An Outcast of the Islands

"An Outcast of the Islands" is my second novel in the absolute sense of
the word; second in conception, second in execution, second as it were
in its essence. There was no hesitation, half-formed plan, vague idea,
or the vaguest reverie of anything else between it and "Almayer's
Folly." The only doubt I suffered from, after the publication of
"Almayer's Folly," was whether I should write another line for print.
Those days, now grown so dim, had their poignant moments. Neither in my
mind nor in my heart had I then given up the sea. In truth I was
clinging to it desperately, all the more desperately because, against my
will, I could not help feeling that there was something changed in my
relation to it. "Almayer's Folly" had been finished and done with. The
mood itself was gone. But it had left the memory of an experience that,
both in thought and emotion, was unconnected with the sea, and I suppose
that part of my moral being which is rooted in consistency was badly
shaken. I was a victim of contrary stresses which produced a state of
immobility. I gave myself up to indolence. Since it was impossible for
me to face both ways I had elected to face nothing. The discovery of new
values in life is a very chaotic experience; there is a tremendous
amount of jostling and confusion and a momentary feeling of darkness. I
let my spirit float supine over that chaos.

A phrase of Edward Garnett's is, as a matter of fact, responsible for
this book. The first of the friends I made for myself by my pen it was
but natural that he should be the recipient, at that time, of my
confidences. One evening when we had dined together and he had listened
to the account of my perplexities (I fear he must have been growing a
little tired of them) he pointed out that there was no need to determine
my future absolutely. Then he added: "You have the style, you have the
temperament; why not write another?" I believe that as far as one man
may wish to influence another man's life Edward Garnett had a great
desire that I should go on writing. At that time, and I may say, ever
afterwards, he was always very patient and gentle with me. What strikes
me most, however, in the phrase quoted above which was offered to me in
a tone of detachment is not its gentleness but its effective wisdom. Had
he said, "Why not go on writing," it is very probable he would have
scared me away from pen and ink for ever; but there was nothing either
to frighten one or arouse one's antagonism in the mere suggestion to
"write another." And thus a dead point in the revolution of my affairs
was insidiously got over. The word "another" did it. At about eleven
o'clock of a nice London night, Edward and I