The Witching Hour by Anne Rice


This is the first part of The Lives of the Mayfair Witches series which includes three books so far. Here’s what The Witching Hour is about:

Rowan Mayfair is a successful doctor in California, but unbeknownst to her she is the heiress of a legacy of an old New Orleans family. Despite rigorous attempts of a few family members to prevent her from coming to New Orleans, the death of her birth mother does exactly this. Together with Michael Curry, her lover and someone sharing a supernatural power since their first meeting, she discovers what this legacy entails: riches and jewels, yes, but also a ghost-like apparition whose aim and desire it is to become flesh and blood. And Rowan is supposed to fulfill that desire.

The book is over a thousand pages strong, so this short blurb only scratches the surface. There is a whole history contained in the book, but though it is supposed to be about the Mayfair witches, it’s more about their live-in spirit, Lasher.

I was actually looking forward to reading a book about witches, but already the beginning taught me that Anne Rice won’t just tell a plain story about a family of witches, about women (excuse me, if I think of women hearing the word ‘witches’, of course there are male witches, too). I’ve read some of her Vampire Chronicles books, and The Wolf Gift and they all struck me as very male-centric. I presumed that a story about witches (and Anne Rice seems to think mostly of female witches, too) would actually be about women. I was wrong, though.

While the story is interesting, enticing, gripping even, the story is not really about the Mayfair witches. It is more about the men watching these women. There’s a secret society in the book calling themselves the Talamasca, who have compiled the history of the Mayfair witches. Petyr van Abel tells a great part of that history. Then there’s Michael whose story starts in New Orleans where he is already pulled into the Mayfair history by seeing ‘The Man.’ Aaron Lightner is protagonist as well as compiler of the history. There’s Julien Mayfair, himself a powerful witch and pretty much the center of the tale about the Mayfairs, as well as his son Cortland.

The Witching Hour is another good example for the tale of women told through male eyes. Anne Rice is such a superb story teller, but I’m wondering if she is actually able to grab the female voice, to tell a story from the female perspective. This astonishes me, honestly. You may wonder why it is important, but if you read any of my other reviews you know I’m a feminist and kind of focus on stories about women, often by women.

It’s certainly not a great tragedy, or a fault that makes Rice’s writing unreadable. As I said, I enjoyed the tale. But even her one female protagonist – every other female’s story was told by a male – has a strong masculinity about her. And Rice makes it part of her personality, actually. She’s aware of it, she uses it, also in the character of Carlotta Mayfair, or Aunt Carl.

This is an intersting observation and maybe I will one day write a paper about it, but let’s come back to the book.

It’s a good story. The history is told from the Talamasca point of view and you never know if the narrators are trustworthy. You don’t get to know the witches’ story first hand, so that you can never see through their reasonings. You don’t get to know who Lasher is, where he comes from until the end of the book. But you know he’s a man (gendering a spirit and making him sexually potent and all-consuming, really?).

Rice ends the book on a kind of cliff-hanger, but I’m reluctant to pick up the follow-up Lasher. For all the reasons I already disclosed. As for wanting to read a story about witches and wanting to know what they do, how they do magic? Maybe pick up Harry Potter again, because The Witching Hour is more a history of a family where psychic powers are rather common. But if you’re a Rice fan, go pick it up, it’s a good read.


The Wolf Gift by Anne Rice

thewolfgift(Above shows the book cover I have and it’s one of those that really feels nice to touch… that fetish thing again but you should really get that edition to know what I mean.)

I haven’t read in a while – that’s the reason I haven’t written on here, not because I was too lazy to write about what I’ve read. I’ve been writing a lot and sometimes these two occupations that should work together perfectly, don’t work for me at all and then I neglect one or the other. The last few days I did more of the reading again and here’s what I read:

I have read a couple of Anne Rice-novels before, from her vampire-series, but I can’t remember much of it. I know I’ve read Interview With a Vampire and I liked it but that’s pretty much all I remember: that Rice is a really good story-teller of the supernatural, the occult, the mystic. The Wolf Gift certainly proves that once again.

