Interview with the Vampire

Chapter 21

"And now we entered what appeared to be a vast subterranean ballroom, carved, as it were, out of a cellar more ancient than the building overhead. Above us, the door that he had opened fell shut, and the light died away before I could get a fair impression of the room. I heard the rustle of his garments in the dark and then the sharp explosion of a match. His face appeared like a great flame over the match. And then a figure moved into the light beside him, a young boy, who brought him a candle. The sight of the boy brought back to me in a shock the teasing pleasure of the naked woman on the stage, her prone body, the pulsing blood. And he turned and gazed at me now, much in the manner of the auburn-haired vampire, who had lit the candle and whispered to him,'Go.' The light expanded to the distant walls, and the vampire held the light up and moved along the wall, beckoning us both to follow.
"I could see a world of frescoes and murals surrounded us, their colors deep and vibrant above the dancing flame, and gradually the theme and content beside us came clear. It was the terrible'Triumph of Death' by Breughel, painted on such a massive scale that all the multitude of ghastly figures towered over us in the gloom, those ruthless skeletons ferrying the helpless dead in a fetid moat or pulling a cart of human skulls, beheading an outstretched corpse or hanging humans from the gallows. A bell tolled over the endless hell of scorched and smoking land, towards which great armies of men came with the hideous, mindless march of soldiers to a massacre. I turned away, but the auburn-haired one touched my hand and led me further along the wall to see'The Fall of the Angels' slowly materializing with the damned being driven from the celestial heights into a lurid chaos of feasting monsters. So vivid, so perfect was it, I shuddered. The hand that had touched me did the same again, and I stood still despite it, deliberately looking above to the very height of the mural, where I could make out of the shadows two beautiful angels with trumpets to their lips. And for a second the spell was broken. I had the strong sense of the first evening I had entered Notre-Dame, but then that was gore, like something gossamer and precious snatched away from me.
"The candle rose. And horrors rose all around me: the dumbly passive and, degraded damned of Bosch, the bloated coned corpses of Traini, the monstrous horsemen of Durer, and blown out of all endurable scale a promenade of medieval woodcut, emblem, and engraving. The very ceiling writhed with skeletons and moldering dead, with demons and the instruments of pain, as if this were the cathedral of death itself.
"Where we stood finally in the center of the room, the candle seemed to pull the images to life everywhere around us. Delirium threatened, that awful shifting of the room began, that sense of falling. I reached out for Claudia's hand. She stood musing, her face passive, her eyes distant when I looked to her, as if she'd have me let her alone; and then her feet shot off from me with a rapid tapping on the stone floor that echoed all along the walls, like fingers tapping on my temples, on my skull. I held my temples, staring dumbly at the floor in search of shelter, as if to lift my eyes would force me to look on some wretched suffering I would not, could not endure. Then again I saw the vampire's face floating in his flame, his ageless eyes circled in dark lashes. His lips were very still, but as I stared at him he seemed to smile without making even the slightest movement. I watched him all the harder, convinced it was some powerful illusion I could penetrate with keen attention; and the more I watched, the more he seemed to smile and finally to be animated with a soundless whispering, musing, singing. I could hear it like something curling in the dark, as wallpaper curls in the blast of a fire or paint peels from the face of a burning doll. I had the urge to reach for him, to shake him violently so that his still face would move, admit to this soft singing; and suddenly I found him pressed against me, his arm around my chest, his lashes so close I could see them matted and gleaming above the incandescent orb of his eye, his soft, tasteless breath against my skin. It was delirium.
"I moved to get away from him, and yet I was drawn to him and I didn't move at all, his arm exerting its firm pressure, his candle blazing now against my eye, so that I felt the warmth of it; all my cold flesh yearned for that warmth, but suddenly I waved to snuff it but couldn't find it, and all I saw was his radiant face, as I had never seen Lestat's face, white and poreless and sinewy and male. The other vampire. All other vampires. An infinite procession of my own kind.
"The moment ended.
"I found myself with my hand outstretched, touching his face; but he was a distance away from me, as if he'd never moved near me, making no attempt to brush my hand away. I drew back, flushed, stunned.
