by Rice, Anne
Yet Louis gained a hold over me far more powerful than Nicolas had ever had. Even in his crudest moments, Louis touched the tenderness in me, seducing me with his staggering dependence, his infatuation with my every gesture and every spoken word.
And his naiveté conquered me always, his strange bourgeois faith that God was still God even if he turned his back on us, that damnation and salvation established the boundaries of a small and hopeless world.
Louis was a sufferer, a thing that loved mortals even more than I did. And I wonder sometimes if I didn’t look to Louis to punish me for what had happened to Nicki, if I didn’t create Louis to be my conscience and to mete out year in and year out the penance I felt I deserved.
But I loved him, plain and simple. And it was out of the desperation to keep him, to bind him closer to me at the most precarious of moments, that I committed the most selfish and impulsive act of my entire life among the living dead. It was the crime that was to be my undoing: the creation with Louis and for Louis of Claudia, a stunningly beautiful vampire child.
Her body wasn’t six years old when I took her, and though she would have died if I hadn’t done it (just as Louis would have died if I hadn’t taken him also), this was a challenge to the gods for which Claudia and I would both pay.
But this is the tale that was told by Louis in Interview with the Vampire, which for all its contradictions and terrible misunderstandings manages to capture the atmosphere in which Claudia and Louis and I came together and stayed together for sixty-five years.
During that time, we were nonpareils of our species, a silk- and velvet-clad trio of deadly hunters, glorying in our secret and in the swelling city of New Orleans that harbored us in luxury and supplied us endlessly with fresh victims.
And though Louis did not know it when he wrote his chronicle, sixty-five years is a phenomenal time for any bond in our world.
As for the lies he told, the mistakes he made, well, I forgive him his excess of imagination, his bitterness, and his vanity, which was, after all, never very great. I never revealed to him half my powers, and with reason, because he shrank in guilt and self-loathing from using even half of his own.
Even his unusual beauty and unfailing charm were something of a secret to him. When you read his statement that I made him a vampire because I coveted his plantation house, you can write that off to modesty more easily than stupidity, I suppose.
As for his belief that I was a peasant, well that was understandable. He was, after all, a discriminating and inhibited child of the middle class, aspiring as all the colonial planters did to be a genuine aristocrat though he had never met one, and I came from a long line of feudal lords who licked their fingers and threw the bones over their shoulders to the dogs as they dined.
When he says I played with innocent strangers, befriending them and then killing them, how was he to know that I hunted almost exclusively among the gamblers, the thieves, and the killers, being more faithful to my unspoken vow to kill the evildoer than even I had hoped I would be? (The young Freniere, for example, a planter whom Louis romanticizes hopelessly in his text, was in fact a wanton killer and a cheater at cards on the verge of signing over his family’s plantation for debt when I struck him down. The whores I feasted upon in front of Louis once, to spite him, had drugged and robbed many a seaman who was never seen alive again.)
But little things like this don’t really matter. He told the tale as he believed it.
And in a real way, Louis was always the sum of his flaws, the most beguilingly human fiend I have ever known. Even Marius could not have imagined such a compassionate and contemplative creature, always the gentleman, even teaching Claudia the proper use of table silver when she, bless her little black heart, had not the slightest need ever to touch a knife or a fork.
His blindness to the motives or the suffering of others was as much a part of his charm as his soft unkempt black hair or the eternally troubled expression in his green eyes.
And why should I bother to tell of the times he came to me in wretched anxiety, begging me never to leave him, of the times we walked together and talked together, acted Shakespeare together for Claudia’s amusement, or went arm in arm to hunt the riverfront taverns or to waltz with the dark-skinned beauties of the celebrated quadroon balls?
Read between the lines.
I betrayed him when I created him, that is the significant thing. Just as I betrayed Claudia. And I forgive the nonsense he wrote, because he told the truth about the eerie contentment he and Claudia and I shared and had no right to share in those long nineteenth-century decades when the peacock colors of the ancient regime died out and the lovely music of Mozart and Haydn gave way to the bombast of Beethoven, which could sound at times too remarkably like the clang of my imaginary Hell’s Bells.
