An Iceland Fisherman

From the opening

The first appearance of Pierre Loti's works, twenty years ago, caused a sensation throughout those circles wherein the creations of intellect and imagination are felt, studied, and discussed. The author was one who, with a power which no one had wielded before him, carried off his readers into exotic lands, and whose art, in appearance most simple, proved a genuine enchantment for the imagination. It was the time when M. Zola and his school stood at the head of the literary movement. There breathed forth from Loti's writings an all-penetrating fragrance of poesy, which liberated French literary ideals from the heavy and oppressive yoke of the Naturalistic school. Truth now soared on unhampered pinions, and the reading world was completely won by the unsurpassed intensity and faithful accuracy with which he depicted the alluring charms of far-off scenes, and painted the naive soul of the races that seem to endure in the isles of the Pacific as surviving representatives of the world's infancy.

It was then learned that this independent writer was named in real life Louis Marie Julien Viaud, and that he was a naval officer. This very fact, that he was not a writer by profession, added indeed to his success. He actually had seen that which he was describing, he had lived that which he was relating. What in any other man would have seemed but research and oddity, remained natural in the case of a sailor who returned each year with a manuscript in his hand. Africa, Asia, the isles of the Pacific, were the usual scenes of his dramas. Finally from France itself, and from the oldest provinces of France, he drew subject-matter for two of his novels, An Iceland Fisherman and Ramuntcho. This proved a surprise. Our Breton sailors and our Basque mountaineers were not less foreign to the Parisian drawing-room than was Aziyade or the little Rahahu.

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