黑暗之心

用戶評論 (總計(jì)16條)

•   　　 看這本書是由于TEEN WOLF前一段時間播第三季，他們文學(xué)課上講的就是這本。當(dāng)時以為是美國文學(xué)了?？赐赀@本書后才知道，作者應(yīng)該屬于英國文學(xué)范疇。。。汗一個??！
  　　
  　　 編劇水平蠻高的，營造氣氛和制作借鑒了很多小說里面的東西，黑色的背景，很哥特。。。這篇文章取名黑吃黑就是因?yàn)椋?書中用黑色的樹林吞噬來者來暗示KURTZ,同樣可以理解為被黑森林同化之后變黑了的人。
  　　
  　　 作者波蘭人，后來加入英國國籍，英語是他的第三語言（波蘭語和法語他從小就會了）。他直到二十多歲才說流利的英語，最終進(jìn)入了文學(xué)歷史，還影響了一大堆包括 菲茨杰拉爾德，福克納，海勒等等一大票大文豪，不是一般人。。話說回來， 維基百科形容寫作風(fēng)格時用了self-doubt, and pessimism，好吧，我曾不止一次被人說過我是個悲觀的人，喜歡這本書也很自然。 他也說過他寫書的目的是為了吸引讀者的注意，這點(diǎn)很重要?。。?！讀有些作者的書，讓我想死的沖動都有了。
  　　
  　　 看這個書，讓我想到了當(dāng)時看“現(xiàn)代啟示錄”時的震撼， 電影是寫越戰(zhàn)對于人性的扭曲，而這本書寫的是主角到非洲尋找財(cái)富， 逐漸用獨(dú)特的人格魅力和手段， 成為非洲土人的GOD一樣的存在的故事，其實(shí)，我更愿意把它理解為殖民擴(kuò)張對于人性的扭曲。
  　　
  　　 我看完現(xiàn)代啟示錄時的感覺就跟書中敘事者經(jīng)歷了KURTZ的感覺一樣， 沒有經(jīng)歷過的人（聽說過這個故事的人）無法了解，都生活在自己的世界中，起碼是自己的意識為自己編織的世界中。
  　　
  　　
  　　
•   　　飄渺的云煙，迷茫的大海，撲朔迷離的街燈在岸上。
  　　日子如同夢一般，花白的，模糊不清。
  　　我們開始聽馬洛講過去的故事。這個故事關(guān)于主角自己深入非洲腹地尋找?guī)鞝柶?，掠奪象牙。
  　　馬洛講故事的方式對我們很受用，我們仿佛只是朋友間的閑聊，輕松自如。雖然故事的最后，這個說故事的人崇高神圣如佛陀。馬洛大可以天馬行空，顛三倒四，因?yàn)檫@只是朋友間的交談。馬洛的故事可以用“我不想總拿自己的經(jīng)歷來麻煩你們”這樣的家常作為開場白來聊閑話。這是他自己的故事，并非對他者的轉(zhuǎn)述。所以馬洛的故事到處都可以發(fā)表自己沿途的所見所感。而如今的他來回憶這個故事，自然也可以用今天的自己反觀當(dāng)年的自己，如他自己所言“靈魂啊！假如有誰曾經(jīng)一度跟一個靈魂搏斗過，那個人就是我?！?br /> 　　馬洛進(jìn)入非洲腹地，那個從高空俯瞰便是心形的黑暗之地，仿佛進(jìn)入人類成長的歷程。仿佛便是人類從爬行的猿人到達(dá)直立行走的人類，彷佛穿越石器文明行至工業(yè)文明的蒼穹。
  　　汽船靠岸，“我感覺到原始的荒涼，無邊無際的荒涼，從四面八方包圍過來，那是森林中，叢莽中，野蠻的心靈中騷動著的也行所構(gòu)成的全部神秘生活。過他對于那種神秘卻不得氣門而入”。這個黑暗的、原始的神秘?fù)碛幸还蔁o法拒絕的蠱惑力，吸引著馬洛。但是一旦深入其中，便是憎惡，便是難以抑制的逃離的沖動。這便象征人類的最初的原始狀態(tài)所代表的邪惡、低下、原欲的內(nèi)心。它放肆而不受約束。
