When I was hungry this luminescence was very marked. All the more reason to feed.
And I was learning that I could put people in thrall if I stared at them too hard, and my voice required very strict modulation. I might speak too low for mortal hearing, and were I to shout or laugh too loud, I could shatter another's ears. I could hurt my own ears.
There were other difficulties: my movements. I tended to walk, to run, to dance, and to smile and gesture like a human being, but if surprised, horrified, grieved, my body could bend and contort like that of an acrobat.
Even my facial expressions could be wildly exaggerated. Once forgetting myself as I walked in the boulevard du Temple, thinking of Nicolas naturally, I sat down beneath a tree, drew up my knees, and put my hands to the side of my head like a stricken elf in a fairy tale. Eighteenth-century gentlemen in brocade frock coats and white silk stockings didn't do things like that, at least not on the street.
And another time, while deep in contemplation of the changing of the light on surfaces, I hopped up and sat with my legs crossed on the top of a carriage, with my elbows on my knees.
Well, this startled people. It frightened them. But more often than not, even when frightened by the whiteness of my skin, they merely looked away. They deceived themselves, I quickly realized, that everything was explainable. It was the rational eighteenth-century habit of mind.
After all there hadn't been a case of witchcraft in a hundred years, the last that I knew of being the trial of La Voisin, a fortune-teller, burnt alive in the time of Louis the Sun King.
And this was Paris. So if I accidentally crashed crystal glasses when I lifted them, or slammed doors back into the walls when opening them, people assumed I was drunk.
But now and then I answered questions before mortals had asked them of me. I fell into stuporous states just looking at candles or tree branches, and didn't move for so long that people asked if I was ill.
And my worst problem was laughter. I would go into fits of laughter and I couldn't stop. Anything could set me off. The sheer madness of my own position might set me off.
This can still happen to me fairly easily. No loss, no pain, no deepening understanding of my predicament changes it. Something strikes me as funny. I begin to laugh and I can't stop.
It makes other vampires furious, by the way. But I jump ahead of the tale.
As you have probably noticed, I have made no mention of other vampires. The fact was I could not find any.
I could find no other supernatural being in all of Paris.
Mortals to the left of me, mortals to the right of me, and now and then-just when I'd convinced myself it wasn't happening at all-I'd feel that vague and maddeningly elusive presence.
It was never any more substantial than it had been the first night in the village churchyard. And invariably it was in the vicinity of a Paris cemetery.
Always, I'd stop, turn, and try to draw it out. But it was never any good, the thing was gone before I could be certain of it. I could never find it on my own, and the stench of city cemeteries was so revolting I wouldn't, couldn't, go into them.
This was coming to seem more than fastidiousness or bad memories of my own dungeon beneath the tower. Revulsion at the sight or smell of death seemed part of my nature.
I couldn't watch executions any more than when I was that trembling boy from the Auvergne, and corpses made me cover my face. I think I was offended by death unless I was the cause of it! And I had to get clean away from my dead victims almost immediately.
But to return to the matter of the presence. I came to wonder if it wasn't some other species of haunt, something that couldn't commune with me. On the other hand, I had the distinct impression that the presence was watching me, maybe even deliberately revealing itself to me.
Whatever the case, I saw no other vampires in Paris. And I was beginning to wonder if there could be more than one of us at any given time. Maybe Magnus destroyed the vampire from whom he stole the blood. Maybe he had to perish once he passed on his powers. And I too would die if I were to make another vampire.
But no, that didn't make sense. Magnus had had great strength even after giving me his blood. And he had bound his vampire victim in chains when he stole his powers.
An enormous mystery, and a maddening one. But for the moment, ignorance was truly bliss. And I was doing very well discovering things without the help of Magnus. And maybe this was what Magnus had intended. Maybe this had been his way of learning centuries ago.
I remembered his words, that in the secret chamber of the tower I would find ail that I needed to prosper.
The hours flew as I roamed the city. And only to conceal myself in the tower by day did I ever deliberately leave the company of human beings.
Yet I was beginning to wonder: "If you can dance with them, and play billiards with them and talk with them, then why can't you dwell among them, just the way you did when you were living? Why couldn't you pass for one of them? And enter again into the very fabric of life where there is . . . what? Say it!"
And here it was nearly spring. And the nights were getting warmer, and the House of Thesbians was putting on a new drama with new acrobats between the acts. And the trees were in bloom again, and every waking moment I thought of Nicki.
One night in march, I realized as Roget read my mother's letter to me that I could read as well as he could. I had learned from a thousand sources how to read without even trying. I took the letter home with me.
Even the inner chamber was no longer really cold. And I sat by the window reading my mother's words for the first time in private. I could almost hear her voice speaking to me:
"Nicolas writes that you have purchased Renaud's. So you own the little theater on the boulevard where you were so happy. But do you possess the happiness still? When will you answer me?"
