by Kim Harrison
Fairies also keep to themselves, but they’re far more likely to hire out for questionable jobs for large pay. Their small size and inward-directed morals make them very effective assassins, so don’t mistake small with harmless. They have butterfly-like wings and a slower metabolism, but their ability to float high unseen for long periods seems to be a good tradeoff for the faster but more calorically expensive flying that pixies are capable of.
Fairies tend to shun cities as well, but adolescents of both sexes will brave the streets to set up packs in parks or green spaces, looking for adventure and a chance to prove themselves and earn the right to start a family. Might makes right is their mentality, compared to the individual morals guiding pixies’ decisions.
Being insectivores, fairies often vie for the same space as pixies, bringing the two species into conflict. They could exist peacefully on the same territory but for a fairy’s tendency to ruin an area in search of food. The balance of power is fairly equal, with fairies being larger—coming in at about six inches—but slower. Fairies share pixies allergic reaction to silver, and they migrate to Mexico with monarch butterflies for the winter instead of hibernating. Not much is known about their home life as usually all but young males shun contact with anyone larger than they.
Despite their small size, pixies and fairies are potentially dangerous and can cause untold grief when insulted or slighted. Treat them with respect, and these deservedly proud, intelligent members of Inderland will respond with professionalism and grace.
Music as My Inspiration
Okay, a little explanation might be in order. My muse exists in music. Logic maps the story, but music gives it its soul and sends my characters in directions that surprise even me.
What I’m left with is an eclectic handful of songs that—in my thoughts—relate to certain scenes or more typically, relationships between characters. Some authors cast their books with popular actors or actresses. (Which I do have some ideas about, by the way.) But I’d rather cast the music as it connects more directly to my creative process. Below are a few of the songs I think suit the Hollows.
RACHEL
The songs I’ve found that I feel relate to Rachel cover a wonderfully wide span. Most recently, I found “Save Yourself” from Stabbing Westward. “Passive” off A Perfect Circle’s eMOTION is a good one, too, though I’m torn yet as to whom else it relates to. A reader named Dash suggested “Magic Carpet Ride” by Steppenwolf, and though he didn’t mention Rachel, I think it fits her pretty well. I’d be willing to make it her theme song for a while. (grin) As her story progresses, Nine Inch Nail’s “Down in It” has a special meaning, as does “Kinda I Want To” and “Sin.” “Suicide Note” by Johnette Napolitano on the Underworld sound-track has begun to cast shadows on Ivy and Rachel’s ever-evolving, complex relationship. And “Thinking of You,” by A Perfect Circle, has whispers of Rachel in it. But as to whom she is surrendering, she hasn’t told me yet. There are so many choices that woman has to make, so many paths she could walk. As she finds herself pulled deeper into the Hollow’s underworld, “Fields of Innocence” by Evanescence seems to fit more and more.
IVY
Ivy’s character is one of the most complex I’ve ever tried to sketch with my pen, and she’s claimed a correspondingly large portion of music. I understand her motivations, but she remains a mystery to even me at times, a confusing mix of human vulnerabilities and vampiric drives. Most recently, Mooncat introduced me to a wonderful band, Stabbing Westward, and their track “What Do I have To Do?” is scrumptious at nailing Ivy’s inner dilemma.
“Faint” by Linkin Park, “Silhouettes” by Smile Empty Soul, and “Everybody’s Fool” were all suggested by readers, and now that I’ve had a chance to get a good listen, I wholeheartedly agree. Recently a reader named Jane introduced me to Kip Winger’s music, and though almost the entire disc, Songs from the Ocean Floor, has shadows of the Hollows in it, “Faster” has Ivy all over it. NiN’s “Terrible lie,” “Sanctified,” and “Something I Can Never Have” are good matches to the plot lines, too. “Gravity,” by A Perfect Circle, is a good fit, too, but it’s a bit too collected. It’s not quite confused enough. And though it won’t make much sense until you read the second book, Evanescence’s “Away from Me” gave me chills at how close it fit Ivy’s predicament. Dash suggested “Mary Jane’s Last Dance” by Tom Petty and the Heartbreakers as bringing to mind Ivy, a relation I agree with.
Ivy’s eventual fall from grace I first heard in Duran Duran’s, “Save a Prayer.” (Okay, now you’re laughing at me or sitting there with a puzzled look wondering who Duran Duran is. I told you it was an eclectic stack of music.) And I saw who pushed her into falling after hearing Evanescence’s “Going Under.”
JENKS
Track ten on the Ocean’s Eleven soundtrack, “Planting the Seed,” fits Jenks flitting about as a gardener. Thanks to Tim from Tennessee, I found “Peter Gunn” done by Henry Mancini. It fits fantastically. (Think The Blues Brothers.) Jenks’s son Jax gets into trouble thanks to “Red-Tape” from Agent Provocateur, which is also on the Underworld sound-track though we won’t see that for ages. And please don’t write to tell me the song isn’t really about little thieves. Inspiration is where you find it.
KISTEN
“Thinking of You,” by A Perfect Circle, seems to fit Kisten. Whether this means he will end up with Rachel or whether she is going to remain one of Kisten’s unresolved conquests, I honestly don’t know yet. Also from A Perfect Circle is “Weak and Powerless.” Right now the song is simply simmering in the back of my head, but I’m sure it’s going to fit somewhere with Kisten. (Sigh… I’m starting to like the guy despite my better judgment.) But the best fit for him I’ve found so far is “Never Say Never” from Queens of the Stone Age off the Punisher soundtrack The depth of that piece is hidden by the ego-testical attitude of the refrain—just like Kisten’s depth is shrouded under a carefully constructed front to disarm and beguile. NiN’s “The Only Time” fits a plot line that Kisten is wiggling his way into.
