The Vampire Armand - Anne Rice [91]
“But how so?” I asked him.
He was at a loss. He didn’t even want to talk about it. Finally he became just a little impatient.
“Sometimes, Amadeo, you grill me with your questions. You ask if I owe you this tutelage. Believe me, I do not.”
“Master you made me, and you insist on my obedience. Why would I read Abelard’s History of My Calamities and the writings of Duns Scotus of Oxford University if you didn’t make me do it?” I stopped. I remembered my Father and how I never stopped throwing acidic words at him, fast answers and slurs.
I became discouraged. “Master,” I said. “Just explain it to me.”
He made a gesture as if to say “Oh, so simple, eh?”
“All right,” he went on. “It’s this way. I can go very high in the air, and I can move very fast. I cannot often penetrate the clouds. They’re frequently above me. But I can travel so fast that the world itself becomes a blur. I find myself in strange lands when I descend. And I tell you, for all its magic, this is a deeply jarring and disturbing thing. I am lost sometimes, dizzy, unsure of my goals or my will to live, after I make use of this power. Transitions come too quickly; that’s it, perhaps. I never spoke of this to anyone, and now I speak to you, and you’re a boy, and you can’t begin to understand.”
I didn’t.
But within a very short time, it was his wish that we undertake a longer journey than any we’d made before. It was only a matter of hours, but to my utter astonishment, we traveled between sundown and early evening to the far city of Florence itself.
There, set down in a wholly different world than that of the Veneto, walking quietly amongst an entirely different breed of Italian, into churches and palaces of a different style, I understood for the first time what he meant.
Understand, I’d seen Florence before, traveling as Marius’s mortal apprentice, with a group of the others. But my brief glimpse was nothing to what I saw as a vampire. I had the measuring instruments now of a minor god.
But it was night. The city lay under the usual curfew. And the stones of Florence seemed darker, more drab, suggestive of a fortress, the streets narrow and gloomy, as they were not brightened by luminescent ribbons of water as were our own. The palaces of Florence lacked the extravagant Moorish ornament of Venice’s showplaces, the high-gloss fantastical stone facades. They enclosed their splendor, as is more common to Italian cities. Yet the city was rich, dense and full of delights for the eye.
It was after all Florence—the capital of the man called Lorenzo the Magnificent, the compelling figure who dominated Marius’s copy of the great mural which I had seen on the night of my dark rebirth, a man who had died only a few years before.
We found the city unlawfully busy, though it was quite dark, with groups of men and women lingering about in the hard paved streets, and a sinister quality of restlessness hung about the Piazza della Signoria, which was one of the most important of all the many squares of the town.
An execution had taken place that day, hardly an uncommon occurrence in Florence, or Venice for that matter. It had been a burning. I smelled wood and charred flesh though all the evidence had been cleared before night.
I had a natural distaste for such things, which not everyone has, by the way, and I edged towards the scene cautiously, not wishing with these heightened senses to be jarred by some horrible remnant of cruelty.
Marius had always cautioned us as boys not to “enjoy” these spectacles, but to place ourselves mentally in the position of the victim if we were to learn the maximum from what we saw.
As you know from