How the hell did Joseph Conrad manage to become one of the greatest English prose writers despite only having learned...

To be honest, I don't think a writer could ever be the "greatest" in a language he learned later in life, but I think he has the advantage of bringing an outsider's perspective to it and emphasizing certain aspects of the language that might be missed by a native speaker. In Conrad's instance, it is often remarked that his syntax is somewhat "unnatural" compared to how most Englishmen and Americans wrote at the time. Another example would be Beckett, who wrote in French specifically because he was not very adept at it and he would be forced to take on a more minimalistic style. I don't think anyone would call Beckett one of the "greatest" French stylists, but no doubt the style he crafted in French was perfectly suited to the themes and world of his works.

Of course Nabokov also gets brought up a lot as well, and while he doesn't exactly fit the category since he learned English as a young child, nonetheless I think he possesses a foreigner's perspective on English since he knew the language primarily through literature instead of everyday speech. This gives his English works a feel as if they're untethered to this world in a sort of dream exists only as text. His view of English is a lot more fanciful and flaunting than almost any other English writer.

A native speaker will always have a fuller understanding of the language by seeing firsthand its full scope, from its highest literary styles to how it is realistically spoken on the street. Foreign born writers may develop their own unique and beautiful styles, but I don't think one could ever produce a work like Ulysses or Moby Dick that exhibits a comprehensive understanding of English's potential usages.

>tfw native language is Nafusi Berber
Neither Arabic nor English are my native languages. I feel like I've been cheated out of a broader audience.

From Bertrand Russell's "Portraits from Memory":

"I made the acquaintance of Joseph Conrad in September 1913, through our common friend Lady Ottoline Morrell. I had been for many years an admirer of his books, but should not have ventured to seek acquaintance without an introduction, I traveled down to his house near Ashford in Kent in a state of somewhat anxious expectation. My first impression was one of surprise. He spoke English with a very strong foreign accent, and nothing in his demeanor in any way suggested the sea. He was an aristocratic Polish gentleman to his finger tips. His feeling for the sea, and for England, was one of romantic love love from a certain distance, sufficient to leave the romance untarnished. His love for the sea began at a very early age. When he told his parents that he wished for a career as a sailor, they urged him to go into the Austrian navy, but he wanted adventure and tropical seas and strange rivers surrounded by dark forests; and the Austrian navy offered him no scope for these desires. His family were horrified at his seeking a career in the English merchant marine, but his determination was inflexible.

He was, as anyone may see from his books, a very rigid moralist and politically far from sympathetic with revolutionaries. He and I were in most of our opinions by no means in agreement, but in something very fundamental we were extraordinarily at one.

My relation to Joseph Conrad was unlike any other that I have ever had. I saw him seldom, and not over a long period of years. In the outworks of our lives, we were almost strangers, but we shared a certain outlook on human life and human destiny, which, from the very first, made a bond of extreme strength. I may perhaps be pardoned for quoting a sentence from a letter that he wrote to me very soon after we had become acquainted. I should feel that modesty forbids the quotation except for the fact that it expresses so exactly what I felt about him. What he expressed and I equally felt was, in his words, "A deep admiring affection which, if you were never to see me again and forgot my existence tomorrow, would be unalterably yours usque ad finem"

Of all that he had written I admired most the terrible story called The Heart of Darkness, in which a rather weak idealist is driven mad by horror of the tropical forest and loneliness among savages. This story expresses, I think, most completely his philosophy of life. I felt, though I do not know whether he would have accepted such an image, that he thought of civilized and morally tolerable human life as a dangerous walk on a thin crust of barely cooled lava which at any moment might break and let the unwary sink into fiery depths. He was very conscious of the various forms of passionate madness to which men are prone, and it was this that gave him such a profound belief in the importance of discipline. His point of view, one might perhaps say, was the antithesis of Rousseau's: "Man is born in chains, but he can become free." He becomes free, so I believe Conrad would have said, not by letting loose his impulses, not by being casual and uncontrolled, but by subduing wayward impulse to a dominant purpose.

He was not much interested in political systems, though he had some strong political feelings. The strongest of these were love of England and hatred of Russia, of which both are expressed in The Secret Agent: and the hatred of Russia, both Czarist and revolutionary, is set forth with great power in Under Western Eyes. His dislike of Russia was that which was traditional in Poland. It went so far that he would not allow merit to either Tolstoy or Dostoievsky. Turgeniev, he told me once, was the only Russian novelist he admired.

Except for love of England and hatred of Russia, politics did not much concern him. What interested him was the individual human soul faced with the indifference of nature, and often with the hostility of man, and subject to inner struggles with passions both good and bad that led toward destruction. Tragedies of loneliness occupied a great part of his thought and feeling. One of his most typical stories is Typhoon. In this story the captain, who is a simple soul, pulls his ship through by unshakable courage and grim determination. When the storm is over, he writes a long letter to his wife telling about it. In his account his own part is, to him, perfectly simple. He has merely performed his captain's duty as, of course, anyone would expect. But the reader, through his narrative, becomes aware of all that he has done and dared and endured. The letter, before he sends it off, is read surreptitiously by his steward, but is never read by anyone else at all because his wife finds it boring and throws it away unread.

