黑暗之心
2005-3
中国电力出版社
康拉德
218
200000
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约瑟夫•康拉德于1857年12月3日出生在当时由沙俄统治的波兰乌克兰地区。其父母是热血的波兰爱国者，因参加民族独立运动被沙俄政府流放，10岁时，他在父母死后由好心的母舅抚养，在克拉科夫成长。1874年他前往马赛，在一艘法国商船上工作。这标志着康拉德航海激情的始发。其后，他在海上生活达20年，其阅历广及全世界的许多具有异域风情的地方。 1878年，康拉德加入了英国的商船队，并且开始学习英语，在船队的服务中，他得到了稳步的提升，并于1886年加入英国籍。在前往刚果的灾难性航行中所获得的经历给康拉德留下了极深刻的印象，并构成了他的小说《黑暗之心》（1902）的大背景。 有别于与他同时代的作家，康拉德的小说喜欢写孤独的主人公，让笔锋集中描述个体的人物及其遭遇到的难题；他笔下的热带和丛林地带背景中的人物更显得形单影只，这种效果是其它背景所绝难达到的。许多人认为，在探索有关生存的困惑、生存的潜意识及生存意义的丧失一类主体方面，康拉德是20世纪小说的先驱者。无疑，康拉德以小说的形式在更为具体化的层面上谴责了欧洲殖民主义者的贪婪与残酷。 康拉德逝世于1924年8月3日。
第一章第二章第三章
中国教育学会外语教学专业委员会推荐。循序渐进读名著，潜移默化学英文，第一套规模最大的全面与新课标匹配的分级读物。 ·遍览西方经典文学名著，题材丰富多样； ·语言生动地道，保留英文原汁原味； ·对应剑桥英语等级考试； ·双语对照满足学习与欣赏的要求； ·英文注释版和英汉对照版，满足不同教学与阅读的需要。 这是一套针对英语为外语的学生而出版的世界文学名著分级读物。丛书的编写紧密结合新《英语课程标准》的要求，按难易程度分为6个级别，适合3-8级（即初一至高三）学生的阅读需求，帮助学生在语言技能、语言知识、学习策略和文化意识等方面达到新课标的培养目标。 丛书主要有以下特点： 囊括西方经典文学名著，在帮助学生提高语言水平的同时，能通过阅读与自己外语水平相当的简写本一窥文学名著之全貌。 按新课标分级，英汉对照版的各册词汇量从700词到3500词，满足中学生的阅读需要。语言难度循序渐进，有助于教师拓展学生的语言知识和文化背景信息，提升学生的英语阅读技能。 语言浅显、生动、地道，以英文注释的形式出版，既保留了英文的原汁原味，中英文双语注释又为读者在阅读英文时扫除了语言障碍，能够充分调动读者的阅读兴趣，使英语阅读更轻松。
同名英文原版书火热销售中：Heart of Darkness
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看这本书是由于TEEN WOLF前一段时间播第三季，他们文学课上讲的就是这本。当时以为是美国文学了。看完这本书后才知道，作者应该属于英国文学范畴。。。汗一个！！
编剧水平蛮高的，营造气氛和制作借鉴了很多小说里面的东西，黑色的背景，很哥特。。。这篇文章取名黑吃黑就是因为， 书中用黑色的树林吞噬来者来暗示KURTZ,同样可以理解为被黑森林同化之后变黑了的人。
作者波兰人，后来加入英国国籍，英语是他的第三语言（波兰语和法语他从小就会了）。他直到二十多岁才说流利的英语，最终进入了文学历史，还影响了一大堆包括 菲茨杰拉尔德，福克纳，海勒等等一大票大文豪，不是一般人。。话说回来， 维基百科形容写作风格时用了self-doubt, and pessimism，好吧，我曾不止一次被人说过我是个悲观的人，喜欢这本书也很自然。 他也说过他写书的目的是为了吸引读者的注意，这点很重要啊！！！读有些作者的书，让我想死的冲动都有了。
看这个书，让我想到了当时看“现代启示录”时的震撼， 电影是写越战对于人性的扭曲，而这本书写的是主角到非洲寻找财富， 逐渐用独特的人格魅力和手段， 成为非洲土人的GOD一样的存在的故事，其实，我更愿意把它理解为殖民扩张对于人性的扭曲。
我看完现代启示录时的感觉就跟书中叙事者经历了KURTZ的感觉一样， 没有经历过的人（听说过这个故事的人）无法了解，都生活在自己的世界中，起码是自己的意识为自己编织的世界中。
飘渺的云烟，迷茫的大海，扑朔迷离的街灯在岸上。
日子如同梦一般，花白的，模糊不清。
我们开始听马洛讲过去的故事。这个故事关于主角自己深入非洲腹地寻找库尔兹，掠夺象牙。
马洛讲故事的方式对我们很受用，我们仿佛只是朋友间的闲聊，轻松自如。虽然故事的最后，这个说故事的人崇高神圣如佛陀。马洛大可以天马行空，颠三倒四，因为这只是朋友间的交谈。马洛的故事可以用“我不想总拿自己的经历来麻烦你们”这样的家常作为开场白来聊闲话。这是他自己的故事，并非对他者的转述。所以马洛的故事到处都可以发表自己沿途的所见所感。而如今的他来回忆这个故事，自然也可以用今天的自己反观当年的自己，如他自己所言“灵魂啊！假如有谁曾经一度跟一个灵魂搏斗过，那个人就是我。”
马洛进入非洲腹地，那个从高空俯瞰便是心形的黑暗之地，仿佛进入人类成长的历程。仿佛便是人类从爬行的猿人到达直立行走的人类，彷佛穿越石器文明行至工业文明的苍穹。
