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I am Princess Meredith, heir to a throne of fairie. My day job, once upon a time, was as a private detective in Los Angeles. Unfortunately, princess has now become a full-time occupation.
My aunt, Queen Andais, will have it no other way. And so I am virtually a prisoner in fairie - trapped here with some of the realm’s most beautiful men to serve as my bodyguards…and my lovers. For I am compelled to conceive a child: an heir to succeed me on the throne. Yet after months of amazing sex with my consorts, there is still no baby. And no baby means no throne. The only certainty is death at the hands of my cousin Cel, or his followers, if I fail to conceive.
Now Mistral, Queen Andais’s new captain of the guard, has come to my bed - defying her and risking her terrible wrath in doing so. But even she will hesitate to punish him in jealous rage, because our joining has reawakened old magic, mystical power so ancient that no one stands against it and survives. Not even my strongest and most favored: my Darkness and my Killing Frost. Not even Mistral himself, my Storm Lord. But because Mistral has helped to bring this magic forth, he may live another day.
If I can reclaim control of the fey power that once was, there may be hope for me and my reign in fairie. I might yet quell the dark schemes and subterfuges surrounding me. Though shadows of obsession and conspiracy gather, I may survive.
In bestseller Hamilton's steamy fifth in the Meredith Gentry fantasy series (after 2005's A Stroke of Midnight), the fey former Los Angeles PI has given up detecting and fully embraced her duties as Princess Meredith Nicesus, potential heir to the faerie throne. Since the extremely orgasmic princess's foremost duty is to prove her fertility in order to gain the throne, she spends most of her time bedding her immortal sidhe royal guardsmen, giving each a fair shot as her future consort. All the group sex has a profoundly transformative effect: her men are regaining their full powers, and the long-dead faerie gardens are springing to life. But when Meredith and her merry men inadvertently find themselves in the territory of King Sholto, who has been betrayed by others in the faerie court, there's deadly danger even for immortals. Lots of earth-shattering, supernatural sex and a rousing climactic battle will have Hamilton's fans panting for more. (Dec.) Copyright 2006 Reed Business Information.
More Reviews and RecommendationsToss everything you think you know about vampire stories and sword and sorcery novels into an open grave, because Laurell K. Hamilton is reinventing the genres with chills, thrills, and giggles. With her popular Anita Blake and Meredith Gentry series, Hamilton is making dark fantasy fantastically entertaining again.
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December 07, 2009: Finally, Merideth is taking over the Unseelie court. Just a few more flowers and the addition of a moon or sun and the unseelie court will almost be remade. If only she could find some way to get pregnant. I look forward to reading the next story in this series!
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October 17, 2009: I like detail but not to much. I found my self getting bored because of how the author goes into to much detail. I like my books to flow and this book did not flow for me.
Name:
Laurell K. Hamilton
Also Known As:
Laurell Kaye Klein (birth name)
Current Home:
St. Louis, Missouri
Date of Birth:
February 19, 1963
Place of Birth:
Heber Springs, Arkansas
Education:
B.A., Marion College
Awards:
P.E.A.R.L. (Paranormal Excellence Award for Romantic Literature) for A Kiss Of Shadows, 2000
The vampire genre has enthralled readers ever since Bram Stoker introduced a certain Transylvanian count over a century ago. Since then vampires have been used as vehicles for everything from romantic novels to erotica to humor to the expected tales of terror. However, very few writers have combined all of these facets of the never-say-die vampire quite the way that Laurell K. Hamilton has.
Hamilton has not always been under the spell of undead things that go bump-and-grind in the night. When she was a young girl, her literary tastes were a bit more on the traditional side. "I wanted to be Louisa May Alcott, who wrote Little Women, because I had never read any science fiction, fantasy, or horror," she confessed in a podcast on Mayor Slay.com. "Then at 13 or 14 I found Robert E. Howard's short story collection [Pigeons From Hell]. It was the first horror, the first heroic fantasy, the first science fiction I'd ever read, and the moment I read that I knew that not only did I want to be a writer, but this is what I wanted to write."
