Joseph Hergesheimer

Joseph Hergesheimer

Summary

Portrait of Joseph Hergesheimer Joseph Hergesheimer The Black Key (1918)

JERRY ANNIS lay flat in the tender fastened to the Gar, gazing through a water-glass into depths no less transparent and hardly more shadowed than the air. Comfortably posted against the wheel-box of the ketch, John Woolfolk watched the other with the faintly superior patience of one to whom such spectacles were a commonplace. The Gar floated without a quiver on the clear flood, under the lee of the island where they had anchored for the night. The island was small, and rose in a compact grove of dark palms on a green sky
Source: Wikisource

Portrait of Joseph Hergesheimer Joseph Hergesheimer The Black Key (1918)

A widening cloud filled the brilliancy of noon, and a rising wind drew in from the Gulf Stream. A small landing had been built against a black expanse crawling with innumerable fiddler-crabs, and John Woolfolk walked sharply up the boards that led into the palms. The sear foliage clashed and ground like iron plates, and, in the morass of saw-grass on each side landcrabs, blotched with crimson and bright blue, made a scuffling that might have been a dry echo of the stir above. An odor of active decay hung heavily over iridescent mud and the smooth trunks of the palms
Source: Wikisource

Portrait of Joseph Hergesheimer Joseph Hergesheimer The Black Key (1918)

It sharply revealed every detail of the Gar's hull and rigging, cast an inky shadow from Halvard's stolid bulk, seated on the forward deck, and illuminated an island, grouped and towering palms, like cast-iron.
"Funny thing, the legend of the malignant moon," Annis observed; "and yet it has an inherited actuality. Ancient, primitive people were more responsive to the elemental rhythms of existence than ourselves. The lunar brightness was of tremendous importance in stirring the early nervous system—queen of the dark and all that."
Source: Wikisource

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