"Far away in the Paris night a bell chimed, the dull, golden circles of sound seeming to penetrate the walls, the timbers that carried that sound down into the earth like great organ pipes. Again came that whispering, that inarticulate singing. And through the gloom I saw that mortal boy watching me, and I smelled the hot aroma of his flesh. The vampire's facile hand beckoned him, and he came towards me, his eyes fearless and exciting, and he drew up to me in the candlelight and put his arms around my shoulders.
"Never had I felt this, never had I experienced it, this yielding of a conscious mortal. But before I could push him away for his own sake, I saw the bluish bruise on his tender neck. He was offering it to me. He was pressing the length of his body against me now, and I felt the hard strength of his sex beneath his clothes pressing against my leg. A wretched gasp escaped my lips, but he bent close, his lips on what must have been so cold, so lifeless for him; and I sank my teeth into his skin, my body rigid, that hard sex driving against me, and I lifted him in passion off the floor. Wave after wave of his beating heart passed into me as, weightless, I rocked with him, devouring him, his ecstasy, his conscious pleasure.
"Then, weak and gasping, I saw him at a distance from me, my arms empty, my mouth still flooded with the taste of his blood. He lay against that auburnhaired vampire, his arm about the vampire's waist, and he gazed at me in that same pacific manner of the vampire, his eyes misted over and weak from the loss of life. I remember moving mutely forward, drawn to him and seemingly unable to control it, that gaze taunting me, that conscious life defying me; he should die and would not die; he would live on, comprehending, surviving that intimacy! I turned. The host of vampires moved in the shadows, their candles whipped and fleeting on the cool air; and above them loomed a great broadcast of ink-drawn figures: the sleeping corpse of a woman ravaged by a vulture with a human face; a naked man bound hand and foot to a tree, beside him hanging the torso of another, his severed arms tied still to another branch, and on a spike this dead man's staring head.
"Me singing came again, that thin, ethereal singing. Slowly the hunger in me subsided, obeyed, but my head throbbed and the flames of the candles seemed to merge in burnished circles of light. Someone touched me suddenly, pushed me roughly, so that I almost lost my balance, and when I straitened I saw the thin, angular face of the trickster vampire I despised. He reached out for me with his white hands. But the other one, the distant one, moved forward suddenly and stood between us. It seemed he struck the other vampire, that I saw him move, and then again I did not see him move; both stood still like statues, eyes fixed on one another, and time passed like wave after wave of water rolling back from a still beach. I cannot say how long we stood there, the three of us in those shadows, and how utterly still they seemed to me, only the shimmering flames seeming to have life behind them. Then I remember floundering along the wall and finding a large oak chair into which I all but collapsed. It seemed Claudia was near and speaking to someone in a hushed but sweet voice. My forehead teemed with blood, with heat.
"'Come with me,' said the auburn-haired vampire. I was searching his face for the movement of his lips that must have preceded the sound, yet it was so hopelessly long after the sound. And then we were walking, the three of us, down a long stone stairway deeper beneath the city, Claudia ahead of us, her shadow long against the wall. The air grew cool and refreshing with the fragrance of water, and I could see the droplets bleeding through the stones like beads of gold in the light of the vampire's candle.
"It was a small chamber we entered, a fire burning in a deep fireplace cut into the stone wall. A bed lay at the other end, fitted into the rock and enclosed with two brass gates. At first I saw these things clearly, and saw the long wall of books opposite the fireplace and the wooden desk that was against it, and the coffin to the other side. But then the room began to waver, and the auburn-haired vampire put his hands on my shoulders and guided me down into a leather chair. The fire was intensely hot against my legs, but this felt good to me, sharp and clear, something to draw me out of this confusion. I sat back, my eyes only half open, and tried to see again what was about me. It was as if that distant bed were a stage and on the linen pillows of the little stage lay that boy, his black hair parted in the middle and curling about his ears, so that he looked now in his dreamy, fevered state like one of those lithe androgynous creatures of a Botticelli painting; and beside him, nestled against him, her tiny white hand stark against his ruddy flesh, lay Claudia, her face buried in his neck. The masterful auburn-haired vampire looked on, his hands clasped in front of him; and when Claudia rose now, the boy shuddered. The vampire picked her up, gently, as I might pick her up, her hands finding a hold on his neck, her eyes half shut with the swoon, her lips rouged with blood. He set her gently on the desk, and she lay back against the leatherbound books, her hands falling gracefully into the lap of her lavender dress. The gates closed on the boy and, burying his face in the pillows, he slept.