I had what I wanted, what I had always wanted. I had them. And I could now and then forget Gabrielle and forget Nicki, and even forget Marius and the blank staring face of Akasha, or the icy touch of her hand or the heat of her blood.
But I had always wanted many things. What accounted for the duration of the life he described in Interview with the Vampire? Why did we last so long?
All during the nineteenth century, vampires were “discovered” by the literary writers of Europe. Lord Ruthven, the creation of Dr. Polidori, gave way to Sir Francis Varney in the penny dreadfuls, and later came Sheridan Le Fanu’s magnificent and sensuous Countess Carmilla Karnstein, and finally the big ape of the vampires, the hirsute Slav Count Dracula, who though he can turn himself into a bat or dematerialize at will, nevertheless crawls down the wall of his castle in the manner of a lizard apparently for fun—all of these creations and many like them feeding the insatiable appetite for “gothic and fantastical tales.”
We were the essence of that nineteenth-century conception—aristocratically aloof, unfailingly elegant, and invariably merciless, and cleaving to each other in a land ripe for, but untroubled by, others of our kind.
Maybe we had found the perfect moment in history, the perfect balance between the monstrous and the human, the time when that “vampiric romance” born in my imagination amid the colorful brocades of the ancient regime should find its greatest enhancement in the flowing black cape, the black top hat, and the little girl’s luminous curls spilling down from their violet ribbon to the puffed sleeves of her diaphanous silk dress.
But what had I done to Claudia? And when would I have to pay for that? How long was she content to be the mystery that bound Louis and me so tightly together, the muse of our moonlit hours, the one object of devotion common to us both?
Was it inevitable that she who would never have a woman’s form would strike out at the demon father who condemned her to the body of a little china doll?
I should have listened to Marius’s warning. I should have stopped for one moment to reflect on it as I stood on the edge of that grand and intoxicating experiment: to make a vampire of “the least of these.” I should have taken a deep breath.
But you know, it was like playing the violin for Akasha. I wanted to do it. I wanted to see what would happen, I mean, with a beautiful little girl like that!
Oh, Lestat, you deserve everything that ever happened to you. You’d better not die. You might actually go to hell.
But why was it that for purely selfish reasons, I didn’t listen to some of the advice given me? Why didn’t I learn from any of them—Gabrielle, Armand, Marius? But then, I never have listened to anyone, really. Somehow or other, I never can.
And I cannot say even now that I regret Claudia, that I wish I had never seen her, nor held her, nor whispered secrets to her, nor heard her laughter echoing through the shadowy gaslighted rooms of that all too human town house in which we moved amid the lacquered furniture and the darkening oil paintings and the brass flowerpots as living beings should. Claudia was my dark child, my love, evil of my evil. Claudia broke my heart.
And on a warm sultry night in the spring of the year 1860, she rose up to settle the sc
ore. She enticed me, she trapped me, and she plunged a knife over and over again into my drugged and poisoned body, until almost every drop of the vampiric blood gushed out of me before my wounds had the precious few seconds in which to heal.
I don’t blame her. It was the sort of thing I might have done myself.
And those delirious moments will never be forgotten by me, never consigned to some unexplored compartment of the mind. It was her cunning and her will that laid me low as surely as the blade that slashed my throat and divided my heart. I will think on those moments every night for as long as I go on, and of the chasm that opened under me, the plunge into mortal death that was nearly mine. Claudia gave me that.
But as the blood flowed, taking with it all power to see or hear or move finally, my thoughts traveled back and back, way beyond the creation of the doomed vampire family in their paradise of wallpaper and lace curtains, to the dimly envisioned groves of mythical lands where the old Dionysian god of the wood had felt again and again his flesh torn, his blood spilled.
