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Books : Horror : Authors : Contemporary Authors : Rice, Anne
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In The Vampire Armand, Anne Rice returns to her indomitable Vampire Chronicles and recaptures the gothic horror and delight she first explored in her classic tale Interview with the Vampire . The story begins in the aftermath of Memnoch the Devil. Vampires from all over the globe have gathered around Lestat, who lies prostrate on the floor of a cathedral. Dead? In a coma? As Armand reflects on Lestat's condition, he is drawn by David Talbot to tell the story of his own life. The narrative abruptly rushes back to 15th-century Constantinople, and the Armand of the present recounts the fragmented memories of his childhood abduction from Kiev. Eventually, he is sold to a Venetian artist (and vampire), Marius. Rice revels in descriptions of the sensual relationship between the young and still-mortal Armand and his vampiric mentor. But when Armand is finally transformed, the tone of the book dramatically shifts. Raw and sexually explicit scenes are displaced by Armand's introspective quest for a union of his Russian Orthodox childhood, his hedonistic life with Marius, and his newly acquired immortality. These final chapters remind one of the archetypal significance of Rice's vampires; at their best, Armand, Lestat, and Marius offer keen insights into the most human of concerns.The Vampire Armand is richly intertextual; readers will relish the retelling of critical events from Lestat and Louis's narratives. Nevertheless, the novel is very much Armand's own tragic tale. Rice deftly integrates the necessary back-story for new readers to enter her epic series, and the introduction of a few new voices adds a fresh perspective--and the promise of provocative future installments. --Patrick O'Kelley
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With the splendid Merrick, Rice is firing on all cylinders, and this latest volume in the best-selling Vampire Chronicles has all the elements that we expect from her: richly evocative use of locales; flesh-creeping horror (the squeamish should steer clear); rich, operatic characterisation and (most of all) that strange, overwrought prose style which is hers alone. The Vampire Armand ended with Lestat being revived in modern-day New Orleans. But the central character in this new volume is Lestat's friend Louis de Pointe du Lac (who first appeared in the 18th-century France of Interview with the Vampire ), another one of Rice's tortured vampires. Louis is dealing with the memory of the dead child vampire Claudia, to whom he was devoted. But when the Machiavellian organiser David Talbot joins Louis in appealing to the beautiful Merrick (mixed-race daughter of a New Orleans Mayfair clan) to invoke the ghost of Claudia, Merrick's very individual brand of black magic becomes the one thing that can save Louis' sanity. This tampering results in other malign spirits being released, and soon Rice's narrative is knee-deep in bloody mayhem and voodoo.The novel has the feel of a massive, sprawling canvas, teeming with colour and invention, the locales move from her beloved New Orleans to a colourfully realised Brazilian jungle, and set against this are the larger-than-life characters Rice excels in. Merrick takes a little while to establish herself but when she assumes centre stage, the reader will find the wait well worthwhile. The big set pieces are as gripping as ever (in the usual sanguinary fashion):
Suddenly she lunged at the altar, never letting go of her bottle, and, grabbing the green jade perforator in her left hand, she slashed a long cut into her right arm. I gasped. What could I do to stop her, I thought, what could I do that wouldn't enrage her? The blood streamed down her arm and she bowed her head, lifted it, drank the rum and sprayed the offering on the patient saints once again. I could see the blood flowing down her hand, over her knuckles. The wound was superficial but the amount of blood was awful. Again she lifted the knife...
--Barry Forshaw
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Anne Rice wasn't the first writer to show vampires as sexy--there are powerfully perverse sexual undercurrents in Bram Stoker's Dracula, granddaddy of all modern vampire novels. But Rice's 1976 Interview With the Vampire made vampirism lusher and more explicitly attractive. Though there's still a dark and messy side (as with sex), non-vampires are irresistibly tempted by perks like immortality and great good looks. Pandora, one of many follow-ups, is the partial autobiography of a heroine born human in Augustan Rome and still undead today. Much of it reads like historical romance, but involvement with the cult of Isis makes Pandora dream about blood-drinking ... Characteristically for Rice, the romantic climax--foreshadowed from paragraph one--means finding not true love but true vampirism with Mr Right. Indeed the horror aspect has almost vanished and draining people of their blood is considered acceptable since Pandora and friends kill only bad guys. (Compare the morality of Terry Pratchett's on-the-wagon vampires, who make do with animal blood from kosher butchers.) Sensuality alternates with dollops of historical research and references to previous novels such as The Vampire Lestat-- referred to by title--whose events readers are expected to remember. Pandora is written for, and will satisfy, Rice's many established addicts. --David Langford
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