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Following on the heels of the heart-stopping conclusion to Swallowing Darkness, Laurell K. Hamilton and Meredith Gentry are back!
Between dark faerie magic and the deepest desires lies the world of Meredith Gentry, princess, private eye, and powerful player in a game of supernatural sexual intrigue. The tension in this extraordinary saga continues to mount as Merry, pregnant with twins, refuses the throne of faerie and retreats with her bodyguards to Los Angeles in an attempt to protect the new life growing within her. Both the deadly destructive factions of the faerie courts -- as well as those who would worship her -- will be equally dangerous to her attempts to create a peaceful haven for her unborn children. Filled with riveting twists, this new novel adds yet another unforgettable chapter to a story that is both epic and breathtaking.Hamilton hits the ground running in her latest Meredith Gentry novel, this one set in Los Angeles, where a pregnant Meredith has been safely united with her fellow exiles from the faerie courts. The faerie princess/private eye's happiness is short-lived, however, when she catches wind of a serial killer who gets his kicks crafting hideous tableaux of butchered demi-fey. While Meredith hunts for the killer, her stable of guards struggle to protect her from herself. Just as full of steamy sex and wild magic as the previous seven volumes, this episode finds Meredith's powers, as well as her collection of gorgeous guards, expanding, with crowd-pleasing results. The friction among Meredith's men makes for good drama, and Hamilton doesn't shy away from difficult real-world issues like post-traumatic stress disorder and sexual abuse. Though newcomers will be lost, and mystery fans may feel the sex scenes crowd out the plot, veterans of the series will no doubt enjoy their return to Hamilton's meticulously constructed world.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Toss 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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February 09, 2010: I have been captivated by Laurell K. Hamilton's writing for several years now. She has a very unique way of bringing her worlds to life. This was a much anticipated book as it began the next stage in Meredith Gentry's life. I felt that the story was well rounded and fit in the series. But alas, this is Laurell and she has perfected the term "series". I recommend starting this series from the first book to fully understand the character's progression. Trust me you will be hooked. I haven't met one person yet that I have introduced Laurell's work to that did not become fan's. If you love to read,this series and her Anita Blake series will keep you company because her books you want to re-read over and over again, which is why I buy all of her books.
I Also Recommend: Black Magic Sanction (Rachel Morgan Series #8), Acheron (Dark-Hunter Series), Ghost of a Chance (Chintz and China Mystery Series #1), Witchling (Sisters of the Moon Series #1), Skin Trade (Anita Blake Vampire Hunter Series #17).
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February 08, 2010: I don't know why I continue to read either of Hamilton's series. Her early Anita Blake books got me hooked on urban fantasy years ago. I keep hoping the author will go back to her original style. Alas, that didn't happen with this book. Non stop sex, with little character or plot development.
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.
Following on the heels of the heart-stopping conclusion to Swallowing Darkness, Laurell K. Hamilton and Meredith Gentry are back!
Between dark faerie magic and the deepest desires lies the world of Meredith Gentry, princess, private eye, and powerful player in a game of supernatural sexual intrigue. The tension in this extraordinary saga continues to mount as Merry, pregnant with twins, refuses the throne of faerie and retreats with her bodyguards to Los Angeles in an attempt to protect the new life growing within her. Both the deadly destructive factions of the faerie courts -- as well as those who would worship her -- will be equally dangerous to her attempts to create a peaceful haven for her unborn children. Filled with riveting twists, this new novel adds yet another unforgettable chapter to a story that is both epic and breathtaking.Hamilton hits the ground running in her latest Meredith Gentry novel, this one set in Los Angeles, where a pregnant Meredith has been safely united with her fellow exiles from the faerie courts. The faerie princess/private eye's happiness is short-lived, however, when she catches wind of a serial killer who gets his kicks crafting hideous tableaux of butchered demi-fey. While Meredith hunts for the killer, her stable of guards struggle to protect her from herself. Just as full of steamy sex and wild magic as the previous seven volumes, this episode finds Meredith's powers, as well as her collection of gorgeous guards, expanding, with crowd-pleasing results. The friction among Meredith's men makes for good drama, and Hamilton doesn't shy away from difficult real-world issues like post-traumatic stress disorder and sexual abuse. Though newcomers will be lost, and mystery fans may feel the sex scenes crowd out the plot, veterans of the series will no doubt enjoy their return to Hamilton's meticulously constructed world.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Loading...Chapter One
The smell of Eucalyptus always made me think of Southern California, my home away from home; now it might forever be entwined with the scent of blood. I stood there with the strangely hot wind rustling through the high leaves. It blew my summer dress in a tangle around my legs, and spread my shoulder-length hair in a scarlet web across my face. I grabbed my hair in handfuls so I could see, though maybe not being able to see would have been better. The plastic gloves pulled at my hair. They were designed so I didn't contaminate evidence, not for comfort. We were surrounded by a nearly perfect circle of the tall, pale tree trunks. In the middle of that natural circle were the bodies.