Furthering Hamilton's burgeoning fascination with the fantastic, she discovered Anthony Masters's The Natural History of the Vampire at her high school library. Coupled with the ghost stories her grandmother had told her when she was a child and heavy doses of Hammer Horror movies from Great Britain, Hamilton was well on her way to creating a character that would only be rivaled by Buffy in the field of vampire slaying.
Hamilton first introduced vampire huntress Anita Blake in her third novel Guilty Pleasures. Blake is an unlikely combination of action hero, federal marshal, "necromancer," and lusty dame. Her exploits between the sheets and in the graveyard won Hamilton a rabid following hungry for something new in the well-traveled vampire genre.
Along with the kinds of scares normally associated with vampire stories, Hamilton's books are notable for their unflinching eroticism. Vampires have had a sexual lure since Stoker, but Hamilton particularly draws that aspect to the surface of her work as one of her creatures might draw blood from a victim. "I [want] a kiss to be so believable it gives the reader shivers," she says on her website. "Two things I do well are sex and violence, but I don't want gratuitous sex or violence. The sex and violence is only as graphic as need be. And never included unless it furthers the plot or character development."
Another unlikely trait of her books is humor, vampire tales classically being of the more solemn sort. However, a writer weaned on a book titled Pigeons From Hell is not likely going to shy away from wit. Consequently, her books have been consistently entertaining and fun, as well as creepy and sexy.
Hamilton has also brought her delicious combination of sex, humor, and frights to another series, this one more ingrained in dark fantasy than horror. Her faerie princess/P.I. Meredith Gentry made her debut in Kiss of Shadows in 2001 and has since sparked her own crowd-pleasing sword and sorcery meets pulp series.
Increasingly, the Anita Blake and Merry Gentry books have added more sexual content to their story lines, classifying both series in a new hybrid genre that blends romance, erotica, and paranormal fantasy. To judge from Hamilton's consistent appearance on the bestseller charts, readers find the mix spellbinding.
One thing you will never find in a Hamilton novel is a cliffhanger. She believes that cliffhangers unfairly tease readers who would then have to wait six months to a year to have some sense of resolution. As she said during an interview with Bill Thompson of Eye On Books, "Every book is a full meal. All the way from the appetizer to the dessert, so that you come away feeling that you've had an experience... and at the end you have that satisfied, full feeling."
Before Laurell K. Hamilton made a full-time career of blood, guts, murder, and mayhem, she had more humane pursuits -- she volunteered at an animal shelter where she played with unwanted pets.
In our interview, Hamilton shared some fun and fascinating facts about herself with us:
"I am incredibly stubborn. Telling me I cannot do something, especially if you cite the fact that I am a girl, will make me want to do it more and do it better."
"I am not my characters. We have some of the same traits in common, but we are very different people."
"Everything inspires me. Getting up in the morning, walking the dogs, watching a music video. Inspiration comes from everywhere."
"I love animals. I own four dogs, two of whom are rescues. In fact, Jimmy is with us because they were going to gas him if we didn't take him with us. As an older dog his chances of finding a home were fairly slim. But he has been a wonderful addition to our home."
"I like spending time with my family and friends. Something I often feel I do not do enough of. But there are only so many hours in a day."
"I like to read other people's works. I love reading cozy or historical mysteries when I can."
"I enjoy interacting with fans at planned public events. I enjoy talking to them and have met many wonderful people."
What was the book that most influenced your life or your career as a writer?
Pigeons From Hell by Robert E. Howard -- it was the first heroic fantasy/horror novel I ever read. I read it and knew that not only did I want to be a writer, but this was what I wanted to write.
Andre Norton was important both for her science fiction and fantasy novels, and the fact that she was a woman. Before I became enamored of fantastic literature, my first writing hero was Louisa May Alcott, as in Little Women, and many more books. When I began writing horror and the like, I thought I'd left her far behind, only to discover that Ms. Alcott had also written gothic horror stories.
