In her mesmerizing new novel, the author of The Vampire Chronicles and the saga of the Mayfair Witches demonstrates once again her gift for spellbinding storytelling and the creation of myth and magic. Here, in a magnificent tale of sorcery and the occult, she makes real for us a hitherto unexplored world of witchcraft.
At the center is the beautiful, unconquerable witch Merrick. She is a descendant of the gens de couleur libres, a society of New Orleans octoroons and quadroons steeped in the lore and ceremony of voodoo, who reign in the shadowy world where African and French--the dark and the white--intermingle. Her ancestors are the great Mayfair witches, of whom she knows nothing--and from whom she inherits the power and the magical knowledge of a Circe.
Into this exotic realm comes David Talbot--hero, storyteller, adventurer, almost-mortal vampire, visitor from another dark realm. It is he who recounts Merrick's haunting tale--a tale that takes us from the New Orleans of past and present to the jungles of Guatemala, from the Maya ruins of a century ago to ancient civilizations not yet explored.
Anne Rice's richly told novel weaves an irresistible story of two worlds: the witches' world and the vampires' world, where magical powers and otherworldly fascinations are locked together in a dance of seduction, death, and rebirth.
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...
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Barry Forshaw
