Heart of Darkness is based upon Joseph Conrad’s own experience in the Congo; “it is,” as he remarks in his 1916 author’s note to Youth: A Narrative and Two Other Stories, “experience pushed a little (and only very little) beyond the actual facts.” Unlike many other editions, this new edition of Conrad’s most famous tale focuses on the time in which Conrad was himself in the Congo, while also exploring the differences between his reported experiences and their reshaping in fiction. This edition includes an extensive selection of Conrad’s correspondence and autobiographical writing, as well as contemporary accounts of the Congo from other writers. Contemporary reviews situate Heart of Darkness in its literary contexts.
Joseph Conrad (born Teodor Józef Konrad Korzeniowski, 3 December 1857 - 3 August 1924) was a Polish-born novelist. Some of his works have been labelled romantic: Conrad's supposed "romanticism" is heavily imbued with irony and a fine sense of man's capacity for self-deception. Many critics regard Conrad as an important forerunner of Modernist literature. Conrad's narrative style and anti-heroic characters have influenced many writers, including Ernest Hemingway, D.H. Lawrence, Graham Greene, Joseph Heller and Jerzy Kosiński, as well as inspiring such films as Apocalypse Now (which was drawn from Conrad's Heart of Darkness).
Ralph Peters' Darkness at Chancellorsville is a novel of one of the most dramatic battles in American history, from the New York Times bestselling, three-time Boyd Award-winning author of the Battle Hymn Cycle. Centered upon one of the most surprising and dramatic battles in American history, Darkness at Chancellorsville recreates what began as a brilliant, triumphant campaign for the Union—only to end in disaster for the North. Famed Confederate Generals Robert E. Lee and Stonewall Jackson bring off an against-all-odds surprise victory, humiliating a Yankee force three times the size of their own, while the Northern army is torn by rivalries, anti-immigrant prejudice and selfish ambition. This historically accurate epic captures the high drama, human complexity and existential threat that nearly tore the United States in two, featuring a broad range of fascinating—and real—characters, in blue and gray, who sum to an untold story about a battle that has attained mythic proportions. And, in the end, the Confederate triumph proved a Pyrrhic victory, since it lured Lee to embark on what would become the war's turning point—the Gettysburg Campaign (featured in Cain At Gettysburg). At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
In this book, Amy R. Wong unravels the colonial and racial logic behind seemingly innocuous assumptions about "speech": that our words belong to us, and that self-possession is a virtue. Through readings of late-Victorian fictions of empire, Wong revisits the scene of speech's ideological foreclosures as articulated in postcolonial theory. Engaging Afro-Caribbean thinkers like Édouard Glissant and Sylvia Wynter, Refiguring Speech reroutes attention away from speech and toward an anticolonial poetics of talk, which emphasizes communal ownership and embeddedness within the social world and material environment. Analyzing novels by Robert Louis Stevenson, Bram Stoker, George Meredith, Joseph Conrad, and Ford Madox Ford, Wong refashions the aesthetics of disordered speech—such as parroting, eavesdropping, profuse inarticulacy, and dysfluency—into alternate forms of communication that stand on their own as talk. Wong demonstrates how late nineteenth-century Britain's twin crises of territorialization—of empire and of new media—spurred narrative interests in capturing the sense that speech's tethering to particular persons was no longer tenable. In doing so, Wong connects this period to US empire by constructing a genealogy of Anglo-American speech's colonialist and racialized terms of proprietorship. Refiguring Speech offers students and scholars of Victorian literature and postcolonial studies a powerful conceptualization of talk as an insurgent form of communication.
Originally published in 1941, The Last Frontier is the story of the Cheyenne Indians in the 1870s, and their bitter struggle to flee from the Indian Territory in Oklahoma back to their home in Wyoming and Montana. Some 300 Indians, led by Little Wolf, fought against General Crook and 10,000 troops, with only 60 finally making it through to freedom. Fast extensively researched this book in the late 1930s, visiting and speaking with Cheyenne experts in Norman, Oklahoma. This was the first of Fast's many books to gain a wide popular audience; it was eventually made by John Ford into the classic film Cheyenne Autumn (1964).
Joseph Conrad's novella "Heart of Darkness" (1899) is taught and read all over the world. Everywhere, novelists and travel writers respond to it in their own creative work. I discuss 30 responses, or rewritings, from Africa, India, the Caribbean, Australia, Europe and the US. Their perspectives include those of groups who identify with Conrad's Europeans and groups who feel close to his Africans, and increasingly those of groups who situate themselves between these two extremes in various ways. I identify world-wide developments as well as themes, strategies and paradigm shifts that correlate with different geopolitical situations. Rewriters address the contribution Conrad has made to the identities of his very different readers, and the patterns he has suggested for encounters. In ever more intense dialogues, people from all backgrounds work through images of themselves and of each other. However, like Conrad's narrator, they also become aware of limits of language and communication. Rewriters act as rereaders of the many layers of meaning in "Heart of Darkness," and thus imply that the reader's experience is as important as the author's. This approach is increasingly developing into a use of discourse-analytical methods in non-theoretical texts. Rewritings can bring "Heart of Darkness" close to the readers' lives. Rewriters champion processes of highly personal learning and unlearning as well as political and social approaches, and can thus help readers rework their own cultural backgrounds. Accordingly, I both use close-reading methods and take into account political and didactic intentions. In conclusion, I recommend reading "Heart of Darkness" together with one or more of its rewritings, and outline some ideas for teaching such combinations. After comprehensive introductions to "Heart of Darkness" and to the theory of rewritings, I discuss works by the following authors in a convenient handbook format: Ford Madox Ford (Hueffer), Leonard Woolf, W. Somerset Maugham, Andre Gide, Louis-Ferdinand Celine, Graham Greene, Charlotte Jay, Patrick White, Chinua Achebe, Wilson Harris, Ngugi wa Thiong'o, Tayeb Salih, Arun Joshi, J.M. Coetzee, V.S. Naipaul, Robert Silverberg, Caryl Phillips, David Dabydeen, Marlene NourbeSe Philip, David Malouf, Mineke Schipper, Abdulrazak Gurnah, Urs Widmer, Redmond O'Hanlon, Arundhati Roy, Barbara Kingsolver and Jeffrey Tayler.
Part I of this authoritative handbook offers systematic essays, which deal with major historical, social, philosophical, political, cultural and aesthetic contexts of the English novel between 1830 and 1900. The essays offer a wide scope of aspects such as the Industrial Revolution, religion and secularisation, science, technology, medicine, evolution or the increasing mediatisation of the lifeworld. Part II, then, leads through the work of more than 25 eminent Victorian novelists. Each of these chapters provides both historical and biographical contextualisation, overview, close reading and analysis. They also encourage further research as they look upon the work of the respective authors at issue from the perspectives of cultural and literary theory.