The spicy smell of the Eucalyptus could almost hide the scent of blood. If it had been this many adult human-sized bodies the Eucalyptus wouldn't have had a chance, but they weren't adult-sized. They were tiny by human standards, so tiny, the size of dolls; none of the corpses were even a foot tall, and some were less than five inches. They lay on the ground with their bright butterfly and moth wings frozen as if in mid-movement. Their dead hands were wrapped around wilted flowers like a cheerful game gone horribly wrong. They looked like so many broken Barbie dolls, except that Barbie dolls never lay so lifelike, or so perfectly poised. No matter how hard I'd tried as a little girl, their limbs remained stiff and unyielding. The bodies on the ground were stiff with rigor mortis, but they'd been laid out carefully, so they had stiffened in strangely graceful, almost dancing poses.
Detective Lucy Tate came to stand beside me. She was wearing a pants suit completewith jacket and a white button-up shirt that strained a little across the front because Lucy, like me, had too much figure for most button-up shirts. But I wasn't a police detective so I didn't have to pretend I was a man to try to fit in. I worked at a private detective agency that used the fact that I was Princess Meredith, the only American-born fey royal, and back working for the Grey Detective Agency: Supernatural Problems; Magical Solutions. People loved paying money to see the princess, and have her hear their problems; I'd begun to feel a little like a freak show until today. Today I would have loved to be back in the office listening to some mundane matter that didn't really need my special brand of help, but was just a human rich enough to pay for my time. I'd have rather been doing a lot of things than standing here staring down at a dozen dead fey.
"What do you think?" she asked.
What I really thought was that I was glad the bodies were small so that the trees covered most of the smell, but that would be admitting weakness, and you didn't do that on the rare occasions you got to work with the police. You had to be professional and tough or they thought less of you, even the female cops, maybe especially them.
"They're laid out like something from a children's storybook down to the dancing poses and the flowers in their hands."
Lucy nodded. "It's not just like, it is."
"Is what?" I asked, looking at her. Her dark brunette hair was cut shorter than mine, and held back by a thick band so that nothing obscured her vision, as I still fought with my own hair. She looked cool and professional.
She used one plastic-gloved hand to hold out a plastic-wrapped page. She held it out to me, though I knew not to touch it even with the gloves. I was a civilian, and I had been very aware of that as I walked through all the police on the way to the center of all this activity. The police were never that fond of the private detective, no matter what you see on television, and I wasn't even human. Of course, if I'd been human they wouldn't have called me down to the murder scene in the first place. I was here because I was a trained detective and a faerie princess. One without the other wouldn't have gotten me under the police tape.
I stared at the page. The wind tried to snatch it from her hand, and she used both hands to hold it steady for me. It was an illustration from a children's book. It was dancing faeries with flowers in their hands. I stared at it for a second more, then looked down at the bodies on the ground. I forced myself to study their dead forms, then looked at the illustration.
"They're identical," I said.
"I believe so, though we'll have to have some kind of flower expert tell us if the flowers match up bloom for bloom, but except for that our killer has duplicated the scene."
