Suspense: A Napoleonic Novel — Story, Setting & Ideas

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Conrad, Joseph, 1857-1924 Project Gutenberg 2021 Not confirmed
War stories; Napoleonic Wars, 1800-1815 -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 84,061
Reading time 366 min
Text sections 7

For Suspense: A Napoleonic Novel — Story, Setting & Ideas, the stored edition analysis reports 84,061 words, 6 hr 6 min estimated reading time, and 7 detected text sections.

The text analysis averages about 15.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “War stories,” connecting these edition facts with the source record’s subject description.

Conrad's unfinished novel, set in Genoa after Napoleon's first abdication, follows young Englishman Cosmo Latham. The excerpts reveal a narrative focused on aftermath and conversation rather than battle, with a female narrator, Madame de Montevesso, recounting her ambiguous relationship with a Napoleonic figure.
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Editorial Edition Score 4.8/5

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  • Description quality20 pts
  • Title & short description10 pts
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  • Text length15 pts
  • Chapters / structure15 pts
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Read the Text

There was no answer for a time, then the tall figure muttered reflectively to itself.

"After all--he's an Englishman."

"I don't think myself invincible on that account," observed Cosmo calmly.

"I know. I have fought against English soldiers in Buenos Ayres. I was only thinking that, to give the devil his due, men of your nation don't consort with spies or love tyranny either. . . . Tell me, is it true that you have only been two hours in this town?"

"And yet all the tyrants of the world are your allies," the shadowy man pursued his train of thought half aloud.

The no less shadowy traveller remarked quietly into the gathering night:

"You don't know who my friends are."

"I don't, but I think you are not likely to go with a tale to the Austrian spies or consort with the Piedmontese _sbirri._ As to the priests who are poking their noses everywhere, I . . ."

"I don't know a single soul in Italy," interrupted the other.

"But you will soon. People like you make acquaintances everywhere. But it's idle talk with strangers that I fear. Can I trust you as an Englishman not to talk of what you may see?"

"You may. I can't imagine what unlawful thing you are about to commit here. I am dying from curiosity. Can it be that you are really some sort of sorcerer? Go on! Trace your magic circle if that is your business, and call up the spirits of the dead."

A low grunt was the only answer to this speech uttered in a tone between jest and earnest. Cosmo watched from the breech of his gun with intense interest the movements of the man who objected so strongly to his presence but who now seemed to pay no attention to him at all. They were not the movements of a magician in so far that they certainly had nothing to do with the tracing of circles. The figure had stepped over to the seaward face of the tower and seemed to be pulling endless things out of the breast pocket of his jacket. The young Englishman got down from the breech of the gun, without ceasing to peer in a fascinated way, and moved closer step by step till he threw himself back with an exclamation of astonishment. "By heavens! The fellow is going to fish." . . . Cosmo remained mute with surprise for a good many seconds and then burst out loudly:

"Is this what you displayed all this secrecy for? This is the worst hoax I ever . . ."

"Come nearer, signore, but take care not to tangle all my twine with your feet. . . . Do you see this box?"

The heads of the two men had come together confidentially and the young traveller made out a cylindrical object which was in fact a round tin box. His companion thrust it into his hand with the request, "Hold it for me a moment, signore," and then Cosmo had the opportunity to ascertain that the lid of it was hermetically sealed. The man in the strange cap dived into the pocket of his breeches for flint and steel. The Englishman beheld with surprise his lately inimical companion squeeze himself between the massive tube of the piece of ordnance and the wall of stone and wriggle outwards into the depth of, the thick embrasure till nothing of him remained visible but his black stockings and the soles of his heavy shoes. After a time his voice came deadened along the thickness of the wall:

"Will you hand me the box now, signore?"

Cosmo, enlisted in these mysterious proceedings, the nature of which was becoming clear enough to him, obeyed at once, and approaching the embrasure thrust the box in at the full length of his arm till it came in contact with the ready hand of the man who was lying flat on his stomach with his head projecting beyond the wall of the tower. His groping hand found and snatched away the box. The twine was attached to the box and at once its length laid on the platform began to run out till the very end disappeared. Then the man lying prone within the thickness of the gun embrasure lay still as death and the young traveller strained his ears in the absolute silence to catch the slightest sound at the foot of the tower. But all he could hear was the faint sound of some distant clock striking somewhere in the town. He waited a little longer, then in the cautious tone of a willing accomplice murmured within the opening:

The answer came hardly audible:

"No. But this is the very hour."

The opening pages of Suspense establish a precise Mediterranean twilight: a red sun over Genoa, glassy water, and a becalmed ship flying an undistinguishable flag. The first speaker is a lank man in a shabby jacket who identifies the vessel as “Elban”—a reference to Elba, Napoleon’s first place of exile. The wars, he says, are over. This is not a novel of campaigns but of aftermath, where the central drama is not a battle but a conversation.

A Setting of Suspended Action

The novel’s title is literal: the narrative dwells in a state of waiting. The opening scene is becalmed—sails motionless, flags indistinguishable, the sun setting. The young Englishman Cosmo Latham watches from a tower whose guardian declares it “an unguarded spot.” The wars are over, but no peace has arrived. The harbor holds an English line-of-battle ship, its ensign replaced by a lantern. Even the flag of the Elban vessel cannot be made out. This visual uncertainty—things seen but not identified—pervades the prose. Conrad builds suspense not through plot mechanics but through a world that refuses to declare itself.

A Narrator’s Ambiguous Past

Madame de Montevesso, speaking to Cosmo, recounts a history that resists easy judgment. She describes a man—her husband—who “commanded armies of a hundred thousand men,” faced England in India, and “managed to get out of it with so much wealth and with quite a genuine reputation.” She calls him “perhaps a great adventurer,” but also notes his “brutal pride” and the “horrible humiliation” of a pilgrimage among “squalid shams.” Her tone is measured, not bitter. She does not condemn him outright. The passage is a monologue of moral ambiguity, where the speaker herself seems uncertain whether her husband is a criminal or a man of substance. The excerpts offer no resolution.

The Voice of a Post-Imperial World

Madame de Montevesso’s speech reveals a character caught between loyalties. She calls herself “a Frenchwoman” with “liberal ideas,” but her circle is composed of “returned nobles” who “hated and despised the imperial power” yet “were ready to cringe before it.” She refused to be “patronized by all those returned duchesses.” Her world is one of political exhaustion: “All Europe was aflame,” she says, and “the blaze scorched and dazzled and filled one with awe and with forebodings.” When Cosmo asks how she feels now that it is over, she replies, “I feel a little cold … and dazed perhaps. One doesn’t know where to look.” The novel’s suspense is not about what will happen next, but about how to live after history has passed.

Readers should approach Suspense as a fragment that prioritizes atmosphere and retrospective dialogue over forward motion. The catalog subjects—War stories, Napoleonic Wars—are accurate but misleading: the excerpts contain no battles, no military strategy, no direct depiction of Napoleon. Instead, the novel offers a study of aftermath, told through a young Englishman’s encounter with a woman whose past is entangled with a figure of immense, ambiguous power. The suspense is psychological and historical, not tactical.

That rainy afternoon, Genoa's damp streets in Suspense felt closer than my own window, the quiet after Napoleon's abdication lingering like the low sky. Cosmo's wandering conversations carried me somewhere slower, more uncertain. Later, almost without deciding, I picked up The Millbank Case: A Maine Mystery of To-day — Themes and Context, and found that same hushed aftermath, but in a colder, plainer light.

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