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A friend of mine read the Servant of the Bones sporks last night and picked up a lot of things I didn't. For instance, they say the reason that it doesn't feel right when Rice tries to make her supernaturals make scientific sense is because they're so ancient and gothic, so it just doesn't jive with the tone. And that Azriel has a HELL of a set on him to say that scholars are always spared to the son of HOLOCAUST VICTIMS because they came for the scholars first during that.

SERVANT OF THE BONES, CHAPTER FOUR

Waiting at Azriel's house is a couple other prophets and an old woman called Asenath who is a necromancer, which is forbidden though everyone knows it about her. He makes mention of how the Witch of Endor called up the spirit of Samuel before King Saul, and he also made mention of that at rather random in the previous chapter (I failed to mention it because I was out of steam for irrelevant details like that by that point) and a few time in previous chapters too. I guess this is gonna be like Hamlet in Blackwood Farm, where Rice just keeps shoving it in but it likely will have little actual relevance.

By the way, Asenath is carrying a staff with a snake at the end and is wearing scarlet silks like an "Egyptian whore". I wonder if she's evil?

The first thing she says is, "Azriel, you come to me. Or you let me in."

His dad lets her in. Azriel is lying on his bed while people talk. His brothers think Marduk is a demon just tricking Azriel into thinking he's Marduk.

There's an antechamber where the the previous owners of the house "heathens that they were" had buried their dead, so "their bones lay under the floor." Azriel's brothers take him to this room where his dad and Asenath are. A paragraph is spent describing the chairs and how there are three lamp stands burning. Asenath has "a very young voice for such an old hag" and laughs when Azriel orders the ghosts of the previous homeowners to be gone, as they're floating around for a moment since this is where they're buried. She also knows about Marduk. Azriel asks what she wants to say to him, she says "Nothing. It's all said to your father" then tells him that he makes his choice.

...ok but what choice, lady, how is he to know if you won't tell him shit? She says a lot of Big Vague Hints about what's gonna happen that will only make sense in retrospect. I'm not bothering to transcribe them.

She passes him a clay tablet, sealed in a clay envelope, which Azriel can tell has never been opened. He can also tell that it is ancient Sumerian, already two thousand years old at that point in time. She tells him to "hide it with the bones of the Assyrians" buried here and "they will give you Jerusalem for it!" Spoiler, by 'they' she does not mean the dead Assyrians. This same "they" do not, she says, "even know how to mix the gold without me." Again, this is stuff that will only make sense after the fact. It does not make sense to Azriel or the reader right now, and it's not supposed to.

Azriel asks who gave her such a precious tablet. She says it was a priest before "they" put him to death. Az wants to read it outside, she exclaims "No!" and then says that there are "two ways to do this" and that if Azriel were her son, what she would do is give "them" the tablet, give it to "the most ambitious" and "most dissatisfied" and "most eager to be gone from here, and that is the young priest Remath. Be clever. You hold your people in your hands."

Asenath gets up and the doors open for her of their own accord. She tells Azriel that he is "most privileged" because she is giving him "my one chance at immortality" and were she to keep it for herself instead "I might rise above this world and the stumbling dead, with the strength of a great spirit."

Azriel asks why she doesn't, Asenath replies that Azriel can save his people, "can save us all" and "take us back to Jerusalem" and "for that, you deserve something" and that is "to be an angel or a god."

Az gets up to try to stop her and demand more explanation, but she walks out of the house and into the street in "a blaze of red silk" which is a pretty cool line.

Azriel looks at his father, who has eyes full of tears. Azriel asks what Asenath was talking about. His dad's tears are "spilling now freely as they might from a woman." Azriel asks to read the "damned" tablet, but his dad instead asks if he's been telling the truth about Marduk. Azriel says it is, that he's talked to him since he was a child. He asks what's happening, and who this Remath priest is. His dad says Azriel doesn't remember him, but Remath was standing in the corner of the chamber when Marduk smiled at Azriel as a child. He says that Remath is "young, ambitious, full of hatred of Nabodinus, and enough hate of Babylon to want to go away." Azriel wants to know what that has to do with him, his dad doesn't know but "all Israel is begging for you to do what the priests of Marduk want you to do" but he doesn't know what the tablet is.

...okay, but does he know what the priests want Azriel to do? Because we still don't. This is getting ridiculous. I get keeping things vague, but Rice is doing it super awkwardly/unnaturally.

His dad cries for a long time. Azriel snatches the tablet and reads the envelope, which says "To Make the Servant of the Bones" in Sumerian. He asks his dad what it is. His dad, still crying, says to "leave that to my judgement" and then he takes a loose brick from the wall and stuffs the tablet into the little hiding place. Azriel asks again what it means, his dad says they have to go to the temple, that promises have been made and deals have been struck, that the King is waiting for them. He then "kissed me slowly all over my face, he kissed my mouth, my forehead, my eyes."

...well. Okay then.

I know that's more acceptable from culture to culture but it coming from Rice is just. I wonder. You know?

His dad reminds him of when Yahweh asked Abraham to sacrifice his son Isaac. Azriel yammers for a whole paragraph about this, with only the last line being worth relaying: He asks if he's expected to make some kind of performance for the king--like saying Marduk wishes him well or something--but for his father to please stop grieving as if Azriel is dead.

His dad says it will indeed be a performance, but something only someone "strong" can do, "one with endurance and conviction" and a great heart filled with love for his people and Jerusalem and the Temple that will be built there to honor Yahweh. I must note that it would probably be good at this point if Azriel had shown these things at any point. Or like...any personality, really. In all the past chapters, we learn a lot about Babylon as portrayed by Rice, and how gods/spirits work in her cosmology, but very little about who Azriel actually is. He's not AWFUL like Quinn, there's just...well, nothing there yet. And til now that didn't really occur to me, but now that this Big Plot Point apparently has something to do with his PERSONALITY rather than just this innate ability to see gods and spirits, I realize Az is kind of a blank slate, beyond being pretty religiously flexible I guess.

His dad says that if he could do it, he would. But that the priests of Marduk, and ones even more powerful than they, want Azriel. They know he is stronger than his brothers (so, what, do they have this talent too? otherwise why even mention that?) and, his father says, only Azriel among them could forgive him for condemning him to such a fate.

...which, by the way, we still have no clue what it is, and it's getting more irritating than mysterious.

Azriel is thunderstruck, and says that yes he could forgive his father anything, for he knows his father would never hurt him. His dad says that Azriel is going to be taken from him and his future wife and daughters, Azriel puts his arms around him and says he forgives him. His dad says to never forget that, not for his sake but for Azriel's own.

...I don't like his dad.

Priests arrive. That Remath dude is there and Azriel tells us how he's never spoken with the guy but he's "a real malcontent" and hates everyone and just stands around the temple doing nothing wow what a dick amirite but he's also very clever and smart. In his physical description, Azriel mentions his "white skin"

...

does Rice, like, realize that the Babylonians would not have been white? Does she just want to ignore it really hard? Maybe Remath is super pale because he's a bad guy? You know, like a Sith Lord?

Remath asks about the tablet, Azriel's dad says he won't give it to him. Remath calls him stupid, dad calls him a heathen.

Azriel asks Marduk if he's gonna help him. Marduk says "I don't know what to tell you" WOW THANKS BRO and also that he can see "what's bound to happen" MAYBE TELL AZRIEL THEN?! Azriel says they're gonna kill him and asks why, Marduk says he'll see, and that if he refuses they'll kill him anyway AND his dad.

...fat lotta help you are, Mar.

Az asks if Mar can get him out of here. Mar takes a WHOLE PARAGRAPH to tell him no he can't. Then Marduk cries about it and tells Azriel to refuse to do it, and that there is a "third way" concerning Asenath and the tablet, but that it is "terrible" and older than even he is. He tells Azriel to "Know your own mind. Take your chance!" Azriel begs him not to leave, Marduk says he won't and that Azriel can make him appear to "frighten or stop them"

SO MAYBE DO THAT NOW?!

They go to the palace. There's a lot of luxury. There's men gathered, including two of Az's uncles (one is the deaf one), the prophet Enoch, and Nabodinus, and some Persians, and Cyrus the Persian himself who is very handsome and talks about how "pretty" Azriel is, lest we forget. Asenath the witch is there too. He tells Azriel to be happy because his tribe is going to be rich and live forever and go home. That's the relevant stuff, anyway. He does not, however, tell Azriel ANYTHING ABOUT WHAT IS GOING ON!

Blah blah blah

There's so much blah blah and literally nothing relevant to shit being said.

Honestly I just wanna quit this spork.

Azriel asks for another chair at the table for Marduk. The High Priest gets mad, saying that the god isn't coming down off the altar for a Jew like Azriel and Azriel didn't really see him. Remath cuts him off, saying that Azriel is indeed the real deal and that if he asks for Marduk to come, he likely will. Cyrus seems to find this amusing, since he smiles and says he loves Babylon and he wouldn't hurt a stone here. Marduk does indeed arrive and puts a vaporous hand over Azriel's own. Azriel's father, meanwhile, is crying again. He "cried and cried. He cried like a child. He cried."

...brilliant prose right there.

"Cyrus looked on with patience and compassion at my father" while the High Priest says they should "get on with it" to which the High Priest agrees. YES, PLEASE.

Cyrus says they're all in this together. Azriel asks Marduk "Are we?" To which Marduk replies, as they all watch Azriel speak with the invisible god, that he cannot give Azriel an answer because he loves him too much to make a mistake "and I have no right answers."

Azriel asks him to stay, Marduk says he will "throughout".

There's a lot of stuff about stools and chairs being brought for everyone to sit. Only Remath remains standing with Cyrus's soldiers who are "poised to become butchers" and Azriel realizes that Remath is looking at Marduk, that he can see him. He also describes him as having "cold and conniving eyes" as he looks then at Azriel.

WOW, I WONDER IF HE'S THE BAD GUY!

That's it for this chapter. I'm seriously considering just dropping this spork after we get to the process that kills Azriel and turns him into the Servant of the Bones if this book doesn't get more bearable to write about. I hope that wouldn't disappoint anyone too terribly.
a_sporking_rat: rat (Default)
Hello friends! This is another long one (only about 15 pages, but feels like 45) in which not too much happens, but there's also just not much to snark. One thing I like about sporking LKH, her writing and content was so bad there was generally a whole lot to pick apart with every page. Plus her chapters were on the short side too, if I remember correctly. This is a huge drag already. That said, my plan for my next book to spork will be another Rice one, either Blood & Gold or, if I get it back from my brother's house by then, Queen of the Damned.

I picked up the first book of Vampire Academy at a used bookstore because it was 75 cents and I am pleasantly surprised by it? I admit, I had some preconceived notions about how it was gonna be since it's YA paranormal romance, but I'm five and a half chapters in and not only is there nothing that thus far bothers me, I'm honestly so impressed that the primary relationship/concern of the heroine is her female best friend? Her bestie is vampire royalty that she's the bodyguard for, and they have this super special empathic bond, and the heroine lets her feed from her even though they know it would be considered super sexual kinky if anyone found out (but it's not sexual with them, just out of necessity, even though it explicitly feels REALLY REALLY GOOD and she gets jealous when she sees her vampire princess bestie feed from a human) and she genuinely cares about her thus far and thinks a lot about her and looks out for her physically and emotionally in a way that goes beyond just "well I'm her guardian so I have to take care of her" sort of way? I'm not expecting the author to spring Surprise Schoolgirl Lesbians on us, both of them chat about how hot guys are and there's already the obvious YA love interest guys introduced that both girls will obviously end up with, but I just genuinely love that there's a real bond between two women (well, girls) in this book that is treated as real and important and given attention to. One thing that has put me off a TON of the paranormal romance/urban fantasy genre is that it always seems to be that the heroine only has positive relationships with men, and all other females are either antagonists or unimportant. Nothing puts me off from a book faster than "all females except me are harpies and bitches" type heroines, especially when the writer (usually a woman herself) sets that up as the objective truth and not just the heroine's personal issues. Other than that, it's nothing really remarkable or great, pretty much so far just high school clique stuff with a sprinkling of supernatural trappings, but I was impressed enough by this aspect to make note of it.

Also, who here knows about the Nagaraja clan from the "Vampire: The Masquerade" setting? I really like the Nagaraja vampires because their need to eat human flesh in addition to blood is just such a great weakness? It's truly monstrous from a cultural taboo standpoint, even if they're just stealing the meat from dead bodies. It's a very difficult weakness to get around too, as you only have so many options to do this without attracting attention, and will probably have to get creative (especially if you can't get a job in a morgue, disposing medical waste, etc.) And finally, it's gross. On an OOC level, it's gross. Drinking blood is something that I think any vampire fan is just inured to after a certain point (in fiction, of course, I think we all agree it'd be a lot nastier irl), especially since it's so easily romanticized and sexualized in vampire fiction. Like how many pictures have you seen of a "sexy" vampire with blood on their mouth? But you can't really do that with BITING CHUNKS OUT OF PEOPLE. Hannibal Lector might have made cannibalism all elegant and classy, but your average Lestat type is gonna look a lot less hot when he goes all The Walking Dead on somebody. It really makes vampirism what it should be, in my opinion---a curse. At the same time, they're not mindless like zombies or the vampires from The Strain, or souless like Buffy vamps, so they can still be, you know, CHARACTERS. Not that some Buffy vamps weren't "characters" even sans soul (Spike, Drusilla, etc) but they did always have to be evil. And I do like evil vampires, I also just like evil ultimately being a choice in the end no matter WHAT you are.

Also, I bet Limyaael would HATE Blackwood Farm:
https://curiosityquills.com/limyaael/things-that-really-irritate-limyaael

SERVANT OF THE BONES, CHAPTER 3
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Man, I suddenly had some hard nostalgia for Anita Blake? Namely the wereanimals. Don't know why. Also, you know what I thought was a cool detail? It came up in one of the most recent books, pretty sure, that the color of your animal (except with the tigers and born shifters I guess) is determined by that of the wereanimal who infected you. So if a werewolf with a white wolf form infected somebody, their wolf form would be white too. I haven't seen that anywhere else and I think it's neat. I kind of like it better than someone's animal form having their coloration, cuz it means anyone can be anything, you don't HAVE to have a ginger animal form just because you're a redhead, a blonde can have a black one, a black person can have a white one, etc. I dunno, I just think that's cool.

Speaking of that, check out this list:
https://sites.google.com/site/satireknightsnarks/satireknight-specials/satireknight-rants---the-top-ways-anita-blake-pisses-me-off

I do disagree that Anita would fit in on Tumblr, though. Yes, she's quick to call anyone a bigot who disagrees with her, but that wouldn't protect her from everyone else calling her out on her own abundant bullshit. I think she'd get ripped apart pretty quickly, and rightly so. Also, on the exercise thing, I think it's been specified more than once that the vampires and were-animals are using gym equipment that's constructed specifically with their super-strength in mind. Everything else though...right on. And the hatred helped with the nostalgia!

This chapter was hard to get through. It's not BAD but it's very dense, very wordy, and it jumps around a LOT. I guess that makes sense since it's two people talking---it's much more a conversation than Lestat/Quinn was--but the tangents make things zig-zag a lot. And, in typical Rice fashion, there's a lot of very lovely but very distracting, unnecessary details that just bog it down. I definitely don't think that all of said details should be cut---they're lovely, evocative, set a scene, and are part of the Gothic style---just trimmed a wee bit.

It would be inaccurate to say NOTHING relevant gets relayed in this chapter, but I think most of the 25 pages it takes is just padding. That's why this spork took this long. By the way, at the end of this book, Jonathon mentions to us he's not attracted to men. I'd like you to keep that in mind when you read certain lines.

