Eternal life, at a cost
Every form of magic has a cost, however. For my character, Teresa, to live an unnaturally long life, she had to be transformed into something not quite human. The “undead” nature of vampires doesn’t have as much appeal for me. I prefer to think of a vampire as something more than human, an enhanced and transformed creature. Teresa didn’t choose to be transformed, but once changed, she couldn’t go back. She doesn’t like to have to feed on innocent blood, but the compulsion is stronger than she is–and she’s very strong indeed. This is a high price to pay in itself, but there’s more. When she does feed, she absorbs the memories of every one of her victims, and this burden is nearly unendurable burden. Teresa is strong enough to carry it. Mozart is not.
In Mozart’s Blood the word vampire is never mentioned except once, and that time in Italian–vampira. Teresa’s friend and ally, the mysterious Ugo, is a lupo mannaro–in the Italian tradition, the seventh son, born after six sisters, who is changed by the full moon. Their kind doesn’t dare to have friends, and this may be the highest cost of all. When the vampira and the lupo mannaro find each other, their friendship assuages the awful loneliness that comes with their unique natures. When they lose each other, the pain is too great to bear, and that is the heart of Mozart’s Blood.
There’s more background information on Mozart’s Blood on my website, www.louisemarley.com There’s an excerpt from the novel, some links to sites where you can hear Mozart’s music, some reviews, and a “virtual tour” of some of the places and people that appear in the book. I hope readers will come and visit! There’s also a discussion guide and a book club party kit.
My fan page on Facebook
Find me on Twitter
I regularly blog about writing at Red Room
I’m currently at work on another paranormal historical novel, The Brahms Deception.