But my objector was not placated. These were good reasons for not writing at all—not a defence of what stood written already, he said.
I admit that almost anything, anything in the world, would serve as a good reason for not writing at all. But since I have written them, all I want to say in their defence is that these memories put down without any regard for established conventions have not been thrown off without system and purpose. They have their hope and their aim. The hope that from the reading of these pages there may emerge at last the vision of a personality; the man behind the books so fundamentally dissimilar as, for instance, “Almayer's Folly” and “The Secret Agent”—and yet a coherent, justifiable personality both in its origin and in its action. This is the hope. The immediate aim, closely associated with the hope, is to give the record of personal memories by presenting faithfully the feelings and sensations connected with the writing of my first book and with my first contact with the sea.
In the purposely mingled resonance of this double strain a friend here and there will perhaps detect a subtle accord.
J.C.K.
Chapter I.
Books may be written in all sorts of places. Verbal inspiration may enter the berth of a mariner on board a ship frozen fast in a river in the middle of a town; and since saints are supposed to look benignantly on humble believers, I indulge in the pleasant fancy that the shade of old Flaubert—who imagined himself to be (amongst other things) a descendant of Vikings—might have hovered with amused interest over the decks of a 2000-ton steamer called the “Adowa,” on board of which, gripped by the inclement winter alongside a quay in Rouen, the tenth chapter of “Almayer's Folly” was begun. With interest, I say, for was not the kind Norman giant with enormous moustaches and a thundering voice the last of the Romantics? Was he not, in his unworldly, almost ascetic, devotion to his art a sort of literary, saint-like hermit?
“'It has set at last,' said Nina to her mother, pointing to the hills behind which the sun had sunk. …” These words of Almayer's romantic daughter I remember tracing on the grey paper of a pad which rested on the blanket of my bed-place. They referred to a sunset in Malayan Isles and shaped themselves in my mind, in a hallucinated vision of forests and rivers and seas, far removed from a commercial and yet romantic town of the northern hemisphere. But at that moment the mood of visions and words was cut short by the third officer, a cheerful and casual youth, coming in with a bang of the door and the exclamation: “You've made it jolly warm in here.”
It was warm. I had turned on the steam-heater after placing a tin under the leaky water-cock—for perhaps you do not know that water will leak where steam will not. I am not aware of what my young friend had been doing on deck all that morning, but the hands he rubbed together vigorously were very red and imparted to me a chilly feeling by their mere aspect. He has remained the only banjoist of my acquaintance, and being also a younger son of a retired colonel, the poem of Mr. Kipling, by a strange aberration of associated ideas, always seems to me to have been written with an exclusive view to his person. When he did not play the banjo he loved to sit and look at it. He proceeded to this sentimental inspection and after meditating a while over the strings under my silent scrutiny inquired airily:
“What are you always scribbling there, if it's fair to ask?”
It was a fair enough question, but I did not answer him, and simply turned the pad over with a movement of instinctive secrecy: I could not have told him he had put to flight the psychology of Nina Almayer, her opening speech of the tenth chapter and the words of Mrs. Almayer's wisdom which were to follow in the ominous oncoming of a tropical night. I could not have told him that Nina had said: “It has set at last.” He would have been extremely surprised and perhaps have dropped his precious banjo. Neither could I have told him that the sun of my sea-going was setting too, even as I wrote the words expressing the impatience of passionate youth bent on its desire. I did not know this myself, and it is safe to say he would not have cared, though he was an excellent young fellow and treated me with more deference than, in our relative positions, I was strictly entitled to.
He lowered a tender gaze on his banjo and I went on looking through the porthole. The round opening framed in its brass rim a fragment of the quays, with a row of casks ranged on the frozen ground and the tailend of a great cart. A red-nosed carter in a blouse and a woollen nightcap leaned against the wheel. An idle, strolling custom-house guard, belted over his blue capote, had the air of being depressed by exposure to the weather and the monotony of official existence. The background of grimy houses found a place in the picture framed by my porthole, across a wide stretch of paved quay brown with frozen mud. The colouring was sombre, and the most conspicuous feature was a little cafe with curtained windows and a shabby front of white woodwork, corresponding with the squalor of these poorer quarters bordering the river. We had been shifted down there from another berth in the neighbourhood of the Opera House, where that same porthole gave me a view of quite another sort of cafe—the best in the town, I believe, and the very one where the worthy Bovary and his wife, the romantic daughter of old Pere Renault, had some refreshment after the memorable performance of an opera which was the tragic story of Lucia di Lammermoor in a setting of light music.
I could recall no more the hallucination of the Eastern Archipelago which I certainly hoped to see again. The story of “Almayer's Folly” got put away under the pillow for that day. I do not know that I had any occupation to keep me away from it; the truth of the matter is that on board that ship we were leading just then a contemplative life. I will not say anything of my privileged position. I was there “just to oblige,” as an actor of standing may take a small part in the benefit performance of a friend.
As far as my feelings were concerned I did not wish to be in that steamer at that time and in those circumstances. And perhaps I was not even wanted there in the usual sense in which a ship “wants” an officer. It was the first and last instance in my sea life when I served shipowners who have remained completely shadowy to my apprehension. I do not mean this for the well-known firm of London ship-brokers which had chartered the ship to the, I will not say short-lived, but ephemeral Franco-Canadian Transport Company. A death leaves something behind, but there was never anything tangible left from the F.C.T.C. It flourished no longer than roses live, and unlike the roses it blossomed in the dead of winter, emitted a sort of faint perfume of adventure and died before spring set in. But indubitably it was a company, it had even a house-flag, all white with the letters F.C.T.C. artfully tangled up in a complicated monogram. We flew it at our main-mast head, and now I have come to the conclusion that it was the only flag of its kind in existence. All the same we on board, for many days, had the impression of being a unit of a large fleet with fortnightly departures for Montreal and Quebec as advertised in pamphlets and prospectuses which came aboard in a large package in Victoria Dock, London, just before we started for Rouen, France. And in the shadowy life of the F.C.T.C. lies the secret of that, my last employment in my calling, which in a remote sense interrupted the rhythmical development of Nina Almayer's story.
The then secretary of the London Shipmasters' Society, with its modest rooms in Fenchurch Street, was a man of indefatigable activity and the greatest devotion to his task. He is responsible for what was my last association with a ship. I call it that because it can hardly be called a seagoing