"There was something disturbing to me in the room, and g didn't know what it was. I didn't in truth know what was wrong with me, only that I'd been drawn forcefully either by myself or someone else from two fierce, consuming states: an absorption with those grim paintings, and the kill to which I'd abandoned myself, obscenely, in the eyes of others.
"I didn't know what it was that threatened me now, what it was that my mind sought escape from. I kept looking at Claudia, the way she lay against the books, the way she sat amongst the objects of the desk, the polished white skull, the candle-holder, the open parchment book whose hand-painted script gleamed in the light; and then above her there emerged into focus the lacquered and shimmering painting of a medieval devil, horned and hoofed, his bestial figure looming over a coven of worshipping witches. Her head was just beneath it, the loose curling strands of her hair just stroking it; and she watched the brown-eyed vampire with wide, wondering eyes. I wanted to pick her up suddenly, and frightfully, horribly, I saw her in my kindled imagination flopping like a doll. I was gazing at the devil, that monstrous face preferable to the sight of her in her eerie stillness.
"'You won't awaken the boy if you speak,' said the brown-eyed vampire.'You've come from so far, you've traveled so long.' And gradually my confusion subsided, as if smoke were rising and moving away on a current of fresh air. And I lay awake and very calm, looking at him as he sat in the opposite chair. Claudia, too, looked at him. And he looked from one to the other of us, his smooth face and pacific eyes very like they'd been all along, as though there had never been any change in him at all.
"'My name is Armand,' he said. 'I sent Santiago to give you the invitation. I know your names. I welcome you to my house'
"I gathered my strength to speak, my voice sounding strange to me when I told him that we had feared we were alone.
" But how did you come into existence?' he asked. Claudia's hand rose ever so slightly from her lap, her eyes moving mechanically from his face to mine. I saw this and knew that he must have seen it, and yet he gave no sign. I knew at once what she meant to tell me. 'You don't want to answer,' said Armand, his voice low and even more measured than Claudia's voice, far less human than my own. I sensed myself slipping away again into contemplation of that voice and those eyes, from which I had to draw myself up with great effort.
"'Are you the leader of this group?' I asked him.
"`Not in the way you mean leader,' he answered. But if there were a leader here, I would be that one.'
"'I haven't come... you'll forgive me... to talk of how I came into being. Because that's no mystery to me, it presents no question. So if you have no power to which I might be required to render respect, I don't wish to talk of those things:
"'If I told you I did have such power, would you respect it?' he asked.
"I wish I could describe his manner of speaking, how each time he spoke he seemed to arise out of a state of contemplation very like that state into which I felt I was drifting, from which it took so much to wrench myself; and yet he never moved, and seemed at all times alert. This distracted me while at the same time I was powerfully attracted by it, as I was by this room, its simplicity, its rich, w combination of essentials: the books, the desk, the two chairs by the fire, the coffin, the pictures. The luxury of those rooms in the hotel seemed vulgar, but more than that, meaningless, beside this room. I understood all of it except for the mortal boy, the sleeping boy, whom I didn't understand at all.
"'I'm not certain,' I said, unable to keep my eyes off that awful medieval Satan. 'I would have to know from what... from whom it comes. Whether it came from other vampires... or elsewhere'
"'Elsewhere... ' he said. 'What is elsewhere?
"'That?' I pointed to the medieval picture.
" 'That is a picture,' he said.
"'Nothing more?'
"'Nothing more.'
"'Then Satan... some satanic power doesn't give you your power here, either as leader or as vampire?'
"'No,' he said calmly, so calmly it was impossible for me to know what he thought of my questions, if he thought of them at all in the manner which I knew to be thinking.
"'And the other vampires?'
" "No,' he said.
"'Then we are not... ' I sat forward.'.... the children of Satan?'
"'How could we be the children of Satan?' he asked.'Do you believe that Satan made this world around you?'
"'No, I believe that God made it, if anyone made it. But He also must have made Satan, and I want to know if we are his children!'
"'Exactly, and consequently if you believe God made Satan, you must realize that all Satan's power comes from God and that Satan is simply God's child, and that we are God's children also. There are no children of Satan, really.'
