An American Tragedy - Theodore Dreiser [289]
His wet, damp, nervous hands! And his dark, liquid, nervous eyes, looking anywhere but at her.
And then once more on the water again—about five hundred feet from shore, the while he fumbled aimlessly with the hard and heavy and yet small camera that he now held, as the boat floated out nearer the center. And then, at this point and time looking fearfully about. For now—now—in spite of himself, the long evaded and yet commanding moment. And no voice or figure or sound on shore. No road or cabin or smoke! And the moment which he or something had planned for him, and which was now to decide his fate at hand! The moment of action—of crisis! All that he needed to do now was to turn swiftly and savagely to one side or the other—leap up—upon the left wale or right and upset the boat; or, failing that, rock it swiftly, and if Roberta protested too much, strike her with the camera in his hand, or one of the oars at his right. It could be done—it could be done—swiftly and simply, were he now of the mind and heart, or lack of it—with him swimming swiftly away thereafter to freedom—to success—of course—to Sondra and happiness—a new and greater and sweeter life than any he had ever known.
Yet why was he waiting now?
What was the matter with him, anyhow?
Why was he waiting?
At this cataclysmic moment, and in the face of the utmost, the most urgent need of action, a sudden palsy of the will—of courage—of hate or rage sufficient; and with Roberta from her seat in the stern of the boat gazing at his troubled and then suddenly distorted and fulgurous, yet weak and even unbalanced face—a face of a sudden, instead of angry, ferocious, demoniac—confused and all but meaningless in its registration of a balanced combat between fear (a chemic revulsion against death or murderous brutality that would bring death) and a harried and restless and yet self-repressed desire to do—to do—to do—yet temporarily unbreakable here and now—a static between a powerful compulsion to do and yet not to do.
And in the meantime his eyes—the pupils of the same growing momentarily larger and more lurid; his face and body and hands tense and contracted—the stillness of his position, the balanced immobility of the mood more and more ominous, yet in truth not suggesting a brutal, courageous power to destroy, but the imminence of trance or spasm.
And Roberta, suddenly noticing the strangeness of it all—the something of eerie unreason or physical and mental indetermination so strangely and painfully contrasting with this scene, exclaiming: “Why, Clyde! Clyde! What is it? Whatever is the matter with you anyhow? You look so—so strange—so—so— Why, I never saw you look like this before. What is it?” And suddenly rising, or rather leaning forward, and by crawling along the even keel, attempting to approach him, since he looked as though he was about to fall forward into the boat—or to one side and out into the water. And Clyde, as instantly sensing the profoundness of his own failure, his own cowardice or inadequateness for such an occasion, as instantly yielding to a tide of submerged hate, not only for himself, but Roberta—her power—or that of life to restrain him in this way. And yet fearing to act in any way—being unwilling to— being willing only to say that never, never would he marry her— that never, even