Queen of the Black Coast — Key Ideas to Explore

(0 User reviews)   774
Howard, Robert E. (Robert Ervin), 1906-1936 Project Gutenberg 2013 Not confirmed
Fantasy fiction, American; Conan (Fictitious character) -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 14,728
Reading time 65 min
Text sections 2

Queen of the Black Coast — Key Ideas to Explore can be approached with a clearer sense of reading commitment from its source measurements: 14,728 words, 1 hr 5 min estimated reading time, and 2 detected text sections.

The text analysis averages about 19.3 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fantasy fiction, American,” connecting these edition facts with the source record’s subject description.

An editorial note on Robert E. Howard's 'Queen of the Black Coast,' focusing on the interplay between swift action and surreal dream sequences, the distinctive voice of Conan, and the rhythmic shifts in narrative pace.
Share
Editorial Edition Score 4.4/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

Nor did master Tito pull into the broad bay where the Styx river emptied its gigantic flood into the ocean, and the massive black castles of Khemi loomed over the blue waters. Ships did not put unasked into this port, where dusky sorcerers wove awful spells in the murk of sacrificial smoke mounting eternally from blood-stained altars where naked women screamed, and where Set, the Old Serpent, arch-demon of the Hyborians but god of the Stygians, was said to writhe his shining coils among his worshippers.

Master Tito gave that dreamy glass-floored bay a wide berth, even when a serpent-prowed gondola shot from behind a castellated point of land, and naked dusky women, with great red blossoms in their hair, stood and called to his sailors, and posed and postured brazenly.

Now no more shining towers rose inland. They had passed the southern borders of Stygia and were cruising along the coasts of Kush. The sea and the ways of the sea were never-ending mysteries to Conan, whose homeland was among the high hills of the northern uplands. The wanderer was no less of interest to the sturdy seamen, few of whom had ever seen one of his race.

They were characteristic Argosean sailors, short and stockily built. Conan towered above them, and no two of them could match his strength. They were hardy and robust, but his was the endurance and vitality of a wolf, his thews steeled and his nerves whetted by the hardness of his life in the world's wastelands. He was quick to laugh, quick and terrible in his wrath. He was a valiant trencherman, and strong drink was a passion and a weakness with him. Naïve as a child in many ways, unfamiliar with the sophistry of civilization, he was naturally intelligent, jealous of his rights, and dangerous as a hungry tiger. Young in years, he was hardened in warfare and wandering, and his sojourns in many lands were evident in his apparel. His horned helmet was such as was worn by the golden-haired Æsir of Nordheim; his hauberk and greaves were of the finest workmanship of Koth; the fine ring-mail which sheathed his arms and legs was of Nemedia; the blade at his girdle was a great Aquilonian broadsword; and his gorgeous scarlet cloak could have been spun nowhere but in Ophir.

So they beat southward, and master Tito began to look for the high-walled villages of the black people. But they found only smoking ruins on the shore of a bay, littered with naked black bodies. Tito swore.

'I had good trade here, aforetime. This is the work of pirates.'

'And if we meet them?' Conan loosened his great blade in its scabbard.

'Mine is no warship. We run, not fight. Yet if it came to a pinch, we have beaten off reavers before, and might do it again; unless it were Bêlit's _Tigress_.'

'The wildest she-devil unhanged. Unless I read the signs a-wrong, it was her butchers who destroyed that village on the bay. May I some day see her dangling from the yard-arm! She is called the queen of the black coast. She is a Shemite woman, who leads black raiders. They harry the shipping and have sent many a good tradesman to the bottom.'

From under the poop-deck Tito brought out quilted jerkins, steel caps, bows and arrows.

'Little use to resist if we're run down,' he grunted. 'But it rasps the soul to give up life without a struggle.'

It was just at sunrise when the lookout shouted a warning. Around the long point of an island off the starboard bow glided a long lethal shape, a slender serpentine galley, with a raised deck that ran from stem to stern. Forty oars on each side drove her swiftly through the water, and the low rail swarmed with naked blacks that chanted and clashed spears on oval shields. From the masthead floated a long crimson pennon.

