almost verbatim transcript of the tale told me by a very charming old
gentleman whom I met in Italy. I don't mean to say it is only that.
Anybody can see that it is something more than a verbatim report,
but where he left off and where I began must be left to the acute
discrimination of the reader who may be interested in the problem.
I don't mean to say that the problem is worth the trouble. What I am
certain of, however, is that it is not to be solved, for I am not at
all clear about it myself by this time. All I can say is that the
personality of the narrator was extremely suggestive quite apart from
the story he was telling me. I heard a few years ago that he had died
far away from his beloved Naples where that "abominable adventure" did
really happen to him.

Thus the genealogy of Il Conde is simple. It is not the case with the
other stories. Various strains contributed to their composition, and the
nature of many of those I have forgotten, not having the habit of making
notes either before or after the fact. I mean the fact of writing a
story. What I remember best about Gaspar Ruiz is that it was written, or
at any rate begun, within a month of finishing Nostromo; but apart
from the locality, and that a pretty wide one (all the South American
Continent), the novel and the story have nothing in common, neither
mood, nor intention and, certainly, not the style. The manner for the
most part is that of General Santierra, and that old warrior, I note
with satisfaction, is very true to himself all through. Looking now
dispassionately at the various ways in which this story could have been
presented I can't honestly think the General superfluous. It is he, an
old man talking of the days of his youth, who characterizes the whole
narrative and gives it an air of actuality which I doubt whether I could
have achieved without his help. In the mere writing his existence
of course was of no help at all, because the whole thing had to be