Interview With The Vampire Book Quotes

Back in 2010, I introduced fairies and fantasy creatures as having silver blood in Bitter Frost and then Silver Frost. This silver blood is what makes them fey versus human or any other creatures. Now in Ring of Ice when there is a convergence of the fey and the dark ones (vampires), you the resemblance between these two race of creatures, which is the next Frost books. After the film release of Bitter Frost of course!

The Anne Rice books are a lot about infection. I read "Interview With the Vampire" a million times when I was in seventh and eighth grade. Also, [writing Gavriel's backstory] definitely came from those books: I sat down and reread them all and thought a lot about… the way in which vampirism is pushing away from humanity in interesting ways, and creating something new from humanity. I imprinted on those books pretty hard. Tanith Lee's "Sabella or the Blood Stone" was a big inspiration. I absolutely loved her books; when I was a kid, I wrote many bad Tanith Lee pastiches. Susie McKee Charnas' "The Vampire Tapestry." Poppy Z. Brite's "Lost Souls." Nancy Collins' "Sunglasses After Dark," which sounds like the most '80s title ever. It's about a vampire named Sonja Blue, and she goes around killing vampires. She's the only vampire who's half-alive. It's a really fun, blood-filled romp. It's very "Blade" before "Blade"--with a lady.

I saw my life as if I stood apart from it, the vanity, the self-serving, the constant fleeing from one petty annoyance after another, the lip service to God and the Virgin and a host of saints whose names filled my prayer books, none of whom made the slightest difference in a narrow, materialistic, and selfish existence. I saw my real gods...the gods of most men. Food, drink, and security in conformity.

Not only is it not necessary to read “Interview With the Vampire” by Anne Rice before you die, it is also probably not necessary to read it even if, like Lestat, you are never going to die. If I were mortally ill, and a well-meaning friend pressed Anaïs Nin’s “Delta of Venus” into my trembling hands, I would probably leave this world with a curse on my lips.

Lestat a brilliant pupil, a lover of books that had been burned. I knew only the Lestat who sneered at my library, called it a pile of dust, ridiculed relentlessly my reading, my meditations.

Although I loved horror, I wasn’t writing horror then. And sometime between elementary school and graduate school, my characters had transformed from young Black characters on fantastic and futuristic adventures to white characters having quiet epiphanies. I had wonderful writing teachers in college, but somehow with all of that exposure to “canon,” I had lost track of my own voice and was imitating writers whose stories were nothing like the ones hidden in my heart. I was a young Black woman raised by two civil rights activists—attorney John Due and Patricia Stephens Due—and I had grown up in the newly integrated suburbs of Miami-Dade County. I had never seen my life reflected in fiction; I felt like an imposter when I tried to write Black rural or city characters. I often wish I had discovered the writing of Octavia E. Butler sooner, but I had not. Representation matters. Without the work of other authors writing in a similar vein, I had lost sight of myself entirely. Then I discovered Mama Day by Gloria Naylor—finally, a book by a highly respected Black woman writer with metaphysical themes! Mama Day helped nudge me past my fear that I could not be a respected writer, especially as a Black writer, if I wrote about the supernatural. During this time, I also interviewed Anne Rice for my newspaper, since she was scheduled to appear at the Miami Book Fair International. I read one of the novels in her Vampire Chronicles series to prepare, and I also found an article about her in a highly respected magazine suggesting that she was wasting her talents writing about vampires. My worst fear realized! During that telephone interview, I asked Rice how she responded to criticism like this and then listened carefully for her answer—not for my readers, but for me. Rice actually laughed. “That used to bother me,” she said, “but my books are taught in universities.” Then she explained that by writing about the supernatural, she was liberated to discuss big themes like life, death, and love. Touché. Between Hurricane Andrew, Mama Day, and Anne Rice’s (unwitting) advice, I wrote The Between in nine months, looking past my own fears as a writer to follow my true passions. My protagonist, Hilton James, is a Black man who lives in the suburbs. His family reminded me of my own.

Bill said, “I met this man at Fangtasia. He’s been published by a small regional press. He’s written several books.” Bill sounded quite respectful; he had great admiration for the written word. “What was he doing at Fangtasia?” I asked, diverted. “He interviewed me and Maxwell Lee, since we’re both native Louisianans. He was hoping to do a collection of Louisiana vampires’ histories. He wanted to listen to our recollections of the times we grew up in, the historical events we’d witnessed. He thought that would be interesting.” “So, a ripoff of Christina Sobol?” I tried not to sound sarcastic. Sobol’s Dead History I had been on all the best-seller lists a couple of years before. Amazon had sent me a notice to tell me that Dead History II would be out in a month. These books, as you may have guessed, were vampires’ reminiscences about the times they’d lived in. Harp Powell was doing a regional twist on a national best seller.

God, he was weak, delirious. Needed something, a drink at least. In his pocket there was no money, only an old crumpled royalty check for the book Interview with the Vampire, which he had "written' under a pseudonym over twelve years ago. Another wotld, that, when he had been a young reporter, roaming the bars of the world with his tape recorder, trying to get the flotsam and jetsam of the night to tell him some truth. Well, one night in San Francisco he had found a magnificent subject for his investigations. And the light of ordinary life had suddenly gone out. Now he was a ruined thing, walking too fast under the lowering night sky of Chicago in October.

God, he was weak, delirious. Needed something, a drink at least. In his pocket there was no money, only an old crumpled royalty check for the book Interview with the Vampire, which he had "written" under a pseudonym over twelve years ago. Another wotld, that, when he had been a young reporter, roaming the bars of the world with his tape recorder, trying to get the flotsam and jetsam of the night to tell him some truth. Well, one night in San Francisco he had found a magnificent subject for his investigations. And the light of ordinary life had suddenly gone out. Now he was a ruined thing, walking too fast under the lowering night sky of Chicago in October.

God, he was weak, delirious. Needed something, a drink at least. In his pocket there was no money, only an old crumpled royalty check for the book Interview with the Vampire, which he had "written" under a pseudonym over twelve years ago. Another world, that, when he had been a young reporter, roaming the bars of the world with his tape recorder, trying to get the flotsam and jetsam of the night to tell him some truth. Well, one night in San Francisco he had found a magnificent subject for his investigations. And the light of ordinary life had suddenly gone out. Now he was a ruined thing, walking too fast under the lowering night sky of Chicago in October.

I would be delighted to write it myself — people are craving to know more about you, dear boy, craving! If you were prepared to grant me a few interviews, say in four- or five-hour sessions, why, we could have the book finished within months. And all with very little effort on your part, I assure you — ask Sanguini here if it isn’t quite — Sanguini, stay here!” added Worple, suddenly stern, for the vampire had been edging toward the nearby group of girls, a rather hungry look in his eye. “Here, have a pasty,” said Worple, seizing one from a passing elf and stuffing it into Sanguini’s hand before turning his attention back to Harry.

I saw my life as if I stood apart from it, the vanity, the self-serving, the constant fleeing from one petty annoyance after another, the lip service to God and the Virgin and a host of saints whose names filled my prayer books, none of whom made the slightest difference in a narrow, materialistic, and selfish existence. I saw my real gods … the gods of most men. Food, drink, and security in conformity. Cinders.