SERVANT OF THE BONES CHAPTER 2
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Before we begin, let me share this 1995 quote with you from Rice:

"The meaning of The Vampire Chronicles is still unfolding for me, and is as much connected to God as to the Devil, as much connected to pleasure as to pain. That the books are entertainment seems a given, and for that I'm grateful. That they can be seen as a religious journey is also clear. I am immersed in the questions, and praying for the answers. Lestat, c'est moi. I want you to love all of my characters. I am, in the writing of these and other novels, as ambitious as Dickens. I want everybody to cry when Claudia dies, just like they did for Little Nell."

With that said, let's begin another Rice tale, this time not one of her vampire books, nor her witch chronicles, but a stand-alone novel about an entirely different sort of supernatural creature, one that seems to be of her own invention from what I can tell.

"Servant of the Bones" was published in 1996. So, after the debut of the Vampire Chronicles, but before Blackwood Farm.

It is prefaced with "This book is dedicated to GOD"

...hoo boy. So I guess this is after she re-discovered religion. I wonder if it's written before or after "Christ the Lord: Out of Egypt" (for those that don't know, that's her published Jesus fanfic) Lemme check...nope, Out of Egypt was actually written in 2005, just before Blackwood Farm! That...explains a lot about Blackwood Farm. And makes me surprised it wasn't MORE preachy throughout.

For the record, I'm not opposed to religion, or religious people, or religious people putting their faith into their books. After all, I think we all want to promote values we consider positive through our fiction, whether it's diversity or care for the environment or strong women or whatever. I would want my work to reflect certain values of mine if possible, so I would be a hypocrite to say others work can't reflect theirs. Just...in some cases (and this applies to cases where I agree with the values too) it's not done well. And Blackwood Farm isn't giving me too much hope for Servant of the Bones. I have read SotB before, I just can't remember anything on this topic. I just remember it being sexist.

But, I'm pre-judging it at this point. Instead, how about let's dive in with fresh eyes and give it a fair chance?

SERVANT OF THE BONES: PROEM
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OKAY GUYS last one!

BLACKWOOD FARM, CHAPTERS 51 & 52

In Chapter 51, Lestat and Quinn go to Stirling at the Talamasca to report what happened and how Merrick died, so that it can be recorded in her files. Lestat says she was a "gentle soul" who only preyed on the Evil-Doer and never innocents. Quinn says she chose this moment to kill herself because she wasn't alone. He also says that he had loved Merrick, which is ridiculous given he barely interacted with her in the brief time he knew her, and only on the matter of Goblin, and never showed any sign of affection to her, but I've ranted on Rice's penchant for instant but "authentic" affection before.

Quinn says he doesn't know what he'll do or where he'll go now, since there are people who need him and he is "enmeshed in human life", a phrasing with Lestat compliments him on. Quinn also thinks that he loathes himself for killing Patsy and wants to confess it, but hates himself too much.

Lestat says he's in love with Quinn and that Stirling can put THAT in his file if he likes. Given that he seemed to love Merrick too, I'm betting that Rice bumped off Merrick to make room for Quinn.

Quinn asks Stirling about Mona, saying that Rowan and Michael only give him vague answers and won't let him see her and that she's undergoing some kind of "special therapy" and could die from any kind of infection and is in intensive care.

Stirling says that Mona is dying. Lestat asks Stirling why Stirling is telling Quinn this. Stirling says because Quinn wants to know.

Obviously.

I guess Lestat is jealous, because instead of saying anything to Quinn about Mona, he tells "Little Brother" that he knows of two Evil-Doers in a magnificent waterfront mansion in Boca Raton. Oh, are they finally going to kill people who aren't poor? Who knows, we're not told any details about it in the following chapter (which is just as well since things are wrapping up) besides that Lestat once more shared his blood with Quinn.

Quinn is thinking about how he will manage to see Mona, but this is instantl resolved for him. Mona has come to his house, who Jasmine describes as a "crazy woman" and "living skeleton" who drove here in a limousine filled with flowers. Good for Mona, she actually does shit, and she goes all out. She damn well should, knowing she dying.

Quinn goes up to his bedroom, which is filled with loads of flowers and with Mona, who indeed looks as Jasmine described, with only her hair having been spared from the withering that has befallen the rest of her. She tells her "Noble Abelard" that she's come to die here in his bed instead of full of tubes and needles. Quinn asks if her "witch's eyes" can't see that he isn't human anymore. THIS ISN'T ABOUT YOU, QUINN, STOW IT! Oh wait, but he has a point! He asks her if she wants to be what he is, and that she can be immortal if she lives off the blood of others forever.

Lestat comes in, and tells Quinn to let him be the one to do the "Dark Trick" because that way "you'll be much closer to your princess." because when one vampire changes another in Ricean world, those vampires cannot communicate through their thoughts. He tells Mona "Make your choice, pretty girl. You can always choose the Light some other night, cherie. Ask Quinn if you doubt it. He's seen the Light of Heaven with his own eyes."

Yeah, I mean why have the conflict of choosing between a predatory existence or facing the unknown that is the death, and the fear of what does (or doesn't) come after, right?

Lestat explains the rules and limitations of vampirism, and how he breaks them, while "Ophelia Immortal" clutches Quinn in her "nest of flowers" with her whole body trembling.

The last words of the chapter, and the book, is Mona saying: "Yes, I want it."

And that's the end!

I have no doubt that Mona will be restored to full beauty from the Dark Trick. Or perhaps once she gets a taste of blood.

In any case, it's done with. I think I'll do another Rice book next, either Servant of the Bones or The Mummy.

I read this one for Petronia, and...I like her a lot, but didn't really care for anyone else save Aunt Queen, whom I found far more interesting than Quinn. To be honest, almost EVERYONE was more interesting than Quinn, especially the characters Rice wanted me to dislike (Patsy, Rebecca) though that might just be the contrarian in me. Alas, what will probably stick MOST with me about this book is the bizarre shitty racist fantasy setup of a black family just happily working for a bunch of white Southerners for free because no reason.

Til next time, folks!
a_sporking_rat: rat (Default)
I lost the book again. At first I wondered if I was doing this subconsciously, then I found it on the bookshelf. Someone must have put it there with the intent of helping me.

Alas, there's no help for...

BLACKWOOD FARM CHAPTERS 49 & 50

"I thirsted and I was alone."

Sounds like you need a booty call, Quinn!

Instead, he looks at the altar for tomorrow's ceremony and tells us how Clem got the firewood for it. Everyone has gone---in a limo, of course, it is noted---except Patsy. Tommy, by the way, pleaded to get to watch the exorcism. Not gonna lie, that's a kid after my own heart, I totally would have done that. Patsy, on the other hand, cursed at Quinn and called his scheme to get rid of Goblin "self-centered" according to Quinn.

Quinn sends Cindy the nurse away, telling Cindy that he will "take care of" Patsy.

He goes to Patsy's room. She calls him a "spoilt brat" and asks what he's doing there. He thinks how she looks like a child in her nightgown with her "beauty parlor blond" hair down. She tells him to get out and that she won't go no matter what he does, that she hates him and doesn't want his money.

"And from her mind came the pure stream of animosity and hatred and jealousy, the pure hate she had so keenly expressed."

Behind Patsy appears the filmy figure of the "hateful" and "vengeful" ghost of Rebecca. Quinn wonders why she "dared" to be there, wanting her to get away from him, whilst she requests again "A life for my life."

Then he picks up Patsy and snaps her neck, just like that. He specifically mentions he does not drink a drop of her blood. Then he takes her body out on the pirogue and dumps her in the deepest part of the swamp. No one sees him except "hateful, vengeful Rebecca" who is "exultant" who says that she counts it as a "real fine vengeance". Quinn retorts "Get thee behind me Satan. I didn't do this for thee but for me."

I hope we're not supposed to see that as okay. Patsy was vile and abusive to Quinn, yes, but she was also helpless and dying and no threat to him now. He just needed her out of the house was all. There are definitely a lot of times I can get behind a victim killing their abuser. This is one of the few times I can't.

Also, for all that Quinn stresses to us that no one but Rebecca saw, I should think it would be PRETTY DAMN OBVIOUS to Cindy, and probably everyone else. I'm betting that, if Rice ever even actually thinks of that, she'll probably claim they just don't care because no one liked Patsy and everyone loves Quinn.

Rebecca, appeased regardless of Quinn's intent, disappears, presumably never to return. So that plot is done, I guess.

The gators move in to eat up Patsy.

Quinn goes back alone the cemetary. Hours pass. He thinks how he is "Quinn the killer" of both the bride and his own mother. Both women who Rice was sure to paint as unpleasant skanks, I should note, as she did with Rebecca. I think she deliberately makes them such that Quinn can reasonably feel guilty about it without the reader finding it absurd---Patsy was pathetic and neglected, Rebecca was brutally murdered, the bride wasn't a murderer like everyone else at her wedding---but can't bear them to be victims that she, the writer, actually feels for at all. They're all very much the same kind of "bad woman" ---as are the coded-Latina women in the beginning of the book that Quinn kills too, if I recall right---enough that it gives me the impression that, like LKH, Rice seems to think that being a "slut" is worse than murdering one.

Quinn thinks how he's all alone on Blackwood Farm for the first time in his life.

He is still thirsty, but does not feel he has the stamina to hunt. But he also doesn't think he can do it tomorrow night, given what they have planned. He worries a bit about this poor planning, but it's okay because Lestat shows up and lets Quinn drink from him till Quinn tastes "his pure heart, his heart for me, his heart and nothing more could ever be wanted, nothing evermore."

Bwaugh. Man, we have gotten a LONG way from original Lestat for someone to taste his heart and call it pure.

Come to think of it---Quinn is a rich young man from a plantation, is he maybe meant to be a sort of Louis do-over with Lestat? Like Rice decided she didn't want them to have an abusive and tragic but very interesting story together after all because it ended with them NOT IN WUV so she decided to go with the fanfic version? That idea didn't hit me til now, but given the similarities I wonder.

Anyway, Chapter Fifty starts with the next sunset. Clem has piled the firewood and coals high around the tomb as instructed. Merrick is there, wearing her hair free and a black cotton dress with long sleeves and a full skirt and jet beads at her neck, with a big bag covered in glittering beadwork. My Goth-admiring self is jealous. Lestat's there too with his hand on the small of Quinn's back.

Merrick lights all the candles. She then pours kerosene over all the fuel and sets it ablaze. Geez guys, why is she doing all the work? Just as I think this, she tells them to come here and be her helpers. Good. She tells them anything they have believed in the past is not important, that they must "believe with me now" and put their faith in this exorcism. She asks Quinn to tell her the "true names" as far he knows of Garwain's parents and all his ancestors. Quinn does so, then she says to remember her instructions and takes a big gold knife from her bag. She cuts her wrist, Lestat pulls her back from the fire, she cuts again and dribbles the blood into a chalice she takes from her bag. "The heat of the fire was dreadful now and I hated it" with both the "instinct" of a human and of a "Blood Hunter."

Merrick throws back her head, lifts her arms up, and cries out to "Lord God, Who made all things seen and unseen" to bring Garwain to her so that she may guide him to God, for he is "lost to your Wisdom and your Protection" She asks Lestat and Quinn to join her prayer, which they do.

Goblin does indeed come, in a huge gust of wind with red eyes. He says he knows the tricks of a witch, that Merrick hates him and means to kill him. His figure begins to "fill out and grow immense" and bear down upon Merrick. She yells "Burn, now, burn!" and all of them send all their power at Goblin while yelling this, and he rises up above the flames, made of tiny flames himself, "paralyzed" and "retracting" and "howling" and "turning in on himself and coiling" and he becomes a wind on the altar that bears down as a funnel on Merrick. Merrick staggers backwards, but then keep up the force and the commands of "burn!" and Merrick adds "Burn till all of you is pure ghost as it should be! And you can pass into the Light as God wills, Garwain!"

Merrick then pulls from her bag the tiny shriveled corpse of the baby Garwain, and shouts to Goblin (in much prettier, more extensive prose) that this is his body. Goblin proclaims her a liar and tries to snatch the baby corpse. Merrick won't let go and continues to tell Goblin to go to God, while asking God to take him. Quinn can see that Goblin is trying to fuse with Merrick, but she is resisting with all her power. Quinn cries out,

"Dear God, who made Julien, Gravier, Patsy, take him, take this orphan! Grace, Alice, Rose, come for this doomed wandered. Add your prayers to ours."

Quinn, you have a DAMN lot of nerve to invoke Patsy for this! You literally JUST killed her and fed her to gators!

They yell some more praying, and Merrick lifts the dead baby up. It begins to come to life, moving its limbs and crying. But I guess Goblin still has not returned to it, because Merrick starts commanding him to do so.

"High above the fire, the giant image of Goblin shivered, horrific and weak and confused, and then plunged, plunged into the crying infant."

Quinn thinks "Amen, brother, amen."

I admit, as preachy and annoying as all the praying is, this would be a cool movie scene in my opinion.

The fire is brilliant, yet does not hurt Quinn's eyes. An invisible force knocks him back. Merrick, child in arms, has climbed into the pyre. They are both burning, but in a "pure celestial Light" in which Quinn sees Pops, a toddling infant, Merrick, and a small old woman. Merrick turns and says farewell.

Quin is "transfixed by the Light" and its"immensity and undeniable sense of love" and "then slowly the great wealth of blessed Light faded."

I don't think it's my atheist bias talking when I say I dislike the factual surety of the divine in this series. Not just that the divine exists, but that it is objectively good, loves you, and everyone you love is waiting for you in a happy afterlife. These are all very comforting things, and assuage the deepest fears that many people have. Indeed, it's these fears that vampires are often used to represent---the question of life after death, the condition of the soul, the perverse horror of getting to see a dead relative again but in a horrible way.

I'm not saying that a divine presence, and a very Christian interpretation at that, is out of place in a vampire novel. That would be pretty absurd, for obvious reasons---both folklore and iconic vampire media (most notably Dracula) are full of stories in which Christian iconography and prayer is an effective weapon against these beings. It's simply the way that Rice handles it that I just find...kinda twee? I actually find faith a very beautiful thing in many ways despite not sharing it, but these characters don't have faith, they have proof that God (or something like Him) exists and is on their side to help them out and it all works out in the end after death. Lestat, especially, has personal experience---recall, he's literally drunk the blood of Christ. Vampires aren't just immune to holy relics in this series, they're in good with God!

And I don't have an inherent problem with that in itself either. I think you could do something cool with that, even. Like, I've always wanted to see a werewolf story that drew on the "Hounds of God"---the claim by a man who was accused of lycanthropy that, yes, he was a werewolf, but that werewolves serve God to fight other, evil supernaturals. I've only ever seen that used once, in The Graveyard Book by Neil Gaiman.

My main problem is, I think, that from what I remember, wasn't "Interview" a lot about existentialism and how vampires don't really know where they come from or what they are and how they work, they just know that they exist. And I think it's fine that Rice expanded that lore so much in subsequent books---I think she was actually the first writer to introduce an origin for vampires as a species, as well as a "first vampire" character in Akasha, and that's really cool!--but when it gets to the really big questions like this, that were such a theme (I think?) in the first book....

I dunno. Maybe it is just my atheist bias. I guess I just find this very certain, very feelgood portrayal of divinity as out of place in what used to be a series of mystery and horror and, in the first book, unhappy endings. Maybe I'm just too much a cynic though? I do believe that a sense of hope can improve a horror story depending how it's used, but there's a difference between hope and certainty. And this is the latter.

