The Rescue: A Romance Of The Shallows
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Out of the level blue of a shallow sea Carimata raises a lofty barrenness of grey and yellow tints, the drab eminence of its arid heights. Separated by a narrow strip of water, Suroeton, to the west, shows a curved and ridged outline resembling the backbone of a stooping giant. And to the eastward a troop of insignificant islets stand effaced, indistinct, with vague features that seem to melt into the gathering shadows. The night following from the eastward the retreat of the setting sun advanced slowly, swallowing the land and the sea; the land broken, tormented and abrupt; the sea smooth and inviting with its easy polish of continuous surface to wanderings facile and endless.
There was no wind, and a small brig that had lain all the afternoon a few miles to the northward and westward of Carimata had hardly altered its position half a mile during all these hours. The calm was absolute, a dead, flat calm, the stillness of a dead sea and of a dead atmosphere. As far as the eye could reach there was nothing but an impressive immobility. Nothing moved on earth, on the waters, and above them in the unbroken lustre of the sky. On the unruffled surface of the straits the brig floated tranquil and upright as if bolted solidly, keel to keel, with its own image reflected in the unframed and immense mirror of the sea. To the south and east the double islands watched silently the double ship that seemed fixed amongst them forever, a hopeless captive of the calm, a helpless prisoner of the shallow sea.
Since midday, when the light and capricious airs of these seas had abandoned the little brig to its lingering fate, her head had swung slowly to the westward and the end of her slender and polished jib-boom, projecting boldly beyond the graceful curve of the bow, pointed at the setting sun, like a spear poised high in the hand of an enemy. Right aft by the wheel the Malay quartermaster stood with his bare, brown feet firmly planted on the wheel-grating, and holding the spokes at right angles, in a solid grasp, as though the ship had been running before a gale. He stood there perfectly motionless, as if petrified but ready to tend the helm as soon as fate would permit the brig to gather way through the oily sea.
The only other human being then visible on the brig's deck was the person in charge: a white man of low stature, thick-set, with shaven cheeks, a grizzled moustache, and a face tinted a scarlet hue by the burning suns and by the sharp salt breezes of the seas. He had thrown off his light jacket, and clad only in white trousers and a thin cotton singlet, with his stout arms crossed on his breast—upon which they showed like two thick lumps of raw flesh—he prowled about from side to side of the half-poop. On his bare feet he wore a pair of straw sandals, and his head was protected by an enormous pith hat—once white but now very dirty—which gave to the whole man the aspect of a phenomenal and animated mushroom. At times he would interrupt his uneasy shuffle athwart the break of the poop, and stand motionless with a vague gaze fixed on the image of the brig in the calm water. He could also see down there his own head and shoulders leaning out over the rail and he would stand long, as if interested by his own features, and mutter vague curses on the calm which lay upon the ship like an immovable burden, immense and burning.
At last, he sighed profoundly, nerved himself for a great effort, and making a start away from the rail managed to drag his slippers as far as the binnacle. There he stopped again, exhausted and bored. From under the lifted glass panes of the cabin skylight near by came the feeble chirp of a canary, which appeared to give him some satisfaction. He listened, smiled faintly muttered "Dicky, poor Dick—" and fell back into the immense silence of the world. His eyes closed, his head hung low over the hot brass of the binnacle top. Suddenly he stood up with a jerk and sai
Joseph Conrad
Polish-born Joseph Conrad is regarded as a highly influential author, and his works are seen as a precursor to modernist literature. His often tragic insight into the human condition in novels such as Heart of Darkness and The Secret Agent is unrivalled by his contemporaries.
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