Hearts of three — Story, Setting & Ideas

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London, Jack, 1876-1916 Project Gutenberg 2017 Not confirmed
Fantasy fiction; Adventure stories Readers of public-domain and historical texts
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Edition facts

Words 116,601
Reading time 507 min
Text sections 33

This digital edition of Hearts of three — Story, Setting & Ideas is described by source-level measurements including 116,601 words, 8 hr 27 min estimated reading time, and 33 detected text sections.

The text analysis averages about 15.4 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,” connecting these edition facts with the source record’s subject description.

Jack London's 'Hearts of Three' blends adventure, fantasy, and treasure hunting in a tale of a modern American heir drawn into a Maya priest's cryptic prophecy. The narrative contrasts ancient rituals with pragmatic humor, as characters navigate hidden chambers, coded knots, and a bottomless pit beneath a goddess's feet.
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Editorial Edition Score 4.9/5

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ed drama and tragedy of the primitive and the medieval melodrama of sentiment and passion of the New World Latin, Francis Morgan was destined to be that man, and Destiny was very immediate upon him.

Yet he was lazily unaware that aught in the world was stirring, and was scarcely astir himself. A late night at bridge had necessitated a late rising. A late breakfast of fruit and cereal had occurred along the route to the library—the austerely elegant room from which his father, toward the last, had directed vast and manifold affairs.

“Parker,” he said to the valet who had been his father’s before him, “did you ever notice any signs of fat on R.H.M. in his last days?”

“Oh, no, sir,” was the answer, uttered with all the due humility of the trained servant, but accompanied by an involuntarily measuring glance that scanned the young man’s splendid proportions. “Your father, sir, never lost his leanness. His figure was always the same, broad-shouldered, deep in the chest, big-boned, but lean, always lean, sir, in the middle. When he was laid out, sir, and bathed, his body would have shamed most of the young men about town. He always took good care of himself; it was those exercises in bed, sir. Half an hour every morning. Nothing prevented. He called it religion.”

“Yes, he was a fine figure of a man,” the young man responded idly, glancing to the stock-ticker and the several telephones his father had installed.

“He was that,” Parker agreed eagerly. “He was lean and aristocratic in spite of his shoulders and bone and chest. And you’ve inherited it, sir, only on more generous lines.”

Young Francis Morgan, inheritor of many millions as well as brawn, lolled back luxuriously in a huge leather chair, stretched his legs after the manner of a full-vigored menagerie lion that is overspilling with vigor, and glanced at a headline of the morning paper which informed him of a fresh slide in the Culebra Cut at Panama.

“If I didn’t know we Morgans didn’t run that way,” he yawned, “I’d be fat already from this existence.... Eh, Parker?”

The elderly valet, who had neglected prompt reply, startled at the abrupt interrogative interruption of the pause.

“Oh, yes, sir,” he said hastily. “I mean, no, sir. You are in the pink of condition.”

“Not on your life,” the young man assured him. “I may not be getting fat, but I am certainly growing soft.... Eh, Parker?”

“Yes, sir. No, sir; no, I mean no, sir. You’re just the same as when you came home from college three years ago.”

“And took up loafing as a vocation,” Francis laughed. “Parker!”

Parker was alert attention. His master debated with himself ponderously, as if the problem were of profound importance, rubbing the while the bristly thatch of the small toothbrush moustache he had recently begun to sport on his upper lip.

“Parker, I’m going fishing.”

“I ordered some rods sent up. Please joint them and let me give them the once over. The idea drifts through my mind that two weeks in the woods is what I need. If I don’t, I’ll surely start laying on flesh and disgrace the whole family tree. You remember Sir Henry?—the old original Sir Henry, the buccaneer old swashbuckler?”

“Yes, sir; I’ve read of him, sir.”

Parker had paused in the doorway until such time as the ebbing of his young master’s volubility would permit him to depart on the errand.

“Nothing to be proud of, the old pirate.”

“Oh, no, sir,” Parker protested. “He was Governor of Jamaica. He died respected.”

“It was a mercy he didn’t die hanged,” Francis laughed. “As it was, he’s the only disgrace in the family that he founded. But what I was going to say is that I’ve looked him up very carefully. He kept his figure and he died lean in the middle, thank God. It’s a good inheritance he passed down. We Morgans never found his treasure; but beyond rubies is the lean-in-the-middle legacy he bequeathed us. It’s what is called a fixed character in the breed—that’s what the profs taught me in the biology course.”