汽船靠岸，“我感觉到原始的荒凉，无边无际的荒凉，从四面八方包围过来，那是森林中，丛莽中，野蛮的心灵中骚动着的也行所构成的全部神秘生活。过他对于那种神秘却不得气门而入”。这个黑暗的、原始的神秘拥有一股无法拒绝的蛊惑力，吸引着马洛。但是一旦深入其中，便是憎恶，便是难以抑制的逃离的冲动。这便象征人类的最初的原始状态所代表的邪恶、低下、原欲的内心。它放肆而不受约束。
于是马洛想到效率，劳动的需要而产生了效率。获得效率的人类，告别原始的寥落，他们标榜自己的制度和文明，却觊觎原始荒原未开垦的处女地。于是，来到那里，对土地拓荒，对资源占有，对那里的人殖民。“而要当个征服者你只需要有残暴的武立就够了，即使你得了手也没有什么值得炫耀。因为你的力量仅仅是别人的软弱中产生的偶然”。侵略的优越感持者们试图麻痹自己的内心，于是给自己以安慰的借口，一个感情的补给。美曰其名，信仰。
而库尔兹，这个高尚的开拓者便是侵略者们的信仰。他创造一个正义的宣言书去放纵恶的内心。大多数文明选择附和，有谁又愿意在对自己有利的事情太过深究这件事本身的邪恶。
直至马洛经过一场突然的袭击，目睹伙伴的惨死，目睹信仰崇拜者的疯狂，目睹一个个阴森的叛乱者被悬置的头颅。他与病重的库尔兹相遇。
“在那恍然大悟的决定性时刻里，他是否把他一生的各个细节，诸如欲望，诱惑和屈服等等都重新体验了一番？他低声对某个偶像，某个幻影喊叫了一生——他喊了两次，呐喊声并不比一生喘息更大些——吓人啊，吓人。”这是临终的马洛的复归，他饿灵魂抽离了自己的肉体，灵魂看见那个肉体的虚假行径，看见自己虚妄的为自己设立的偶像，甚至看见那些为这个他自身创立的偶像顶礼膜拜的人的身影。他大彻大悟自我内心的罪恶与深不可测。这黑暗之心便是人性的软弱，欲望、诱惑和对欲望、诱惑的屈服。
或许，我们以为马洛的故事已经完结。在这幽暗的黄昏，我们在颠簸的船上听着这个伙计说的废话够多了。人类，就是这么一回事。从原始到如今，都有一颗黑暗之心隐而不露，讳莫如深。我们看清那颗罪恶之心，击碎身为人的自己。我们生无所依，从远古到现今。
但马洛的故事远非于此，还有一个统治人心的可怕武器。那叫做记忆。如今的马洛坐在这里宛若一尊佛陀，他在记忆的漩涡里看见那时候挣扎的自己。记忆告诉真实与谎言。马洛在故事的开头便强调，一生中有一件事仿佛是黑暗中的一道光照亮他的一生。便是这个故事，这个记忆。这个记忆决定你是绝无仅有的自己。
而那个深入非洲大陆的故事，不也是全人类一个共同的记忆吗？
而这个记忆本身同样也是邪恶的，让人摆脱不去，可以让你成佛，也能毁掉你。记忆毁掉的便是《吉姆爷》中吉姆爷——曾经因为在沉船是没有顾及全船的香客而逃生的吉姆爷，被众人所不耻。他的一生便是去洗去这个可怕的记忆。直至最后一死偿之。
我们是否真的生无所依？我们赤条条来到世上，便开始记忆之旅。记忆便是我们的倚靠。是记忆，让我们生也让我们死。
Women as the Other
Two women in black
Since the publication of Heart of Darkness, it has weltered in lots of controversial voices. This book is regarded as a story about Marlow’s witness of the collapse of the civilization, which has nothing to do with women. Women are defined as a typical representative of the Other because in this novel, they are just anonymous images and Conrad himself has also been considered as a misogynist for a long time.
But we must notice that the reason why Heart of Darkness enjoys so many reputations and attracted many generations is that it can be interpreted from various angles. Speaking honestly, it is also a story about, and for women. Women, usually defined as the Other, have great commands over Marlow – the lead and the leading society.
It is not occasional that the trip is set in the dark continent of Africa. Reading carefully, it is not difficult to discover that it accords with the appearance of the two women in black. As a male author who lost his mother at the age of 5, Conrad’s knowledge about women is rather limited. As his wife Jessie says, “He had hardly known anything of a mother’s care, and had no sort of experience of any sort of home life” .
