in his works. Boldly innovative, deeply sensual and radically experimental, he was surprisingly prone to the whims of literary fashion; but, in distinction to the majority of the modernist oeuvre associated primarily with the high- brow aestheticism of the elite, his works did have a broader cultural impact on the readership of the time, being listed among the top literary bestsell- ers and the best examples of fiction written during the inter-war decades.1 Lawrence never went to Russia, though his intention to make a trip to the country was persistently mentioned in his personal correspondence.2 Just like almost the entire artistic world of the pre-World War I era, he was greatly affected by the vogue of Russomania: by the spellbinding otherness of the Russian novels and the glamour of Diaghilev’s Paris and London seasons. These memorable shows found their most vivid representation in the pages of Women in Love (1920): A servant came, and soon reappeared with armfuls of silk robes and shawls and scarves, mostly Oriental, things that Hermione, with her love for beautiful extravagant dress, had collected gradually […] It was finally decided to do Naomi and Ruth and 1 Jane Bingham, Popular Culture: 1920–1939 (London: Raintree, 2013), p. 36, 56. 2 See, for instance, letters to Samuel Koteliansky (1 May 1917, 6 December, 18 December 1925, 11 January 1926); to Catherine Carswell (17 December 1922); and to Carl Seelig (7 January 1926); D.
    [Show full text]
  • How Lawrence Launched His Career in London
    Loyola University Chicago Loyola eCommons Faculty Publications and Other Works by English: Faculty Publications and Other Works Department 2019 How Lawrence Launched His Career in London Joyce Wexler Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/english_facpubs Part of the English Language and Literature Commons Recommended Citation Wexler, Joyce. How Lawrence Launched His Career in London. Journal of D.H. Lawrence Studies, 5, 2: , 2019. Retrieved from Loyola eCommons, English: Faculty Publications and Other Works, This Article is brought to you for free and open access by the Faculty Publications and Other Works by Department at Loyola eCommons. It has been accepted for inclusion in English: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © Joyce Wexler, 2019. J∙D∙H∙L∙S Journal of D. H. Lawrence Studies Citation details Title: HOW LAWRENCE LAUNHED HIS CAREER IN LONDON Author: Joyce Wexler Source: Journal of the D. H. Lawrence Society, vol. 5.2 (2019) Pages: 61‒81 Copyright: individual author and the D. H. Lawrence Society. Quotations from Lawrence’s works © The Estate of Frieda Lawrence Ravagli. Extracts and poems from various publications by D. H. Lawrence reprinted by permission of Pollinger Limited (www.pollingerltd.com) on behalf of the Estate of Frieda Lawrence Ravagli. A Publication of the D. H. Lawrence Society of Great Britain JDHLS 5.2 (2019) 61 HOW LAWRENCE LAUNCHED HIS CAREER IN LONDON JOYCE WEXLER D.
    [Show full text]
  • Lawrence of Arabia
    Lawrence of Arabia Catalogue 238 March 2020 TERMS AND CONDITIONS OF SALE Unless otherwise described, all books are in the original cloth or board binding, and are in very good, or better, condition with defects, if any, fully described. Our prices are nett, and quoted in Australian dollars. Traditional trade terms apply. Items are offered subject to prior sale. All orders will be confirmed by email. PAYMENT OPTIONS We accept the major credit cards, PayPal, and direct deposit to the following account: Account name: Kay Craddock Antiquarian Bookseller Pty Ltd BSB: 083 004 Account number: 87497 8296 Should you wish to pay by cheque we may require the funds to be cleared before the items are sent. GUARANTEE As a member or affiliate of the associations listed below, we embrace the time-honoured traditions and courtesies of the book trade. We also uphold the highest standards of business principles and ethics, including your right to privacy. Under no circumstances will we disclose any of your personal information to a third party, unless your specific permission is given. TRADE ASSOCIATIONS Australian and New Zealand Association of Antiquarian Booksellers [ANZAAB] Antiquarian Booksellers’ Association [ABA(Int)] International League of Antiquarian Booksellers [ILAB] REFERENCES CITED Details of references cited are at end of catalogue NOTE Images are not to scale. Front cover illustration, item 16 Back cover illustration, item 85 CONTENTS T. E. Lawrence Books by: 1–23 With contributions by: 24–28 Translated by: 29 About: 30–93 Bibliographies and Reference Works: 94–107 References cited Kay Craddock — Antiquarian Bookseller Pty Ltd 156 Collins Street Melbourne Victoria 3000 Australia PHONE: +61 3 9654 8506 EMAIL: [email protected] WEBSITE: www.kaycraddock.com BOOKS BY T.
    [Show full text]
  • Gene M. Moore
    A DESCRIPTIVE LOCATION REGISTER OF JOSEPH CONRAD’S LITERARY MANUSCRIPTS Compiled by Gene M. Moore Universiteit van Amsterdam (last updated: March 2016) INTRODUCTION “For the textual scholar preparing a critical edition and for those interested in learning more about Conrad’s compositional methods and shaping imagination, the discovery of autograph and typewritten manu- scripts and other early draft versions is of the utmost importance.” With these words Gordon Lindstrand opened his “Bibliographical Survey of the Literary Manuscripts of Joseph Conrad,” which appeared in three consecutive numbers of the second volume of Conradiana in 1969-70. Lindstrand compiled his survey as a first step towards what he hoped would eventually become a virtually complete and reliable record of the current disposition of all documents relating to the production or revision of Conrad’s literary works. This new Register is meant as a second step, supplementing Lindstrand’s findings with additional infor- mation on proofs and other materials relevant to the pre-publication history of Conrad’s works, and tracing where possible the provenance of the surviving documents. Conrad’s early drafts and working papers would have gone straight from his hands into the fire had it not been for his wife, Jessie Conrad, who tucked them away in the deep and “sacred” drawers of an old yellow press. In 1911, once Agnes Tobin had introduced him to the New York laywer and collector John Quinn, Conrad realized that his manu- scripts and typescripts could provide a badly needed supplement to his literary earnings. Still, he found it difficult to believe in the value of his own superseded scribblings, especially those in incomplete or “unclean” or typed form: fragments of “Heart of Darkness,” Lord Jim, and Nostromo were sold for £100, and substantial typescripts for as little as £5.
    [Show full text]