What are your favorite books, and what makes them special to you?
What are some of your favorite films, and what makes them unforgettable to you?
What types of music do you like? Is there any particular kind you like to listen to when you're writing?
Tori Amos is a perennial favorite, but I have listened to everything from Nine Inch Nails to The Veggie Tales Christmas album.
If you had a book club, what would it be reading?
Any Nero Wolf books by Rex Stout -- because we (my husband and I) started reading them a year ago. They are clever, charming and the quality of the writing is consistently high. They are a wonderful hybrid of hardboiled detective and super-genius detective.
What are your favorite kinds of books to give -- and get -- as gifts?
I try to pick books that the recipient will actually read. I find most folks give books that they want to read or ones they hope will expand the mind of the recipient whether they like it or not. Books can do all that and still be entertaining. Books should be about the person you're giving it to rather than the gift giver.
As to what kind of books I like to get, I tend to like animal books -- ones with lovely pictures of dogs or other animals.
Do you have any special writing rituals? For example, what do you have on your desk when you're writing?
I don't really have any rituals. And my desk needs to be an uncluttered space for me to work. So most likely I will have a cup of hot tea and the music I have chosen for this book. Much else and I tend to get distracted.
Many writers are hardly "overnight success" stories. How long did it take for you to get where you are today? Any rejection-slip horror stories or inspirational anecdotes?
Nearly fourteen years ago when I was first trying to sell Guilty Pleasures, I had one publishing house reject the book on the grounds that the market couldn't bear another vampire book, and the week they were going to make the decision another vampire novel came out from another publisher. They used that as a reason to reject me, and Anita. They said that the vampire market was dying out, and no one wanted to read about vampires anymore.
I was told by a prominent mystery editor that if my Anita Blake mysteries had been straight mystery, no horror elements, or fantastic elements at all, that I'd have never gotten published. Because I am a woman writing from a first person woman's point of view, that no one would have touched it. Maybe that's true. Maybe it was one of the things that sent Anita around to nearly every publisher before it found a home. I don't know. No one complained about the sexual content of the first book, but then, there wasn't any.
I don't know if I'd have had more trouble if the first few books had had a higher content or not. I do know that by using the tropisms of several different genres, I get to play exactly the way I want to play. I get the tough as nails attitude of a hardboiled-mystery, the monsters and gore level of horror, the sex and sensuality of romance, the sheer wonderment of fantasy, and the feeling of reality that the best science fiction gives to amazingly odd facts. If I hadn't chosen to mix genres I might have had a harder time. Though most people told me that mixing genres this badly would doom me. Just goes to prove that you have to believe in yourself and your vision.
If you could choose one new writer to be "discovered," who would it be?
Rett MacPherson. The Victory O'Shea mysteries are delightfully different. First, the main character, Torie, is happily married, has more than one child and a mother who has been wheelchair bound most of Torie's life. The books are set around a small Missouri town that is a concentrated version of several historic towns here. Rett makes good use of Torie's extended family in the books and explains dramatic versions of some of the problems we all face with blood relatives. The series began in 1998 with Family Skeletons and is now in it's eighth book with the just-published In Sheep's Clothing.
They are fun to read and I don't think enough people have found them yet. Rett is also a personal friend and member of my writing group.
What tips or advice do you have for writers still looking to be discovered?
Write. You'd be surprised how many wanna-be writers never seem to do that. Write, then finish it. Finish the story. Finish the book. Do two pages a day, every day. Do not revise as you go. If you come to something you don't know, like what does 14th century underwear look like, put a note, skip it, and keep writing. I hear the wailing and gnashing of teeth, but trust me I've met too many writers that have the perfect three chapters of their book, but nothing more. Three chapters isn't a book, it's a beginning -- finish it.