Anyway, a sobbing Lestat pulls Merrick's body from the flames, trying to beat the fire out with his coat. I'm surprised there's a body at all, Ricean vampires are noted as very flammable, like I think they have flammable blood if I recall right?

Quinn tells Lestat she's gone, Lestat slashes his wrist to try to revive her with his blood. It doesn't work, Quinn repeats that she is gone, that he saw her say farewell in the Light.

"He wouldn't stop crying. I loved him."

They put her body back on the altar and finish burning her.

Lestat finishes the chapter by saying it is always the young ones who kill themselves: "The ones for whom mortality holds magic. As we grow older it's eternity that is our boon."

Next update---THE LAST CHAPTER!
a_sporking_rat: rat (Default)
Blaze passed away. I'm sad and ratless again. I don't plan to get any more for the time being. It's just gonna be me and the mice.

BLACKWOOD FARM CHAPTER 48

Merrick, Lestat, and Quinn confirm Patsy's story with the staff. Big Ramona is upset that Patsy told him, but she and Jasmine confirm the tale is indeed true. They also admit that they did indeed think that Goblin might be Garwain, though Jasmine says they didn't think it mattered. I think it probably mattered a heckuva a lot to QUINN.

Speaking of that, it turns out the reason that nobody told Quinn was that Pops forbid it. He said that it was morbid and grotesque and there was no reason for Quinn to know about it. Big Ramona says he also just never found a good time to tell Quinn about it.

You know, under normal situations, I can see how "hey did you know you had a dead twin you sucked the life out of in the womb" is something it would be hard to find a good or relevant time to tell someone. But I feel like in Quinn's situation, it was super hella relevant and any time would have been a good time. I can understand leaving out the graphic aspects, but I think a fairly young child could understand "you had a twin brother, but he passed away as a baby, so that might be what Goblin is"

And Pops has been dead awhile, so really SOMEBODY should have said something at this point. Again, under normal circumstances I can see why you might figure there's really no reason somebody needs to know something gruesome like that, but these circumstances are far from normal. The only reason I can think as to why they held back this long is either that Aunt Queen continued Pops' orders, which would make sense given that's what she paid Patsy to keep quiet about...or that Pops' hold on the staff goes beyond the grave. Pops was a right tyrannical asshole to Patsy, so I wouldn't be surprised by the latter being the case along with the former.

Speaking of Patsy, Quinn asks if anyone felt sorry for her. Everyone goes quiet, then Big Ramona talks about how Patsy is a "liar" and how sure she cried over the little twin, but just because she wanted people to feel sorry for her, and how she knew it was going to die and it's easy to feel sorry for something that's not going to live a week, but a lot harder to be a real mother.

I genuinely can't decide if Rice is siding with Big Ramona or not. Given that it's golden boy Quinn who raises the question of "hey didn't anyone feel bad AT ALL for the SIXTEEN YEAR OLD whose BABY DIED?" I'm inclined to say that we're meant to feel that people should indeed have had sympathy for Patsy, but I think Big Ramona is meant to be stating something wise and true as well that we're also supposed to agree with. I think maybe it's both---we're meant to agree that Patsy deserved more sympathy than she got, but also that Big Ramona is right about it being easy to pity a dying baby and harder to raise a real one.

I think Rice is trying to go middle-of-the-road with Patsy, and it's a good attempt. I just think it happens too late, and her love for her main character means she just can't muster QUITE enough convincing compassion for Patsy or bring herself to portray anything about her that isn't mean and cruel, even in mourning. But it's a good attempt, and much, MUCH better than Rice usually does with Patsy's sort of character, and I do appreciate that. And I don't wholly disagree with Big Ramona either, that does make sense, I just don't wholly agree with it as a valid condemnation either. Which may also be Rice's intent, I'm really not sure.

And not being sure might be a good thing. You all know very well by now my hatred for when I can tell an author is trying to tell me which way to feel about something. So the fact I can't decide which way she wants me to lean here, if either, may be a point in her favor, not against. And I like that----because this is such a complicated situation that different people are going to have different reactions to and judgements of, based on their own experiences and if it hits personal notes for them. So I think leaving it more open ---at least more than she usually does---was a wise decision on Rice's part.

Sorry, I know this blog is meant for sporking, but I believe in admitting the good where I find it. I feel it makes the sporks something more than just "pouncing on every bad thing I can find or extrapolate" and lends more credence to my criticism when I do find something wrong.

Anyway, it's reiterated YET AGAIN that Goblin must be got rid of (yes, we know, that's been stated SINCE THE START OF THE BOOK, it's WHY Quinn went to Lestat at the beginning!) and some stuff shakes and smashes, so I guess Goblin knows now. Merrick, Lestat, and Quinn all go to Quinn's room, and Merrick commands Goblin to show himself. Goblin responds by shattering the windows, which Merrick calls a "cowardly, foolish trick" and says she could have done that herself. Uh, okay?

She asks Goblin "Don't you want me to say your true name? Are you afraid to hear it?"

Goblin types on the computer for Quinn to make Merrick and Lestat leave or else he will cut up all of Blackwood Farm, also that he hates Quinn. Then a huge amorphous cloud made of filaments of blood, shaped like a screaming human face, spreads itself out beneath the ceiling. It contracts around Merrick, surrounding her and whipping her with its tentacles, causing her to fall backwards. She throws up her arms and cries,

"Let it be! Yes, come into my arms, let me know you, come into me, be with me, yes, drink my blood, know me, yes, I know you, yes..." and her eyes roll up in her head and she lays there as if unconscious (can Ricean vampires be unconscious?)

.....there is no way this wasn't sexual.

Goblin rises up "a wind full of blood" then gusts out through the window, leaving it stained with bits of blood and gore, as are Merrick's limbs and face. Lestat helps her up and kisses her and says he wanted to burn Goblin. Merrick says it is too early for that, and besides "our meeting had to come. I had to be sure of everything." And she says that Goblin is indeed Garwain, and that's why he's strongest near the cemetery, because that's where he's buried, which explains why Goblin can't go outside Louisiana with Quinn. However, Goblin himself doesn't know this, he doesn't know what/who he really is. Merrick says he can be made to know, however, and this is their most powerful weapon. She says that ghosts are connected to their remains, and he's connected to Quinn by blood, and that's why he feels he always has a right to share what Quinn has. Quinn is like AH OF COURSE, BECAUSE WE WERE IN THE WOMB TOGETHER! Merrick explains that twins feel the loss of each other terribly, and Garwain felt this separation in the incubator, which is why he did not go into the Light.

Quinn says for the first time in months, he feels pity for Goblin. Merrick continues, saying that Goblin latched on to Quinn when baby Quinn was brought to his funeral, and thus became something more than a "mere doppelganger. He became a companion and lover, a true twin who felt he had a right to your patrimony."

1) So Merrick knows they fucking
2) His patrimony? His inherited estate? Also I think Merrick, like Mona, even though she's a vampire now, is meant to be a character who was born in present times. I don't think most modern people say "patrimony"

Lestat is like okay so now that Quinn has the "Dark Blood" then Goblin wants it too. Merrick says something more is happening besides that and asks Quinn to describe what it's like when Goblin attacks him to take his blood. Quinn describes it as a fusion, saying he never felt anything like that when alive but that Mona says Goblin was inside him at times, and that she felt him when they made love. Merrick asks about Mona, this derails into talking about her and how Quinn met Julien Mayfair's ghost and learned he has Mayfair blood through him, and Merrick says it was Julien who came to her Great Nannanne when she was eleven and told her to send Merrick to the Talamasca. Mention of the Talamasca makes Quinn bring up OH WHAT I ALMOST DID TO STIRLING OLIVER and then Lestat, bless him, says "Forget that!" then makes the sign of the Cross and says he absolves Quinn of all sin because he's Coven Master here. Merrick says Lestat becomes Coven Master wherever he goes.

Merrick and Quinn discuss the particulars of the fusing for another page, and Merrick says Goblin's become more destructive because having "foolishly increased the material makeup of his being" has made him more solid and he can't do stuff like passing through walls. I guess that would make him more destructive since now he has to bash through things, I don't know, she doesn't explain the connection. They talk some more about it. Quinn says the fusing feels like an orgasm. I wonder if that's how it was for Merrick?

Quinn suggests that maybe if he dies with Goblin, but the others say there's no need for that and no guarantee that doing so would drag Goblin to the grave with him. Personally I think that would be a good ending though. Lestat adds that "I don't want you to die, Little Brother" BLARGH

Merrick then explains that when Goblin fuses with Quinn, he's also fusing with the spirit of vampirism within Quinn. Merrick doesn't call it by name, but those who have read Queen of the Damned will recall that the first vampire, Akasha, was made when a blood-craving spirit called Amel entered into her flesh through an open wound. Each time a new vampire is made, a portion of Amel enters them as well, so he is spread out in pieces amidst the vampire population. So what Merrick is saying is that Goblin is fusing not just with Quinn but also this piece of Amel, and for some reason that gives him a greater pleasure than he's ever known, like a sweet drug, and so the reason he drinks vampire blood is to experience the supernatural for a longer period. I feel like this is just superfluous explanation at this point, but go off I guess.

Merrick says she'll need lots of candles, big thick candles, lots of fuel, candles on every grave, and wood and coal for a big fire on a tomb in the family cemetery by the swamp. She also wants everyone else in Blackwood Farm to be gone when they do the exorcism. Quinn says he doesn't think Patsy will agree to leave (why not?) and Lestat says that "Patsy herself has given you the keys to her character" and takes a gold money clip "bulging with thousand dollar bills" from his pocket. Quinn says he'll take care of it, and asks Merrick how she's going to do the exorcism, to which she replies,

"The best way I know how. My loving friends, the Troop of Beloveds, don't call me a witch for nothing."

Thanks, Merrick, that answers nothing. And ends the chapter!
a_sporking_rat: rat (Default)
Hey guys, long time no spork! I lost the book. I found it yesterday under the couch.

In other news, the rodents are all good. Have I mentioned that one of the mice has gotten fatter than the rest? Now she sits on top of them. I call her The Queen and she also loves my thumb. Seriously, she grips my right thumb and gives it hugs!

Ok, so here goes---at last, we get answers as to the origin of both Goblin and why Patsy hates Quinn so much, in...

BLACKWOOD FARM, CHAPTER 37

We're informed that Patsy is in her room with the nurse Cindy. We're also informed that everybody in the house believes Goblin killed Aunt Queen, even Patsy, and no one wants to climb the staircase alone. Everybody moves in groups of two or three.

Merrick and Lestat are waiting for Quinn as promised. Wait, if they were just gonna meet him at his own house, why didn't they just go with him on the ride home? We finally get a description of Merrick, and it's surprisingly brief: She's "a tall, very lean woman with almond-colored skin and full dark hair." I l like this, brief but effective. I do like having a distinct mental picture of characters, I really do, but the paragraphs that Rice and LKH usually spend on them frustrate even me. This? This I like.

As a note, I have never read anything with Merrick in it, but I told someone once she looked like I had always kinda pictured her. The person said that oh no, Merrick didn't look anything like her, that if she recalled right Merrick was blonde and full-lipped and "well-boobed". Seems like she DIDN'T recall right, but apparently I was close! Well, closer than that description, anyway.

Merrick tells Quinn that Goblin is related to Quinn by blood, Quinn thinks that can't be. He says he always thought Goblin was a spirit (remember, in this world that's something that was never alive) because he's seen ghosts his entire life and they have "histories" and "patterns". Okay, I actually like this bit, Quinn draws on his firsthand experience with other ghosts to give a good reason why he never considered why the being that looks just like him might be related to him. And it is a good reason; unlike, say, Rebecca, Goblin has no knowledge of any existence prior being attached to Quinn, as a ghost would.

Merrick says Goblin indeed does have a history and pattern (I admit I don't quite get what the "pattern" part refers to) and asks Quinn "you have no idea?"

Quinn explains that Goblin has just always been with him from the beginning, that Quinn almost feels he created him from the void in his own image, that Quinn knows he's made from "something that obeys natural laws" like "astral particles---some form of matter" and how Mona explained to him about how spirits have a nucleus and all that, that he has a kind of circulatory system and is growing stronger as he takes blood from Quinn, but that Quinn "never had an inkling that he was the ghost of somebody"

This takes a paragraph. Just a paragraph. What he spent FIVE HUNDRED PAGES explaining to Lestat, he's sufficiently given to Merrick in a paragraph, at least all the RELEVANT things.

Merrick says she saw Goblin at the cemetery and that he's Quinn's twin. Quinn is like yes he's my doppelganger, and Merrick says that no, she doesn't mean it like that, Goblin is the GHOST of Quinn's twin. Quinn says that's impossible, that he'd know if he had a twin, someone would have told him, which given the amount of family secrets he's been finding out in this book---Patsy is his mom, Pops had an illegitimate son, etc---is a pretty damn stupid thing to think, and points out that Goblin is right-handed and he's a lefty. Merrick counters that this is common with "mirror twins" and that there's an old legend that every left-handed person has a right-handed twin that died in the womb. Yeah, I remember telling my sister (who is a lefty) that once.

Merrick says, however, that Quinn's twin did not perish in the womb. She says they need to talk to Patsy, that "I think Patsy wants you to know. She's weary of the silence."

Quinn is too shocked to respond.

They got to Patsy's bedroom; Cindy and Big Ramona get up to leave (like good servants I guess). Patsy asks "What kind of invasion is this?" and tells Cindy not to leave without giving her another shot, just so we know Patsy is a drug-grubber I guess. She accuses Quinn of not knowing she's alive half the time (a weird complaint, I don't think that was ever her issue with him?) and asks if he'll drag everyone to the cemetery at the stroke of twelve when she dies. Quinn says maybe he'll just strangle her, that he had a dream he did that, that she tasted like cotton candy and candy apples and that he dumped her in the swamp. Patsy responds by laughing, saying he's crazy and should have been drowned at birth and "you don't know how much I hate you"

Cindy says Patsy doesn't know what she's saying, that she'll give her another shot in an hour. Patsy says she's sick now, Big Ramona says that "you're loaded now is what you are" since again we have to be reminded that Patsy is abusing her medication on top of everything else, because we apparently need extra incentive to dislike her. There's something very nasty to me about Rice using this for that purpose, like it's on the same level of emotionally abusing your son.

Lestat asks to talk to her, she says she's glad to talk to friends of Quinn, that it's never happened before. She then talks about how Nash is stuck-up because he just always calls her Miss Blackwood (it's weird to me how the daughter of a rich fancy family, even one as disconnected from them as Patsy, takes this as Nash putting on airs rather than being a normal term of address from someone who works for the family; I guess either Nash does it very sarcastically or this is just meant to show Patsy is Trash regardless of upbringing) and how Jasmine "can't stand the sight of me" and how Jasmine thinks that Patsy doesn't know her "black bastard" son Jerome is Quinn's even though "half the parish knows"

Black bastard? Is Patsy gonna be transparently racist now like Rebecca to show we're not supposed to like her? I gotta tell ya, there's just something that smacks immensely of Rice's specific brand of self-satisfied rich liberal smugness, of her own assurance in her tolerance and open-mindedness, of how she makes the 'trashy' villains be obviously racist, but sees no issue with how the good, rich people have a bunch of UNPAID black staff who don't even get to live in the house where they work and have to sleep in a bungalow with cast-off furniture from the main house instead. You know, like slaves and slave quarters.

Speaking of the "good, rich white people" Patsy makes the very interesting statement that Aunt Queen definitely knew Jerome was Quinn's son too, because if anyone else had been the father "it would have been out with the trash." Really? So Aunt Queen just chucks out any illegitimate children that the staff have?