TRENT
Thanks to a reader who simply identified himself as ‘a fan from the Southeast,’ I have found a piece of music off the Queen of the Damned soundtrack that I think fits Trent Kalamack fairly well, especially the lyrics that Stephanie McKay sings. Try track 13, “Excess” by Tricky. If Trent believes in anything, it’s people. “Guilty” by Gravity Kills is good, too. I think Dash brought that one to my attention. “The American Way” by The Crystal Method fits well. Thanks, Beyari, for suggesting I listen to that one!
PISCARY
A fellow music aficionado suggested “Sympathy for the Devil” by The Rolling Stones, and after playing it to death, I realized it cast wonderful shadows on Piscary, one of Cincinnati’s Master vampires. “Pet” and “Lullaby” by A Perfect Circle strike close to home with Piscary as well. Piscary’s restaurant after Kisten assumes management— we won’t see this for some time, but it happens—brings to mind Rob Zombie’s “Living Dead Girl.” Think line-dancing vampires. Yes, line-dancing vampires. I only hope Rob will forgive me.
Nick
It took a while, but I’m finally nailing down a few pieces of music that I can relate to Nick. From Kip Winger comes “Sure was a Wildflower” and “Crash the Wall.” “That’s What I Get” from NiN works really well, too.
SEDUCTION
As the plotlines progress, I’m finding myself collecting a few pieces of music of seduction, and in the spirit of avoiding spoilers, I’m not saying yet to whom they relate. Dipping wa-a-a-ay back, I found Sting’s “I Burn for You,” which has a hidden thread of evil in it and a crystalline purity that makes it a delicious threat. Kip Winger has one here, too, with “Two Lovers Stand” as does Evanescence with “Even in Death,” which is terribly tragic. But I have yet to find a more seductive piece of music than “New Years Prayer” by Jeff Buckley off his Sketches for My Sweetheart Drunk. You may have heard it before as it’s used as the beginning music for The Dead Zone, but the re
al thing is oh-so-much more (languorous stretch) seductive. Also from Jeff Buckley is “You and I” and “Lilac Wine” which has all the markings of an old jazz song.
THE EVER-AFTER
I found, thanks to The-Guy-In-The-Leather-Jacket, a piece of music that just about blew me away with how close it sounds to my idea of the ever-after: A Perfect Circle’s remake of Lennon’s “Imagine.” Think of a red-smeared sky and a broken city skyline, and just try not to shiver.
FINAL NOTES
I recently ran into an entire album that just about blew me away in how many tracks related to story lines I was developing. It also made me a NiN fan, something I really didn’t expect. The entire album Pretty Hate Machine has found a place in the Hollows for me, and every song but the last easily relates to a developing or crumbling relationship from my books.
Almost the entire soundtrack for Underworld seems to have found a place in the Hollows. R E V 22:20 by Puscifer speaks to me of Kisten’s long-ago relationship with Ivy before she met Rachel and went on the wagon, so to speak.
When they are pulling the last job at the end of Dead Witch Walking brings to mind “Rehumanize Yourself” from Sting. And since I’m tripping down the paths of good 80’s music, whenever I hear Phil Collins’s “Long, Long Way to Go” all I see is Rachel driving across the bridge into Cincinnati, the sun going down with the sky all pink and blue, the wind in her hair and the concern for an entire city in her eyes.
On a last note, “My Immortal” by Evanescence is figuring into the grand scheme of things. Even I can’t see yet how all my characters’ relationships will be built before they can fall apart from tragic stupidity and pride. But the power and depth of that piece of music has left a mark on me and won’t let go.
'Twas the Night of the Solstice
by Kim Harrison
'Twas the week before Christmas, and up in the Hollows,
Solstice bonfires were burning, to toast the marshmallows.
The pixies were snug in their stump, even Jenks,
Who claimed he was tired, and needed some winks.
So I in my parka, and Ivy in her boots,
Were toasting the season, with thirty-year hooch.
When out in the street, there came such a crash,
I thought that it had to be 'coons in our trash.
Away to the gate, I trudged through the snow,
While Ivy just said, "If it's Kist, say hello."
I lifted the latch, and peered to the street,
My face went quite cold. We were in it thigh deep.
'Twas a demon, who stood in the headlamps quite bright,
With his coat of green velvet, and his uncommon height.
His eyes, how they glittered, his teeth how they gnashed,
His voice, how he bellowed, his tongue, how it lashed.
The street wasn't holy, so on Big Al came,
As he bellowed, and shouted, and called me by name.
"Morgan, you witch. You're a pain in my side.
"Get out of your church. There's no place to hide!"
Like hell's fury unleashed, he strode to my door,
Where he hammered and cursed, like a cheap jilted whore.
But Ivy and I, we circled round back,
To stand in the street and prepare for attack.
"You loser," I shouted. "I'm waiting for you."
And the demon, he spun, taking on a red hue.
Ivy stood ready, and I whispered, "Okay . . .
"If he wants to get rough, I'm ready to play."
With nary a word, us two girls got to work,
Putting foot into gut, of the soul-sucking jerk.
I circled him quick, with a few words of Latin,
While Ivy distracted him with lots of good wackin'
"Get back!" I yelled out when my trap was complete,
And Ivy somersaulted right over the creep.
My circle sprang up, entrapping him surely,
Al fussed and he fumed, like a demonic fury.
The neighbors all cheered, and came out of their houses,
Where they'd watched the whole thing, like little house mouses.
So Ivy and I, we both bowed real low,
Then banished Big Al, in an overdone show.
But I heard Al exclaim, 'ere he poofed from our sight
"You won this time witch, but I'll get you one night!"
Kim Harrison
December 14th, 2005
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