'Bêlit!' yelled Tito, paling. 'Yare! Put her about! Into that creek-mouth! If we can beach her before they run us down, we have a chance to escape with our lives!'

So, veering sharply, the _Argus_ ran for the line of surf that boomed along the palm-fringed shore, Tito striding back and forth, exhorting the panting rowers to greater efforts. The master's black beard bristled, his eyes glared.

'Give me a bow,' requested Conan. 'It's not my idea of a manly weapon, but I learned archery among the Hyrkanians, and it will go hard if I can't feather a man or so on yonder deck.'

Robert E. Howard's 'Queen of the Black Coast' opens with a burst of physical action: hoofs drumming, a mailed figure leaping aboard a galley, and threats of bloodshed. The prose matches the urgency, with short, punchy sentences and vivid sensory details—'red drops from his broadsword,' 'glittered bluely in the sun.' Yet the story soon pivots to a very different register, introducing a poetic interlude titled 'The Song of Bêlit' before plunging into a hallucinatory jungle sequence. This editorial note examines how Howard alternates between headlong adventure and dreamlike horror, and how the narrative voice shifts to accommodate both modes.

The Rhythm of Action and Lull

The opening chase scene is a model of compressed momentum. Howard uses rapid-fire dialogue—'Get under way!' 'Then I'm for Kush!'—and physical cues like the stallion 'jerking back on its haunches' to create a sense of immediacy. The paragraph lengths are short, and the point of view stays tightly focused on Conan's actions. Contrast this with the later jungle passage, where the prose becomes languid and hypnotic: 'the jungle waved and dimmed out before his eyes.' The pace slows to match the protagonist's creeping lethargy, and the sentences grow longer, more atmospheric. This rhythmic alternation is a deliberate structural choice, not a lapse in energy.

Voice: From Brusque to Bardic

Conan's speech is terse and confrontational: 'I pay my way with steel!' The shipmaster's voice is pragmatic, and the narrative itself favors blunt verbs—'roared,' 'yelled,' 'sprang.' But the story also includes a framed poem, 'The Song of Bêlit,' which introduces a lyrical, first-person feminine voice: 'Believe I held my heart inviolate / To lavish on one man my hot desire.' This shift in register is jarring but purposeful, hinting at a romantic or mythic dimension that the prose alone does not convey. The poem's archaic diction and regular meter stand apart from the colloquial violence of the main narrative, suggesting that Bêlit's perspective will operate on a different emotional plane.

The Dream Sequence as Narrative Pivot

The third excerpt describes a vision of an alien city and its degenerate inhabitants, rendered in a style that borders on cosmic horror. Howard abandons the concrete details of the wharf scene for abstract imagery: 'blackness of an utter void,' 'cold winds of cosmic space.' The syntax becomes more complex, with subordinate clauses piling up: 'as if the darkness were taking material form.' This passage is not merely a diversion; it introduces a theme of evolutionary decay and ancient evil that recontextualizes the jungle threat. The pacing here is glacial, a deliberate counterpoint to the earlier speed, and the narrative voice adopts an almost anthropological detachment, describing the winged beings as 'the ripe blossom on an alien tree.'

Readers attuned to shifts in tempo will find that Howard uses pace as a storytelling tool, not just a byproduct of action. The poem, the chase, and the vision each demand a different reading speed. Pay attention to how the prose contracts and expands, and how the voice modulates from hard-boiled to elegiac. These variations are the fingerprints of a writer working at the height of his pulp craft, balancing momentum with atmosphere.

There’s a moment in Queen of the Black Coast where the swords-and-sorcery rush slows, just long enough for Conan to feel the weight of mortality. It puts me in mind of another quiet study, The Crime and the Criminal — Reading Notes, which lingers on why we chase trouble at all. Both leave a curious ache, like remembering a storm that passed too quickly.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

What was your reading experience?

Capture what you thought, learned, and would like to remember.

Your progress 0 / 10
1

Have you finished this book?

2

How much did you enjoy the reading experience?

3

Is this a title you would suggest to others?

4

What was the reading difficulty like?

Related eBooks