What did it show of me? A long oval face, with features that were too delicate -- a nose too narrow, eyes round with round eyebrows and a full cupid's-bow mouth that made me look as if I were a twelve-year-old girl. No huge eyes, no high cheekbones, no rugged jaw. Just very pretty, yes, too pretty, which is why I'd scowled for most of the photographs taken for the portrait; but the artist hadn't carved that scowl into the face.
In fact, he'd given me a trace of a smile. My short curly hair he'd rendered in thick swirls as if it were an Apollonian halo. He'd carved my shirt collar, jacket lapel and tie with equal grace.
Of course the cameo said nothing of my height of six foot four inches, that my hair was jet black, my eyes blue, or of the fact that I was slight of build. I had the kind of long thin fingers which were very good for the piano, which I played now and then. And it was my height that told people that in spite of my all too precious face and feminine hands, I really was a young man.
And so there was this enigmatic creature in a good likeness. A creature asking for sympathy. A creature saying crassly:
"Well, think about it, Lestat. I'm young, I'm stupid. And I'm pretty. Look at the cameo. I'm pretty. Give me a chance."
I'd have engraved the back with those words in tiny script, but the back was an oval photo case, and there was my image again in dull color, verifying the accuracy of the portrait on the other side.
There was one engraved word on the gold frame, right beneath the cameo, however: the name Quinn, in a good imitation of that routine handwriting which I had always hated so much -- the left-handed one trying to be normal, I imagine, the seer of ghosts saying, "I'm disciplined and not insane."
I gathered up the pages of the letter, reread them quickly, bristling again at my unimaginative handwriting, then folded the pages and put the cameo with them inside of a narrow brown envelope, which I then sealed.
I put this envelope in the inside breast pocket of my black blazer. I closed the top button of my white dress shirt and I adjusted my simple red silk tie. Quinn, the snappy dresser. Quinn, worthy to be a subject in the Vampire Chronicles. Quinn, dressed for begging to be allowed in.
I sat back again, listening. No Goblin. Where was Goblin? I felt an aching loneliness for him. I felt the emptiness of the night air. He was waiting for me to hunt, waiting for the fresh blood. But I had no intention of hunting tonight, even though I was faintly hungry. I was going into New Orleans. I was going, perhaps, to my death.
Goblin couldn't guess at what was happening. Goblin had never been more than a child. Goblin looked like me, yes, at every stage of my life, but he was forever the infant. Whenever he had grabbed my left hand with his right, the script had been a child's scrawl.
I leaned over and touched the remote control button on the marble desk. The torchères dimmed and slowly went out. The darkness came into the Hermitage. The sounds seemed to grow louder: the call of the night heron, the subtle movement of the rank dark waters, the scurrying of tiny creatures through the tops of the tangled cypress and gum. I could smell the alligators, who were as wary of the island as men. I could smell the fetid heat itself.
The moon was generous and gradually I made out a bit of the sky, which was a bright metallic blue.
The swamp was at its thickest here around the island -- the cypresses, a thousand years old, their knobby roots surrounding the shore, their misshapen branches heavy with trailing Spanish moss. It was as if they meant to hide the Hermitage, and perhaps they did.
Only the lightning now and then attacked these old sentinels. Only the lightning was fearless of the legends that said some evil dwelt on Sugar Devil Island: go there and you might never come back.
I'd been told about those legends when I was fifteen. And at twenty-one I heard it all repeated, but vanity and fascination had drawn me to the Hermitage, to the pure mystery of it -- this strong two-story house, and the nearby inexplicable mausolem -- and