If there was not meaning, at least there was the luster of congruence, the stunning repetition of the same old theme.
And the god dies. And the god rises. But this time no one is redeemed.
With the blood of Akasha, Marius had said to me, you will survive disasters that would destroy others of our kind.
Later, abandoned in the stench and darkness of the swamp, I felt the thirst define my proportions, I felt the thirst propel me, I felt my jaws open in the rank water and my fangs seek the warm-blooded things that could put my feet on the long road back.
And three nights later, when again I had been beaten and my children left me once and for all in the blazing inferno of our town house, it was the blood of the old ones, Magnus and Marius and Akasha, that sustained me as I crawled away from the flames.
But without more of that healing blood, without a fresh infusion, I was left at the mercy of time to heal my wounds.
And what Louis could not describe in his story is what happened to me after, how for years I hunted on the edge of the human herd, a hideous and crippled monster, who could strike down only the very young or infirm. In constant danger from my victims, I became the very antithesis of the romantic demon, bringing terror rather than rapture, resembling nothing so much as the old revenants of les Innocents in their filth and rags.
The wounds I’d suffered affected my very spirit, my capacity to reason. And what I saw in the mirror every time I dared to look further shriveled my soul.
Yet not once in all this time did I call out to Marius, did I try to reach him over the miles. I could not beg for his healing blood. Better suffer purgatory for a century than Marius’s condemnation. Better suffer the worst loneliness, the worst anguish, than discover that he knew everything I’d done and had long ago turned his back on me.
As for Gabrielle, who would have forgiven me anything, whose blood was powerful enough at least to hasten my recovery, I did not know even where to look.
When I had recovered sufficiently to make the long voyage to Europe, I turned to the only one that I could turn to: Armand. Armand who lived still on the land I‘d given him, in the very tower where I‘d been made by Magnus, Armand who still commanded the thriving coven of the Theater of the Vampires in the boulevard du Temple, which still belonged to me. After all, I owed Armand no explanations. And did he not owe something to me?
It was a shock to see him when he came to answer the knock on his door.
He looked like a young man out of the novels of Dickens in his somber and sleekly tailored black frock coat, all the Renaissance curls clipped away. His eternally youthful face was stamped with the innocence of a David Copperfield and the pride of a Steerforth—anything but the true nature of the spirit within.
For one moment a brilliant light burned in him as he looked at me. Then he stared slowly at the scars that covered my face and hands, and he said softly and almost compassionately:
“Come in, Lestat.”
He took my hand. And we walked together through the house he had built at the foot of Magnus’s tower, a dark and dreary place fit for all the Byronic horrors of this strange age.
“You know, the rumor is that you met the end somewhere in Egypt, or the Far East,” he said quickly in everyday French with an animation I‘d never seen in him before. He was skilled now at pretending to be a living being. “You went with the old century, and no one has heard of you since.”
“And Gabrielle?” I demanded immediately, wondering that I had not blurted it out at the door.
“No one has ever seen her or heard of her since you left Paris,” he said.
Once again his eyes moved over me caressingly. And there was thinly veiled excitement in him, a fever that I could feel like the warmth of the nearby fire. I knew he was trying to read my thoughts.
“What’s happened to you?” he asked.
My scars were puzzling him. They were too numerous, too intricate, scars of an attack that should have meant death. I felt a sudden panic that in my confusion I’d reveal everything to him, the things that Marius had long ago forbidden me to tell.
But it was the story of Louis and Claudia that came rushing out, in stammering and half truths, sans one salient fact: that Claudia had been only … a child.
I told briefly of the years in Louisiana, of how they had finally risen against me just as he had predicted my children might. I conceded everything to him, without guile or pride, explaining that it was his blood I needed now. Pain and pain and pain, to lay it out for him, to feel him considering it. To say, yes, you were right. It isn’t the whole story. But in the main, you were right.