Such an experience provokes Conrad’s curiosity about women, so it is not coincident that Marlow’s experience in the dark continent starts with two women in black sitting and knitting black wool at the door of the company in Brussels:
"Two women, one fat and the other slim, sat on straw-bottomed chairs, knitting black wool. The slim one got up and walked straight at me – still knitting with downcast eyes – and only just as I began to think of getting out of her way, as you would for a somnambulist, stood still, and looked up. Her dress was as plain as an umbrella-cover, and she turned round without a word and preceded me into a waiting-room".
From the paragraph, it can be inferred that those two women mark the opening of the door of the female order, or one could say the prelude to the wild darkness. Marlow’s inner monologue proves this viewpoint:
"Often far away there I thought of these two, guarding the door of Darkness, knitting black wool as for a warm pall, one introducing, introducing continuously to the unknown, the other scrutinizing the cherry and foolish faces with unconcerned old eyes. Ave! Old knitter of black wool. "
The two women are complicated characters, representing fate, destiny and mystery. Their gloomy images are closely connected with the later death of the late captain of the company and thus brought Marlow to the dark continent by asking him to take over the former position of the dead captain. Appearing at the beginning of the story, the two women forebode the misfortunes and miseries afterwards. Such a troubling incident leaves the readers to wonder if these two women are really creatures of this world. In fact, they do not belong to the “world” because the orthodox mainstream “world” to Marlow is the white, male-dominated world. He has a certain sense of priority, but in front of those two women, his pride disappears for he realizes that it is they who have the power to penetrate his inner world, a world symbolizing the heart of darkness because they are the guardians of darkness.