Once you have hundreds of pages on the other side of your computer, then go through and fill in those blank spots with research. Now, you can look up how to undress your 14th century heroine. Now you can chorography that fight scene. If you spend more than a week on a scene, maybe two days, skip it, write a note that says, fight scene here. You know who wins, just move on, keep going. The second draft is just filling in the blank notes. The third draft is where you begin to edit, and polish the writing. I did seven drafts of my first book, and I wrote it just like I've described. It sold. Most first novels don't. My way is not the only way, heaven knows, but it's the way that allowed me to write my first five to six books.
I've gotten better at my job, and I no longer need seven drafts to get it where I want to be. But I find even today, as I write my seventeenth novel, that if I spend more than a week on a scene, I'm stuck, and I need to move on. Perfectionism has set in, and I'm trying to make it perfect. Perfection is an unattainable goal -- trust me on that. Just write, try not to worry, and when it's done, send it out. Try to sell it. For money. Not copies, not for friends to read. Sell it. This is a business, not a charity. Remember that. Your goal is to earn a living writing what you most love, right? Well, if that's your goal, act like it.
I always started at the highest paying appropriate market for my short stories, and then worked down as they got rejected. I'm assuming that you have researched your markets and aren't trying to send vampire stories to magazines that don't even buy fiction. It's a business, remember. Sending your stories to inappropriate markets is like showing up for a job interview because you really want to edit fiction books, but you've walked into a computer-engineering firm. They don't edit fiction books there. Sending your story to the wrong market is the same deal.
Here's another important piece of advice: send the story, or book out, then get started on the next one. Don't fret, and hover around the mailbox angsting over that one story. It's like a mother with one child -- you worry more. So have more literary children, that way when one is rejected you know that there are others out there, that haven't been. It takes some of the sting out of the rejection process. Not a lot, but some. You've got to want this more than any other job, and you've got to toughen your ego, so that the business doesn't crush you. Be tough. Believe in yourself and your dreams.
The Barnes & Noble Review
The fifth installment of Laurell K. Hamilton's Meredith Gentry saga (A Stroke of Midnight, Seduced by Moonlight, et al.) is unquestionably the most unadulteratedly erotic novel yet to feature the sexy fairie princess.
In order for Merry (a mortal princess in the Unseelie Court) to become fey queen, she must "get with child soon" -- or at least before her insane cousin Cel impregnates someone. The first one to prove their fertility wins the throne -- and the other most certainly dies. With more than a dozen handsome immortal royal guards protecting her, Merry is, ahem, striving diligently to achieve her goal and save the diminishing Sidhe race; but after a particularly powerful encounter that includes (among others) Mistral, the queen's new captain of the guard, the impossible happens: Merry's men begin regaining their declining powers, and the long-dead gardens that were once the heart of Sidhe power start to spring forth with life! But in the midst of this awe-inspiring, realm-changing transformation, longtime enemies of Merry step forward at the worst possible time…
While previous Merry Gentry novels have been a relatively equal blend of supernatural suspense, romance, and dark fantasy, this one almost exclusively focuses on Gentry's more, ahem, carnal plot threads. But that isn't to say that nothing thematically significant transpires in Mistral's Kiss; on the contrary, there are several jaw-dropping twists that will irrevocably change the course of future installments. Featuring utterly unrestrained and graphically detailed erotic sequences that rival those in Hamilton's sexy Anita Blake series, Mistral's Kiss will appeal to romance and fantasy fans alike. A line from the novel concisely describes the book's dark supernatural charm: "One man's nightmare [is] another's fantasy…" Paul Goat Allen
I am Princess Meredith, heir to a throne of fairie. My day job, once upon a time, was as a private detective in Los Angeles. Unfortunately, princess has now become a full-time occupation.
My aunt, Queen Andais, will have it no other way. And so I am virtually a prisoner in fairie - trapped here with some of the realm’s most beautiful men to serve as my bodyguards…and my lovers. For I am compelled to conceive a child: an heir to succeed me on the throne. Yet after months of amazing sex with my consorts, there is still no baby. And no baby means no throne. The only certainty is death at the hands of my cousin Cel, or his followers, if I fail to conceive.
