CONRAD, JOSEPH. Typescript -- heavily revised, but incomplete -- of the short story "Falk," which has cannibalism as its pivotal point. N.p., n.d. [late May-early June 1901]. 59 pages, 4to, small 4to, blue ribbon, double-spaced, incomplete with probably not quite half of the typescript present, the central horizontal fold on six sheets repaired or strengthened with tape on verso, 14 other sheets with slighter similar repairs on verso, pin-hole in each upper left corner, some very slight marginal darkening , WITH VERY EXTENSIVE AUTOGRAPH REVISIONS BY CONRAD (portions virtually rewritten) in black ink and with extensive sections of the typescript crossed out by him (but still very readable); half morocco slipcase. The typescript, paginated roughly from 1 to 61, lacks three leaves (mostly in the middle) and begins at the narration proper of the tale, some two pages of printed text into the work (in Typhoon and Other Stories , edited by Paul Kirschner, London: Penguin Books, 1992); the typescript for the remaining half (approximately) of the story (printed text pp. 199-235) is lacking. Conrad began "Falk" in January 1901, finishing the holograph manuscript in May; in early June he returned two corrected/revised typescripts to his agent Pinker, requesting to see proofs. The 25,000-word story, however, was never serialized, perhaps owing to its central episode and Falk's deep secret: that he ate human flesh in order to survive at sea. The tale first appeared in Typhoon and Other Stories (London: Heinemann, 1903). "'Falk' is a spin-off from 'Heart of Darkness,' in that Conrad attempted his characteristic division of sensibility between those who have faced a primitive, mythical experience and those who remain in a bourgeois routine. This was to become the Conradian archetype, and here, in this story, he had a great potential for a large statement about civilization and the human appetite for survival...Nevertheless, despite its naturalistic and mythical undertones, 'Falk' becomes a romance. Amidst good food, good cheer, and pleasant company, a narrator styled on Marlow (but unidentified) recalls an episode of a different kind of eating, the tale of Falk and his cannibalistic adventure..."--Frederick R. Karl, Joseph Conrad: The Three Lives. A Biography (New York, 1979), p. 512.
CONRAD, JOSEPH. Typescript -- heavily revised, but incomplete -- of the short story "Falk," which has cannibalism as its pivotal point. N.p., n.d. [late May-early June 1901]. 59 pages, 4to, small 4to, blue ribbon, double-spaced, incomplete with probably not quite half of the typescript present, the central horizontal fold on six sheets repaired or strengthened with tape on verso, 14 other sheets with slighter similar repairs on verso, pin-hole in each upper left corner, some very slight marginal darkening , WITH VERY EXTENSIVE AUTOGRAPH REVISIONS BY CONRAD (portions virtually rewritten) in black ink and with extensive sections of the typescript crossed out by him (but still very readable); half morocco slipcase. The typescript, paginated roughly from 1 to 61, lacks three leaves (mostly in the middle) and begins at the narration proper of the tale, some two pages of printed text into the work (in Typhoon and Other Stories , edited by Paul Kirschner, London: Penguin Books, 1992); the typescript for the remaining half (approximately) of the story (printed text pp. 199-235) is lacking. Conrad began "Falk" in January 1901, finishing the holograph manuscript in May; in early June he returned two corrected/revised typescripts to his agent Pinker, requesting to see proofs. The 25,000-word story, however, was never serialized, perhaps owing to its central episode and Falk's deep secret: that he ate human flesh in order to survive at sea. The tale first appeared in Typhoon and Other Stories (London: Heinemann, 1903). "'Falk' is a spin-off from 'Heart of Darkness,' in that Conrad attempted his characteristic division of sensibility between those who have faced a primitive, mythical experience and those who remain in a bourgeois routine. This was to become the Conradian archetype, and here, in this story, he had a great potential for a large statement about civilization and the human appetite for survival...Nevertheless, despite its naturalistic and mythical undertones, 'Falk' becomes a romance. Amidst good food, good cheer, and pleasant company, a narrator styled on Marlow (but unidentified) recalls an episode of a different kind of eating, the tale of Falk and his cannibalistic adventure..."--Frederick R. Karl, Joseph Conrad: The Three Lives. A Biography (New York, 1979), p. 512.
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