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By Russell Bertrand

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Some pages of The Nigger are exquisite in the extraordinary management of colour they display. But Conrad needs to curb his voracity for adjectives. 2 Bennett I do not think Romance is good. 3 Bennett Conrad's The Secret Agent. A sort of sensationalism sternly treated on the plane of realistic psychology. A short story written out to the length of a novel. Nothing but a single episode told to the last drop. The Embassy scenes did not appear to me to be quite genuine, but rather a sincere effort to imagine events for which the author had nothing but psychological data of a general order.

17 Lawrence I've not read a thing in English for five months, except Under Western Eyes, which bored me. 18 Lawrence But why this giving in before you start, that pervades all Conrad and such folks - the Writers among the Ruins. I can't forgive Conrad for being so sad and for giving in. 19 Lawrence Of course Conrad should always do the beautiful, magical atmospheres. What on earth turned him to Razumov? 20 Lawrence [Of contemporary English novelists] I don't care a rush for any of them save Thomas Hardy, and he's not contemporary, and the early Conrad, which is also looming into distances.

It's a very great pleasure to recognise that power in him (after doubting it a little). 16 James [Of Chance] It places Mr Conrad absolutely alone as a votary of the way to do a thing that shall make it undergo most doing. The way to do it that shall make it undergo least is the line on which we are mostly now used to see prizes carried off; so that the author of Chance gathers up on this showing all sorts of comparative distinction.... Nothing could well interest us more than to see the exemplary value of attention, attention given by the author and asked of the reader, attested in a case in which it has had almost unspeakable difficulties to struggle with - since so we are moved to qualify the particular difficulty Mr Conrad has 'elected' to face: the claim for method in itself, method in this very sense of attention applied, would be somehow less lighted if the difficulties struck us as less consciously, or call it even less wantonly, invoked.

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How I Write by Russell Bertrand


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