The younger woman, still unfamiliar with the world, demonstrates the carefree attitude of men before they enter the Congo River, but the old woman, not subject to the primary desires of a man, could penetrate into what happens to men in the terrifying heart of darkness. The two women in black, as the Other, are of extreme significance because they are consequential roles who give colonists the opportunity to start and develop their activities.
Kurtz’s mistress
Congo River is compared to a snake and Marlow describes himself as a little bird tempted by the snake of the Congo River. This is not because Africa is a colony under the suppression of the imperialism, but due to the state of being fascinated and trapped by a vicious and powerful beauty – Kurtz’s mistress. Marlow is inevitably infatuated with her, while also afraid of her. On Marlow’s voyage, he feels that he is penetrating into the wilderness of the darkness which seems to be capable of listening, watching and whispering step by step. He is in the state of great void. However, the appearance of the African mistress opens a new window for him – she is a real human being who has a soul:
"She stood looking at us without a stir, and like the wilderness itself, with an air of brooding over an inscrutable purpose…Suddenly she opened her bared arms and threw them up rigid above her head, as though in an uncontrollable desire to touch the sky, and at the same time the swift shadows darted out on the earth, swept around on the river, gathering the steamer into a shadowy embrace ".
It is undeniable that Marlow is obsessed with her, such a mysterious, charming image. Marlow is lost and puzzled in the boundless wilderness, and she is the representation of the wilderness itself, so she is the only person who could solve Marlow’s puzzlement. In this sense, it is not hard to understand why he uses so many adjectives to describe her: wild, gorgeous, superb, wild-eyed and magnificent, etc. For a woman, all those words are utmost compliments. It is true that Conrad uses few sentences to describe women, which makes readers wonder that this work demonstrates a sense of discrimination against women because their voices and identities are waned. But it is such conciseness that stresses the importance of them because the brief description always leaves readers the wildest space of imagination and admiration. In this story, Kurtz’s mistress, as the Other, is much more than a marginalized image. As the Other, she is more powerful than Kurtz because behind her back, there is an unknown power which controls over Kurtz, Marlow and the male world. Nobody can clearly define what the real thing is, but the whole atmosphere she sends out awes and frightens those male chauvinistic men. Specifically, it is possible that Kurtz’s African mistress is not just a symbol of an African woman, but also a symbol of Africa and its internal darkness. Marlow's description of her seems to support this idea, for although this native woman is dark and savage, she is also gorgeous; furthermore, she is gorgeous because she is full of life, the vivid, passionate kind of life that has disappeared from Europe, which Marlow compares to sepulchres and tombs even before he has left for Africa.
Kurtz’s intended
Compared with Kurtz’s shining, enchanting, fiercely charming mistress, it is obvious that Kurtz’s intended is of a total opposite type of woman: innocent, unblemished, docile, totally loyal to Kurtz, pure as an angel, is a symbol of all the beauty, innocence and morals in the whole world – the male-oriented world. Judging from every angle of the western society, she is a perfect model for women, wives and perfect companions to the manly men of imperialist Europe.
As a man, Marlow appreciates and wants to be protective to the fragile, delicate woman. But deep in his heart, he despises her for her lack of true knowledge of the real world and of men. As Marlow says, women are keepers of illusions; this obedient female is one of them. She is like an obedient sheep who is easily cheated and swallowed. From her disposition, it seems that she is put in a subordinate place and occupies no space in this story. But we must notice that the whole story ends in her appearance, which showcases her vital function. That pale, sentimental woman, devoted to Kurtz, continues her sweet dream in the lies Marlow fabricates for her. Because of her innocence, the supposed gloomy ending seems to see a weak light of hope. She, as the Other, symbolizes the torch in the desperate darkness and demonstrates the cruelty and brutality of the Self.