  　　于是馬洛想到效率，勞動的需要而產(chǎn)生了效率。獲得效率的人類，告別原始的寥落，他們標(biāo)榜自己的制度和文明，卻覬覦原始荒原未開墾的處女地。于是，來到那里，對土地拓荒，對資源占有，對那里的人殖民?！岸?dāng)個征服者你只需要有殘暴的武立就夠了，即使你得了手也沒有什么值得炫耀。因?yàn)槟愕牧α績H僅是別人的軟弱中產(chǎn)生的偶然”。侵略的優(yōu)越感持者們試圖麻痹自己的內(nèi)心，于是給自己以安慰的借口，一個感情的補(bǔ)給。美曰其名，信仰。
  　　而庫爾茲，這個高尚的開拓者便是侵略者們的信仰。他創(chuàng)造一個正義的宣言書去放縱惡的內(nèi)心。大多數(shù)文明選擇附和，有誰又愿意在對自己有利的事情太過深究這件事本身的邪惡。
  　　直至馬洛經(jīng)過一場突然的襲擊，目睹伙伴的慘死，目睹信仰崇拜者的瘋狂，目睹一個個陰森的叛亂者被懸置的頭顱。他與病重的庫爾茲相遇。
  　　“在那恍然大悟的決定性時刻里，他是否把他一生的各個細(xì)節(jié)，諸如欲望，誘惑和屈服等等都重新體驗(yàn)了一番？他低聲對某個偶像，某個幻影喊叫了一生——他喊了兩次，吶喊聲并不比一生喘息更大些——嚇人啊，嚇人?！边@是臨終的馬洛的復(fù)歸，他餓靈魂抽離了自己的肉體，靈魂看見那個肉體的虛假行徑，看見自己虛妄的為自己設(shè)立的偶像，甚至看見那些為這個他自身創(chuàng)立的偶像頂禮膜拜的人的身影。他大徹大悟自我內(nèi)心的罪惡與深不可測。這黑暗之心便是人性的軟弱，欲望、誘惑和對欲望、誘惑的屈服。
  　　或許，我們以為馬洛的故事已經(jīng)完結(jié)。在這幽暗的黃昏，我們在顛簸的船上聽著這個伙計(jì)說的廢話夠多了。人類，就是這么一回事。從原始到如今，都有一顆黑暗之心隱而不露，諱莫如深。我們看清那顆罪惡之心，擊碎身為人的自己。我們生無所依，從遠(yuǎn)古到現(xiàn)今。
  　　但馬洛的故事遠(yuǎn)非于此，還有一個統(tǒng)治人心的可怕武器。那叫做記憶。如今的馬洛坐在這里宛若一尊佛陀，他在記憶的漩渦里看見那時候掙扎的自己。記憶告訴真實(shí)與謊言。馬洛在故事的開頭便強(qiáng)調(diào)，一生中有一件事仿佛是黑暗中的一道光照亮他的一生。便是這個故事，這個記憶。這個記憶決定你是絕無僅有的自己。
  　　而那個深入非洲大陸的故事，不也是全人類一個共同的記憶嗎？
  　　而這個記憶本身同樣也是邪惡的，讓人擺脫不去，可以讓你成佛，也能毀掉你。記憶毀掉的便是《吉姆爺》中吉姆爺——曾經(jīng)因?yàn)樵诔链菦]有顧及全船的香客而逃生的吉姆爺，被眾人所不恥。他的一生便是去洗去這個可怕的記憶。直至最后一死償之。
  　　我們是否真的生無所依？我們赤條條來到世上，便開始記憶之旅。記憶便是我們的倚靠。是記憶，讓我們生也讓我們死。
  　　
  　　
  　　
•   　　Women as the Other
  　　Two women in black
  　　
  　　Since the publication of Heart of Darkness, it has weltered in lots of controversial voices. This book is regarded as a story about Marlow’s witness of the collapse of the civilization, which has nothing to do with women. Women are defined as a typical representative of the Other because in this novel, they are just anonymous images and Conrad himself has also been considered as a misogynist for a long time.