Quinn says "Come on Patsy, stop it. If anybody hurt that child's feelings, you'd be the first to stick up for him."

That's...also interesting. We've never seen Patsy and Jerome interact, nor been told anything about their relationship, but it seems Patsy's dislike for Quinn doesn't extend to his child, at least not according to Quinn.

Patsy answers Quinn that she's not trying to hurt Jerome, she's trying to hurt Quinn, "'cause I hate you."

Well, that puts it plainly, I guess. But I can see someone at the end of their lives just putting everything as damn bluntly as possible.

Quinn says he'll give her some opportunities to hurt him if she'll just talk to him and his friends. You know, what she already said she was happy to do. Patsy says it will be a pleasure.

Merrick asks if Quinn had a twin. Patsy goes quiet, looks stupefied and then panicky, and she starts screaming for Cindy. She turns around this way and that til Lestat puts a hand on her shoulder and looks in her eyes and it seems as though the "hysteria" is drained out of her. Cindy arrives and gives Patsy a shot.

Still looking in Lestat's eyes, Patsy says, "You understand, it was the most pitifulest, terriblest thing--You can't imagine."

And then she tells Quinn, "I hated you so much. I hate you now. I always hated you. You killed it."

Quinn asks how, and tells us he wants to probe her mind but he'd never used his powers on her (YOU WILL RECALL THIS IS A BIG FAT LIE) and how a "profound inveterate distaste" keeps him from doing so now.

Patsy explains how Quinn was indeed a twin, and that he was born huge while his brother Garwain had been tiny, three pounds to Quinn's ten. The doctors had explained that Garwain was the "donor twin" and that Quinn had, inside the womb, just basically sucked all the blood and nutrition out of him "like a vampire baby". She's hugely upset by it, and begins crying, saying how she wanted to hold Garwain but they took him away and put him in an incubator. She say by him day and night, even though she couldn't touch him. Aunt Queen would call her at the hospital saying that the baby at home needed her, "Like this little baby in the hospital didn't need me! Like this little pitiful creature in the hospital didn't need me! She wanted me to come home and give milk to a ten-pound monster of a baby. I couldn't even look at you! I didn't want to be in the same house as you! That's why I moved back out."

Garwain died in the hospital inside that incubator, and it was only then that Patsy was finally allowed to hold him.

Quinn reflects that he has never seen Patsy like this, in such "abject sadness"

They buried him in the family cemetery, and Patsy hated that Aunt Queen brought Quinn the funeral, because Quinn kept crying and screaming the whole time, and Aunt Queen said it was because Quinn knew his twin had died and how Patsy should hold him. Patsy says this is why she's never gone back to the family crypt til now, why she didn't go for Sweetheart or Pops, that she had never gone til tonight because Aunt Queen had put it in the family lawyer's hands that Patsy would get a bonus check if she attended her "stupid funeral" even though "she knew how I felt about the place"

It was also Aunt Queen, she reveals, who paid Patsy off to never breath a word of any of this to Quinn, "like you were the one who had to be protected."

And “like it was your story” and “you were the one they cared about.” Lestat and Merrick ask if Patsy or anyone else ever thought that Goblin was the ghost of Garwain. Patsy says no, because if it had been Garwain then he would have come to her because she loved him, whereas Quinn is the one that killed him. She thinks that Quinn “used all his crazy” to make up Goblin because he didn't have a twin and knew he should.

At this point you may be saying “What? No one thought Goblin was Garwain? That's completely stupid!” because that's sure what I saying, but we learn in the next chapter that Patsy is incorrect, the other people in the house did think that Goblin was Garwain. But I can see why Patsy would refuse to see the obvious there; of course she wouldn't want Garwain to come to Quinn and not to her, so of course she'd come up with some other explanation.

“So there you have it. And I guess you know now. You know now why I've hated you all these years.”

Quinn does indeed now know, and he hates Patsy. He hates her as much as much as she hates him. And you know what? I don't blame him. I completely understand Patsy's feelings here (note: she's wrong, I'm just saying I get it) but Quinn has every right to hate her. As much as I have sympathized with Patsy and disliked Quinn throughout the whole book, Quinn has every right to be angry and to hate her back for how she took out her grief on an innocent baby. So I don't blame him here or think he's bad for hating her now.

As Quinn starts to leave, Patsy asks “Don't you have something to say to me?” Quinn asks what, Patsy says “Can't you imagine what I've been through. I was sixteen years old when that happened.”

Quinn replies that she's not sixteen now. Patsy says no one has ever loved her the way they do Quinn (and personally, I think that might be part of why she hates him too) Quinn says that's true, but he hates her the way she hates him.

Patsy tells him to get away from her, and the chapter ends with Quinn saying that's what he was doing.

So, I'm hoping this gives Quinn some kind of closure. However shitty he may be, however much everyone else loved him, never knowing why his birth mother despised him so much can't have been easy on any kid. Knowing why, and knowing it wasn't his fault, horrific though the situation was, should probably help him in the long run (even if I imagine a lot of people might then go through a lot of guilt over “killing” their twin, even if that was outside their control, because people aren't logical)

And on the subject of people not being logical...I get Patsy here. She is in no way excusable here, she's not even that sympathetic once you get past the “dead baby” and into the “hates her living child” bit. But she's very...human to me? I don't expect everyone to agree with me on this, but for me personally, this just seems like such a human reaction---all emotions, no logic---to this tragedy, especially for someone who was a child herself when it happened. And I will say this for her---at least she did try her best to distance herself from Quinn. Keeping him and trying to be his mother when she resented and despised him would have been far worse for him. Of course, I have no illusions about her reasons for not raising him; it certainly wasn't for Quinn's sake at all.

So, I think Rice, in the end, did try to give Patsy some depth. She still comes off as just a bit too “hate this person!” to me, and in unnecessary ways, but her grief over her child is believable, as is her horrible way of handling it. She feels more like an actual person to me with this, certainly a lot more than she probably would have come out as in an Anita Blake novel, while still nonetheless being unquestionably in the wrong. She's humanized, but in no way excused.

And with the mystery of Goblin finally solved, next step is doing something about him!

...nah I'm kidding, next chapter is gonna be more talking!
a_sporking_rat: rat (Default)
I just stepped on a rather full dustpan in such a way that the contents were fucking catapulted RIGHT INTO BLAZE’S CAGE

This poor rat is just taking a snooze and suddenly there is GARBAGE RAINING ON HIM

…which admittedly, by rat standards, might be a good thing.

Alas, it's not the yummy kind of trash though!

BLACKWOOD FARM, CHAPTER 46

It's Aunt Queen's funeral. Nothing really happened. But I had to sit through this, so I'm gonna make you endure my condensed version.

Quinn had a "wild dream" in his heart that Mona would be at the Mass but she is not. Rowan, Michael, and Winn are, and they all have "that eerie glow which so unsettled me" and Stirling Oliver is with them. Polite nods are exchanged.

Tons and tons and tons of people have come.

Quinn is sad the coffin has been shut so he didn't get to see AQ one last time.

Lestat and Merrick Mayfair appear. Shockingly, Merrick is not given loads of description, or any at all, on sight. We're just told Merrick is there with Lestat, and then get to hear about what Lestat is wearing and how he has cut his hair tonight. Then we're told about what Merrick is wearing, though we still haven't been told what SHE looks like. Unusual.

Quinn overhears Stirling and Merrick greet each other, she tells Stirling she has a lot of things on her mind but will try to do what he wants, then kisses Stirling on both cheeks. Somehow, Quinn knows that this is "a moment of incredible magnitude" for Stirling, and I don't know if this is vampire telepathy or more just Rice Characters Just Know Things. It feels like the latter though.

Father Kevin Mayfair commences the Mass with two altar boys. God forbid we not know how many altar boys there are. Quinn hasn't seen him since he became a vampire and is thus unprepared for how much he reminds Quinn of Mona, so it makes him ache just looking at him. The Blood reveals to Quinn (which means, vampire telepathy) that Father Kevin truly believes the words he speaks during Mass. What happened to Quinn not poking into people's heads unless they're his victims or Patsy?

Merrick and Lestat kneel and pray and everything. So does Quinn. Nash and Jasmine go up and speak about Aunt Queen, Quinn thinks about how he didn't speak at any of the other funerals, and though "it seemed unthinkable" that he should speak at Mass while being a vampire, he does so anyway and reads from the Book of Wisdom. He himself is "scarcely believing" that he said this in "the sanctuary of a church" to a "human crowd" and to be honest this feels kind of forced to me. Crosses and other religious stuff clearly don't affect vampires, but we also know canonically that Jesus is real because Lestat drank from him, and Quinn knows this because he's read the VC books, so like...he should know that God's real and also doesn't care if you're a vampire. He presumably knows Lestat received the Veil of St. Veronica from Jesus along with his blood in Memnoch the Devil, for fuck's sake, VAMPIRES CAN RECEIVE RELICS OF SAINTS FROM JESUS CHRIST HIMSELF, IT'S NOT GODDAMN SHOCKING YOU'RE ABLE TO BE A VAMPIRE IN A CHURCH and like, if the books did not exist in-universe, of course he wouldn't know this, but THEY DO AND HE'S READ THEM!

It might just be like, meant to be more Quinn's personal feelings on it than shock he's not bursting into flames, but that still seems dumb to me, given that he's lived as a vampire for a year at this point, and read the books in that time (probably very quickly since he's supposed to be ~so smart~ and Rice only ascribes to a specific sort of smart that would include quick reading) so like...he's had time to work it out. I might buy it more if it didn't seem so...artificial, the way it's written? It just does. Like I'm not even convinced he's all that surprised or thoughtful about it.

Tommy gives his own speech about Aunt Queen and all the places she took him and how he hopes to love other people the way she taught him to but he'll never love anyone like he loved her. I'm sure this would be touching if we'd actually experienced any of the relationship between him and AQ but instead it's just kinda superfluous boring and I wish Quinn had glossed over it like I am here. Quinn is very proud of him, by the way, and "he took my mind off my own sins". He holds Tommy's hand with one hand and Lestat's with the other.

We are told how Tommy and Jasmine are getting Communion and Quinn automatically gets up to get it too and "to my utter shock, so did Merrick and so did Lestat"

Yeah, that is kind of odd I guess, given that Lestat already has received the LITERAL BLOOD OF CHRIST DIRECT FROM THE SOURCE like jeez bro what do you need more for?

We are even specifically told how Quinn always takes the Host in his hand first before putting it in his mouth, and how he doesn't know if Lestat and Merrick put it in their hands first or take it directly on the tongue. If you're not Catholic, towards the end of Mass we get Communion, which is the wine and the Host, these tasteless little wafers that are meant to represent the flesh of Christ. Well, no, they actually are supposed to be literally transformed into the flesh and blood of Christ, but that's complicated/weird to explain even as a Catholic, so like...let's just say represents. And you can take it in your hand first or the priest can put it right on your tongue. I think the more hardcore/traditional types only let you have it on the tongue. So that's why this distinction would be important to Rice, and I suppose it's meant to be important to Quinn, but Quinn hasn't really been religious for shit in this book besides the occasional thought about God so I don't think that this whole specific thing was at all fucking necessary and I resent slogging through it.

He tells us he prayed to be forgiven for his sins and how Christ is inside him but also that he is guilty of sacrilege (idk how, he doesn't explain) and 'what is a murderer to do' (yeah, like Quinn is so repentant about that *eyeroll*) and how for the moment he is pure. He thinks about how God became Man (with a capital M) and how "it seemed such a remarkable gesture!" and how "It was as if I'd never heard the story before!" and he ponders how it seems God did this to greater understand the creation that had so offended Him as humans had done, how angels hadn't done that but humans did.

His thoughts on this aren't at all deep or lengthy, he just more or less thinks the exact same sentences that I transcribed, and while I am glad I don't need to get through long deep reflections when my patience is out for this book, it does make Quinn's sudden spiritual concerns seem that much more shallow. Like Rice is TRYING to put this in here suddenly, but it's too little too late and she herself doesn't actually seem that interested or have much to say. I wish I could remember more of Interview, because I swear I *think* it was much deeper and more well-down than this (especially since the questions Louis had then would be genuine questions, as the mythos had not been at all expanded yet) but I think I might just also be remembering people SAYING that versus my own opinions.

Also calling the incarnation of God as Christ a "remarkable gesture" is like...I'm not sure I'd call it offensive, but it's a ridiculous understatement, especially from such a Catholic person? He makes it sound like God just brought over a really nice icebox cake to a dinner party He was invited to. It really, truly, on top of everything else, does not sell me on Quinn's sincerity in this. It's hollow, it's shallow, it doesn't make sense, and it's just bogging everything down that much more, much like this painfully blow-by-blow funeral. Actually, wait, I think I just described the bulk of this book.

They go to the cemetery. Candles provided by the funeral company are lit. Father Kevin finishes with "dash and charm" which are not words I'd really want a priest to do my great aunt's funeral with, and "wept for Aunt Queen" because...I guess...he knew her personally and we were just never told about it? Terry Sue is crying too, and then Patsy bursts out in tears and yells at Quinn for "How could you bring us out here at night? I hate this place, and you have to bring us here at night. You, always you, Tarquin."

It's hard for me not to like Patsy when she is suddenly the voice of my frustration at everything Being All About Quinn. Quinn, however, tells us he felt sorry for her because everyone is staring at her and they don't know how sick she is or how insane she is.

...so Patsy's insane now too?

Patsy yells at him more, says damn him to hell and stuff like that. Grady, the family lawyer, "tried to pet and quiet her" which I find pretty demeaning language, then he and Big Ramona force her into the limo as she continues to curse him. Quinn feels "humiliated for her" and her "strange theatrics" and wonders why she had come, when she didn't come to the funerals of her own parents.

...Quinn, I think it's more than a bit obvious why she didn't come to the funerals of her parents.

Merrick says they should meet tonight. She says "your spirit friend" is dangerous and she can sense his presence, though "he is eager not to be seen by me or by Lestat". They say they'll meet at the house, Merrick says "your mother" (it took me way too long to remember she meant Patsy, guess she figured that out via vampire telepathy) is heading there as well so "try to keep her" because "we have to talk to her". She uses a very repetitive way of speaking to say this, and I'm wondering if that's Rice fucking up or just her way of talking.

Quinn gets in the limo and lists for us every other person who is in it. Because I guess otherwise I'd just be wondering how Big Ramona, Patsy, Nash, Jasmine, and Clem all got home. Then Quinn gets out again to take two red roses from the crypt, and Goblin is there by the mausoleum, dressed exactly like Quinn and his hair is "full but trimmed" just like Quinn's, but despite him looking solid Quinn can see an "intricate web of blood" all throughout him, which is admittedly a pretty damn cool mental image. Goblin's visible form is only around for a second or two, then "winked out as though it had been a flame"

He takes the two roses, gets back in the limo, and Patsy cries all the way home about how she hasn't been to that "damn tomb" in all these years and now had to go in the middle of the night "on account of little Quinn, little Quinn, how fitting, little Quinn!"

So it starts get obvious here that her reasons for not coming to the other funerals might not just be about Sweetheart and Pops themselves, but the family tomb/cemetery. We will learn why this is in the next chapter, as why she says it is "fitting" that she is here because of Quinn.

Big Ramona tells Patsy that she didn't have to come and to shush because she's "making herself sick" which is a remark that Patsy understandably doesn't take well ("Oh damn you, you all, what do you know about sick?") "and so it went on for the long ride home" so that by the time they home, Quinn has crushed the roses in his hands.