据Wiki，Konrad1857年12月3日出生于乌克兰Berdichev市一个贵族爱国者家庭，他的父亲Apollo是位政治题材的剧作家并且精于翻译法文和英文作品。1861年，Apollo由于涉嫌从事1863-64年一月起义的准备活动，被俄国皇家机构逮捕，流放到莫斯科东北480km的城市沃洛格达。四岁的Konrad跟着父母一起去流放了，1865年，在一家人迁去切尔尼格夫后不久，体弱多病的母亲Ewelina死于肺结核。四年后，父亲在克拉科夫去世，年仅11岁的Konrad成为孤儿，舅舅Bobrowski来照看他。16岁，为躲避参军，加之申请加入奥匈国籍被拒，Konrad来到法国马赛，成为一名水手。
Heart of Darkness]是第一人称叙事，很口语化。一个海员到非洲刚果一个贸易公司去做跑船，带领一群人开着破船去河流的上游找一个神奇的同事，一个非常有能力的连土著人都佩服他的 kurtz 先生。他们费劲力气找到先生后却发现他完全不是想象中的样子，而是做了土著人的神，压根不想回公司把自己找到的很多象牙交出去，那位先生是个（天才）疯子。疯子先生病死了他们则返回了河口。所谓“黑暗之心”说的就是非洲黑暗的丛林和比丛林更黑暗的人心，无须赘述。而这本书和［Lord Jim]之所以那么出名，除了Lord Jim的写作手法和资本主义的殖民问题，最吸引人的地方当然还是其航海主题。［Heart of Darkness]比较不纯粹是航海，不过也穿插着各种对海的感想。
当年罗马士兵开船去英国，“ lose in wilderness..have been dying like flies.” 正如英国人两千年后开拓非洲大陆。 “going up that river was like traveling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings. An empty stream, a great silence, an impenetrable. The air was warm, thick, heavy, sluggish. There was no joy in the brilliance of sunshine.” 同样的所谓 civilized man开拓蛮荒，有时沿着 a mighty big river, 迷失在丛林里死去。殖民者很可怜，混的好谁去追求危险的富贵呢。
“Land in a swamp, march through the woods, and in some inland post feel the savagery, the utter savagery, the utter savagery, had closed round him—all that mysterious life of the wilderness that stirs in the forest, in the jungles, in the hearts of wild men. He has to live in the midst of the incomprehensible, which is also detestable. And it has a fascination, too, that goes to work upon him. The fascination of the abomination—you know, imagine the growing regrets, the longing to escape, the powerless disgust, the surrender, the hate.”
全书笼罩着黑色不详的气氛。在这样的气氛中生活如噩梦般不真实却被迫相信着。“ we live, as we dream, alone”。书中的寻找 kurtz先生也失去了原先的意义， “I can’t forget him, though I am not prepared to affirm the fellow was exactly worth the life we lost in getting to him.” Kurtz 先生找象牙好像也没啥实际意义，如果运不出去。
除了叙述者是中性人物，没有一个好人，包括丛林里的 kurtz先生。尽管他的天才并不讨厌。全书让我有兴趣的是两点，第一是丛林里的先生，为什么他是这样 ,这个问题涉及到非洲贸易公司各种可鄙的愚笨的人和天才先生的反差，尽管所有人都有着黑暗的心；第二是（康拉德被人批评的）所谓对黑人或黑奴的歧视（ “While I stood horror-struck, one of these creatures rose to his hands and knees, and went off on all fours towards the river to drink.” “well, you know, that was the worst of it—this suspicion of their not being inhuman.” ),如果不那么描述的话，怎么表述 --如何对待落后民族。第二个问题涉及到殖民的所谓工作是赚钱 (“to make money, of course. What do you think?” he said, scornfully.”“the only real feeling was a desire to get appointed to a trading-post where ivory was to be had, so that they could earn percentages) 还是开化落后民族 .