  　　
  　　But we must notice that the reason why Heart of Darkness enjoys so many reputations and attracted many generations is that it can be interpreted from various angles. Speaking honestly, it is also a story about, and for women. Women, usually defined as the Other, have great commands over Marlow – the lead and the leading society.
  　　It is not occasional that the trip is set in the dark continent of Africa. Reading carefully, it is not difficult to discover that it accords with the appearance of the two women in black. As a male author who lost his mother at the age of 5, Conrad’s knowledge about women is rather limited. As his wife Jessie says, “He had hardly known anything of a mother’s care, and had no sort of experience of any sort of home life” .
  　　
  　　Such an experience provokes Conrad’s curiosity about women, so it is not coincident that Marlow’s experience in the dark continent starts with two women in black sitting and knitting black wool at the door of the company in Brussels:
  　　
  　　 "Two women, one fat and the other slim, sat on straw-bottomed chairs, knitting black wool. The slim one got up and walked straight at me – still knitting with downcast eyes – and only just as I began to think of getting out of her way, as you would for a somnambulist, stood still, and looked up. Her dress was as plain as an umbrella-cover, and she turned round without a word and preceded me into a waiting-room".
  　　
  　　From the paragraph, it can be inferred that those two women mark the opening of the door of the female order, or one could say the prelude to the wild darkness. Marlow’s inner monologue proves this viewpoint:
  　　
  　　"Often far away there I thought of these two, guarding the door of Darkness, knitting black wool as for a warm pall, one introducing, introducing continuously to the unknown, the other scrutinizing the cherry and foolish faces with unconcerned old eyes. Ave! Old knitter of black wool. "
  　　
  　　The two women are complicated characters, representing fate, destiny and mystery. Their gloomy images are closely connected with the later death of the late captain of the company and thus brought Marlow to the dark continent by asking him to take over the former position of the dead captain. Appearing at the beginning of the story, the two women forebode the misfortunes and miseries afterwards. Such a troubling incident leaves the readers to wonder if these two women are really creatures of this world. In fact, they do not belong to the “world” because the orthodox mainstream “world” to Marlow is the white, male-dominated world. He has a certain sense of priority, but in front of those two women, his pride disappears for he realizes that it is they who have the power to penetrate his inner world, a world symbolizing the heart of darkness because they are the guardians of darkness.
  　　
  　　The younger woman, still unfamiliar with the world, demonstrates the carefree attitude of men before they enter the Congo River, but the old woman, not subject to the primary desires of a man, could penetrate into what happens to men in the terrifying heart of darkness. The two women in black, as the Other, are of extreme significance because they are consequential roles who give colonists the opportunity to start and develop their activities.
  　　Kurtz’s mistress
  　　
  　　Congo River is compared to a snake and Marlow describes himself as a little bird tempted by the snake of the Congo River. This is not because Africa is a colony under the suppression of the imperialism, but due to the state of being fascinated and trapped by a vicious and powerful beauty – Kurtz’s mistress. Marlow is inevitably infatuated with her, while also afraid of her. On Marlow’s voyage, he feels that he is penetrating into the wilderness of the darkness which seems to be capable of listening, watching and whispering step by step. He is in the state of great void. However, the appearance of the African mistress opens a new window for him – she is a real human being who has a soul:
  　　
  　　"She stood looking at us without a stir, and like the wilderness itself, with an air of brooding over an inscrutable purpose…Suddenly she opened her bared arms and threw them up rigid above her head, as though in an uncontrollable desire to touch the sky, and at the same time the swift shadows darted out on the earth, swept around on the river, gathering the steamer into a shadowy embrace ".