Parker faded out of the room in the ensuing silence, during which Francis Morgan buried himself in the Panama column and learned that the canal was not expected to be open for traffic for three weeks to come.

A telephone buzzed, and, through the electric nerves of a consummate civilization, Destiny made the first out-reach of its tentacles and contacted with Francis Morgan in the library of the mansion his father had builded on Riverside Drive.

Jack London's Hearts of Three opens with a foreword that is itself a performance: the author boasts of celebrating his fortieth birthday, his fiftieth book, and a 'new departure' in his writing. He frames the novel as a response to the early film industry's voracious appetite for plots, claiming that scenario writers had stripped literature bare. This self-conscious origin story sets the tone for a work that is both a treasure-hunt adventure and a playful commentary on storytelling itself.

The excerpts reveal a narrative that oscillates between the solemn and the sardonic. A Maya priest prays to the goddess Chia with his 'forehead on the stones,' while the American protagonist Francis responds with a chuckle: 'Well, I guess, that nothingness, whatever it is, won’t bite me.' The tension between ancient ritual and modern irreverence drives the action.

The Priest's Knots and the Gringo's Knife

The excerpts center on a scene in a Maya cave, where an old priest interprets a system of knotted strings—a tangible archive of prophecy. He reads aloud: 'From the mouth of Chia to the ear of Hzatzl—so is it written.' The narrative treats these knots as both sacred text and practical cipher. Francis, the pragmatic outsider, tests the priest's claims by tapping the stone ear of a god with his hunting knife and declaring the statue hollow. The priest's warnings—'Beware! Beware! Beware!'—are met with Francis's physical force: he wrestles the goddess statue aside, revealing a circular pit that swallows burning matches and stones without a sound. The scene juxtaposes two modes of knowledge: the priest's reverent decoding and the Gringo's empirical probing.

London embeds the treasure's location in a riddle: 'The feet of Chia rest upon nothingness.' Leoncia, the local woman, laughs at the literal impossibility, but the pit proves the priest's words true. The narrative does not resolve whether the knots are divine or merely clever; it lets both interpretations stand.

Humor in the Face of the Abyss

Francis's dialogue consistently undercuts the gravity of the cave's mysteries. When the priest prays for five minutes, 'quivering and jerking as if in a catalepsy,' Francis and Leoncia watch 'curiously on, themselves half-swept by the unmistakable solemnity.' Yet Francis immediately re-enters the cave 'without waiting for Henry' and takes on the role of a tour guide. His jokes—'There, old lady, stand there for a while, or sit down if that will rest your feet'—are not dismissive but coexist with genuine curiosity. He drops a stone into the pit and listens 'many seconds' for the strike, then entertains Leoncia's suggestion that the sound might be a projection, not the bottom.

This tonal blend is characteristic of the excerpts: the narrative treats the supernatural with a straight face while allowing its characters to shrug, chuckle, and test. The result is an adventure that neither fully commits to mysticism nor reduces it to farce.

The Cave as a Stage for Contrasts

The cave sequence in Hearts of Three is built on structural oppositions: inside versus outside, ancient versus modern, male versus female, word versus deed. The priest remains outside while Francis and Leoncia enter; the peon is 'left on guard outside.' Inside, the 'avenue of mummies' leads to an inner chamber with two idols—Chia and Hzatzl—whose names are breathed only with 'forehead on the stones.' The priest prostrates himself; Francis pushes and taps.

London uses the cave's physical layout to mirror these tensions. The pit beneath Chia's feet is a literal void, a 'nothingness without a bottom' that defies measurement. The narrative does not explain what lies below; it simply records the characters' reactions—Leoncia's cry, Francis's dropped matches, the long seconds of listening. The cave becomes a space where competing worldviews collide without resolution, leaving the reader to weigh the priest's reverence against the Gringo's nerve.

Readers approaching Hearts of Three should expect a narrative that moves quickly between action and irony. London's foreword warns that the book is unlike his other work, and the excerpts bear this out: the prose is lean, the dialogue sharp, and the supernatural elements are treated with a light touch. Pay attention to the knotted strings—they are the story's most original device, a code that is both plot engine and metaphor for how meaning is made and hidden.

Some stories feel like places you’ve once slept in, and the strange prophecy in Hearts of Three left that quiet ache. It reminded me of another old tale, where ruins hold secrets and history breathes through walls. There’s something tender about such lingering shadows—The Castle of Ehrenstein Its Lords Spiritual and Temporal; Its Inhabitants Earthly and Unearthly — Text and Context carries that same weight, softly.

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