Now Mistral, Queen Andais’s new captain of the guard, has come to my bed - defying her and risking her terrible wrath in doing so. But even she will hesitate to punish him in jealous rage, because our joining has reawakened old magic, mystical power so ancient that no one stands against it and survives. Not even my strongest and most favored: my Darkness and my Killing Frost. Not even Mistral himself, my Storm Lord. But because Mistral has helped to bring this magic forth, he may live another day.
If I can reclaim control of the fey power that once was, there may be hope for me and my reign in fairie. I might yet quell the dark schemes and subterfuges surrounding me. Though shadows of obsession and conspiracy gather, I may survive.
In bestseller Hamilton's steamy fifth in the Meredith Gentry fantasy series (after 2005's A Stroke of Midnight), the fey former Los Angeles PI has given up detecting and fully embraced her duties as Princess Meredith Nicesus, potential heir to the faerie throne. Since the extremely orgasmic princess's foremost duty is to prove her fertility in order to gain the throne, she spends most of her time bedding her immortal sidhe royal guardsmen, giving each a fair shot as her future consort. All the group sex has a profoundly transformative effect: her men are regaining their full powers, and the long-dead faerie gardens are springing to life. But when Meredith and her merry men inadvertently find themselves in the territory of King Sholto, who has been betrayed by others in the faerie court, there's deadly danger even for immortals. Lots of earth-shattering, supernatural sex and a rousing climactic battle will have Hamilton's fans panting for more. (Dec.) Copyright 2006 Reed Business Information.
Time for Meredith Gentry to give up detective work and conceive an heir to the Faerie world's Unseelie Court. Too bad her magic is off, even as dark curses are starting to do their stuff. With a five-city tour. Copyright 2006 Reed Business Information.
Loading...Chapter 1
I dreamt of warm flesh and cookies. The sex I understood, but the cookies . . . Why cookies? Why not cake, or meat? But that’s what my subconscious chose as I dreamt. We were eating in the tiny kitchen of my Los Angeles apartment—an apartment I didn’t live in anymore, outside of dreams. The we were me, Princess Meredith—the only faerie royal ever born on American soil—and my royal guards, over a dozen of them.
They moved me around with skin the color of darkest night, whitest snow, the pale of newborn leaves, the brown of leaves that have gone down to die on the forest floor, a rainbow of men moving nude around the kitchen.
The real apartment kitchen would have barely held three of us, but in the dream everyone walked through that narrow space between sink and stove and cabinets as if there were all the room in the world.
We were having cookies because we’d just had sex and it was hungry work, or something like that. The men moved around me graceful and perfectly nude. Several of the men were ones I’d never seen nude. They moved with skin the color of summer sunshine, the transparent white of crystals, colors I had no name for, for the colors did not exist outside of faerie. It should have been a good dream, but it wasn’t. I knew something was wrong, that feeling of unease that you get in dreams when you know that the happy sights are just a disguise, an illusion to hide the ugliness to come.
The plate of cookies was so innocent, so ordinary, but it bothered me. I tried to pay attention to the men, touching their bodies, holding them, but each of them in turn would pick up a cookie and takea bite, as if I weren’t there.
Galen with his pale, pale green skin and greener eyes bit into a cookie, and something squirted out the side. Something thick and dark. The dark liquid dripped down the edge of his kissable mouth and fell onto the white countertop. That single drop splattered and spread and was red, so red, so fresh. The cookies were bleeding.
I slapped it from Galen’s hand. I picked up the tray to keep the men from eating any more. The tray was full of blood. It dripped down the edges, poured over my hands. I dropped the tray, which shattered, and the men bent as if they would eat from the floor and the broken glass. I pushed them back, screaming, “No!”
Doyle looked up at me with his black eyes and said, “But it is all we have had to eat for so long.”