  　　
  　　It is undeniable that Marlow is obsessed with her, such a mysterious, charming image. Marlow is lost and puzzled in the boundless wilderness, and she is the representation of the wilderness itself, so she is the only person who could solve Marlow’s puzzlement. In this sense, it is not hard to understand why he uses so many adjectives to describe her: wild, gorgeous, superb, wild-eyed and magnificent, etc. For a woman, all those words are utmost compliments. It is true that Conrad uses few sentences to describe women, which makes readers wonder that this work demonstrates a sense of discrimination against women because their voices and identities are waned. But it is such conciseness that stresses the importance of them because the brief description always leaves readers the wildest space of imagination and admiration. In this story, Kurtz’s mistress, as the Other, is much more than a marginalized image. As the Other, she is more powerful than Kurtz because behind her back, there is an unknown power which controls over Kurtz, Marlow and the male world. Nobody can clearly define what the real thing is, but the whole atmosphere she sends out awes and frightens those male chauvinistic men. Specifically, it is possible that Kurtz’s African mistress is not just a symbol of an African woman, but also a symbol of Africa and its internal darkness. Marlow's description of her seems to support this idea, for although this native woman is dark and savage, she is also gorgeous; furthermore, she is gorgeous because she is full of life, the vivid, passionate kind of life that has disappeared from Europe, which Marlow compares to sepulchres and tombs even before he has left for Africa.
  　　
  　　Kurtz’s intended
  　　
  　　Compared with Kurtz’s shining, enchanting, fiercely charming mistress, it is obvious that Kurtz’s intended is of a total opposite type of woman: innocent, unblemished, docile, totally loyal to Kurtz, pure as an angel, is a symbol of all the beauty, innocence and morals in the whole world – the male-oriented world. Judging from every angle of the western society, she is a perfect model for women, wives and perfect companions to the manly men of imperialist Europe.
  　　
  　　As a man, Marlow appreciates and wants to be protective to the fragile, delicate woman. But deep in his heart, he despises her for her lack of true knowledge of the real world and of men. As Marlow says, women are keepers of illusions; this obedient female is one of them. She is like an obedient sheep who is easily cheated and swallowed. From her disposition, it seems that she is put in a subordinate place and occupies no space in this story. But we must notice that the whole story ends in her appearance, which showcases her vital function. That pale, sentimental woman, devoted to Kurtz, continues her sweet dream in the lies Marlow fabricates for her. Because of her innocence, the supposed gloomy ending seems to see a weak light of hope. She, as the Other, symbolizes the torch in the desperate darkness and demonstrates the cruelty and brutality of the Self.
  　　
•   　　據(jù)Wiki，Konrad1857年12月3日出生于烏克蘭Berdichev市一個貴族愛國者家庭，他的父親Apollo是位政治題材的劇作家并且精于翻譯法文和英文作品。1861年，Apollo由于涉嫌從事1863-64年一月起義的準(zhǔn)備活動，被俄國皇家機(jī)構(gòu)逮捕，流放到莫斯科東北480km的城市沃洛格達(dá)。四歲的Konrad跟著父母一起去流放了，1865年，在一家人遷去切爾尼格夫后不久，體弱多病的母親Ewelina死于肺結(jié)核。四年后，父親在克拉科夫去世，年僅11歲的Konrad成為孤兒，舅舅Bobrowski來照看他。16歲，為躲避參軍，加之申請加入奧匈國籍被拒，Konrad來到法國馬賽，成為一名水手。
•   　　Heart of Darkness]是第一人稱敘事，很口語化。一個海員到非洲剛果一個貿(mào)易公司去做跑船，帶領(lǐng)一群人開著破船去河流的上游找一個神奇的同事，一個非常有能力的連土著人都佩服他的 kurtz 先生。他們費(fèi)勁力氣找到先生后卻發(fā)現(xiàn)他完全不是想象中的樣子，而是做了土著人的神，壓根不想回公司把自己找到的很多象牙交出去，那位先生是個（天才）瘋子。瘋子先生病死了他們則返回了河口。所謂“黑暗之心”說的就是非洲黑暗的叢林和比叢林更黑暗的人心，無須贅述。而這本書和［Lord Jim]之所以那么出名，除了Lord Jim的寫作手法和資本主義的殖民問題，最吸引人的地方當(dāng)然還是其航海主題。［Heart of Darkness]比較不純粹是航海，不過也穿插著各種對海的感想。
  　　
  　　
  　　當(dāng)年羅馬士兵開船去英國，“ lose in wilderness..have been dying like flies.” 正如英國人兩千年后開拓非洲大陸。 “going up that river was like traveling back to the earliest beginnings of the world, when vegetation rioted on the earth and the big trees were kings. An empty stream, a great silence, an impenetrable. The air was warm, thick, heavy, sluggish. There was no joy in the brilliance of sunshine.” 同樣的所謂 civilized man開拓蠻荒，有時沿著 a mighty big river, 迷失在叢林里死去。殖民者很可憐，混的好誰去追求危險的富貴呢。
  　　
  　　“Land in a swamp, march through the woods, and in some inland post feel the savagery, the utter savagery, the utter savagery, had closed round him—all that mysterious life of the wilderness that stirs in the forest, in the jungles, in the hearts of wild men. He has to live in the midst of the incomprehensible, which is also detestable. And it has a fascination, too, that goes to work upon him. The fascination of the abomination—you know, imagine the growing regrets, the longing to escape, the powerless disgust, the surrender, the hate.”
