By Joseph Conrad
Written in 1915, The Shadow-Line relies upon occasions and stories from twenty-seven years prior to which Conrad again obsessively in his fiction. a tender sea captain's first command brings with it a succession of crises: his sea is becalmed, the group laid low by means of fever, and his deranged first mate is confident that the send is haunted by means of the malignant spirit of a prior captain.
this can be certainly a piece filled with "sudden passions," during which Conrad is ready to express how the complete depth of life will be skilled by way of the guy who, within the phrases of the older Captain Giles, is ready to "stand as much as his undesirable good fortune, to his blunders, to his conscience." A sophisticated and penetrating research of the character of manhood, The Shadow-Line investigates forms of masculinity and hope in a subtext that counters the tale's likely traditional floor.
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Extra info for The Shadow-Line
In what follows, reference is exclusively to the bestselling novel, literary sweetmeats. Bestsellers in a good cause – that cause being the sale of more and more books to more and more people. The correct term would be ‘better sellers’, or ‘new books that are currently doing well until something newer comes along’. When the bestseller ﬁrst appeared, at the tail end of the ‘gilded age’ when publishing still prided itself on being a profession for gentlemen, the preferred term for what we now call bestsellers was ‘books in demand’.
Chick-lit than their grand-daughters, and their respective male partners less likely to read Andy McNab than John Le Carré. Regional and generic bestseller lists have been devised. The book trade has not yet (although it surely will) come up with age- or generation-speciﬁc bestseller lists. Bestsellers Revenant bestsellers Even harder than staying at the top of the slippery pole for over a year is the ‘comeback’. Very few novels indeed have ever returned to the bestseller list having lost their position there for more than a year.
His strategy was less to embed his product in the traditional bookstore than to circumvent that outlet entirely. De Graff ’s 25c ‘Pocketbooks’ were, essentially, ‘drugstore’ paperbacks. They had eye-catching illustrative covers, newsprint-quality paper (one notch up from the toilet roll), and, typically, slapdash typography. They were designed to sell less like books (items of civilized furniture) than short-life magazines. And not, necessarily, the more respectable kind of magazine. Since the 1960s, and the subsequent ‘paperback revolution’, the British and the American mass-market paperback have assimilated in terms of appearance and marketing style.