Next chapter, we finally get some answers about Goblin!
a_sporking_rat: rat (Default)
Poor Blaze has a swollen paw! He’ll be okay, this has happened to him before. I don’t know why he’s the only rat who has this issue, but he gets his foot caught in the cage bars; he broke his back foot last time and the vet thought he might lose it! This looks WAY less serious though, luckily, so I think he’s gonna be fine. Poor baby though!

BLACKWOOD FARM, CHAPTER 45

It's sunset. Quinn wakes up. He's hungry, but he decides to take care of business first and go to the funeral. Tommy and Nash have flown in but they're of no importance in this chapter. There is an "enormous crowd" at the funeral, and Patsy is there, which surprises Quinn because apparently she's a big one for skipping funerals, according to him. I suspect this may be because he only has that of his grandparents and Lynelle for reference and I don't recall if Patsy was at theirs. What surprises ME is that Patsy isn't demonized, there's no bits where we're reminded she's a big nasty slut, etc. Instead, she's dressed "soberly" in black, it's "plain" that she's been crying, and she doesn't make any mean remarks when she hands Quinn a photocopy of Aunt Queen's will. She says that AQ left her "plenty" and that it was "a damn nice thing for her to do" in a way that, to me, reads as her being emotionally touched by this surprise rather than greedy over it like I recall she was with, I think, Pops. This hints to me she probably had a better relationship with AQ, but didn't realize how much AQ cared for her in return.

Quinn mentions everyone who is there--Jasmine, the other staff, Terry Sue and her kids, and, for some reason, Michael and Rowan. He describes what everyone is wearing and I am having Anita Blake flashbacks, especially with how he sees fit to focus on how Rowan's bobbed hair highlights her high cheekbones, because NOW is definitely the time to notice that. Quinn does not think they realize he is a vampire yet.

He goes to look at Aunt Queen. He recognizes her cameo as one she gave to Petronia, and wonders how she got it. Oh, Petronia is there at the foot of her coffin, "looking sad and forlorn". I guess Petronia got uber attached to this one single mortal she met for a single night. Totally believable for a callous, capricious, cruel killer vampire who has been around thousands of years and surely known many mortals! She tells Quinn this way Aunt Queen can be buried with something worthy of her, then she's gone.

There's some more stuff about how Aunt Queen looks. Some discussion between Jasmine and Quinn about when the Mass is and asking Jasmine to handle the people who want to give condolences. The "fine elegant ghost" Julien Mayfair shows up since AQ was really his daughter. He telepathically tells Quinn "never my beloved Mona" which I think means don't turn Mona into a vampire. Or just don't fuck her. Which is rich when you consider, I'm pretty sure Julien has?

Jasmine, who cannot see Julien, kisses Quinn on the cheek to bring "Little Boss" back to reality. Dr. Winn is there, as is Oliver Stirling, who is "gazing at me as if he accepted me when that was utterly morally impossible" which to be honest is a pretty dumb assumption. The Talamasca may want to study vampires, but I see no evidence they hate them, they're not hunters. Indeed, I don't think vampire hunters exist in Rice canon? I mean, how could they even, given the power of her vampires; not that vampires in other canons don't have equal or greater powers, but they're still usually not the strongest beings in their canon, which Ricean vampires are.

Quinn decides to go feed. "It was a night for special killing" and "I wanted a drug dealer, a wanton killer, a fine repast, and I knew where to find one. I had passed his door on gentler nights. I knew his habits. I had saved him for a time of vengeance. I had saved him for now."

Okay, so basically this undermines any attempt for the whole "kill the Evil Doer" to be in any way about morality. Because Quinn is about to describe all the awful, awful things that this "wanton killer" has done, including the murder of children.

And he says he was saving him.

Meaning, Quinn let him live, continuing these awful crimes, up until Quinn felt like killing him because he was in a pissy mood and wanted to take it out on someone with a murder.

Quinn may feel that this man's crimes entitle him to kill him, but he clearly doesn't feel any compassion or care for the victims of those crimes, because he was apparently happy to let them keep piling up without a second thought until he was in a mood to eat him. You can't even call this any sort of vigilante justice at this point.

The bad man lives in a big two-story house that looks shabby on the outside but is rich inside, with "electronic gadgets and wall-to-wall carpets". From here he makes his "executions and purchases" and apparently even puts hits on children who refuse to run deliveries for them. To show they have been killed, he has their sneakers tied together and thrown over telephone wires, to let the other kids know what happened.

...I feel like Anne Rice probably got this idea from an urban legend of some kind. Like "oh those shoes you see on telephone wires are from DEAD KIDS A CRIME LORD KILLED!" sounds like something people would spread around.

Quinn goes in, kills the man's two "drugged-up stumbling companions" and then the man himself. He does this because "I didn't care what the world thought." Ah, yes, the world does frown so on murdering people who kill children.

He drinks from the man, tasting how evil he is in very poetic descriptions, though with a brief bit of humanization when there is a mention of "mother and kindergarten" when he gets all the way back to the man's childhood. Then the man dies and Quinn puts two bullets in his head to make it look like a mundane murder.

Then Goblin shows up to drain him, Quinn telepathically shouts about how he's a murdering devil, and randomly has flashbacks to being an infant, and these flashbacks include Aunt Queen, which makes him even angrier of course, but then "I was with Goblin and loved Goblin and nothing else mattered" but then he tells Goblin to get off him, calls him a devil, says he's going to end him. Then Goblin is gone and "I was in the lair of the drug king, amid the rotting bodies."

...rotting? Wait, are their bodies putrefying ALREADY, or did they just have a ton of bodies in their nice house because they don't have a dumping ground or the guy is just that evil or something?

He thinks about how Aunt Queen is dead, and her cream-colored satin dress and ropes of pearls and little eyeglasses and Chantilly perfume, just a bit of Chantilly perfume, and how she is dead and there is nothing he can do about it.
a_sporking_rat: rat (Default)
So, my theory that the vampire's heightened senses making them obsessed with stuff like patterns being a shout-out to the "count all the rice!" type vampire legends? Totally wrong. According to Wikipedia "Rice took a previously written short story and turned it into her first novel, the bestselling Interview with the Vampire. She based her vampires on Gloria Holden's character in Dracula's Daughter: "It established to me what vampires were—these elegant, tragic, sensitive people. I was really just going with that feeling when writing Interview With the Vampire. I didn't do a lot of research."

You know, I want to make fun of that---the "elegant, tragic, sensitive" bit---but ultimately, it is not justified at all for me to do that. Just because it's a cliche in itself at this point doesn't mean it wasn't innovative once, and even when it's been done a million times, it can still be done WELL. It's not a bad idea just because it doesn't appeal to me, and it definitely is a kind of vampire that holds appeal for a lot of other people. It's EXECUTION that's the issue here. I don't think Quinn, for instance, fits any of those descriptors. He's only really "sensitive" in regards to himself, he's not "elegant" so much as just ostentatiously wealthy (remember how he fucking LISTS the brand names of his clothes?) which is really the OPPOSITE of elegant, and while some of the things that happened to him have been sad, that's not the same thing as tragedy. And while I could very much enjoy reading about a tacky callous manchild vampire who gets kicked in the ass by fate, the fact is, that's not what Rice was aiming for, so it ends up unsatisfying both for people who want that AND for people who wanted someone ACTUALLY "tragic, elegant, and sensitive"

I know I've said some variant of this over and over, of course, but I just feels it bears repeating, having found this quote, and recognizing that my own first reaction---to scoff at it, to say "well THERE'S your problem", to be one of the people who thinks "THAT'S not what vampires SHOULD be" just because it doesn't fit their own preferences---is WRONG. I would very much like to avoid being that person. I think it is important, for sporkers especially, to keep that in mind. Of course, our own preferences, beliefs, and biases, ranging from "how we best like our vampires" to our political views to our opinion of how people work, etc. will influence our sporks in one way or another (or at least, it does my own, and those of other sporkers I have read) because sporks are ultimately opinion, but like...you get what I mean? There's a difference between "this idea is bad because it's not what I would want to read" vs "this execution is bad and here is my argument for why", basically.

...and honestly, I don't even know why I'm typing all this out since I feel like all my followers here are of this mind already, but eh.

Anyway, speaking of sporking, I've been having some thoughts on what to do next. I was thinking either Servant of the Bones or The Mummy. Both of them are by Rice as well, but not tied to her vampires/witches verse. They're not well-known, but they are very...Rice.

Fun fact there's a total of three female characters in Servant of the Bones. One is dead before the story begins but we're told consistently how tragic that is because of how good and sweet she was. The other is her mother, who has sex with the MC. And the third is the rando evil witch who made him a sort of genie. I guess you could count the random girl with big boobs who like, goes gaga for him in passing on the street, as a the fourth. When I told a friend this, they noted that these are "exactly the three female characters allowed in stories"

This same friend also suggested I spork a comic, like maybe some of Chuck Austen's X-Men stuff. That's an interesting idea.

So...any of y'all got any thoughts/ideas/preferences?

BLACKWOOD FARM CHAPTER 44 )
a_sporking_rat: rat (Default)
Hello friends! Look what I found! Anita Blake drinking game!
https://ashlightgrayson.tumblr.com/post/171476833210/the-anita-blake-drinking-game

Also, the rodents are all doing well! One mouse has gotten fatter than the others so not only can I distinguish her from the herd now, but she sits on top of her sisters like a fat queen! Blaze continues to be all healthy and chubby and cuddly himself <3 IDK if I have mentioned it, but he's a super sweet rat and I could hold him for hours, he's so calm.

Alright, on to...

BLACKWOOD FARM CHAPTER 43 )
a_sporking_rat: rat (Default)
BLACKWOOD FARM, CHAPTER 42

They go back to the palazzo and are told by the very frightened servant girl that Petronia wants to see Quinn in her dressing room. The "young Adonis" is plaiting her hair, and Petronia looks GREAT. She's wearing a "buff-colored velvet coat and pants, with a ruffled white shirt that would have looked good in the eighteenth century" and "huge rectangular cameo" at her throat that is "surrounded by diamonds" and she also has "two threads of diamonds running over her head" which are being plaited into her hair.

Quinn says she is "clad as a man" but nothing about this sounds like "male attire" to me, just a woman in a suit, and not looking very "masculine" in it at that. Like wearing a ruffled blouse and diamond hair decorations with long hair does not read to me as "clad as a man" (not that men can't do that!)

We're told a bit about the sea and the sky, as the room is open to it, and how taken aback Quinn is by Petronia's beauty in her "sharp male clothing". When the "young Adonis" is finished plaiting her hair, she gives him some money and tells him to go enjoy himself as he's done well. He bows and backs out of the room "as though he'd been dismissed by the Queen of England"

Petronia asks if Quinn finds the boy beautiful, Quinn says he doesn't know because "Everything charms me. As a human being, I was an enthusiast. Now I think I'm losing my mind."

This is a part of Ricean vampires, that their senses are so enhanced that beauty can much more easily overwhelm them and even hypnotize them, and I think that actually works well both in that gives her a good reason for the elaborate lovely descriptions she's so good at without it seeming bizarre that the character is focusing on these things, and, this may be just me, but it seems like a subtle reference to stories of vampires being hypnotized by counting grains of rice or the like.

Petronia takes him in her arms and asks if the wounds she inflicted have healed, he says yes "Except the wound no one can heal, the one I inflicted on myself, that I killed the innocent young woman, that I murdered her at her own wedding" and that time will not heal it either. Petronia just laughs and says to come join the others, and how his grandfather plays chess but was a poker player when she met him, and beat her too.

She leads him back to the room with the big golden cage and wonders if he had looked like Caravaggio's "Victorious Cupid" inside it. Yes, he seriously ponders this. Because I know if I saw something like that that I'd been thrown inside before undergoing trauma, my thoughts would be, what classical work of art did I most resemble inside it? Also, Rice, pick a different artist than Arion referenced, try to hide it at least a TINY bit that your characters tastes aren't all just your own.

Petronia then tells Quinn about her night thus far. See, it turns out that the bride's husband and father were "first-rate killers" because apparently those really are just all over the place in the Naples, and "of course the little minx knew it, so salve your conscience with that"

So basically the one thing Quinn did that was even close to textually recognized as wrong has now been retroactively justified so it wasn't THAT bad, isn't that convenient. I mean, Quinn will still angst over it, but I feel like this was thrown in so the READER wouldn't feel that much sympathy for the bride is actually justified, and therefore that Quinn didn't REALLY do anything wrong. And if that was the intent, I say, I disagree---the bride did not "deserve" to get killed by Quinn, and it certainly does not justify it that he finds out she was "bad" after the fact. What exonerates Quinn, if anything, is that it was his first time and utterly accidental. That's fair. I agree with Arion, he shouldn't have been left alone. But the bride's morality shouldn't fucking factor in AFTER IT WAS DONE, BECAUSE HE DID NOT KNOW IT AT THE TIME. And like, I get Petronia is an unkind monster, I'm down with that, it just very much feels like, as I said, that it's not simply Petronia's attitude that it's fine the "little minx" died, but Rice's as well. Especially since she pretty clearly thinks that these nameless, faceless "first-rate killers" are justified fodder for the conversely very humanized vampires. It's just another part of how she's determined to give her characters the easy out and not actually have to face any tough moral choices in which they may not, or perhaps even can not, come out justified.

Anyway, Petronia the groom and father sent four armed men here. It is not explained how they knew whodunnit and where to find them. If Petronia & Co are that easy to find so quickly by anyone seeking vengeance, I'm amazed they didn't get fucking staked long ago, especially if they only prey on killers, who seem to be in a very strange abundance in Rice's mind.

Petronia talks about what a terrific time she had fighting them, how thrilling it was, how she should do it more often. but also says she killed them before they could fire their weapons. Okay, in order to kill four men in succession fast enough that none of them could, according to her, even draw their guns, let alone shoot at her, she'd had to have been using some seriously exceptional super speed. that doesn't sound like it was a fight at all, let alone a thrilling one, it just sounds like the usual swift vamp killing. Unless they just...politely stood and waited for her to fight one of them to death before moving on to the next?

Also she says they were all dumped into the sea, their car too. That seems to be where the bodies are disposed of in general. rice may think this is clever, but she does know about this thing called the tide, right? Stuff washes up.

This is seriously just all so flimsy it's downright inexcusable. I can suspend my disbelief to a certain degree with vampire novels, it's basically required, but give me SOMETHING to work with here!

Anyway, Arion says Petronia needs to explain some rules to Quinn, Petronia says don't tell mortals who you are, don't kill another vampire, cover up your kills, respect your Maker, and striking said Maker will mean his destruction. Manfred says that's good, now give Quinn warnings, he needs those. Petronia gets offended and gives "warnings" that are just insults at Manfred, like "don't act old when you're immortal!"

Manfred (still referred to as the Old Man in the narrative by Quinn) says to tell Quinn about the Talamasca, then warns Quinn of them himself, saying they know about "us" and not to fall for their blandishments and flattery, that they're psychics and magicians who want to lock vampires up in their castles and study them in their labs. Shocked, Quinn tries not to think about Stirling, but Manfed detects in Quinn's thoughts that he's already met them and says to never risk going near them again. Quinn says "it was all broken off long ago" and explains how he sees spirits. Arion shakes his head, saying that "Ghosts don't come to our kind, Quinn"

I guess that kinda makes sense? Since ghosts are typically drawn to the living, I think? But then again, Rice established that seeing ghosts in her canon is due to having certain receptors in the brain, so do those just...turn off when you become a vampire?