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康拉德把刚果丛林描述为黑暗的(魔法)森林，住着人一样的原始生物。和童话中擅闯此地的人一样，殖民者利欲熏心而猥琐胆小，唯一两个例外是 kurtz先生和叙述者，一个利欲熏心却精神强大的驯服了土著并且让他们具备了“攻击”的能力（所以他并不算是守财奴的堕落），叙述者也许不是故事中真实存在的人物，而是一只眼睛。整个故事真的很黑色童话。一个正直的骑士进入黑森林变堕落，或者干脆变成了魔王，用象牙诱惑贪婪的人类，当他们受尽折磨找来时他却死去了；或者说贪婪的人为了象牙进入森林却被下了咒语，堕落成财宝的奴隶了等等。
之所以觉得是童话是因为我尚无法接受他的疯狂仅仅是因为贪婪和为钱的不择手段。不如说是因为他在欧洲不得志而来处女地开疆扩土，却被愚蠢的贸易公司和陌生的丛林整垮了。但是这个答案听起来也不好。
对于 kurz, 书里是这么说的，“ All Europe contributed to the making of Kurtz; and by and by I learned that, most appropriately, the international society for the suppression of savage customs had entrusted him with the making of a report for its future guidance. And he had written it, too…..but this must have been before his—let us say—nerves, went wrong. Kurtz 自己的攻略是， “the white must necessarily appear to them[savages] in the nature of supernatural beings—we approach them with the might as of a deity.” 他成功了。这么看他确实可以作为贪婪野心殖民者的极致，代表他们强力的一面，对比于其他殖民者的无力的一面。可是 “I went a little farther, then till a little farther, till I had gone so far that I don’t know how I’ll ever get back.” 不敢说这一定是对英国殖民 pointlessness的质疑，或者作者只是觉得人只会被环境改变，而不是相反。作者觉得这是一种悲哀或许，无论如何一群可怜人为了追求一些东西，伤害了自己和别人，最后也不是想要的结果。
除了kurtz先生，船上其他的人当然也拥有黑暗之心，不过平庸些罢了。 The banality of evil. 对这种 evil叙述者说了两点，第一是说谎“ you know I hate, detest, and can’t bear a lie. Not because I am straighter than the rest of us, but simply because it appals me. There is a taint of death, a flavour of mortality in lies—which is exactly I have and detest in the world—what I want to forget.” 说谎和死亡连在一起。第二点是人在困境中表达出的恶劣品质。 Lack of restraint from lingering starvation. “catch’im….eat’im!” “Say! We must have made a glorious slaughter of them in the bush, Eh? What do you think? Say?” 平凡人的屠杀并不建立在野心引起的恨上，甚至可以说野心本身是不导致恨的。平凡人因为害怕而恨，是自卫，但是自卫听起来很不霸气。
当然也可以说丛林就是一棵巨大的黑暗之心，炼狱，大怪兽，etc.哈哈哈
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康拉德对土著的描写杜绝了很多读者同情的可能性，如果真的接受他的描写的话。与其说土著是一个文化或者社会，不如说他们是刚果丛林的生物，至少那个时代人的定义尚且争议，他们除了体型和最基本的思维别的也不大像人。和印第安土著不一样，（至少在书里）他们的心是空的，眼神也是空的，对陌生有本能的害怕，没有攻击性的弱小的不文明生物。 “the action was very far from being aggressive—it was not even defensive, in the usual sense; it was undertaken under the stress of desperation, and in its essence was purely protective.” 所谓他们的宗教也许在西方人的眼里简单的不成宗教，只是莫名其妙。可怕的是森林，却不是森林里的人。人并不是刚果森林的万物之灵而是之一。没有老虎可怕。他们的作用只是让人困惑他们到底是人不是。 “We penetrated deeper and deeper into the heart of darkness. It was very quiet there. At night sometimes the roll of drums behind the curtain of trees would run up the river and remain sustained faintly, as if hovering in the air high over our heads, till the first break of day. ” “an irresistible impression of sorrow.”
