I knew Freda Warrington from The Court of the Midnight King, a story of Richard III set in a somewhat alternative 15th Century England (along with a soupçon of time-slip – just my cup of tea), but for some reason I had never come across this wonderful series of vampire novels. I borrowed A Taste of Blood Wine from a friend – he was reluctant to lend it but I had spotted it on his bookshelf, read the first couple of pages and was now firmly clutching it to my chest.
I was entranced, and as soon as I finished it I rushed out to by the sequel, A Dance in Blood Velvet.
The first story opens with a horrifyingly vivid description of World War One trenches during the night, during the lull in the fighting. A vampire walks unhurriedly through no man's land, "an impossible apparition to anyone left alive. [...] The dying: he sensed them all around him."
And there, his "maker", Kristian, finds him.
We learn that the vampire, Karl, has been hiding from Kristian for the last four years.
'Why immerse yourself in this horror?'
'Why not?' said Karl.
'Because it's nothing to do with us, this human mess!' Kristian struck the ground. 'We are above it!'
'Are we?' Karl feared Kristian, but would never let the fear win. 'Why shy away from evil, when our kind personifies evil?' [...]
'Do not speak of evil, Karl.' Kristian's dark eyes gleamed. 'The only Devil is mankind. This is the very folly for which we should punish them.'
This is the backdrop. Karl, who sympathises with humanity and sees himself as something evil, and Kristian, who sees humankind as evil and himself and his kind as the instrument of God.
Back to "reality": In London in the early 1920s, the Neville sisters are part of the scene at the Season's parties and dances. Two of them enjoy it all. The third, Charlotte, does not. She wants only to return to Canbridge, where she works alongside her professor father in his laboratory.
Her father, meanwhile, has taken on a new research assistant: the vampire Karl, once a cellist in Mozart's Salzburg, but now intent on investigating the mystery of life (and death), hoping he might learn in a laboratory how the interminable might be terminated – his own, or Kristian's – and also hoping to discover something of the true nature of that other dimension known to vampires as the Crystal Ring that exists alongside the dimension in which mere humans live and die.
And so begins one of the great romances of modern literature: the shy, studious wallflower and the charismatic, unnaturally handsome vampire.
I don't want to spoil the story for you, but yes, of course, in the sequel, A Dance in Blood Velvet, Charlotte is a vampire – self-assured now, and living the life of a vampire millionaire with Karl. Home is a secluded chateau in one of the most beautiful parts of Switzerland, and by travelling via the Crystal Ring they can be anywhere in minutes, dining in, say, Venice, before attending the opera in, perhaps, Vienna. Things can only go wrong, and, of course, they do.
The second book is slower than the first, but still gripping and full of the unexpected – including a ballet dancer, Violette, who is just too perfect to be entirely human, and two human mages ("witches" in the book, but I'm sorry, for me witches will always be women) who have power even over vampires. Now I am looking forward to reading the the third book, The Dark Blood of Poppies, which apparently focuses once more on the magical dancer, Violette.