The dream changed, as dreams will. I stood in an open field with a ring of distant trees encircling it. Beyond the trees, hills rode up into the paleness of a moonlit winter’s night. Snow lay like a smooth blanket across the ground. I was standing ankle-deep in snow. I was wearing a loose sweeping gown as white as the snow. My arms were bare to the cold night. I should have been freezing, but I wasn’t. Dream, just a dream.
Then I noticed something in the center of the clearing. It was an animal, a small white animal, and I thought, That’s why I didn’t see it, for it was white, whiter than the snow. Whiter than my gown, than my skin, so white that it seemed to glow.
The animal raised its head, sniffing the air. It was a small pig, but its snout was longer, and its legs taller, than those of any pig I’d ever seen. Though it stood in the middle of the snowy field, there were no hoofprints in that smooth snow, no way for the piglet to have walked to the center of the field. As if the animal had simply appeared there.
I glanced at the circle of trees, for only a moment, and when I looked again at the piglet, it was bigger. A hundred pounds heavier, and taller than my knees. I didn’t look away again, but the pig just got bigger. I couldn’t see it happening, it was like trying to watch a flower bloom, but it was growing bigger. As tall at the shoulder as my waist, long and broad, and furry. I’d never seen a pig so fuzzy before, as if it had a thick winter coat. It looked positively pettable, that pelt. It raised that strangely long-snouted face toward me, and I saw tusks curving from its mouth, small tusks. The moment I saw them, gleaming ivory in the snow light, another whisper of unease washed through me.
I should leave this place, I thought. I turned to walk out through that ring of trees. A ring of trees that now looked entirely too even, too well planned, to be accidental.
A woman stood behind me, so close that when the wind blew through the dead trees her hooded cloak brushed against the hem of my gown. I formed my lips to say, Who? but never finished the word. She held out a hand that was wrinkled and colored with age, but it was a small, slender hand, still lovely, still full of a quiet strength. Not full of the remnants of youthful strength, but full of the strength that comes only with age. A strength born of knowledge accumulated, wisdom pondered over many a long winter’s night. Here was someone who held the knowledge of a lifetime—no, several lifetimes.
The crone, the hag, has been vilified as ugly and weak. But that is not what the true crone aspect of the Goddess is, and it was not what I saw. She smiled at me, and that smile held all the warmth you would ever need. It was a smile that held a thousand fireside chats, a hundred dozen questions asked and answered, endless lifetimes of knowledge collected and remembered. There was nothing she would not know, if only I could think of the questions to ask.
I took her hand, and the skin was so soft, soft the way a baby’s is. It was wrinkled, but smooth is not always best, and there is beauty in age that youth knows not.
I held the crone’s hand and felt safe, completely and utterly safe, as if nothing could ever disturb this sense of quiet peace. She smiled at me, the rest of her face lost in the shadow of her hood. She drew her hand out of mine, and I tried to hold on, but she shook her head and said, though her lips did not move, “You have work to do.”
“I don’t understand,” I said, and my breath steamed in the cold night, though hers had not.
“Give them other food to eat.”
I frowned. “I don’t understand . . .”
“Turn around,” she said, and this time her lips did move, but still her breath did not color the night. It was as if she spoke but did not breathe, or as if her breath were as cold as the winter night. I tried to remember if her hand had been warm or cold, but could not. All I remembered was the sense of peace and rightness. “Turn around,” she said again, and this time I did.
A white bull stood in the center of the clearing—at least that’s what it looked like at first glance. Its shoulder stood as tall as the top of my head. It must have been more than nine feet long. Its shoulders were a huge broad spread of muscle humped behind its lowered head. The head raised, revealing a snout framed by long, pointed tusks. This was no bull, but a huge boar—the thing that had begun as a little pig. Tusks like ivory blades gleamed as it looked at me.
I glanced back, but knew the crone was gone. I was alone in the winter night. Well, not as alone as I wanted to be. I looked back and found the monstrous boar still standing there, still staring at me. The snow was cold under my bare feet now. My arms ran with goose bumps, and I wasn’t sure if I shivered from cold, or fear.
