By Anne Rice
With Pandora, Anne Rice begun a powerful new sequence of vampire novels. Now, within the moment of her New stories of the Vampires, she tells the captivating tale of Vittorio, a vampire within the Italian Age of Gold.
Educated within the Florence of Cosimo de' Medici, knowledgeable in knighthood at his father's mountaintop fort, Vittorio inhabits a global of courtly elegance and nation pleasures—a global abruptly threatened while his whole relations is faced by way of an unholy power.
In the midst of this upheaval, Vittorio is seduced via the vampire Ursula, the main attractive of his supernatural enemies. As he units out in pursuit of vengeance, getting into the nightmarish courtroom of the Ruby Grail, progressively more enchanted (and burdened) by means of his love for the mysterious Ursula, he unearths himself dealing with demonic adversaries, conflict and political intrigue.
Against a backdrop of the wonders—both sacred and profane—and the sweetness and ferocity of Renaissance Italy, Anne Rice creates a passionate and tragic legend of doomed younger love and misplaced innocence.
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U. S. Marshal Jameson Arkeley—the country’s prime authority on vampires—taught police investigator and vampire fighter Laura Caxton every little thing she understands approximately monsters. After a bloody struggle visited upon Gettysburg by way of a military of vampires, Arkeley gave up his personal existence to avoid wasting others. other than he didn’t precisely die . . .
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Contemporary politically dependent works at the vampire novel were oriented in the direction of Irish or postcolonial contexts. during this paintings Matthew Gibson couches the paintings of Mérimée, Polidori, Le Fanu, Stoker and Verne within the rapid and particular context within which their works have been written - specifically the suitable reaction to the Balkan, Ottoman and Austro-Hungarian politics.
With Pandora, Anne Rice started a powerful new sequence of vampire novels. Now, within the moment of her New stories of the Vampires, she tells the spell binding tale of Vittorio, a vampire within the Italian Age of Gold.
Educated within the Florence of Cosimo de' Medici, proficient in knighthood at his father's mountaintop citadel, Vittorio inhabits an international of courtly elegance and kingdom pleasures—a international without warning threatened whilst his whole relations is faced by means of an unholy power.
In the midst of this upheaval, Vittorio is seduced by means of the vampire Ursula, the main attractive of his supernatural enemies. As he units out in pursuit of vengeance, coming into the nightmarish courtroom of the Ruby Grail, a growing number of enchanted (and stressed) through his love for the mysterious Ursula, he reveals himself dealing with demonic adversaries, battle and political intrigue.
Against a backdrop of the wonders—both sacred and profane—and the wonder and ferocity of Renaissance Italy, Anne Rice creates a passionate and tragic legend of doomed younger love and misplaced innocence.
In a village at the fringe of the Frontier, D is likely one of the warriors and mercenaries employed to protect the village from the Black loss of life, a infamous bandit gang. however the bandits don’t arrive, and the village mayor dismisses the mercenaries. As D leaves the scene, he’s struck by means of “sunlight syndrome”—the lethal affliction targeted to dhampirs!
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Extra info for Vittorio, the Vampire (Vampire Chronicles: New Tales of the Vampires, Book 2)
Midnight brings realization that Aubrey’s sister has disappeared. Polidori concludes, taunting, she “had glutted the thirst of a Vampyre” (283). Polidori’s uniquely unsatisfying ﬁnal line hardly justiﬁes a tragedy’s heap of cadavers; nothing cathartic is left to retain, but grim spectacle climaxed by surprise. Rather than cleansing and renewing, the ending pollutes. Ianthe dead, Sun–king departed, the Vampire — intoxicated on Miss Aubrey’s blood — free to wreak another leap year’s havoc on a disbelieving world, The Vampyre yields but grotesque comedy with as many deformities as strokes of genius competing for attention.
Polidori had also established a symbolic language that gracefully permitted the occulting of his tale’s most profound essence, exactly what Nodier needed. Complementing his several reviews and articles on the theme that appeared in the Débats and the Drapeau Blanc, two creative works published in 1820 link Nodier, ambiguously, to the vampire: the roman Lord Ruthwen [sic], ou les Vampires and the melodrama Le Vampire, ou Lord Rutwen [sic]. If these titles read as anagrammatic, suggesting the melodrama is the novel inverted and vice versa, the novel bears little similarity to either Polidori’s story or the melodrama, recalling only tales yet to be written.
He was both delighted and surprised when Marsden wrote back to offer to accomplish what Rutwen no longer could and to unite their families through Malvina’s hand and his own. As Aubray completes his story, Marsden is announced. Malvina, too overwhelmed by her ordeal to welcome her ﬁancé, retires. Marsden, whose resemblance to Rutwen dumbfounds Aubray, admits that he is in fact Rutwen, miraculously saved from death. In a further twist of fate, brother Marsden died in Venice, leaving Rutwen heir to the mainland estates.
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