Petronia agrees with Arion's assertion, and adds that Quinn will probably find that his "familiar" is gone if he ever goes back to Blackwood Farm to spy on his loved ones.

Quinn says nothing, watches the chessboard (Arion and Manfred are playing), then asks if there are any other rules. Arion says not to make other vampires without permission. Quinn is surprised that he can make other vampires. Um, fucking duh, Quinn? Arion confirms yes he can but cautions him against doing so, reiterating he will need the permission of him and Petronia. Arion says it will be tempting, but "Don't be a fool in this. Don't spend eternity with someone you may come to despise or even hate."

Petronia is noted to go silent after Arion says this.

Also I'm gonna spoil things for you guys, as sensible as this advice really is, Quinn has Lestat make Mona a vampire (to give Mona more power, I think, since Lestat is so powerful) by the end, and I don't think there's any consequences to that (though she does die in the most recent book, I believe, Prince Lestat)

After a long silence, Petronia says that if Quinn does go back to look in on his family, don't hunt New Orleans because Lestat is there, that is a "ruthless, iconoclastic, and self-centered" vampire who rules New Orleans, kills young Blood Hunters, and has written vampire books that pass as fiction for mortals but are actually true (remember, the Vampire Chronicles exist within themselves, just written by Lestat instead of Anne Rice, except Interview which was, of course, written by the guy who did the Interview, I forget his name, I think it was Daniel)

We know, of course, that Lestat will not kill Quinn because he's special!

Quinn's quiet a long time, the chess game ends, Quinn says he's going to leave "you gentlemen" and thanks them for their "gifts". Petronia and Arion are like what the fuck, you don't know how to fly that far, you don't know how to pretend to be human, Quinn says he'll just take a plane like a mortal and that he knows how to be human because he's watched how they pretend to be human.

...did he forget how to be human that fast that he even needed to re-learn? He just changed last night so I'd think he hadn't "lost it" and would still be subconsciously breathing and blinking and stuff, but I might just be projecting Masquerade canon on to Ricean canon here.

Petronia says that if he lets these mortals in on his secret, he'll destroy them, while Quinn counters he'll protect them from it and "you won't make me lose my nerve."

I've read ahead and while some people are gonna die, it's NOT due to Quinn letting them know he's a vampire, so yeah Quinn turns out right in this because hey it's not like he can make mistakes, UNLESS it's to be conveniently really dumb for the plot like when he just walked up to Petronia at night uninvited hence how he got here.

Petronia says she doesn't give a damn what he does "just as I knew she would" which is a funny prediction because I would have thought she'd just beat the shit out of him. He says he's going back to the Hermitage and she tells him "venomously" it's a present from her.

Quinn takes a twenty minute walk from the palazzo to, surprise, the Hotel Excelsior where he had previously been a guest! He claims to have been robbed and needs to phone his aunt, which they let him do. He tells a sobbing Aunt Queen that he can't explain but he's in Naples, that he needs his passport and funds. Nash is then put on the line with the hotel staff so that Quinn is set up with 'every convenience" and will have airline tickets delivered to him. Quinn plans a series of evening flights, then goes to his new suite and enters "a state of shock". He reflects how his life has just been a series of escalating fear, and how he just wants to be with his family again, and he won't let being a vampire take that from him. He just uses more purple wording that I'm going to spare you. He also thinks he he can't see Mona again--- "never would my pain be mixed with her pain"

He stands for an hour without moving, trying to breathe deeply, thinks about what he wants to do, lays down on the bed, has tremors, then sinks into mortal sleep. It is mostly dreamless, but he thinks he hears Rebecca laughing. The morning light awakens him "like scalding water" so he has to close the curtains and crawl under the bed to sleep more.

He gets home through his series of flights, and assures us that he makes no kills nor blunders as he practices the Little Drink in airports. And I'm NOT going to spare you THIS:

"Oh, it was an agony of fear and pleasure, drifting through a humanity I could penetrate only as a monster. And the swarming airports became hellish, like vast sets for some existential drama."

He arrives in New Orleans, there's Aunt Queen and Jasmine and Nash and Tommy and Jerome all awaiting him with hugs. He asks about Patsy, her HIV is now full-blown AIDS and Seymour is suing her for giving it to him. When Quinn gets home, he tells Big Ramona he's too old to sleep with her anymore. IT TAKES BECOMING A VAMPIRE FOR HIM TO DO THIS.

He goes to his room, and when he's alone, he cries. He finds out vampires cry blood. Goblin is there, sitting in the computer chair, and when Quinn cries blood, so does he. Quinn wipes at his own face, and when the blood on Goblin's face doesn't disappear as well, he becomes upset and shouts at him. Goblin runs at him, then merges with him, and Quinn is pushed backwards, unable to fight him.


"He was in me, he was merged with me, and it felt like a pure fatal electric shock, and when he withdrew I saw him huge and filled with tiny droplets of blood, and I collapsed."
a_sporking_rat: rat (Default)
I started this morning feeling like a bad rat mom because Blaze's cage is a barren wasteland devoid of toys. Then I realized he's got a hanging bird toy of wooden blocks and bells to jingle and chew, a little hanging wooden ladder/bridge, a soda box to hide in, a wood straw ball to push around, and a bundle of paper scraps wrapped together than he can pull them apart. So maybe he's doing ok.

BUT HE STILL NEEDS *MOAR*!

Speaking of toys, my mice destroy everything I give them, which is good because that's how I know they like them! I wish Blaze destroyed stuff, then I'd know if he's into it!

Read more )
a_sporking_rat: rat (Default)
This one is so short that I almost considered just mushing it together with the next chapter's spork, then I remember how long that would actually take me these days. So just have this tiny tidbit I guess!

CHAPTER 40

Quinn is at the wedding. There's a lot of cigarette smoke, and the smell of food and booze is repulsive to him, I guess because he's a vampire now. Everyone is "beautiful" but "imperfect". He sees the bride. She is "pretty" but "wraith-thin" with black hair and olive skin. She's smoking a cigarette, and "beckoned urgently" to him. Quinn can see "invitation" clearly in her mind and wonders what she want. Turns out, she wants to fuck Quinn. She's complaining about her new husband for some indistinct reason and decides she wants to have sex with Quinn in hopes said husband break the door down.

This is on the first page.

You know, it's not that I doubt this is something someone might do, but it just seems so ridiculous and contrived. Then again, it's Anne Rice, of course it is.

She drags him into the bedroom, and surprise, Quinn drinks her to death. To my actual surprise, she's not demonized when he tastes her life. Although I did find it kinda...dehumanizing? It sounds like he's talking about a dumb animal: "She was limp, in a brand of ecstasy, a litany of banal innocence thudding out of her, no evil, no design, no malice, no knowledge, no pain."

Of course, I might just be nitpicking at this point cuz I hate Quinn so much.

Too late, Petronia arrives to grab him by the hair and slam him into the wall so that he's blind and senseless for a moment, then berate him for having killed her when there was "a wilderness of killers" while the bride was "nothing but a tart, and for that you killed her!"

I appreciate that Petronia at least has her priorities straight about who 'deserves' to die. Also what kind of wedding party was this that like apparently everybody was a murderer there? I guess it was a Mafia family or something? It's never stated at all, but given it's in Italy that's my best guess.

The fact she was a bride prompts an interesting reflection from Quinn:

"The bride, the poor bride, she was dead, and I had left her covered in her own blood, all the brides of Blackwood Farm betrayed, Ophelia Immortal never to be my bride betrayed, blood on her white dress, Rebecca never to be Manfred's bride laughing."

So, in this moment, the beloved Mona, the "wicked" Rebecca, and the nameless "tart" are all equivalent to Quinn. I don't know if this is meant to be a flash of recognition that Rebecca and this nameless bride are human beings just like his beloved Mona, or if there's another meaning to this, or if there's no meaning at all beyond Rice wanting to seem deep and going "well they all never got married I guess that's a good enough theme"

Up to you, I guess.

Anyway, they're back at the palazzo and Petronia just keeps hitting Quinn, Manfred is begging for Arion to make her stop, Arion pulls Petronia off Quinn. Arion says it's their fault, that Quinn is too young and they shouldn't have left him alone. Petronia starts crying in Arion's arms. Manfred, whom Quinn only refers to as "the Old Man" in the narration of this chapter, is crying too.

I'm glad they're having some emotional reaction, because I'm not. This book has burnt me out. I'm almost disappointed that the bride wasn't demonized, at least then I could be ANGRY.

As for Quinn: "I lay there and dreamt of death." He then gives us a paragraph of angst, then thinks about how back home they must be searching for him, and thinking that the gators got him, and that he is dead.

"And I was."

Fucking if only.

Blaze!

Jan. 20th, 2018 09:33 pm
a_sporking_rat: rat (Default)
This is Blaze! He is my last rat standing and got a bath today :)










a_sporking_rat: rat (Default)
Soooo I go to pick up one of my mice. She PEEPS and runs, because sure I haven’t eaten her the last hundred-something times I’ve handled her but TODAY COULD BE THE DAY

But she doesn’t hide. She doesn’t go for cover into her igloo or box or paper tube or the numerous hidey-holes they’ve dug around the cage.

No, she goes INTO HER WHEEL. And starts RUNNING. To escape me. In her wheel.

These mice, bless their hearts.
a_sporking_rat: rat (Default)
I'm sorry this took so long. I was just so bored with this book that I forgot sporking it altogether. Here are some humorous Rice-related links to make up for that:
http://goth-mabel.tumblr.com/post/143143881418/compare

http://sarahtaylorgibson.tumblr.com/post/115080489896/how-to-tell-if-youre-in-an-anne-rice-novel

Also, I have some new rodents! A lady at work was breeding mice for her son's snake, and because she didn't know how to sex mice or when to separate the boy babies from their sisters, it got terribly out of control. I sent her some links on how to do these things, and she gave me four females. They're utterly identical albinos, so I can't tell them apart, thus they don't have names. But they're nice mice! Phoebe meanwhile passed just after Christmas, but I'm not sad about that so no condolences needed. She was a very old mouse who lived a full life despite her respiratory issues and she got to go comfortably, so this wasn't devastating like the premature rodent deaths I had earlier this year.

So as it is now, I've got one rat left (Blaze) and four new mice.

And I've also got fresh rage for...

BLACKWOOD FARM, CHAPTER 39

"All my life I'd believed in Heaven and Hell. Did Heaven look down upon this metamorphosis?"

Keep this line in mind, this professed concern for what God thinks, when reading the things Quinn is going to do in this very chapter.

Quinn is lays in the bath as "dark fluids" pour out of him until "the human death was over". He is then dressed by "the Adonis and the two sharp-featured young girls" whose blood Quinn now hungers for. He thinks about what Arion said regarding preying on the Evil Doer, looks at the "roughest" of the girls, and sees that hey, she's bitter and angry and had expected Quinn to be killed! The other girl thought the same and Quinn can tell she also feels "cheated and angry" and that "hatred emanated from both women" towards Quinn, and in returned Quinn "detested them" that they would have thought nothing of dumping his body after Petronia killed him. The man, however, is "sympathetic" towards Quinn and "seemed to think it marvelous" that Quinn did not die.

Quinn asks the man how many others Petronia has brought here, but Petronia enters and tells Quinn to pick one of these three for his first kill. The girls scream and back away, the boy only seems to feel a "profound disappointment". Quinn says he can't do it, Petronia says if he doesn't she'll pick one for him, and reminds him that they'd have dumped his body happily for her.

I'd like to note that these people are captives of Petronia, her servants whom she abuses. They don't kill anyone (though the girls talked of doing it to Quinn, but seemed too scared to anger Petronia) they just dispose of Petronia's kills. And she clearly would think nothing of killing them too. So I'm not getting how they're tremendously evil. The worst crime, I suppose, is the claim that they would feel no guilt, but according to the girls they've been here since they were children, so like...I feel like it's a natural response to get inured in that situation. If you did look at every victim as human, did feel guilt about your part in covering their murder even though you had no choice, I think it would destroy you. It seems to me natural that they would become callous.

But I don't expect Quinn to have that kind of empathy, or for Rice to want the reader to. It's odd, because Rice I've seen Rice be praised for debating morality and shades of gray and all that in her works, but the thing is, that only exists for her privileged protagonists. These women---it's usually a woman, at least to my memory---pop up a lot in her books, women who are Just Bad, women who get no sympathy for their circumstances whereas men do, women who deserve to be killed, as one of these women will be and as the two coded-Latina women were at the beginning of this book. Also, like the two women at the beginning of this book, notice that this pair don't have names either, even in passing.

Petronia advises Quinn to use the "Spell Gift" to read the minds of the girls and "charm" them. I think this is some sort of telepathy/hypnosis deal. He looks at the "hard-speaking" girl and does this: "I saw her evil, her casual and vicious disconnect since the human herd, her brittle cheap egocentricity."

...did I just read a description of Quinn himself? That is literally Quinn. Ok, "evil" and "vicious" are perhaps too strong terms for a character as passive and wishy-washy as he is, but cheap egocentricity and seeing himself as inherently special and separate from other people? That's him all over.

But, with her, it's a death sentence. The girl is passive and unprotesting due to his Spell Gift, so he drinks her blood, killing her in the process. As he does, he learns her life, and though we are not told her story, we are told it was "putrid, common, indecent"

Common. That's apparently on-par with "putrid" and "indecent" from Anne Rice and Quinn, and that doesn't surprise me at all. I also originally wrote about how I feel like "indecent" is probably code for sex and the double standard there with how she allows her men to have this wild (and often predatory) sex lives but still be good people for it (like fucking JULIEN good god) but women are generally bad if they're sexual...the obvious exception being Mona, but she's "cured" of that through Quinn. But then I was like "how would this girl be having sex, she's Petronia's captive and has been for years according to her, since she was a child" so probably the "indecent" part is the body-dumping. But still, that's facedesking, because Quinn considers this to be evil and worthy of death, then puts it on the same level as being "common" and having had a "common" life (however one can even do that while being a vampire's captive)

Quinn is just...so fucking unlikeable. And I truly resent being expected to agree with his perceptions. Because there is, as always, zero indication we're not meant to.

Petronia shows him how to clean up the spilled blood, as well as heal the puncture wounds in the girl's neck, then takes him back to Manfred and Arion after he thanks "the Adonis" for his kindness. I have a hunch he'll forget him and never try to help him out of this hellhole, though.

Quinn says the utterly bizarre and pretentious line "And so we have this charged vision. We see all things as though they were quietly on fire in all their parts."

The proper response to this should be "are you high" but Petronia praises him, saying he understands, and urges him not to be afraid to speak up to her, that she watched him for years before she chose him and that "It was language that drew me as truly as beauty."

I have such a hard time believing that Petronia watched Quinn for years and this encouraged her to choose him rather than having the reverse effect. Heck, I would have a hard time believing that anyone could watch him for FIVE MINUTES and choose him for anything more than a slap in the face. I guess if she wanted to make a serial killer, he's a good pick---Quinn very overtly thinks he's better than others and that rules don't apply to him, because that's been the case all his life, now he's got not only the power to easily kill but the physical NEED to---but I feel like even then, there had to be candidates out there who still weren't as ANNOYING as he is.

Honestly, the idea she picked him for negative qualities because they'd make a good monster actually is a cool one to me, but very much not what Rice was going for, I don't think.

Quinn finds a "gentle majesty" about Petronia now, and he tells that he loves her, to which she gives a "mild, helpless laugh". He asks if that isn't what she wanted.