Rice builds a story around 23-year-old Reuben Golding who is bitten by a beast he couldn’t see in a fight for his life. He survives, other than the people who were with him at the time, and he inherits not only a big house but a ‘gift,’ the gift of difference, of wolf-dom, if you will. He’s changing, growing, his hair gets thicker and finally the wolf man breaks out of him and he feels that he has to punish evil, help the innocent. Yes, it reads like a superhero story but, of course, this is only part of it as the ‘superhero’ is part animal, a beast. This beast kills in it’s frenzy, feeding on the evil-doers, hunts them, tears them to pieces. As Reuben comes from a Catholic family (his brother, Jim, is actually a priest) there are musings about morality and religion. Other man wolves appear, the werewolf-myth is turned around, then skillfully resurrected. The great big evil is disposed of and we get to hear the whole myth in the end.

Well, the book has its lenghts, that’s for sure but it’s actually really fascinating how Rice loses herself in Reuben’s transformation, how she describes his struggles, not only with his new identity but with his family, with the outside world. The masterful descriptions of surroundings, smells, food, noises, rain… yes, here is somebody who knows her craft – and in the light of somebody (who will not be named) who tried to resurrect another mystical creature and did a crappy job of it, it almost feels like Rice is showing off. As well she should because she really is that good.

But with all the amazing talent this writer has, she also falls into some tropes I could have done without. The inevitable girlfriend, for example. He finds her in her cabin in the woods as his wolf-self and she’s not afraid. And they have sex, fall in love instantly – while he is still his wolf-self. I don’t know. I simply don’t feel it. He’s huge, he’s hairy, he has just killed some people, and this woman finds all that appealling? I find that a little disconcerting, to be honest. On the whole, the character of Laura takes a long while to become a character at all. She’s there for two-thirds of the book but there are only rare glimpses we get into her character, she seems more like an elongation of Reuben, she’s there to depict him as a loving man, she’s there as a plot-device – and she very rarely becomes anything else. It’s like Rice felt that with all the males around, there should be a female… but then her other female characters, minor characters fail to materialize as vivid as Rice’s males. They either seem caricatures, like Dr. Klopov, or they seem to be mere tropes, stereotypes: mother, girlfriend, true love, the doctor.

Given, most of the male characters are larger than life-myths, vibrant characters that have lived for centuries. They’re supposed to be the ones sticking out but it wouldn’t have hurt the story if there had been at least one female werewolf, surely?

I’m never sure where I stand with female novelists who make males their cherished protagonists and fail to let their female characters have substantial input into the plot, as well. The man/beast myth – yes, I know it’s traditionally just that MAN (not woman)/beast but Rice left the door open for the possibility of a femals werewolf. By the end of the novel that door still stands wide open but is never filled with a woman wolf. You can argue that Rice sticks to what she does best: describing the struggles of man – sometimes I’m just tired of patriarchal story-telling and wish that female authors would write more and better about their own gender (and I’m aware that I’m laying too much emphasis on gender here).

What Rice certainly does – and does well – is include gay-ness into her novels. The whole theme of werewolf-being can easily be read as homosexuality but Rice divides the two as she writes gay characters. That’s certainly commendable. If we see the man wolf as superhero, and that trope is certainly strong with Reuben, we have to attach the same trope to Stuart, an out 16-year-old, who gets accidentally bitten by Reuben. The same goes for Felix Nideck whom I read as gay even though it is never actually said out loud. Sexuality isn’t the big gay elephant in the room unless you want to make a point that Reuben’s heterosexuality is advocated a little bit too vehemently (but maybe that’s just me being sensitive because there’s never a good enough reason to use the word ‘impale’ in that context).

The Wolf Gift is a solid novel, it does what it promises to do: resurrect a myth – and there’s certainly no one in this genre who does that better than Anne Rice. It’s a little showy at times, yes, it lies heavily on moral contemplations, on the question of god/s and religion but it is still an enjoyable read. It captivates the reader, it overwhelms them in it’s lusciousness, and there’s certainly room for deep interpretation – and maybe a sequel.