Nostromo by Joseph Conrad (book recommendations .txt) 📕
Description
Originally published as a serial, Nostromo is set in a fictional South American country where the outbreak of civil war puts the mining town of Sulaco in turmoil. Giovanni Battista Fidanza, known as Nostromo, is given the task of smuggling out a large amount of silver to keep it from the revolutionaries.
Conrad was inspired to write the book when he read, in a sailor’s memoir, the tale of a man who singlehandedly stole a boatload of silver. He had first heard the same story a quarter of a century earlier as a young sailor.
Nostromo has met with critical acclaim: it is often regarded as Conrad’s greatest novel and Francis Scott Fitzgerald said he would rather have written Nostromo than any other novel.
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- Author: Joseph Conrad
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“Luckily, Montero is not a Caesar,” Decoud continued. “Not the two Monteros put together would make a decent parody of a Caesar.” He crossed his arms on his breast, looking at señor Avellanos, who had returned to his immobility. “It is only you, Don Jose, who are a genuine old Roman—vir Romanus—eloquent and inflexible.”
Since he had heard the name of Montero pronounced, young Scarfe had been eager to express his simple feelings. In a loud and youthful tone he hoped that this Montero was going to be licked once for all and done with. There was no saying what would happen to the railway if the revolution got the upper hand. Perhaps it would have to be abandoned. It would not be the first railway gone to pot in Costaguana. “You know, it’s one of their so-called national things,” he ran on, wrinkling up his nose as if the word had a suspicious flavour to his profound experience of South American affairs. And, of course, he chatted with animation, it had been such an immense piece of luck for him at his age to get appointed on the staff “of a big thing like that—don’t you know.” It would give him the pull over a lot of chaps all through life, he asserted. “Therefore—down with Montero! Mrs. Gould.” His artless grin disappeared slowly before the unanimous gravity of the faces turned upon him from the carriage; only that “old chap,” Don Jose, presenting a motionless, waxy profile, stared straight on as if deaf. Scarfe did not know the Avellanos very well. They did not give balls, and Antonia never appeared at a ground-floor window, as some other young ladies used to do attended by elder women, to chat with the caballeros on horseback in the calle. The stares of these creoles did not matter much; but what on earth had come to Mrs. Gould? She said, “Go on, Ignacio,” and gave him a slow inclination of the head. He heard a short laugh from that round-faced, Frenchified fellow. He coloured up to the eyes, and stared at Giorgio Viola, who had fallen back with the children, hat in hand.
“I shall want a horse presently,” he said with some asperity to the old man.
“Si, señor. There are plenty of horses,” murmured the Garibaldino, smoothing absently, with his brown hands, the two heads, one dark with bronze glints, the other fair with a coppery ripple, of the two girls by his side. The returning stream of sightseers raised a great dust on the road. Horsemen noticed the group. “Go to your mother,” he said. “They are growing up as I am growing older, and there is nobody—”
He looked at the young engineer and stopped, as if awakened from a dream; then, folding his arms on his breast, took up his usual position, leaning back in the doorway with an upward glance fastened on the white shoulder of Higuerota far away.
In the carriage Martin Decoud, shifting his position as though he could not make himself comfortable, muttered as he swayed towards Antonia, “I suppose you hate me.” Then in a loud voice he began to congratulate Don Jose upon all the engineers being convinced Ribierists. The interest of all those foreigners was gratifying. “You have heard this one. He is an enlightened well-wisher. It is pleasant to think that the prosperity of Costaguana is of some use to the world.”
“He is very young,” Mrs. Gould remarked, quietly.
“And so very wise for his age,” retorted Decoud. “But here we have the naked truth from the mouth of that child. You are right, Don Jose. The natural treasures of Costaguana are of importance to the progressive Europe represented by this youth, just as three hundred years ago the wealth of our Spanish fathers was a serious object to the rest of Europe—as represented by the bold buccaneers. There is a curse of futility upon our character: Don Quixote and Sancho Panza, chivalry and materialism, high-sounding sentiments and a supine morality, violent efforts for an idea and a sullen acquiescence in every form of corruption. We convulsed a continent for our independence only to become the passive prey of a democratic parody, the helpless victims of scoundrels and cutthroats, our institutions a mockery, our laws a farce—a Guzman Bento our master! And we have sunk so low that when a man like you has awakened our conscience, a stupid barbarian of a Montero—Great heavens! a Montero!—becomes a deadly danger, and an ignorant, boastful Indio, like Barrios, is our defender.”
But Don Jose, disregarding the general indictment as though he had not heard a word of it, took up the defence of Barrios. The man was competent enough for his special task in the plan of campaign. It consisted in an offensive movement, with Cayta as base, upon the flank of the Revolutionist forces advancing from the south against Sta. Marta, which was covered by another army with the president-dictator in its midst. Don Jose became quite animated with a great flow of speech, bending forward anxiously under the steady eyes of his daughter. Decoud, as if silenced by so much ardour, did not make a sound. The bells of the city were striking the hour of oracion when the carriage rolled under the old gateway facing the harbour like a shapeless monument of leaves and stones. The rumble of wheels under the sonorous arch was traversed by a strange, piercing shriek, and Decoud, from his back seat, had a view of the people behind the carriage trudging along the road outside, all turning their heads, in sombreros and rebozos, to look at a locomotive which rolled quickly out of sight behind Giorgio Viola’s house, under a white trail of steam that seemed to vanish in the breathless, hysterically prolonged scream of warlike triumph. And it was all like a fleeting vision, the shrieking ghost of a railway engine fleeing across the frame of the archway, behind the startled movement
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