The two things that seem most to occupy Conrad's imagination are loneliness and fear of what is strange. An Outcast of the Islands like The Heart of Darkness is concerned with fear of what is strange. Both come together in the extraordinarily moving story called Amy Foster. In this story a South Slav peasant, on his way to America, is the sole survivor of the wreck of his ship, and is cast away in a Kentish village. All the village fears and ill treats him, except Amy Foster, a dull, plain girl who brings him bread when he is starving and finally marries him. But she, too, when, in fever, her husband reverts to his native language, is seized with a fear of his strangeness, snatches up their child and abandons him. He dies alone and hopeless. I have wondered at times how much of this man's loneliness Conrad had felt among the English and had suppressed by a stern effort of will.

Conrad's point of view was far from modern. In the modern world there are two philosophies: the one, which stems from Rousseau, and sweeps aside discipline as unnecessary; the other, which finds its fullest. expression in totalitarianism, which thinks of discipline as essentially imposed from without. Conrad adhered to the older tradition, that discipline should come from within. He despised indiscipline, and hated discipline that was merely external.

In all this I found myself closely in agreement with him. At our very first meeting, we talked with continually increasing intimacy. We seemed to sink through layer after layer of what was superficial, till gradually both reached the central fire. It was an experience unlike any other that I have known. We looked into each other's eyes, half appalled and half intoxicated to find ourselves together in such a region. The emotion was as intense as passionate love, and at the same time all-embracing. I came away bewildered, and hardly able to find my way among ordinary affairs.

I saw nothing of Conrad during the war or after it until my return from China in 1921. When my first son was born in that year I wished Conrad to be as nearly his godfather as was possible without a formal ceremony. I wrote to Conrad saying: "I wish, with your permission, to call my son John Conrad. My father was called John, my grandfather was called John, and my great-grandfather was called John; and Conrad is a name in which I see merits." He accepted the position and duly presented my son with the cup which is usual on such occasions.

I did not see much of him, as I lived most of the year in Cornwall, and his health was failing. But I had some charming letters from him, especially one about my book on China. He wrote: "I have always liked the Chinese, even those that tried to kill me (and some other people) in the yard of a private house in Chantabun, even (but not so much) the fellow who stole all my money one night in Bangkok, but brushed and folded my clothes neatly for me to dress in the morning, before vanishing into the depths of Siam. I also received many kindnesses at the hands of various Chinese. This with the addition of an evening's conversation with the secretary of His Excellency Tseng on the verandah of a hotel and a perfunctory study of a poem, 'The Heathen Chinee' is all I know about Chinese. But after reading your extremely interesting view of the Chinese Problem I take a gloomy view of the future of their country." He went on to say that my views of the future of China "strike a chill into one's soul," the more so, he said, as I pinned my hopes on international socialism "The sort of thing," he commented, "to which I cannot attach any sort of definite meaning. I have never been able to find in any man's book or any man's talk anything convincing enough to stand up for a moment against my deep-seated sense of fatality governing this man-inhabited world." He went on to say that although man has taken to flying, "He doesn't fly like an eagle, he flies like a beetle. And you must have noticed how ugly, ridiculous and fatuous is the flight of a beetle." In these pessimistic remarks, I felt that he was showing a deeper wisdom than I had shown in my somewhat artificial hopes for a happy issue in China. It must be said that so far events have proved him right.

This letter was my last contact with him. I never again saw him to speak to. Once I saw him across the street, in earnest conversation with a man I did not know, standing outside the door of what had been my grandmother's house, but after her death had become the Arts Club. I did not like to interrupt what seemed a serious conversation, and I went away. When he died, shortly afterward, I was sorry I had not been bolder. The house is gone, demolished by Hitler. Conrad, I suppose, is in process of being forgotten. But his intense and passionate nobility shines in my memory like a star seen from the bottom of a well. I wish I could make his light shine for others as it shone for me. "

he writes like every other English author from that era

learned english before russian

Gallicisms rather than polonisms. any annotated edition is filled with them.

Both, actually. It's just that Gallicisms are easier to identify for English speakers since they're much most likely to know French than Polish.

As a side note it's also quite amusing to read the letters he dictated to his secretary whose sometimes less than perfect spelling seems to bear witness to the thickness of his accent.

Corollary: it will be easier for you to make a splash in Nafusi Berber literature.

ah yes, a language with 100k speakers, wonderful

And most of them can't even read anyway

Nope, he learned french in school, at first wrote in english, then french, then english again
Bloom says that his french was better than his english, which was perfect

>complaining about having something unique to contribute compared to native speakers

This.

I like you