  　　
  　　全書籠罩著黑色不詳?shù)臍夥?。在這樣的氣氛中生活如噩夢般不真實(shí)卻被迫相信著?！?we live, as we dream, alone”。書中的尋找 kurtz先生也失去了原先的意義， “I can’t forget him, though I am not prepared to affirm the fellow was exactly worth the life we lost in getting to him.” Kurtz 先生找象牙好像也沒啥實(shí)際意義，如果運(yùn)不出去。
  　　
  　　
  　　除了敘述者是中性人物，沒有一個好人，包括叢林里的 kurtz先生。盡管他的天才并不討厭。全書讓我有興趣的是兩點(diǎn)，第一是叢林里的先生，為什么他是這樣 ,這個問題涉及到非洲貿(mào)易公司各種可鄙的愚笨的人和天才先生的反差，盡管所有人都有著黑暗的心；第二是（康拉德被人批評的）所謂對黑人或黑奴的歧視（ “While I stood horror-struck, one of these creatures rose to his hands and knees, and went off on all fours towards the river to drink.” “well, you know, that was the worst of it—this suspicion of their not being inhuman.” ),如果不那么描述的話，怎么表述 --如何對待落后民族。第二個問題涉及到殖民的所謂工作是賺錢 (“to make money, of course. What do you think?” he said, scornfully.”“the only real feeling was a desire to get appointed to a trading-post where ivory was to be had, so that they could earn percentages) 還是開化落后民族 .
  　　
  　　
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  　　康拉德把剛果叢林描述為黑暗的(魔法)森林，住著人一樣的原始生物。和童話中擅闖此地的人一樣，殖民者利欲熏心而猥瑣膽小，唯一兩個例外是 kurtz先生和敘述者，一個利欲熏心卻精神強(qiáng)大的馴服了土著并且讓他們具備了“攻擊”的能力（所以他并不算是守財(cái)奴的墮落），敘述者也許不是故事中真實(shí)存在的人物，而是一只眼睛。整個故事真的很黑色童話。一個正直的騎士進(jìn)入黑森林變墮落，或者干脆變成了魔王，用象牙誘惑貪婪的人類，當(dāng)他們受盡折磨找來時他卻死去了；或者說貪婪的人為了象牙進(jìn)入森林卻被下了咒語，墮落成財(cái)寶的奴隸了等等。
  　　
  　　之所以覺得是童話是因?yàn)槲疑袩o法接受他的瘋狂僅僅是因?yàn)樨澙泛蜑殄X的不擇手段。不如說是因?yàn)樗跉W洲不得志而來處女地開疆?dāng)U土，卻被愚蠢的貿(mào)易公司和陌生的叢林整垮了。但是這個答案聽起來也不好。
  　　
  　　對于 kurz, 書里是這么說的，“ All Europe contributed to the making of Kurtz; and by and by I learned that, most appropriately, the international society for the suppression of savage customs had entrusted him with the making of a report for its future guidance. And he had written it, too…..but this must have been before his—let us say—nerves, went wrong. Kurtz 自己的攻略是， “the white must necessarily appear to them[savages] in the nature of supernatural beings—we approach them with the might as of a deity.” 