Louis Joseph Vance

Louis Joseph Vance

Summary

Portrait of Louis Joseph Vance Louis Joseph Vance The Destroying Angel

From Broadway to Sixth Avenue, Forty-sixth Street was bright with the yellow glare of the huge sign in front of the Theatre Max. But this night, unlike that other night when he had approached the stage of his wife's triumphs, there was no crawling rank of cabs, no eager and curious press of people in the street; but few vehicles disputed their way; otherwise the rain and the hurrying, rain-coated wayfarers had the thoroughfare to themselves.... And even this he chose to consider a favourable omen: there was not now a public to come between him and his love—only Max and her frightened fancies.
Source: Gutenberg

Portrait of Louis Joseph Vance Louis Joseph Vance The Destroying Angel

Whitaker looked fearfully again at the woman. But she was unquestionably competent to care for herself. Proof of this he had in the fact that she had contrived to slip the life-preserver up over her head and discard it altogether. Thus disencumbered, she had more freedom for the impending struggle.
He glanced over his shoulder. They were on the line of breakers. Behind them a heavy comber was surging in, crested with snow, its concave belly resembling a vast sheet of emerald. In another moment it would be upon them. It was the moment a seasoned swimmer would seize.
Source: Gutenberg

Portrait of Louis Joseph Vance Louis Joseph Vance The Destroying Angel

Aside from him, the only other occupant of the stage was Sara Law. She sat on a stone bench with her profile to the audience, her back to the right of the proscenium arch; so that she could not, without turning, have noticed the entrance of Ember and her husband. A shy, slight, deathlessly youthful figure in pale and flowing garments that moulded themselves fluently to her sweet and girlish body, in a posture of pensive meditation: she was nothing less than adorable. Whitaker could not take his eyes from her, for sheer wonder and delight.
Source: Gutenberg

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