Before Petronia answers, I'd like to point out...Quinn just decided a woman was evil, evil enough to deserve death at his hands, for being egocentric, apart from the human herd, and getting rid of dead bodies for a vampire (but it's okay if the hot boy does it!). Petronia is apart from the human herd, seems pretty vain to me, and is the one who actually killed those people and is *making* the girls dispose of them. So, Petronia is everything that girl was and WORSE.

Yet Quinn loves her now. Totally and at random. Despite hating her before. And now having more reasons to hate her.

What is happening? This isn't VtM where there's a Blood Bond or some shit. And it can't be because he saw her life so he understands her now, because like...wouldn't that also apply to the girl he just killed, whose life he also saw?

For all that I ragged on Quinn for his gross attitudes towards Petronia earlier, this sudden and random and all-to-typical-for-Rice sudden turnaround to "I love you now for no reason" is even more annoying, especially when not only is there no reason for it, there are good reasons AGAINST it, and the contrast between this and the girl, it's like...on a meta level, Petronia is more important than that girl. Petronia is a far more important character. But in-universe, everyone is a real person with an equally real and important life. Yet Rice's characters behave as if they know who is actually important to the narrative and who is not, know what I mean? Hence these totally different standards for Petronia vs random slave girl.

...though gender influences that too, because look at Petronia vs random slave boy or random slave boy vs random slave girls.

I'm not saying women must always be angels or it's misogynistic but this is such a fucking pattern with Rice. It happens with the women at the beginning of the book, it happens here, and spoiler, it's gonna happen AGAIN in the next chapter. Women who are not important to the main character are moral free-game to kill if they are sexual and don't have super-nice personalities (regardless of their circumstances) Boys, however, just have to be pretty to be deemed good people, which they demonstrate by automatically being kind to the hero (regardless of circumstance) Seriously, between Dr. Mayfair, Stirling, Father Kevin, Michael, Arion, Lestat, have you noticed how Quinn always has like this ~instant rapport~ with guys and just knows how wonderful and trustworthy they are? Admittedly, he also falls instantly in love with Mona too. As I've said, Rice characters in general form instant deep emotional connections with no build or development at all, and also instantly know who is a good person or not.

Anyway, Petronia says maybe she wanted him to love her, maybe she still does, but oh she never knows what she wants and that's why she's never content, and more irritating rambling of that nature. I'm even fed up with Petronia at this point, egad.

They talk a little more about Petronia having been a gladiator, and I note she specifically says a "woman gladiator". She talks about how falling in love with Arion changed her, how she would work all day in the cameo shop dressed as a boy but then "became the woman for him" at night, how she "became something soft, something decent, something fine" for Arion.

So, the bit about her being dressed as a boy and then having a male lover is interesting to me because crossdressing women is something that's come up three times in Rice's vampires now that I'm aware of? First is Gabrielle, Lestat's mother, who began dressing and moving through the world as a man after she became a vampire, but seems to have stopped doing that during modern times. Another is Eudoxia, a vampire that Marius met in Blood & Gold, who when she was first turned during the time of Greek Alexandria, would likewise use a male disguise so she could go out at night to hunt. While in disguise as a boy, she gained a male lover, who believed her to be male, and when she revealed herself to him, he was so upset that she was insulted and changed him into a vampire for it. And now we've got Petronia, who is genderfluid but seems primarily female but like, dresses as a male for work and then a woman for sex. With Gabrielle and Eudoxia, their reasons for crossdressing are explicitly matters of practicality, not gender identity or gender expression (I think I remember Gabrielle have some issues with femininity but like in a more internal misogyny way?) whereas with Petronia, her gender identity is definitely part of why her gender expression is sometimes one or the other, but idk something about this reminded me of Eudoxia, and then I remember Gabrielle, and I...don't have a point to make or a conclusion to draw, I'm just noting it.

I will also note that none of these women are ever leading ladies in Rice's works, nor ever a love interest for the lead (which is usually the only way a woman can be good, as with Mona or Pandora, though I guess there is some undeniable Oedipal stuff with Lestat and Gabrielle) I'd also like to mention that Eudoxia had a female vampire lover named Zenobia and that after Marius and his buddies kill Eudoxia (ok, technically Akasha kills her) she comes simpering to them for protection and falls instantly in love with one of them and now they're married in Rice's most recent book. Just in case you were wondering how Rice treats lesbians on this sole occasion they show up.

Quinn asks Petronia what is decent, she says he knows and has always known, Quinn says he knew before but does not know now because "I killed that wretched girl, that murderous girl. That wasn't decent."

So even when Quinn is meant to be regretting her death or finding wrongdoing on his part for it, we still have to be reminded she was totally a shit person who had it coming. Yeah, Quinn, you sure sound convincing here.

There are lots of instances where a person could find someone "wretched" and evil and all and still regret killing them, but like...I'm not buying it from Quinn that he finds it indecent that he killed her. I'm just not. Namely because aside from this one line he never mentions in again, so I doubt he regrets it all that much. And that doesn't surprise me. As I said, if Petronia wanted to get a heartless serial killer, giving Quinn vampire abilities and vampire needs was a pretty good way to go. He'd never be a killer as a human, I don't think, being a spoiled and isolated rich kid doesn't make him actively evil, but adding on the NEED for blood that vampires have, the PLEASURE and NECESSITY of it, as well as the "well these are evil commoners so no big deal" attitude that fits with his mindset so well already, and yeah, he's going to kill and not give a fuck.

But this is not, apparently, Petronia's goal. She does tell him it's much too early for such questions, that they have hunting to do and that she'll have no "mewling fledglings" and that he will be "very strong when I'm finished with you." But when Quinn asks if he will be decent and honorable as well, she tells him in a sad tone "See that you are. Use your intellect for that. Don't imitate me. Imitate those who are better than me. Imitate Arion."

So Petronia doesn't want a callous killer, she wants a decent and honorable one. Quinn's done some nice things, I grant, but he is still a poor choice for this. I just find it utterly unbelievable she picked him with all her possible other choices she could have found given her range from Louisiana to Naples. I think it's just more that Quinn is just special and the best and everyone loves him so there. He never earns anything, nor does he ever had to demonstrate these qualities to any notable degree, we're just told he has them and that's that, so therefore he deserves all this love and becoming a vampire as a reward and all of that.

In total fairness, he was kind to give Terry Sue that house and help. He really was. But it's also not apparently any sort of actual financial sacrifice to him either with how wildly rich he is, so it's not as grand a gesture from him as it might otherwise be, and it doesn't balance out all his other flaws. If kindness and decency and honor is what Petronia is after, there are people who show it far more consistently. And since Petronia knows about Mona, she knows how fast he fell in love with her and wanted to wed her, and for a vampire, that kind of sudden passion and wanting to be with someone forever is actually, logically, a bad idea. Someone like that will very irresponsibly make fledglings out of love for them. But then again, that's the norm in Rice's world, so whatever I guess.

They return to where Manfred and Arion is, and Quinn is embraced by the "loving arms" of Arion, who we are informed is "lean and caring" and whose "fine black face utterly charmed me." If that sounds awkward, just wait. Petronia tells Arion to "drain" Quinn, which Arion does, and Quinn feels "the images of my life passing with the blood. I felt the sorrow I knew, the untold sorrow of being lost forever from Mona, fro my son Jerome, from Aunt Queen, from Nash, from Jasmine, my beloved milk chocolate Jasmine"

BELOVED

MILK

CHOCOLATE

JASMINE

god almighty

Quinn swoons---the word "swoon" is literally used---and wakes up in a chair. He is in terrible pain, then consumed by hunger. He wants the blood of Arion, Petronia, and Manfred, which is interesting to me because while Ricean vampires can gain power from drinking the blood of older/stronger vampires, I don't think they can get any kind of nourishment from them like they do from humans.

Arion says now it's time for the lesson, and tells Quinn to come drink from him but to take only the "Little Drink". He says this is how one feeds from innocents, to just take a little blood so they're left dazed and not dead.

In other words, Ricean vampires do not need to kill to survive. But they feel it's ok if they deem the person an Evil-Doer.

Now, I could get behind that idea, of vampires feeling they can be the arbitrators of morality and of death, if we weren't supposed to necessarily agree with them that they have this right. I LARP as a Lasombra vampire in a Vampire the Masquerade LARP, and many Lasombra feel that they are here by the will of God to frighten and punish the wicked. Lasombra are also known for being superior, haughty, and egomaniacal fucks who look down at everyone else, especially mortals, as subhuman. So it makes utter sense they see themselves as both having the natural right to kill to feed even though they don't need to, but the MORAL right as well. I could also see genuinely good, well-intentioned people thinking that they should use their vampire abilities Punisher-style, because I can see the argument that there are some people out there who damn well *should* die. There are a LOT of ways this could work, basically. But the problem with Rice's system is it's never really questioned by the narrative. I think maybe it was with Louis in Interview, I can't remember but I do recall Louis eating rats because he refused to kill, and I also recall Interview as the best I think, but at least within the context of THIS book it's not questioned by the narrative. I certainly saw zero indication we were supposed to question the right of Quinn and Lestat to kill those two women at the beginning of the book because they committed drug-related murders.

Which, by the way, maybe it is justified. Maybe it is! They did kill people too! But I feel like that kind of thing should just be more ambiguous, or at least treated with more nuance than Rice does. I mean, it's a complex ethical question, and should be treated as such. Instead, it just sort of seems a way for her vampires to be able to kill people without being "bad" themselves. The fact that the bad people in question are generally just nameless faceless people whose crimes we are simply informed of via vampire telepathy, rather than shown, and who are thus far always the same specific sort of "pretty but mean young woman" doesn't help.

Quinn sees "sunny Athens" through the blood of Arion, and they smooch with tongue. Quinn asks if his life is to be ecstasy like this from now on, Arion says ecstasy and control.

He is then invited to drink from Manfred, who urges him to take "the image of the only pure thing I ever loved" and mentions Blackwood Manor was built with Petronia's "wretched gold". Quinn drinking for Manfred is thankfully far less eroticly described---simply "I sank my teeth into his bull neck" ---but instead of seeing Virginia Lee as he is supposed to, Quinn sees poor Rebecca hanging on that hook again, and she laughs at him horribly. Quinn comes to, and Manfred, aware of what he saw, asks Quinn why he "reached for" Rebecca, whom he calls "that shrew" then concludes that though he wanted for Quinn to see Virginia Lee, he could not hide the guilt in his soul. That's kind of interesting.

Quinn then tells the "luckless ghost" to leave him alone and that she now has a life for her life, so leave him be. Somehow, I don't think Quinn getting to live forever in wealth is the trade that Rebecca had in mind.

Quinn says the lesson on the Little Drink goes on for hours and that whenever Petronia is mean "Arion shamed her with his kindness". Arion says it's now time for the four of them to go hunt, that Quinn shall find the Evil-Doer using mind-reading while they watch over him. Manfred says it's a wedding part, that a rich American has come to Naples for his daughter's nuptials, and the Evil-Doer will be there at every turn, to lure him and take in such a way that no one is the wiser and to seal up the wound after. Arion says the guests will have been drinking for hours and for Quinn to leave Little Drink victims as though drunk.

Ok, I know it has been quite awhile, so let me remind y'all that earlier in the book, present Quinn lamented over a memory that seems to suggest he killed a bride. So that's probably where we're going next. Okay, not probably, it is, I've read ahead.

Anyway, Quinn is "thirsty" and "inflamed" and wants with all his "wretched soul to be one of them. I was one of them!"

And then Petronia picks him up, throws him out the terrace doors, and he falls down on to the beach below where he lies quietly on the rocks by the sea, just gazing around.

I find this hilarious and want more of it.

She calls him to come back up as if she DIDN'T just randomly throw him off what I think was a balcony, and Quinn wills himself to rise, and, I think, flies back up to her. Oh, so that's what this was for. I prefer the idea she just felt like hucking him out of the house, myself.

She slips an arm around him, tells him "we move by speed, not magic", and not to spill a drop when he drinks because "we expect perfection of you"

Yeah, magic in a book with ghosts and vampires and psychics and telepathy and pyrokinesis and spirits and witches would just be SILLY, right?

Quinn asks "But do we kill?"

UM

YOU WERE LITERALLY JUST INSTRUCTED HOW TO KILL, USING A LIVE HUMAN BEING AS PRACTICE

YOU WERE SHOWN HOW *NOT* TO KILL, YES, BUT ALSO HOW TO KILL

AND TOLD TO KILL THE EVIL-DOER

WHICH YOU WERE TOLD THERE WOULD BE PLENTY OF AT THIS WEDDING PARTY

YOU CLEARLY FUCKING KILL YOU INCREDIBLE DUMB SHIT

Arion replies with a shrug: "If you wish. If the evil is ripe for it and you are graceful and sly."

...sly is not a word I would associate with Quinn.
a_sporking_rat: rat (Default)
I started this year with eight rats. I am now down to one. Despite countless vet visits and medications, these guys have just kept dropping dead on me. I don't plan to have rats again for some time, I just can't handle this heartbreak.

I have, however, come into some new mice. A woman at work who kept them to feed her snake tried to breed them herself, and it got out of control because she didn't know how to sex them or when the separate the males from females. So they kept having babies, and the babies had babies with each other and so on.

I've sent her some links on how to sex them and when to separate them, and she gave me four females. I might take more when the babies get older. Hopefully this will get the situation under control.


Also here is a neat link on the matters of perspective in Interview versus its sequel Lestat (I agree, I think the real reason for the change is Rice got attached to him)
http://morethanprinceofcats.tumblr.com/post/167327617844/rainbow-femme-my-favorite-part-of-the-vampire


Oh, and I'm sorry these updates take so long. I just have so little enthusiasm now than I did with the Anita sporks. But I'm determined to complete this thing. SO ON WE SLOG!

CHAPTER 38

Quinn wakes up in a house. He can tell by Mount Vesuvius in the distance it's on the coast of Italy. Two girls and a guy drug him, clean him up, shave him. The girls are mean, the guy is nice. The guy gets lots of description and a hint of backstory, the girls are simply called pretty and fashionable but apparently Petronia has been "teasing" them since they were children. Teasing how? Well, they're mad that they've been serving and waiting so long and now Petronia has chosen Quinn and how she keeps saying she'll do it for them but she doesn't and everything is a whim with her. They never actually SAY what they're talking about, but obviously they're talking about Petronia making them/Quinn into vampires. The guy has no such interest, or at least never expresses any, and instead simply gives Quinn sympathetic advice on how to survive and how Petronia will test him as she does all candidates. The girls also snicker about how they should kill Quinn and tell Petronia he died, but she would be angry, whereas the boy laments how there's a special place in Hell for all of them for how they assist Petronia with disposing bodies.

He then falls asleep from having been drugged again.

He wakes up on a couch surrounded by a golden cage. Seriously, a golden cage. Two people come in, dressed in black tuxes/dinner suits over glossy-looking white turtlenecks. One is a black guy. Literally black. Like, he looks like he's made of onyx. The other is an old man, but his flesh has a strangely waxy, firm look. Quinn is quite sure neither of these "creatures" is human.

I don't think it's ever explained why the black guy (we find out later his name is Arion) is black, but here's my guess. For those new to Rice lore, Akasha was the first vampire. She and her husband, Enkil, are called the Mother and Father, and are so old they have basically become sleeping statues, worshiped and tended to by other vampires. At one point they were put into the sun, which caused the Great Fire. They were fine, but other vampires around the world burst into flames and died. Those who survived suffered various degrees of injury, from which recovery was slow. I'm thinking maybe Arion was a victim of the great fire who charred and then healed in such a way that he now looks like polished onyx rather than white marble like the usual ancient vampire in Rice books.