他成功了。這么看他確實(shí)可以作為貪婪野心殖民者的極致，代表他們強(qiáng)力的一面，對比于其他殖民者的無力的一面?？墒?“I went a little farther, then till a little farther, till I had gone so far that I don’t know how I’ll ever get back.” 不敢說這一定是對英國殖民 pointlessness的質(zhì)疑，或者作者只是覺得人只會被環(huán)境改變，而不是相反。作者覺得這是一種悲哀或許，無論如何一群可憐人為了追求一些東西，傷害了自己和別人，最后也不是想要的結(jié)果。
  　　
  　　除了kurtz先生，船上其他的人當(dāng)然也擁有黑暗之心，不過平庸些罷了。 The banality of evil. 對這種 evil敘述者說了兩點(diǎn)，第一是說謊“ you know I hate, detest, and can’t bear a lie. Not because I am straighter than the rest of us, but simply because it appals me. There is a taint of death, a flavour of mortality in lies—which is exactly I have and detest in the world—what I want to forget.” 說謊和死亡連在一起。第二點(diǎn)是人在困境中表達(dá)出的惡劣品質(zhì)。 Lack of restraint from lingering starvation. “catch’im….eat’im!” “Say! We must have made a glorious slaughter of them in the bush, Eh? What do you think? Say?” 平凡人的屠殺并不建立在野心引起的恨上，甚至可以說野心本身是不導(dǎo)致恨的。平凡人因?yàn)楹ε露蓿亲孕l(wèi)，但是自衛(wèi)聽起來很不霸氣。
  　　
  　　當(dāng)然也可以說叢林就是一棵巨大的黑暗之心，煉獄，大怪獸，etc.哈哈哈
  　　
  　　
  　　2
  　　
  　　康拉德對土著的描寫杜絕了很多讀者同情的可能性，如果真的接受他的描寫的話。與其說土著是一個文化或者社會，不如說他們是剛果叢林的生物，至少那個時代人的定義尚且爭議，他們除了體型和最基本的思維別的也不大像人。和印第安土著不一樣，（至少在書里）他們的心是空的，眼神也是空的，對陌生有本能的害怕，沒有攻擊性的弱小的不文明生物。 “the action was very far from being aggressive—it was not even defensive, in the usual sense; it was undertaken under the stress of desperation, and in its essence was purely protective.” 所謂他們的宗教也許在西方人的眼里簡單的不成宗教，只是莫名其妙?？膳碌氖巧?，卻不是森林里的人。人并不是剛果森林的萬物之靈而是之一。沒有老虎可怕。他們的作用只是讓人困惑他們到底是人不是。 “We penetrated deeper and deeper into the heart of darkness. It was very quiet there. At night sometimes the roll of drums behind the curtain of trees would run up the river and remain sustained faintly, as if hovering in the air high over our heads, till the first break of day. ” “an irresistible impression of sorrow.”
