Abstract
It is just over a hundred years since Joseph Conrad wrote Amy Foster. Yet most readers still describe it as the story of Amy's husband, Yanko, a tragic victim. Moreover, the work is seen as autobiographical, telling the story not only of Yanko, but of Conrad himself, recording his sup- posed disappointment with his wife and his agonies as an immigrant. Even the most recent writers see the story as profoundly personal, and pessimistic—even cynical. (Epstein 229; Brzozowska- Krajka 175; Griem 130; Batchelor 123) 1 Ian Watt set the pattern, defining the story as a reflection of its author's own misery:
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