Of course, this assumes he must have been a white guy to begin with, which I realize is a very iffy assumption, but we've never had an elder (as we find out Arion is) vampire in the Rice books who wasn't white, excluding Akasha, Enkil, and Khayman, who come from Ancient Egypt (though Akasha originally came for Uruk, actually) but they're so old they've become literally white.

So yeah, this is my best assumption. But for all I know, maybe black vampires who get super old turn literally black. I wouldn't put that past Rice, frankly.

Anyway, the old man thinks Quinn must be "the evil-doer in some guise" or Petronia wouldn't have him here, but Quinn professes his innocence. The still-unnamed-at-this-point black man believes Quinn is indeed innocent, saying Quinn has done no wrong to anyone, and that Petronia is being cruel for bloodsport, lamenting aloud to the absent Petronia "Why always the cruelty?" and why his "beautiful pupil" will never learn, that "she does as she pleases and it's never enough for her". Because he believes Quinn and praises him as innocent, he is a good guy, and therefore is good-looking despite not being to Anne Rice's usual standards of paleness; according to Quinn, he has kind, chiseled features. "Sublimely chiseled" in fact.

Quinn begs to be let go but alas, the black man, for all his sublime chiseled-ness, says he cannot. I guess Petronia is running the show. Good for her. Quinn complains about how he comes from somewhere where every life is precious and why isn't it the same for them?

Quinn realizes that the old man is none other than Manfred Blackwood. This realization causes him to exclaim that "You're demons, all of you. God, this is Hell." He then explains to Manfred, who has no idea who Quinn is, that he is Tarquinn Blackwood, who would be his descendent "if not for Julien Mayfair" and that Petronia took him from the Hermitage, and that Manfred's granddaughter Lorraine (Aunt Queen) is still alive to tear her hair out in grief for Quinn if he disappears and didn't Petronia tell you what she was up to?

Nope, she didn't.

Manfred goes into a "fury" and asks who told Quinn about Julien, to which Quinn says that Julien himself did since Quinn is a "seer of spirits". I feel like this is kinda low-priority at this point.

Petronia herself now comes in, wearing a black velvet tunic with matching pants and a belt of cameos. Manfred attacks her, trying to grab her by the throat, but she throws him into the wall with force that would kill a normal human. The black one embraces her and asks her "why always the rage?" He's a bit taller than Petronia; Quinn estimates him to be around Quinn's own height.

Manfred weeps that Petronia's "bond to me is worthless" but Petronia says she's kept her pledges to him by giving him immortality and wealth, that the boy is nothing but something sentimental to him "like the photographs you keep of your precious Virginia Lee and your son William and your daughter Camille"

Thank you, Petronia, for so awkwardly and inorganicly reminding us all specifically of who is who and their exact relation to Manfred, just in case we had forgotten at this point (admittedly a possibility, with all the NOTHING that's been dragging this book on and on since they were first mentioned). That sure didn't sound like unnaturally forced exposition at all! Especially not since Manfred and Quinn and you all know this already! Eh, maybe Manfred is just senile and forgets who these people are himself?

Anyway Petronia says they're nothing but dust, Manfred sobs more, and begs "Arion" to "Don't let her go on. Stop her." Petronia says he's a wretched miserable old man, old forever, that she despises him. Quinn asks Petronia if that's why she's doing this to him. She smiles at Quinn, and is "lovely" Arion, now named in the text at last, continues to stroke her hair, and Quinn says the way he is holding her is "loving" and that Arion seems to adore her. Also that her breasts are against Arion. Thanks for that, Quinn. Trust you to notice that detail at a time like this and relay it to us.

Petronia asks him "Don't you want to live forever, Quinn?" and slips out of Arion's embrace. She then unlocks the golden cage, yanks him out of it, and slams him against the bars. Manfred has taken a little picture out from his coat and looks at it "piteously" whilst whispering to himself "insanely". Quinn wonders if it's of Virginia Lee.

I notice no mention ever of Rebecca. I guess she was really only good as a sacrifice to Petronia, not a treasured memory. Maybe Petronia should have had him kill someone he actually loved instead, like William or Camille, then THAT would be a real sacrifice. If she's so cruel, I think that's what she should have gone with. Just me there.

Petronia asks if Quinn is prepared to fight for immortality, Quinn says not against a bully like her, she thinks that's rich for him to call her given what he had Goblin do to her, and Quinn makes the legitimate point that Goblin was protecting him. Petronia asks why he's not here now, Quinn says she knows he can't be here, and that he's no match for her on his own, that she plays an unfair game and always has.

Petronia calls him stubborn, and says his sin is pride. I agree with her, I just fail to see how it relates here.

Arion takes Quinn's face in his hands, with his "soft, silky thumbs against my cheeks", and says "Why don't you let him go? He's innocent."

I mean, I guess he is. He's a douchebag, but he's never really done anything TERRIBLE. Yet I can't bring myself to give a shit what happens to him. And it's not even because he's a douchebag; if he was an enjoyable douchebag, I might still root for him, or at least root for Petronia to do something awful for him, or SOMETHING. But as it is, he's just a bland douchebag that I don't have any investment in, not even negatively at this point.

Also: Becoming a vampire isn't even bad in the context of these books, not really. You may get some existential angst and all, but you are guaranteed the focus and spotlight, because the vampires are the main characters of these books, and all of Rice's favorites inevitably end up as such for that reason, often with the best and biggest powers even among vampirekind. Meta-wise, it's really a reward more than anything else. And not one I at all understand Petronia bestowing on Quinn. She clearly doesn't see it as a punishment but a reward, given how she talked earlier about wanting to rescue Quinn from death and all that, and how she spoke of giving immortality to Manfred as a positive thing she did for him, and she wants Quinn to earn it from her in a fight as a prize, and we learn later, from her backstory it was the best thing that ever happened to her... but then if it's a reward to her, why do it to Quinn of all people?

Nothing makes sense and I don't even care. Admittedly, I'm also in a shitty mood right now because of aforementioned rat problems, so that could be it.

Anyway, Petronia knocks him around, the men don't help, Arion just says this isn't how this should be done to which she replies we all choose our own way and "let me have what I need" and Arion asks why she needs it. They then lapse into Italian and Quinn gets the sense they're talking about "the passage of time and how she had once been different" and meanwhile Manfred is crying. Quinn tries to move, Petronia steps on his throat, he's on the couch, she bites him and drinks his blood. He feels some "intimacy" in this, as though his entire life is fleeing from him, not simply physically but as though she's actually sucking memories out (which, as readers of previous Ricean vampires will know, she is, as vampires see the past and personality of those they feed from )

He has an out of body experience, and sees the wonderful golden white light where Pops and Lynelle and Sweetheart all are, and he wants to join them but some "hideous fascination" with Petronia and Manfred and Arion won't let him, some "putrid ambition", and though "I had made no decision" the vision vanishes, and he returns to his aching bruised body on the marble floor.

Petronia says he is now dying, but she won't let that happen, now that she knows "Tarquin Blackwood" from his blood. Arion says to ask him what he wills, so Petronia does that. Quinn doesn't answer, and Petronia demands again, he tries to attack her, and "I struck at her private parts" and she's like oh so you want to see what they all laughed and "Come, pay me homage"

Long story short, she forces her cock in his mouth. It's erect, which is weird because if I recall correctly Ricean vampires are actually incapable of that, but it wouldn't shock me if Rice forgot her own lore at this point, especially for the sake of a rape scene with such a fetishized character.

He bites her cock, swallowing her "blood that was not blood" and from it he gets her life and memories.

Yes, he gets her memories from her penis blood. I'm not making this up.

She was born in Ancient Pompeii, her mother was an actress and her father was a gladiator under Caesar. "A freakish child, half male, half female, to be destroyed by ordinary parents, but kept by hers for the theatre" meaning that gladiator ring, in which she grew to be a gladiator of great strength. Before that, however, she was pimped out "a thousand times", presumably also by her parents, never knowing love or owning a scrap of clothing that wasn't for show.

While still a girl, she was so accomplished as a gladiator that her parents were able to sell her to a new master "for a fortune" and he made her fight against wild beasts but "even these could not defeat her". But she was tired of this life, of combat and lovelessness and misery, and though the crowd was her lover, it was not there in the dark of night when she slept chained to her bed.

Then Arion came, and paid to be with her as others had, but then bought her, given her money, and freed her. Not wanting to return to the gladiatorial ring nor become an independent prostitute ( at least I think that's what's meant by " was she to be pimp and whore at the same time") she tags along after him, weeping and loving him, and he at last takes her under his wing.

...I know he's framed as her savior here and all but I think it's pretty gross that before doing that, he still bought a night from her in which she had no say.

He brings her to Pompeii with him, where he has three shops that make cameos, hence how she learns this craft. She has a passion for it because she's no longer fighting to please the crowds, but to please Arion. She studies with the masters and after two years becomes one herself, impressing Arion immensely with her work.

Then came the eruption of Vesuvius. Arion sensed it before it happened and had fled the night before, leaving Petronia with the task of evacuating the slaves from the shops. Alas, only a few would listen to her. Which is...kinda odd? I mean, they're slaves, they can't say no, right? I know Roman slavery worked differently than the American form of chattel slavery that I'm most familiar with, but I feel like if the master's apprentice, on the master's orders, tells you to leave, you leave.

But they don't, and after the disaster, she weeps to him that she failed, but he says she saved his greatest treasure, which is herself, and in time he rewards her by making her a vampire.

"She let me go. My lips stroked her cock as I withdrew."

Yeah, there's no way Anne Rice didn't write this as a fetish scene.

Arion picks up the still-weak Quinn from the floor and offers Quinn his own blood. Quinn asks to wait, to let him savor what Petronia showed him of herself. Though he "meant it reverently" it enrages Petronia, who knocks him to the floor again and kicks him in the ribs. She calls him trash and says "You dare answer that way to the Master, and who are you to savor what you know of me!"

Arion tells her that's enough, picks Quinn up again, and once more offers his blood, saying it will give Quinn strength, that it is older than Petronia's and so Quinn won't be bound to her so much. Interesting, I didn't know that the blood of a vampire could bind another vampire in Ricean lore; reminds me of the Blood Bond in Vampire the Masquerade.

"I could have cried at her savagery. I had so loved her in the Blood, and I had been a fool for it, such a fool, but as he said now to drink" and Quinn "kissed" Arion's throat, presumably also biting him with his newfound fangs, and he does get some images but he says he doesn't remember much of them. Quinn believes that through some power or skill, Arion can prevent his memories and personality being shown to another person via his blood, "but what he did give me was inexpressibly glorious and it filled my hurt soul after her rebuff."

Quinn does see Athens, and Agora, and the Acropolis through Arion (is there an A-theme going?) and "priceless visions" which are not described, but we learn nothing of Arion's past which is really fine with me because I don't give a shit about him beyond his connection to Petronia and curiosity about his color.

Arion strokes Quinn's hair and instructs Quinn to feed only on the Evil Doer unless he is taking the Little Drink, even though the innocent beckon unwittingly. Which sounds so fucking creepy. Interestingly, Arion's rationale for not drinking from innocents isn't so much it's wrong so much as it will lead to "madness" because you'll come to "love them and to despise yourself". He says this is "the tragedy of Petronia. For her there is no innocence and therefore no conscience and therefore no happiness. And so in misery she goes on."

Wait, so feeding on the innocent is bad because it makes you hate yourself. And he says that's the case with Petronia. But then says there is no innocence for her? So does she...not feed on the innocent? Or not perceive innocence? I don't understand, it doesn't sound like what he just said her her problem is is feeding on the innocent. Petronia proclaims she follows Arion's rules, Arion says she didn't with Quinn. Even though really she did, since her intent was to turn him, not kill him. Manfred adds that Quinn is his grandson and calls her a blaspheming witch (what, who is she blaspheming?) to which Petronia says Quinn will live forever, what more can she give?

Quinn turns to look at her and "with these precious eyes I saw her harsh loveliness as if it were a miracle." For those wondering, he's not complimenting his own eyes, he's referring to the enhanced senses of Ricean vampires, which includes vision. A big part of becoming a vampire in her other books has been getting used to these senses and going nuts over things like carpet patterns, I think, which is actually a great excuse for her to utilize her strength for describing beautiful surroundings. I think I remember the phrase "vampire eyes" a lot from her earlier books.

Quinn thinks now about how he is immortal and "I knew it but I couldn't grasp it. Where was God? Where was my faith? Had the whole edifice collapsed in this monstrosity?"

He suddenly feels a "wrenching pain" which Arion informs him is human death. Huh. So he still has yet to die even though he's a vampire now. Interesting.

Arion says it will be over "in a few short moments" and to go to the attendants into the bath, that they will dress him after and then he'll learn how to hunt.

Quinn finally says the V-word: "So we are vampires. We are the legend."

...that sounds a little too much like a movie script line for my tastes, but what do I expect, it's Anne Rice.

"Blood Hunters" Arion corrects him, a phrase that's been used often before by vampires in the VC books. "Defer to me with these words, and I'll love you all the more."

Quinn asks the very reasonable question of why Arion loves him at all, to which Arion replies with the final words of the chapter: "How could I not?"

Well, that gives me my first actual real reaction to anything in this whole chapter: RAGE. Why must everyone love Quinn? WHY?! And more specifically, everyone GOOD must love Quinn. Only the bad evil people can dislike him, like Petronia and Patsy, and even Petronia has for NO FUCKING APPARENT REASON decided he's the most worthy person she can find to make immortal.

And seriously, Arion doesn't even KNOW Quinn. He didn't drink Quinn's blood! Maybe he's using telepathy, but either way, it's just another stupid Ricean "insta love" thing, and whether there's a supernatural explanation for it or not, it's STILL stupid. No matter how profound an instantaneous magical emotional bond may be in-universe for people, the fact there's no work or development or chemistry or even interaction means it will always be boring and unbelievable for a reader. Maybe there's someone who's done it well, but I haven't seen it yet, and frankly I hate it. Also, again, I'm being GENEROUS by even assuming this much; there's no mention whatsoever that Arion *did* use telepathy. He could just as easily TOTALLY RANDOMLY LOVE QUINN. That makes sense in a Rice book!

...as much sense as anything, anyway.
a_sporking_rat: rat (Default)
This is Phoebe, my wonderful old lady mouse! I adopted her and her litter of three girls from a pet store last February. This pet store chain by rule can only sell animals of one sex from their stores; this store only sells males. They got Phoebe by mistake, and of course she ended up pregnant, so they couldn't sell her or her female babies. So that's why they were adoptable.

Unfortunately, not long after I took them in, two of the babies (Lydia and Junia) got sick and passed away. The only survivor (Priscilla) grew up very small/stunted and had a lifelong constant respiratory issue as a result of being sick as a baby. And she ended up living only half her normal lifespan, leaving Phoebe.

Phoebe was infected too, but survived just fine, probably because she's an adult. She gets occasional breathing sounds like Priscilla had, but it's just occasional and doesn't seem to bother her. She's a hardy lil gal, and a sweet one too. She's not affectionate like the rats, but most mice aren't. What she is is amazingly calm, which is super cool for a mouse since they're more high-strung than rats. But I can scoop her out of her bed when she's sleeping and she's completely chill (I generally don't do this because she's an old lady who wants to sleep but I CAN and she tolerates it) I also trust her with my four year old niece (I don't always trust the niece with her though!)

Because her cage is small and she can't kick bedding out of it, she gets to be the only rodent who lives in my room, and I really enjoy having her there :) She's fun to watch when she's awake, and she doesn't make noise at night either. Just some rustling around sometimes when she makes a nest but I don't find that bothersome, it's actually kind of soothing :)



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