The story of one voyage of the sailing-ship Narcissus from Bombay to London--a story dealing with calms and with storms, with mutiny on the high seas, with bravery and with cowardice, with tumultuous life, and with death, the releaser from toil. (Published in the U.S. as "The Children of the Sea.")

The Children of the Sea (1897) is a novella by Joseph Conrad. The story originally appeared with a title featuring a racial slur, a subject of controversy even before Chinua Achebe published his monumental essay “An Image of Africa: Racism in Conrad’s ‘Heart of Darkness.’” Often considered the first major work of Conrad’s career, The Children of the Sea is often read as an allegory on the dangers of individualism and the moral shortcomings of modern humanity. The novella is also notable for its preface, in which Conrad provides a brief-yet-stirring manifesto on the art of literature: “A work that aspires, however humbly, to the condition of art should carry its justification in every line.” On board the Narcissus, a merchant ship bound from Bombay to London, a West Indian man by the name of James Wait lies below deck suffering from tuberculosis. Because of the sudden onset of his illness, some of the sailors believe he is faking his condition in order to avoid work. When the ship capsizes in a storm near the Cape of Good Hope, a group of brave men goes below deck to rescue Wait from near-certain death. As the weather improves enough for the Narcissus to be righted, suspicion regarding the Afro-Caribbean man’s health threatens a mutiny among the crew. With a beautifully designed cover and professionally typeset manuscript, this edition of Joseph Conrad’s The Children of the Sea is a classic work of British literature reimagined for modern readers.

"NWO Editions has the goal of making available to readers the classic books that have been out of print for decades. While these books may have occasional imperfections, we consider that only hand checking of every page ensures readable content without poor picture quality, blurred or missing text etc.

The first comprehensive account of Nietzsche's views of Jews and Judaism For more than a century, Nietzsche's views about Jews and Judaism have been subject to countless polemics. The Nazis infamously fashioned the philosopher as their anti-Semitic precursor, while in the past thirty years the pendulum has swung in the opposite direction. The increasingly popular view today is that Nietzsche was not only completely free of racist tendencies but also was a principled adversary of anti-Jewish thought. Nietzsche’s Jewish Problem offers a definitive reappraisal of the controversy, taking the full historical, intellectual, and biographical context into account. As Robert Holub shows, a careful consideration of all the evidence from Nietzsche’s published and unpublished writings and letters reveals that he harbored anti-Jewish prejudices throughout his life. Nietzsche’s Jewish Problem demonstrates how this is so despite the apparent paradox of the philosopher’s well-documented opposition to the crude political anti-Semitism of the Germany of his day. As Holub explains, Nietzsche’s "anti-anti-Semitism" was motivated more by distaste for vulgar nationalism than by any objection to anti-Jewish prejudice. A richly detailed account of a controversy that goes to the heart of Nietzsche’s reputation and reception, Nietzsche’s Jewish Problem will fascinate anyone interested in philosophy, intellectual history, or the history of anti-Semitism.

The Nigger of the 'Narcissus': A Tale of the Sea (1897) is a novella by Joseph Conrad. Because of its quality compared to earlier works, some have described it as marking the start of Conrad's major, or middle, period;others have placed it as the best work of his early, or first, period. Preface--The author's preface to the novel, regarded as a manifesto of literary impressionism, is considered one of Conrad's most significant pieces of non-fiction writing.This preface begins with the line: "A work that aspires, however humbly, to the condition of art should carry its justification in every line." **Plot** The title character, James Wait, is a dying West Indian black sailor on board the merchant ship Narcissus sailing from Bombay to London. Wait, suffering from tuberculosis, becomes seriously ill during the voyage, and his plight arouses the humanitarian sympathies of many of the crew. However, the ship's master Captain Alistoun and an old sailor named Singleton remain concerned primarily with their duties and appear indifferent to Wait's condition. Off the Cape of Good Hope the ship capsizes onto her beam-ends with half her hull submerged, and the crew clings onto the deck for an entire night and day, waiting in silence for the ship to turn over the rest of the way and sink. Alistoun refuses to allow the masts to be severed, which might allow the hull to right itself. Five of the men, realizing that Wait is unaccounted for, climb down to his cabin and rescue him at their own peril. When the storm passes and a wind returns, Alistoun directs the weary men to catch the wind, which succeeds in righting the ship. Later in the voyage Alistoun prevents a near-mutiny led by a slippery Cockney named Donkin. Wait eventually succumbs and dies within sight of land, as Singleton had predicted he would. **History** The work, written in 1896 and partly based on Conrad's experiences of a voyage from Bombay to London, began as a short story but developed into a novella of some 53,000 words. As it grew, Conrad began to think of its being serialized. After Smith Elder had rejected it for the Cornhill Magazine, William Ernest Henley accepted it for the New Review, and Conrad wrote to his agent, Garnett, "Now I have conquered Henley, I ain't 'fraid o' the divvle himself!" Some years later, in 1904, Conrad described this acceptance as "the first event in my writing life which really counted."In the United States, the novel was first published under the title The Children of the Sea: A Tale of the Forecastle, at the insistence by the publisher, Dodd, Mead and Company, that no one would buy or read a book with the word "nigger" in its title, not because the word was deemed offensive, but because a book about a black man would not sell.In 2009, WordBridge Publishing published a new edition titled The N-Word of the Narcissus, which completely excised the word "nigger" from the text. According to the publishers, the offensive word may have led readers to avoid the book, and thus by getting rid of it the work was made more accessible.[8] Although praised by some, others denounced the change as censorship. Joseph Conrad (Polish pronunciation: born Jozef Teodor Konrad Korzeniowski; 3 December 1857 - 3 August 1924) was a Polish-British writer regarded as one of the greatest novelists to write in the English language.He joined the British merchant marine in 1878, and was granted British nationality in 1886. Though he did not speak English fluently until he was in his twenties, he was a master prose stylist who brought a non-English sensibility into English literature. He wrote stories and novels, many with a nautical setting, that depict trials of the human spirit in the midst of an impassive, inscrutable universe. Conrad is considered an early modernist, though his works still contain elements of 19th-century realism. ....

Western thought has often dismissed shadows as fictional, but what if fictions reveal original truths? Drawing on an anti-Platonic tradition in critical theory, Lawtoo adopts ethical, anthropological, and philosophical lenses to offer new readings of Joseph Conrad’s novels and the postcolonial and cinematic works that respond to his oeuvre. He argues that Conrad’s fascination with doubles urges readers to reflect on the two sides of mimesis: one side is dark and pathological, and involves the escalation of violence, contagious epidemics, and catastrophic storms; the other side is luminous and therapeutic, and promotes communal survival, postcolonial reconciliation, and plastic adaptations to changing environments. Once joined, the two sides reveal Conrad as an author whose Janus-faced fictions are powerfully relevant to our contemporary world of global violence and environmental crisis.