It was at first for me a mental change, disturbing a quieted-down imagination, in which strange forms, sharp in outline but imperfectly apprehended, appeared and claimed attention as crystals will do by their bizarre and unexpected shapes. One fell to musing before the phenomenon—even of the past: of South America, a continent of crude sunshine and brutal revolutions, of the sea, the vast expanse of salt waters, the mirror of heaven's frowns and smiles, the reflector of the world's light. Then the vision of an enormous town presented itself, of a monstrous town more populous than some continents and in its man-made might as if indifferent to heaven's frowns and smiles; a cruel devourer of the world's light. There was room enough there to place any story, depth enough there for any passion, variety enough there for any setting, darkness enough to bury five millions of lives.
Irresistibly the town became the background for the ensuing period of deep and tentative meditations. Endless vistas opened before me in various directions. It would take years to find the right way! It seemed to take years!... Slowly the dawning conviction of Mrs. Verloc's maternal passion grew up to a flame between me and that background, tingeing it with its secret ardour and receiving from it in exchange some of its own sombre colouring. At last the story of Winnie Verloc stood out complete from the days of her childhood to the end, unproportioned as yet, with everything still on the first plan, as it were; but ready now to be dealt with. It was a matter of about three days.
This book is that story, reduced to manageable proportions, its whole course suggested and centred round the absurd cruelty of the Greenwich Park explosion. I had there a task I will not say arduous but of the most absorbing difficulty. But it had to be done. It was a necessity. The figures grouped about Mrs. Verloc and related directly or indirectly to her tragic suspicion that "life doesn't stand much looking into," are the outcome of that very necessity. Personally I have never had any doubt of the reality of Mrs. Verloc's story; but it had to be disengaged from its obscurity in that immense town, it had to be made credible, I don't mean so much as to her soul but as to her surroundings, not so much as to her psychology but as to her humanity. For the surroundings hints were not lacking. I had to fight hard to keep at arms-length the memories of my solitary and nocturnal walks all over London in my early days, lest they should rush in and overwhelm each page of the story as these emerged one after another from a mood as serious in feeling and thought as any in which I ever wrote a line. In that respect I really think that "The Secret Agent" is a perfectly genuine piece of work. Even the purely artistic purpose, that of applying an ironic method to a subject of that kind, was formulated with deliberation and in the earnest belief that ironic treatment alone would enable me to say all I felt I would have to say in scorn as well as in pity. It is one of the minor satisfactions of my writing life that having taken that resolve I did manage, it seems to me, to carry it right through to the end. As to the personages whom the absolute necessity of the case—Mrs. Verloc's case—brings out in front of the London background, from them, too, I obtained those little satisfactions which really count for so much against the mass of oppressive doubts that haunt so persistently on every attempt at creative work. For instance, of Mr. Vladimir himself (who was fair game for a caricatural presentation) I was gratified to hear that an experienced man of the world had said "that Conrad must have been in touch with that sphere or else has an excellent intuition of things," because Mr. Vladimir was "not only possible in detail but quite right in essentials." Then a visitor from America informed me that all sorts of revolutionary refugees in New York would have it that the book was written by somebody who knew a lot about them. This seemed to me a very high compliment, considering that, as a matter of hard fact, I had seen even less of their kind than the omniscient friend who gave me the first suggestion for the novel. I have no doubt, however, that there had been moments during the writing of the book when I was an extreme revolutionist, I won't say more convinced than they but certainly cherishing a more concentrated purpose than any of them had ever done in the whole course of his life. I don't say this to boast. I was simply attending to my business. In the matter of all my books I have always attended to my business. I have attended to it with complete self-surrender. And this statement, too, is not a boast. I could not have done otherwise. It would have bored me too much to make-believe.
The suggestions for certain personages of the tale, both law-abiding and lawless, came from various sources which, perhaps, here and there, some reader may have recognized. They are not very recondite. But I am not concerned here to legitimize any of those people, and even as to my general view of the moral reactions as between the criminal and the police all I will venture to say is that it seems to me to be at least arguable.
The twelve years that have elapsed since the publication of the book have not changed my attitude. I do not regret having written it. Lately, circumstances, which have nothing to do with the general tenor of this Preface, have compelled me to strip this tale of the literary robe of indignant scorn it has cost me so much to fit on it decently, years ago. I have been forced, so to speak, to look upon its bare bones. I confess that it makes a grisly skeleton. But still I will submit that telling Winnie Verloc's story to its anarchistic end of utter desolation, madness and despair, and telling it as I have told it here, I have not intended to commit gratuitous outrage on the feelings of mankind.
June, 1920.J. C.
A SET OF SIX
The six stories in this volume are the result of some three or four years of occasional work. The dates of their writing are far apart, their origins are various. None of them are connected directly with personal experiences. In all of them the facts are inherently true, by which I mean that they are not only possible but that they have actually happened. For instance, the last story in the volume the one I call Pathetic, whose first title is Il Conde (mis-spelt by-the-by) is an almost verbatim transcript of the tale told me by a very charming old gentleman whom I met in Italy. I don't mean to say it is only that. Anybody can see that it is something more than a verbatim report, but where he left off and where I began must be left to the acute discrimination of the reader who may be interested in the problem. I don't mean to say that the problem is worth the trouble. What I am certain of, however, is that it is not to be solved, for I am not at all clear about it myself by this time. All I can say is that the personality of the narrator was extremely suggestive quite apart from the story he was telling me. I heard a few years ago that he had died far away from his beloved Naples where that "abominable adventure" did really happen to him.
Thus the genealogy of Il Conde is simple. It is not the case with the other stories. Various strains contributed to their composition, and the nature of many of those I have forgotten, not having the habit of making notes either before or after the fact. I mean the fact of writing a story. What I remember best about Caspar Ruiz is that it was written, or at any rate begun, within a month of finishing "Nostromo," but apart from the locality, and that a pretty wide one (all the South American Continent), the novel and the story have nothing in common, neither mood, nor intention and, certainly, not the style. The manner for the most part is that of General Santierra, and that old warrior, I note with satisfaction, is very true to himself all through. Looking now dispassionately at the various ways in which this story could have been presented I can't honestly think the General superfluous. It is he, an old man talking of the days of his youth, who characterizes the whole narrative and gives it an air of actuality which I doubt whether I could have achieved without his help. In the mere writing his existence of course was of no help at all, because the whole thing had to be carefully kept within the frame of his simple mind. But all this is but a laborious searching of memories. My present feeling is that the story could not have been told otherwise. The hint for Gaspar Ruiz, the man, I found in a book by Captain Basil Hall, R. N., who was for some time, between the years 1824 and 1828, senior officer of a small British Squadron on the West Coast of South America. His book published in the thirties obtained a certain celebrity and I suppose is to be found still in some libraries. The curious who may be mistrusting my imagination are referred to that printed document, Vol. II, I forget the page, but it is somewhere not far from the end. Another document connected with this story is a letter of a biting and ironic kind from a friend then in Burma, passing certain strictures upon "the gentleman with the gun on his back" which I do not intend to make accessible to the public. Yet the gun episode did really happen, or at least I am bound to believe it because I remember it, described in an extremely matter-of-fact tone, in some book I read in my boyhood; and I am not going to discard the beliefs of my boyhood for anybody on earth.