I folded up the letter and put it in my pocket. The blood tears were coming into my eyes. Why must she understand so much, yet so little?
11
The wind had lost it's sting. All the smells of the city were coming back. And the markets were full of flowers. I dashed to Roget's house without even thinking of what I was doing and demanded that he tell me where Nicolas lived.
I would just have a look at him, make certain he was in good health, be certain the house was fine enough.
It was on the Ile St. Louis, and very impressive just as I'd wanted, but the windows were all shuttered along the quais.
I stood watching it for a long time, as one carriage after another roared over the nearby bridge. And I knew that I had to see Nicki.
I started to climb the wall just as I had climbed walls in the village, and I found it amazingly easy. One story after another I climbed, much higher than I had ever dared to climb in the past, and then I sped over the roof, and down the inside of the courtyard to look for Nicki's flat.
I passed a handful of open windows before I came to the right one. And then there was Nicolas in the glare of the supper table and Jeannette and Luchina were with him, and they were having the late night meal that we used to take together when the theater closed.
At the first sight of him, I drew back away from the casement and closed my eyes. I might have fallen if my right hand hadn't held fast to the wall as if with a will of its own. I had seen the room for only an instant, but every detail was fixed in my mind.
He was dressed in old green velvet, finery he'd worn so casually in the crooked streets at home. But everywhere around him were signs of the wealth I'd sent him, leather-bound books on the shelves, and an inlaid desk with an oval painting above it, and the Italian violin gleaming atop the new pianoforte.
He wore a jeweled ring I'd sent, and his brown hair was tied back with a black silk ribbon, and he sat brooding with his elbows on the table eating nothing from the expensive china plate before him.
Carefully I opened my eyes and looked at him again. All his natural gifts were there in a blaze of light: the delicate but strong limbs, large sober brown
eyes, and his mouth that for all the irony and sarcasm that could come out of it was childlike and ready to be kissed.
There seemed in him a frailty I'd never perceived or understood. Yet he looked infinitely intelligent, my Nicki, full of tangled uncompromising thoughts, as he listened to Jeannette, who was talking rapidly.
"Lestat's married," she said as Luchina nodded, "the wife's rich, and he can't let her know he was a common actor, it's simple enough."
"I say we let him in peace," Luchina said. "He saved the theater from closing, and he showers us with gifts.. ."
"I don't believe it," Nicolas said bitterly. "He wouldn't be ashamed of us." There was a suppressed rage in his voice, an ugly grief. "And why did he leave the way he did? I heard him calling me! The window was smashed to pieces! I tell you I was half awake, and I heard his voice..."
An uneasy silence fell among them. They didn't believe his account of things, how I'd vanished from the garret, and telling it again would only isolate him and embitter him further. I could sense this from all their thoughts.
"You didn't really know Lestat," he said now, almost in a surly fashion, returning to the manageable conversation that other mortals would allow him. "Lestat would spit in the face of anyone who would be ashamed of us! He sends me money. What am I supposed to do with it? He plays games with us!"
No answer from the others, the solid, practical beings who would not speak against the mysterious benefactor. Things were going too well.
And in the lengthening silence, I felt the depth of Nicki's anguish, I knew it as if I were peering into his skull. And I couldn't bear it.
I couldn't bear delving into his soul without his knowing it. Yet I couldn't stop myself from sensing a vast secret terrain inside him, grimmer perhaps than I had ever dreamed, and his words came back to me that the darkness in him was like the darkness I'd seen at the inn, and that he tried to conceal it from me.
I could almost see it, this terrain. And in a real way it was beyond his mind, as if his mind were merely a portal to a chaos stretching out from the borders of all we know.
Too frightening that. I didn't want to see it. I didn't want to feel what he felt!
But what could I do for him? That was the important thing. What could I do to stop this torment once and for all?
Yet I wanted so to touch him-his hands, his arms, his face. I wanted to feel his flesh with these new immortal fingers. And I found myself whispering the word "Alive." Yes, you are alive and that means you can die. And everything I see when I look at you is utterly insubstantial. It is a commingling of tiny movements and indefinable colors as if you haven't a body at all, but are a collection of heat and light. You are light itself, and what am I now?
Eternal as I am, I curl like a cinder in that blaze.
But the atmosphere of the room had changed. Luchina and Jeannette were taking their leave with polite words. He was ignoring them. He had turned to the window, and he was rising as if he'd been called by a secret voice. The look on his face was indescribable.
He knew I was there!
Instantly, I shot up the slippery wall to the roof.
But I could still hear him below. I looked down and I saw his naked hands on the window ledge. And through the silence I heard his panic. He'd sensed that I was there! My presence, mind you, that is what he sensed, just as I sensed the presence in the graveyards, but how, he argued with himself, could Lestat have been here?