虽然文化在不同的环境中会有不同的发展和局限，不可否认文化本身有强大弱小之别，不管是侵略性，连续性，还是统一性或者规模大小。而欧洲文化在任何一个方面都可以轻易的铲除非洲文化（至少在书里来说），如果是这样的话文明之间的歧视，文明人对不文明人的歧视，至少是有理由的。在充分了解非洲文化的价值前，奴役也很正常。从社会制度来说，就算欧洲人也会觉得自己三千年前的原始社会很低等，那么认为一个外族原始社会低等也不算歧视吧。欧洲人对殖民地确实是掠夺性的，和他们的文化一样，谈不上教化。不过如果连互相理解都不能也很难教化吧。这点非洲和美洲是有区别的。再者，就算现在全世界都承认非洲人的地位了，他们的生活比一百年前又好了多少？所以愿望和行为效果真的没啥直接关系。虽然社会达尔文主义听起来满残忍，但文化确实是互相侵吞的。是否可以这么说，一个人对待其他（低等）文化的态度取决于他自己的文化种类。当然什么文化称得上低等也是一个争议话题。不得不说现在这样的文化越来越少了。
被迫看得英文版的，别的不好说，就是挺崇拜康拉德的，都30多了开始学英语还能拿英语写作当作家，无疑给吾辈打了一针强心针，让我觉得我又有希望了。。。“文明人”，“野蛮人”，文明的播种者还是野蛮的殖民者，这些问题太老套了又太尖锐了，作为一个第三世界的女人，想这些我有点儿头疼。。。
也許這個曾經做過船員的老人，想起自己年輕時，總是激動無比，并且也樂于向眾人絮絮叨叨的講述那些海上的破事。
他的《青春》的確有些滋味，只是最后的啟示，一瞬間有些激動罷了。這我早就有所感想，對于自己的青春，我無比清楚。而他呢，他是無比自豪。高爾斯華鋖評價說，讀亨利.詹姆士猶如品茶，讀約瑟夫.康拉德猶如品酒。喝酒也不是什么好事。《黑暗深處》讀得實在令人發指，那片殖民土地上的事在他寫來像是在說自己的夢話。
要是讓我用一個下午的時光，和一杯紅茶去讀這個中篇，我死也不干的。小時候讀杰克.倫敦的《馬丁.伊登》，用六節數學課讀完它，并且意猶未盡。
我不會去贊美這總小說的。其實連弗吉尼亚·吴尔夫對康拉德這種敘事方式也不以為然。
这本书是触目惊心的。
令我震颤的是两个词：文明，孤独。
号称传播文明的civilized资本家给非洲这片原始的土地带来的是文明么？我只看到人性中残忍和贪婪赤裸裸的袒露。
面对那未知的土地，与熟悉的文明社会脱离，早期殖民者软弱的人类之心面临着无边无际的孤独与恐惧。conrad对于处于这种境况下的人类心理作了很深入的描写。细细读来，背生寒意。
他的法文比英文好，但是他听说如果你不用英文写作，你的作品永远不会很广为人知。
他不是30多了开始学英语的吧。
是有点头疼
康拉德是波兰裔，29岁加入英国国籍，32岁开始用英语写作，当然啥时候学的英语我没考证过。。。我一个美国同学说的。。。
吾辈情何以堪啊
还有isak dineson和Vladimir Nabokov 等哈
20岁，康拉德每年过多少书，17岁就出海当水手了，在海上遇到了一个英国朋友，海上总是很孤单的，于是康拉德开始跟这个英国人学英语，那时候他已经20岁了。直到有一天，他发现用英文比用他的母语更便于表达，于是便开始尝试英文写作，这时候他已经32岁了。我记得以前大二的时候扫学校的图书馆，有几本80年代译本的康拉德小说，封二有作者介绍，那就是那时候的维基百科了。
20岁，康拉德没念过多少书，17岁就出海当水手了，在海上遇到了一个英国朋友，海上总是很孤单的，于是康拉德开始跟这个英国人学英语，那时候他已经20岁了。直到有一天，他发现用英文比用他的母语更便于表达，于是便开始尝试英文写作，这时候他已经32岁了。我记得以前大二的时候扫学校的图书馆，有几本80年代译本的康拉德小说，封二有作者介绍，那就是那时候的维基百科了。