Was it sadness I saw in his face then? Surely it wasn’t triumph. Unobtrusively, he watched my trembling hands as I gestured. He waited patiently when I faltered, couldn’t find the right words.
A small infusion of his blood would hasten my healing, I whispered. A small infusion would clear my mind. I tried not to be lofty or righteous when I reminded him that I had given him this tower, and the gold he’d used to build his house, that I still owned the Theater of the Vampires, that surely he could do this little thing, this intimate thing, for me now. There was an ugly naiveté to the words I spoke to him, addled as I was, and weak and thirsting and afraid. The blaze of the fire made me anxious. The light on the dark grain of the woodwork of these stuffy rooms made imagined faces appear and disappear.
“I don’t want to stay in Paris,” I said. “I don’t want to trouble you or the coven at the theater. I am asking this small thing. I am asking …” It seemed my courage and the words had run out.
A long moment passed:
“Tell me again about this Louis,” he said.
The tears rose to my eyes disgracefully. I repeated some foolish phrases about Louis’s indestructible humanity, his understanding of things that other immortals couldn’t grasp. Carelessly I whispered things from the heart. It wasn’t Louis who had attacked me. It was the woman, Claudia …
I saw something in him quicken. A faint blush came to his cheeks.
“They have been seen here in Paris,” he said softly. “And she is no woman, this creature. She is a vampire child.”
I can’t remember what followed. Maybe I tried to explain the blunder. Maybe I admitted there was no accounting for what I’d done. Maybe I brought us round again to the purpose of my visit, to what I needed, what I must have. I remember being utterly humiliated as he led me out of the house and into the waiting carriage, as he told me that I must go with him to the Theater of the Vampires.
“You don’t understand,” I said. “I can’t go there. I will not be seen like this by the others. You must stop this carriage. You must do as I ask.”
“No, you have it backwards,” he said in the tenderest voice. We were already in the crowded Paris streets. I couldn’t see the city I remembered. This was a nightmare, this metropolis of roaring steam trains and giant concrete boulevards. Never had the smoke and filth of the industrial age seemed so
hideous as it was here in the City of Light.
I scarcely remember being forced by him out of the carriage and stumbling along the broad pavements as he pushed me towards the theater doors. What was this place, this enormous building? Was this the boulevard du Temple? And then the descent into that hideous cellar full of ugly copies of the bloodiest paintings of Goya and Brueghel and Bosch.
And finally starvation as I lay on the floor of a brick-lined cell, unable even to shout curses at him, the darkness full of the vibrations of the passing omnibuses and tramcars, penetrated again and again by the distant screech of iron wheels.
Sometime in the dark, I discovered a mortal victim there. But the victim was dead. Cold blood, nauseating blood. The worst kind of feeding, lying on that clammy corpse, sucking up what was left.
And then Armand was there, standing motionless in the shadows, immaculate in his white linen and black wool. He spoke in an undertone about Louis and Claudia, that there would be some kind of trial. Down on his knees he came to sit beside me, forgetting for a moment to be human, the boy gentleman sitting in this filthy damp place. “You will declare it before the others, that she did it,” he said. And the others, the new ones, came to the door to look at me one by one.
“Get clothing for him,” Armand said. His hand was resting on my shoulder. “He must look presentable, our lost lord,” he told them. “That was always his way.”
They laughed when I begged to speak to Eleni or Félix or Laurent. They did not know those names. Gabrielle—it meant nothing.
And where was Marius? How many countries, rivers, mountains lay between us? Could he hear and see these things?
High above, in the theater, a mortal audience, herded like sheep into a corral, thundered on the wooden staircases, the wooden floors.
I dreamed of getting away from here, getting back to Louisiana, letting time do its inevitable work. I dreamed of the earth again, its cool depths which I’d known so briefly in Cairo. I dreamed of Louis and Claudia and that we were together. Claudia had grown miraculously into a beautiful woman, and she said, laughing, “You see this is what I came to Europe to discover, how to do this!”