I was too shocked to do anything. I clung to the roof gutter, and I could feel the departure of the others, feel that he was now alone. And all I could think was, What in the name of hell is this presence that he felt?
I mean I wasn't Lestat anymore, I was this demon, this powerful and greedy vampire, and yet he felt my presence, the presence of Lestat, the young man he knew!
It was a very different thing from a mortal seeing my face and blurting out my name in confusion. He had recognized in my monster self something that he knew and loved.
I stopped listening to him. I merely lay on the roof.
But I knew he was moving below. I knew it when he lifted the violin from its place on the pianoforte, and I knew he was again at the window.
And I put my hands over my ears.
Still the sound came. It came rising out of the instrument and cleaving the night as if it were some shining element, other than air and light and matter, that might climb to the very stars.
He bore down on the strings, and I could almost see him against my eyelids, swaying back and forth, his head bowed against the violin as if he meant to pass into the music, and then all sense of him vanished and there was only the sound.
The long vibrant notes, and the chilling glissandos, and the violin singing in its own tongue to make every other form of speech seem false. Yet as the song deepened, it became the very essence of despair as if its beauty were a horrid coincidence, grotesquery without a particle of truth.
Was this what he believed, what he had always believed when I talked on and on about goodness? Was he making the violin say it? Was he deliberately creating those long, pure liquid notes to say that beauty meant nothing because it came from the despair inside him, and it had nothing to do with the despair finally, because the despair wasn't beautiful, and beauty then was a horrid irony?
I didn't know the answer. But the sound went beyond him as it always had. It grew bigger than the despair. It fell effortlessly into a slow melody, like water seeking its own downward mountain path. It grew richer and darker still and there seemed something undisciplined and chastening in it, and heartbreaking and vast. I lay on my back on the roof now with my eyes on the stars.
Pinpoints of light mortals could not have seen. Phantom clouds. And the raw, piercing sound of the violin coming slowly with exquisite tension to a close.
I didn't move.
I was in some silent understanding of the language the violin spoke to me. Nicki, if we could talk again . . . If "our conversation" could only continue.
Beauty wasn't the treachery he imagined it to be, rather it was an uncharted land where one could make a thousand fatal errors, a wild and indifferent paradise without signposts of evil or good.
In spite of all the refinements of civilization that conspired to make art-the dizzying perfection of the string quartet or the sprawling grandeur of Fragonard's canvases-beauty was savage. It was as dangerous and lawless as the earth had been eons before man had one single coherent thought in his head or wrote codes of conduct on tablets of clay. Beauty was a Savage Garden.
So why must it wound him that the most despairing music is full of beauty? Why must it hurt him and make him cynical and sad and untrusting?
Good and evil, those are concepts man has made. And man is better, really, than the Savage Garden.
But maybe deep inside Nicki had always dreamed of a harmony among all things that I had always known was impossible. Nicki had dreamed not of goodness, but of justice.
But we could never discuss these things now with each other. We could never again be in the inn. Forgive me, Nicki. Good and evil exist still, as they always will. But "our conversation" is over forever.
Yet even as I left the roof, as I stole silently away from the Ile St. Louis, I knew what I meant to do.
I didn't admit it to myself but I knew.
The next night it was already late when I reached the boulevard de Temple. I'd fed well in the Ile de la Cite, and the first act at Renaud's House of Thesbians was already under way.
12
I'd dressed as if I were going to court, in silver brocade with a lavender velvet roquelaure over my shoulders. I had a new sword with a deep-carved silver handle and the usual heavy, ornate buckles on my shoes, the usual lace gloves, tricorne. And I came to the theater in a hired carriage.
But as soon as I paid the driver I went back the alley and opened the stage door exactly as I used to do.
At once the old atmosphere surrounded me, the smell of the thick greasepaint and the cheap costumes full of sweat and perfu
me, and the dust. I could see a fragment of the lighted stage burning beyond the helter-skelter of hulking props and hear bursts of laughter from the hall. A group of acrobats waited to go on at the intermezzo, a crowd of jesters in red tights, caps and dagged collars studded with little gold bells.
I felt dizzy, and for a moment afraid. The place felt close and dangerous over my head, and yet it was wonderful to be inside it again. And a sadness was swelling inside me, no, a panic, actually.
Luchina saw me and she let out a shriek. Doors opened everywhere on the cluttered little dressing rooms. Renaud plunged toward me and pumped my hand. Where there had been nothing but wood and drapery a moment before, there was now a little universe of excited human beings, faces full of high color and dampness, and I found myself drawing back from a smoking candelabra with the quick words, "My eyes . . . put it out."
Anne Rice - Vampire Chronicles 2 - The Vampire Lestat (1985) Page 15