"I couldn't disguise my feelings at this. I sat back against the leather, looking at that small woodcut of the devil, released for the moment from any sense of obligation to Armand's presence, lost in my thoughts, in the undeniable implications of his simple logic.
" 'But why does this concern you? Surely what I say doesn't surprise you,' he said.'Why do you let it affect you?'
"'Let me explain,' I began.'I know that you're a master vampire. I respect you. But I'm incapable of your detachment. I know what it is, and I do not possess it and I doubt that I ever will. I accept this.'
"'I understand,' he nodded.'I saw you in the theater, your suffering, your sympathy with that girl. I saw your sympathy for Denis when I offered him to you; you die when you kill, as if you feel that you deserve to die, and you stint on nothing. But why, with this passion and this sense of justice, do you wish to call yourself the child of Satan!'
"'I'm evil, evil as any vampire who ever lived! I've killed over and over and will do it again. I took that boy, Denis, when you gave him to me, though I was incapable of knowing whether he would survive or not.'
" 'Why does that make you as evil as any vampire? Aren't there gradations of evil? Is evil a great perilous gulf into which one falls with the first sin, plummeting to the depth?'
"'Yes, I think it is,' I said to him.'It's not logical, as you would make it sound. But it's that dark, that empty. And it is without consolation.'
"'But you're not being fair,' he said with the first glimmer of expression in his voice.'Surely you attribute great degrees and variations to goodness. There is the goodness of the child which is innocence, and then there is the goodness of the monk who has given up everything to others and lives a life of self-deprivation and service. The goodness of saints, the goodness of good housewives. Are all these the same?'
"'No. But equally and infinitely different from evil.' I answered.
"I didn't know I thought these things. I spoke them now as my thoughts. And they were my most profound feelings taking a shape they could never have taken had I not spoken them, had I not thought them out this way in conversation with another. I thought myself then possessed of a passive mind, in a sense. I mean that my mind could only pull itself together, formulate thought out of the muddle of longing and pain, when it was touched by another mind; fertilized by it; deeply excited by that other mind and driven to form conclusions. I felt now the rarest, most acute alleviation of loneliness. I could easily visualize and suffer that moment years before in another century, when I had stood at the foot of Babette's stairway, and feel the perpetual metallic frustration of years with Lestat; and then that passionate and doomed affection for Claudia which made loneliness retreat behind the soft indulgence of the senses, the same senses that longed for the kill. And I saw the desolate mountaintop in eastern Europe where I had confronted that mindless vampire and killed him in the monastery ruins. And it was as if the great feminine longing of my mind were being awakened again to be satisfied. And this I felt despite my own words:'But it's that dark, that empty. And it is without consolation.'
"I looked at Armand, at his large brown eyes in that taut, timeless face, watching me again like a painting; and I felt the slow shifting of the physical world I'd felt in the painted ballroom, the pull of my old delirium, the wakening of a need so terrible that the very promise of its fulfillment contained the unbearable possibility of disappointment. And yet there was the question, the awful, ancient, hounding question of evil.
"I think I put my hands to my head as mortals do when so deeply troubled that they instinctively cover the face, reach for the brain as if they could reach through the skull and massage the living organ out of its agony.
"'And how is this evil achieved?' he asked.'How does one fall from grace and become in one instant as evil as the snob tribunal of the Revolution or the most cruel of the Roman emperors? Does one merely have to miss Mass on Sunday, or bite down on the Communion Host? (r)r steal a loaf of bread... or sleep with a neighbor's wife?'
"'No...' I shook my head.'No.'
"'But if evil is without gradation, and it does exist, this state of evil, then only one sin is needed. Isn't that what you are saying? That God exists and....
"'I don't know if God exists,' I said.'And for all I do know... He doesn't exist.'
"'Then no sin matters,' he said.'No sin. achieves evil.'
"'That's not true. Because if God doesn't exist we are the creatures of highest consciousness in the universe. We alone understand the passage of time and the value off every minute of human life. And what constitutes evil, real evil, is the taking of a single human life. Whether a man would have died tomorrow or the day after or eventually... it doesn't matter. Because if God does not exist, this life... every second of it... is all we have.'