you've always been mad!" he shouted. "Get out of this house! You'll drive us all crazy."
He stood up, which was hard for him, being crippled and blind, and he tried to throw his goblet at me and naturally he missed.
I couldn't look at my mother. I couldn't be near her. I didn't want to make her suffer with my questions. I went down to the inn. I couldn't bear to think of the witches' place. I would not have walked to that end of the village for anything! I put my hands over my ears and shut my eyes. "Go away!" I said at the thought of those who'd died like that without ever, ever understanding anything.
The second day it was no better.
And it wasn't any better by the end of the week either.
I ate, drank, slept, but every waking moment was pure panic and pure pain. I went to the village priest and demanded did he really believe the Body of Christ was present on the altar at the Consecration. And after hearing his stammered answers, and seeing the fear in his eyes, I went away more desperate than before.
"But how do you live, how do you go on breathing and moving and doing things when you know there is no explanation?" I was raving finally. And then Nicolas said maybe the music would make me feel better. He would play the violin.
I was afraid of the intensity of it. But we went to the orchard and in the sunshine Nicolas played every song he knew. I sat there with my arms folded and my knees drawn up, my teeth chattering though we were right in the hot sun, and the sun was glaring off the little polished violin, and I watched Nicolas swaying into the music as he stood before me, the raw pure sounds swelling magically to fill the orchard and tile valley, though it wasn't magic, and Nicolas put his arms around me finally and we just sat there silent, and then he said very softly, "Lestat, believe me, this will pass."
"Play again," I said. "The music is innocent."
Nicolas smiled and nodded. Pamper the madman.
And I knew it wasn't going to pass, and nothing for the moment could make me forget, but what I felt was inexpressible gratitude for the music, that in this horror there could be something as beautiful as that.
You couldn't understand anything; and you couldn't change anything. But you could make music like that. And I felt the same gratitude when I saw the village children dancing, when I saw their arms raised and their knees bent, and their bodies turning to the rhythm of the songs they sang. I started to cry watching them.
I wandered into the church and on my knees I leaned against the wall and I looked at the ancient statues and I felt the same gratitude looking at the finely carved fingers and the noses and the ears and the expressions on their faces and the deep folds in their garments, and I couldn't stop myself from crying.
At least we had these beautiful things, I said. Such goodness.
But nothing natural seemed beautiful to me now! The very sight of a great tree standing alone in a field could make me tremble and cry out. Fill the orchard with music.
And let me tell you a little secret. It never did pass, really.
Part I Lelio Rising Chapter 6
6
What caused it? Was it the late night drinking and talking, or did it have to do with my mother and her saying she was going to die? Did the wolves have something to do with it? Was it a spell cast upon the imagination by the witches' place?
I don't know. It had come like something visited upon me from outside. One minute it was an idea, and the next it was real. I think you can invite that sort of thing, but you can't make it come.
Of course it was to slacken. But the sky was never quite the same shade of blue again. I mean the world looked different forever after, and even in moments of exquisite happiness there was the darkness lurking, the sense of our frailty and our hopelessness.
Maybe it was a presentiment. But I don't think so. It was more important than that, and frankly I don't believe in presentiments.
But to return to the story, during all this misery I kept away from my mother. I wasn't going to say these monstrous things about death and chaos