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In her latest bewitching volume of The Vampire Chronicles, Anne Rice summons up dazzling worlds to bring us the story of Armand - eternally young, with the face of a Botticelli angel - who appeared as the flamboyant leader of the Théatre des Vampires in Interview with the Vampire. Armand
begins his story against the dark, dramatic backdrop of the New Orleans
convent where Lestat still lies in Endymion-like sleep. The first memories
he can conjure up are brutal ones - of himself as a boy, filthy and
degraded, on a slave ship bound from Constantinople for Renaissance
Venice. There in a magnificent palazzo he becomes the catamite and pupil
of a rich, reclusive artist - Marius, the greatest vampire of them all.
Later, in a duel with an English lord, Armand receives a fatal wound,
from which only Marius's dark gift can save him. Near death, he relives
memories of an earlier, half-forgotten childhood in Kiev in Russia -
a city under The novel rises in a glorious crescendo, moving though scenes of luxury and decadence, of ambush, fire and devil worship to nineteenth-century Paris and finally to present-day New Orleans. Summoned there by the playing of impassioned music and visions of lost childhood, Armand, the eternally vulnerable and romantic hero, is forced to choose between his twilight immortality and the salvation of his immortal soul. Teeming with richness, sensuality and light, The Vampire Armand weaves an extraordinary powerful spell, building to a climax and a thrilling moment of epiphany in the convent in New Orleans. The Vampire Armand ~ Chatto & Windus 1998 (UK)
In the latest installment of The Vampire Chronicles, Anne Rice summons up dazzling worlds to bring us the story of Armand - eternally young, with the face of a Botticelli angel. Armand, who first appeared in all his dark glory more than twenty years ago in the now-classic Interview with the Vampire, the first of The Vampire Chronicles, the novel that established its author worldwide as a magnificent storyteller and creator of magical realms. Now, we go with Armand across the centuries to the Kiev Rus of his boyhood - a ruined city under Mongol dominion - and to ancient Constantinople where Tartar raiders sell him into slavery. And in a magnificent palazzo in the Venice of the Renaissance we see him emotionally and intellectually in thrall to the great vampire Marius, who masquerades among humankind as a mysterious, reclusive painter and who will bestow upon Armand the gift of vampiric blood. As the novel races to its climax, moving through scenes of luxury and elegance, of ambush, fire, and devil worship to nineteenth-century Paris and today's New Orleans, we see its eternally vulnerable and romantic hero forced to choose between his twilight immortality and the salvation of his immortal soul. The Vampire Armand ~ Knopf 1998 (US) |
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| Twenty
Six Years with my Beloved Immortals ~ The Vampire Armand
This book had to be born. Armand was a child of Interview with the Vampire as surely as Lestat was; and there had to come a time when the beautiful auburn-haired Armand told his story. Of course, it's David Talbot who persuades him to do it, and that makes perfect sense because Armand could hardly confide in anyone he knew closely. For this book, it may surprise my detractors to learn that I read a great deal of Shakespeare. I thrived on Shakespeare and in Armand's voice I really let my language cut loose. I sought for, and reveled in, and extremely ornate and florid prose. They mystical side of Armand came forth, the secret history of Armand which explained so much of his coldness in Interview with the Vampire. Armand the coven master of The Vampire Lestat, Armand the creator of The Night Island in the Queen of the Damned, Armand the impassioned convert in Memnoch the Devil - all these beings become understandable in this, Armand's own tortured story. Armand's dreams, his visions, his youth - his deep religious Russian roots that make it so hard for him to embrace the vampire Marius's magnificent Renaissance art - all this was described with no constraint or hesitation. Armand is not someone whom I love or embrace, and his mind is alien to me. He is the uncomprehending villain of my first two Chronicles. But his sensuality I fully understand, and it was through his sensuality that I reached him and knew him and could turn him inside out for the reader. For Armand, images mean everything, be they ikons, or faces in paintings, or the face of Christ on Veronica's veil. Armand comes from the cold of Russia to the embracing warmth of Venice and down into the present time with a steely heart and a greediness for art and blood. Yet even in his worst pain he falls under the spell of two lost children. Ah, well, maybe I do love him. The book's transgressive. It's wicked. It's full of a boy's love for a man which turns gradually to a boy's love for a monster. It's about a child monk gone mad. It's about a child's heart made immortal. If it isn't lush and delicious to read, replete with sadness and some time horror, I've failed. So be it. Anne Rice |
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