I stared from one to the other again, those laughing happy faces in the picture and the very still, very dead ones on the ground. Their skin had begun to change color already, turning that bluish-purple cast of the dead.
"He, or she, had to dress them," I pointed out. "No matter how many illustrations you see with these little blousy dresses and loincloth things, most demi-fey outside of faerie don't dress like this. I've seen them in three-piece suits and formal evening wear."
"You're sure they didn't wear the clothes here?" she asked.
I shook my head. "They wouldn't have matched perfectly without planning it this way."
"We were thinking he lured them down here with a promise of an acting part, a short film," she said.
I thought about it, then shrugged. "Maybe, but they'd have come to the circle anyway."
"Why?"
"The demi-fey, the small winged fey, have a particular fondness for natural circles."
"Explain."
"The stories only tell humans not to step into a ring of toadstools, or a ring of actual dancing fey, but it can be any natural circle. Flowers, stones, hills, or trees, like this circle. They come to dance in the circle."
"So they came down here to dance and he brought the clothes?" She frowned at me.
"You think that it works better if he lured them down here to film them," I said.
"Yes."
"Either that or he watched them," I said, "so he knew they came down here on certain nights to dance."
"That would mean he or she was stalking them," Lucy said.
"It would."
"If I go after the film angle, I can find the costume rental and the advertisement for actors for his short film." She made little quote marks in the air for the word film.
"If he's just a stalker and he made the costumes, then you have fewer leads to follow."
"Don't say he. You don't know that the killer is a he."
"You're right, I don't. Are you assuming that the killer isn't human?"
"Should we be?" she asked, her voice neutral.
"I don't know. I can't imagine a human strong enough or fast enough to grab six demi-fey and slit their throats before the others could escape or attack him."
"Are they as delicate as they look?" she asked.
I almost smiled, and then didn't feel like finishing it. "No, Detective, they aren't. They're much stronger than they look, and incredibly fast."
"So we aren't looking for a human?"
"I didn't say that. I said that physically humans couldn't do this, but there is some magic that might help them do it."
"What kind of magic?"
"I don't have a spell in mind. I'm not human. I don't need spells to use against other fey, but I know there are stories of magic that can make us weak, catchable, and hurtable."
"Yeah, aren't these kind of fey supposed to be immortal?"
I stared down at the tiny lifeless bodies. Once the answer would have simply been yes, but I'd learned from some of the lesser fey at the Unseelie Court that some of them had died falling down stairs, and other mundane causes. Their immortality wasn't what it used to be, but we had not publicized that to the humans. One of the things that kept us safe was that the humans thought they couldn't hurt us easily. Had some human learned the truth and exploited it? Was the mortality among the lesser fey getting worse? Or had they been immortal and magic had stolen it away?
"Merry, you in there?"
I nodded and looked at her, glad to look away from the bodies. "Sorry, I just never get used to seeing this kind of thing."
"Oh, you get used to it," she said, "but I hope you don't see enough dead bodies to be that jaded." She sighed, as if she wished she wasn't that jaded either.
"You asked me if the demi-fey are immortal, and the answer is yes." It was all I could say to her until I found out if the mortality of the fey was spreading. So far it had only been a few cases inside faerie.
"Then how did the killer do this?"
I'd only seen one other demi-fey killed by a blade that wasn't cold iron. A noble of the Unseelie Court had wielded that one. A noble of faerie, and my blood kin. We'd killed the sidhe who did it, although he said that he hadn't meant to kill her. He had just meant to wound her through the heart as her desertion of him had wounded his heart- poetic and the kind of romantic drivel you get when you're used to being surrounded by beings who can have their heads chopped off and still live. That last bit hasn't worked in a long time even among the sidhe, but we haven't shared that either. No one likes to talk about the fact that their people are losing their magic and their power.
Was the killer a sidhe? Somehow I didn't think so. They might kill a lesser fey out of arrogance or a sense of privilege, but this had the taste of something much more convoluted than that-a motive that only the killer would understand.