  　　
  　　雖然文化在不同的環(huán)境中會有不同的發(fā)展和局限，不可否認(rèn)文化本身有強(qiáng)大弱小之別，不管是侵略性，連續(xù)性，還是統(tǒng)一性或者規(guī)模大小。而歐洲文化在任何一個方面都可以輕易的鏟除非洲文化（至少在書里來說），如果是這樣的話文明之間的歧視，文明人對不文明人的歧視，至少是有理由的。在充分了解非洲文化的價值前，奴役也很正常。從社會制度來說，就算歐洲人也會覺得自己三千年前的原始社會很低等，那么認(rèn)為一個外族原始社會低等也不算歧視吧。歐洲人對殖民地確實(shí)是掠奪性的，和他們的文化一樣，談不上教化。不過如果連互相理解都不能也很難教化吧。這點(diǎn)非洲和美洲是有區(qū)別的。再者，就算現(xiàn)在全世界都承認(rèn)非洲人的地位了，他們的生活比一百年前又好了多少？所以愿望和行為效果真的沒啥直接關(guān)系。雖然社會達(dá)爾文主義聽起來滿殘忍，但文化確實(shí)是互相侵吞的。是否可以這么說，一個人對待其他（低等）文化的態(tài)度取決于他自己的文化種類。當(dāng)然什么文化稱得上低等也是一個爭議話題。不得不說現(xiàn)在這樣的文化越來越少了。
•   　　被迫看得英文版的，別的不好說，就是挺崇拜康拉德的，都30多了開始學(xué)英語還能拿英語寫作當(dāng)作家，無疑給吾輩打了一針強(qiáng)心針，讓我覺得我又有希望了。。?！拔拿魅恕?，“野蠻人”，文明的播種者還是野蠻的殖民者，這些問題太老套了又太尖銳了，作為一個第三世界的女人，想這些我有點(diǎn)兒頭疼。。。
•   　　也許這個曾經(jīng)做過船員的老人，想起自己年輕時，總是激動無比，并且也樂于向眾人絮絮叨叨的講述那些海上的破事。
  　　他的《青春》的確有些滋味，只是最后的啟示，一瞬間有些激動罷了。這我早就有所感想，對于自己的青春，我無比清楚。而他呢，他是無比自豪。高爾斯華鋖評價說，讀亨利.詹姆士猶如品茶，讀約瑟夫.康拉德猶如品酒。喝酒也不是什么好事?！逗诎瞪钐帯纷x得實(shí)在令人發(fā)指，那片殖民土地上的事在他寫來像是在說自己的夢話。
  　　要是讓我用一個下午的時光，和一杯紅茶去讀這個中篇，我死也不干的。小時候讀杰克.倫敦的《馬丁.伊登》，用六節(jié)數(shù)學(xué)課讀完它，并且意猶未盡。
  　　我不會去贊美這總小說的。其實(shí)連弗吉尼亞·吳爾夫?qū)道逻@種敘事方式也不以為然。
•   　　這本書是觸目驚心的。
  　　令我震顫的是兩個詞：文明，孤獨(dú)。
  　　號稱傳播文明的civilized資本家給非洲這片原始的土地帶來的是文明么？我只看到人性中殘忍和貪婪赤裸裸的袒露。
  　　面對那未知的土地，與熟悉的文明社會脫離，早期殖民者軟弱的人類之心面臨著無邊無際的孤獨(dú)與恐懼。conrad對于處于這種境況下的人類心理作了很深入的描寫。細(xì)細(xì)讀來，背生寒意。
•   他的法文比英文好，但是他聽說如果你不用英文寫作，你的作品永遠(yuǎn)不會很廣為人知。
•   他不是30多了開始學(xué)英語的吧。
•   是有點(diǎn)頭疼
•   康拉德是波蘭裔，29歲加入英國國籍，32歲開始用英語寫作，當(dāng)然啥時候?qū)W的英語我沒考證過。。。我一個美國同學(xué)說的。。。
•   吾輩情何以堪啊
•   還有isak dineson和Vladimir Nabokov 等哈
•   20歲，康拉德每年過多少書，17歲就出海當(dāng)水手了，在海上遇到了一個英國朋友，海上總是很孤單的，于是康拉德開始跟這個英國人學(xué)英語，那時候他已經(jīng)20歲了。直到有一天，他發(fā)現(xiàn)用英文比用他的母語更便于表達(dá)，于是便開始嘗試英文寫作，這時候他已經(jīng)32歲了。我記得以前大二的時候掃學(xué)校的圖書館，有幾本80年代譯本的康拉德小說，封二有作者介紹，那就是那時候的維基百科了。
•   20歲，康拉德沒念過多少書，17歲就出海當(dāng)水手了，在海上遇到了一個英國朋友，海上總是很孤單的，于是康拉德開始跟這個英國人學(xué)英語，那時候他已經(jīng)20歲了。直到有一天，他發(fā)現(xiàn)用英文比用他的母語更便于表達(dá)，于是便開始嘗試英文寫作，這時候他已經(jīng)32歲了。我記得以前大二的時候掃學(xué)校的圖書館，有幾本80年代譯本的康拉德小說，封二有作者介紹，那就是那時候的維基百科了。

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