I recognized the thick white hair on the boar now. It still looked so soft. But its tail stuck straight out from its body, and it raised that long snout skyward. Its breath smoked in the air as it sniffed. That was bad. That meant it was real—or real enough to hurt me, anyway.
I stood as still as I could. I don’t think I moved at all, but suddenly it charged. Snow plumed underneath its hooves as it came for me.
It was like watching some great machine barreling down. Too big to be real, too huge to be possible. I had no weapon. I turned and ran.
I heard the boar behind me. Its hooves sliced the frozen ground. It let out a sound that was almost a scream. I glanced back; I couldn’t help it. The gown tangled under my feet, and I went down. I rolled in the snow, fighting to come to my feet, but the gown tangled around my legs. I couldn’t get free of it. Couldn’t stand. Couldn’t run.
The boar was almost on top of me. Its breath steamed in clouds. Snow spilled around its legs, bits of frozen black earth sliced up in all that white. I had one of those interminable moments where you have all the time in the world to watch death come for you. White boar, white snow, white tusks, all aglow in the moonlight, except for the rich black earth that marred the whiteness with dark scars. The boar gave that horrible screaming squeal again.
Its thick winter coat looked so soft. It was going to look soft while it gored me to death and trampled me into the snow.
I reached behind me, feeling for a tree branch, anything to pull myself up out of the snow. Something brushed my hand, and I grabbed it. Thorns cut into my hand. Thorn-covered vines filled the space between the trees. I used the vines to drag myself to my feet. The thorns were biting into my hands, my arms, but they were all I could grasp. The boar was so close, I could smell its scent, sharp and acrid on the cold air. I would not die lying in the snow.
The thorns bled me, spattered the white gown with blood, the snow covered in minute crimson drops. The vines moved under my hands like something more alive than a plant. I felt the boar’s breath like heat on the back of my body, and the thorny vines opened like a door. The world seemed to spin, and when I could see again, be sure of where I was again, I was standing on the other side of the thorns. The white boar hit the vines hard and fast, as if it expected to tear its way through. For a moment I thought it would do just that; then it was in the thorns, slowing. It stopped rushing forward and started slashing at the vines with its great snout and tusks. It would tear them out, trample them underfoot, but its white coat was bedecked with tiny bloody scratches. It would break through, but the thorns bled it.
I’d never owned any magic in dream, or vision, that I didn’t own in waking life. But I had magic now. I wielded the hand of blood. I put my bleeding hand out toward the boar and thought, Bleed. I made all those small scratches pour blood. But still the beast fought through the thorns. The vines ripped from the earth. I thought, More. I made a fist of my hand, and when I opened it wide, the scratches slashed wide. Hundreds of red mouths, gaping on that white hide. Blood poured down its sides, and now its squeal was not a scream of anger, or challenge. It was a squeal of pain.
The vines tightened around it of their own accord. The boar’s knees buckled, and the vines roped it to the frozen ground. It was no longer a white boar, but a red one. Red with blood.
There was a knife in my hand. It was a shining white blade that glowed like a star. I knew what I needed to do. I walked across the blood-spattered snow. The boar rolled its eyes at me, but I knew that if it could, even now, it would kill me.
I plunged the knife into its throat, and when the blade came out, blood gushed into the snow, over my gown, onto my skin. The blood was hot. A crimson fountain of heat and life.
The blood melted the snow down to rich black earth. From that earth came a tiny piglet, not white this time, but tawny and striped with gold. It was colored more like a fawn. The piglet cried, but I knew there would be no answer.
I picked it up, and it curled up in my arms like a puppy. It was so warm, so alive. I wrapped the hooded cloak I now wore around us both. My gown was black now, not black with blood, but simply black. The piglet settled into the soft warm cloth. I had boots that were lined with fur, soft and warm. The white knife was still in my hand, but it was clean, as if the blood had burned away.
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