I looked carefully at my own reasoning to make certain I wasn't talking myself out of the Unseelie Court, the Darkling Throng, being suspects. The court that I had been offered rulership of and given up for love. The tabloids were still talking about the fairy-tale ending, but people had died, some of them by my hand, and, like most fairy tales, it had been more about blood and being true to yourself than about love. Love had just been the emotion that had led me to what I truly wanted, and who I truly was. I guess there are worse emotions to follow.
"What are you thinking, Merry?"
"I'm thinking that I wonder what emotion led the killer to do this, to want to do this."
"What do you mean?"
"It takes something like love to put this much attention into the details. Did the killer love this book or did he love the small fey? Did he hate this book as a child? Is it the clue to some horrible trauma that twisted him to do this?"
"Don't start profiling on me, Merry; we've got people paid to do that."
"I'm just doing what you taught me, Lucy. Murder is like any skill; it doesn't fall out of the box perfect. This is perfect."
"The killer probably spent years fantasizing about this scene, Merry. They wanted, needed it to be perfect."
"But it never is. That's what serial killers say when the police interview them. Some of them try again and again for the real-life kill to match the fantasy, but it never does, so they kill again and again to try to make it perfect."
Lucy smiled at me. "You know, that's one of the things I always liked about you."
"What?" I asked.
"You don't just rely on the magic; you actually try to be a good detective."
"Isn't that what I'm supposed to do?" I asked.
"Yeah, but you'd be surprised how many psychics and wizards are great at the magic but suck at the actual detecting part."
"No, I wouldn't, but remember, I didn't have that much magic until a few months ago."
"That's right, you were a late bloomer." And she smiled again. Once I'd thought it was strange that the police could smile over a body, but I'd learned that you either lighten up about it or you transfer out of homicide, or better yet, you get out of police work.
"I've already checked, Merry. There are no other homicides even close to this one. No demi-fey killed in a group. No costumes. No book illustration left. This is one of a kind."
"Maybe it is, but you helped teach me that killers don't start out this good. Maybe they just planned it perfectly and got lucky that it was this perfect, or maybe they've had other kills that weren't this good, this thought-out, but it would be staged, and it would have this feel to it."
"What kind of feel?" she asked.
"You thought film not just because it would give you more leads, but because there's something dramatic about it all. The setting, the choice of victims, the display, the book illustration; it's showy."
She nodded. "Exactly," she said.
The wind played with my purple sundress until I had to hold it to keep it from flipping up and flashing the police line behind us.
"I'm sorry to drag you out to something like this on a Saturday, Merry," she said. "I did try to call Jeremy."
"He's got a new girlfriend and keeps turning off his phone." I didn't begrudge my boss, the first semi-serious lover he'd had in years. Not really.
"You look like you had a picnic planned."
"Something like that," I said, "but this didn't do your Saturday any good either."
She smiled ruefully. "I didn't have any plans." She stabbed a thumb in the direction of the other police. "Your boyfriends are mad at me for making you look at dead bodies while you're pregnant."
My hands automatically went to my stomach, which was still very flat. I wasn't showing yet, though with twins the doctor had warned me that it could go from nothing to a lot almost overnight.
I glanced back to see Doyle and Frost, standing with the policemen. My two men were no taller than some of the police-six feet and some inches aren't that unusual-but the rest stood out painfully. Doyle had been called the Queen's Darkness for a thousand years, and he fit his name, black from skin to hair to the eyes behind their black wraparound sunglasses. His black hair was in a tight braid down his back. Only the silver earrings that climbed from lobe to the pointed tip of his ears relieved the black-on-black of his jeans, T-shirt, and leather jacket. The last was to hide the weapons he was carrying. He was the captain of my bodyguards, as well as one of the fathers to my unborn children, and one of my dearest loves. The other dearest love stood beside him like a pale negative, skin as white as my own, but Frost's hair was actually silver like Christmas tree tinsel, shining in the sunlight. The wind played with his hair so that it floated outward in a shimmering wave like some model with a wind machine, but even though his hair was near ankle-length and unbound, it did not tangle in the wind. I'd asked him about that, and he'd said simply, "The wind likes my hair." I hadn't known what to say to that so I hadn't tried.
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