From bestselling fantasy author Steven Brust comes this paranormal novel of immortality—and its price...
Born over a century ago, Agyar was once a frivolous young man, before he found unwanted immortality in a woman's blood-red lips. Now he goes from woman to woman, and decade to decade, finding himself at last in an Midwestern college town, where he must choose between the seductions of salvation—and of destruction.
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|Publisher:||Tom Doherty Associates|
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About the Author
Steven Brust is the bestselling author of Issola, Dragon, The Phoenix Guards, Five Hundred Years After, and many others. A native of Minneapolis, he currently lives in Las Vegas.
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By Steven Brust, Terri Windling
Tom Doherty AssociatesCopyright © 1993 Steven Brust
All rights reserved.
na·turen 1. The intrinsic characteristics and qualities of a person or thing. 2. The order, disposition, and essence of all entities composing the physical universe.
AMERICAN HERITAGE DICTIONARY
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It seems to be working. Jim mentioned that there was an old typewriting machine in one of the upstairs bedrooms, and I can't resist trying it out. It seems to have been built in the 1930's by Royal, and it's amazing how well it works.
This is oddly enjoyable. What should I type?
When I was very young, I thought perhaps I would be a journalist, so I taught this skill to myself, and that first paragraph was enough to convince me that it is still there. I might enjoy sitting here from time to time and putting marks on paper, if I had anything to talk about. To be a journalist, I think, means to have an eye and a memory for detail. Yet my own memory is sufficiently idiosyncratic that I wonder if I would ever have been capable of creating a coherent article, even had my life gone in that direction. The things I remember seem to come in odd gasps, with a picture here, an emotion there, neither in order of importance nor in order chronological, except for the most recent of events.
I recall, for example, from the Christmas party last week, how Mrs. Lockwitt's earring dangled against her neck and reflected light from a fixture of four frosted sixty-watt bulbs. This image is very clear, but things from even a few weeks ago are dim, in that I remember they happened, but could not supply the details.
I remember that Mrs. Lockwitt was saying something to me, but not looking at me as she spoke. I think she said, "There's something foreign about the way you speak," and then turned so that she was facing me. I took the opportunity to observe: slightly round, late forties, heavily powdered. She wore something peach colored that might have looked all right if we weren't in a room where everything was blond wood. I couldn't decide from her remark if she was beginning a conversational gambit or snubbing me, so I gave a brief tight-lipped smile of the sort Miss Manners would have approved of and didn't say anything. She—Mrs. Lockwitt, not Miss Manners—turned back to studying Professor Carpenter's library, filled as it was with books, oak furniture, and academicians in several flavors.
She said, "Have you been around here long?"
I started to say yes, reconsidered, reconsidered again, and said, "A few weeks. Maybe longer or shorter, depending upon what you mean by around here."
There were thirty-five or forty graduate students and instructors in the house, about half in the library, the others divided between the living room where Miles Davis's Sketches of Spain was on the stereo and the kitchen where smoking was allowed. Three or four young students were studying the professor's collection of books, the others were all talking with each other about the breakup of the Eastern Bloc or the imminence of war, or telling jokes that you had to be a third-year student of German literature to understand.
"But you are with the college?" said Mrs. Lockwitt.
I caught her eye, held it, and said, "You don't look like an academic."
"Oh, I'm not," she said, blushing just a little. She was, as I knew already, the professor's lover, and had probably paid for a third of the books in this room, as well as the bust of Voltaire and the Degas that was really very fine work for a print. Carpenter, head of the Modern Languages Department, was a bent stick of a bloodless Englishman, and I wondered how often the two of them had sex, and what it was like. You never know; maybe they made the walls rattle.
I was thinking about leaving. The boring but rather pretty girl named, hmm, whatever her name was, who had invited me to the party had already left, and, more important, I had confirmed what she'd told me—the professor owned a house not far from there which had never been rented. The girl (was it Rachel? Rebecca? something like that) had been trying to convince me of the existence of spirits, and claimed that the house was demon-infested, which is how the subject had come up.
Whether it was or not, I had already pumped Mrs. Lockwitt for the location, and she had confirmed that it was deserted, apparently because she had convinced "Arthur" to move in with her. She said nothing about demons. I don't happen to believe in demons, so I wasn't surprised. I had found what I wanted, though, and was ready to leave. I took a last look around.
Near the door a tall, serious-looking young man wearing a dark sweater and tan knit slacks was engaged in premating rituals with a long-necked beauty in a tight, slinky black dress that came down to her knees and was held up by straps. It wasn't all that flattering, as it made her neck seem even longer, almost deformed. I looked at Mrs. Lockwitt's earring once more, but she didn't seem inclined to continue the conversation. She helped herself from the punch bowl and offered me some. Who puts punch bowls in the library? In any case, I knew what had gone into it, so I declined, excused myself with a gesture, and headed for the probable lovers-to-be.
"... several generations," he was saying. "All in the same family."
"So you think it's genetic?" she said, sounding more interested than she probably was. "It doesn't surprise me. There are whole families of artists and musicians, why shouldn't mathematics be the same way?"
"Exactly. We're planning a project now with preschoolers, testing their aptitudes and relating it to their parents' aptitudes. We're working on a grant proposal with Timson in Biology."
"It sounds exciting," she said, as if trying to convince herself it was. "How far along—" She stopped because I had arrived. They looked at me, holding back their smiles a bit, the way one does with strangers who interrupt a conversation or a mutual seduction. He was half a head taller than I was, and broader; not at all matching the stereotype for people who talk about such things. She was almost my height, but more attractive than I am.
"I don't believe we've met before," I said, shifting my eyes to include them both. "John Agyar. Jack, if you like."
They looked at each other quickly, not knowing how to deal with the interruption. As the silence was becoming uncomfortable, he loosened up a little and said, "Don Swaggart."
I looked at her and performed a frown of recognition. "The artist?"
You could practically see her thaw. "You know my work?" I haven't always been good at guesswork, but I've learned.
"I've never had the pleasure of seeing any; but you've been spoken of in very complimentary terms."
"Really? By whom?"
I warmed to her a little; most people would have said "who." "Several people around the department. I don't recall any names, but I was certainly intrigued by what I heard. Do you happen to have anything with you?"
"Yes, do you?" said Young Don, no doubt feeling her attention slip away.
"I'm afraid not," she said, either pleased, disappointed, or both. I couldn't imagine what sort of artist she would be—her face had no animation whatsoever. That was all right; it wasn't her face I was interested in.
"Is your work on display at the college?"
"Not at the moment. I have a few pieces at the studio in Berkshire West."
"I'd love to see them."
Donald shifted uncomfortably, probably trying to think of something to say other than "so would I." He settled for asking me, "What department are you with?"
I laughed without showing teeth. "What would you guess?"
She said, "Most people here are Modern Languages, but I'd have guessed you for Drama."
"Really? I think I'm flattered."
Young Don said, "I'd have guessed Business."
I caught his eye and said, "No, I'm afraid not. And you're Sociology."
He frowned. "Good guess."
"No guess," I said. "You fit the profile."
He was wise enough not to ask, but she seemed stung on his behalf and said, "Why is everyone down on sociology? I think the study of how people live together is fascinating."
"People are down on sociology," I said, "because it was invented by people who felt someone ought to answer Marx, and there's no answer for Marx outside of religion, a field any civilized person ought to avoid."
"That's preposterous—" he began.
"Your contention about sociology."
"Oh. I thought you meant my contention about religion."
"What makes you think—"
"Who first popularized the term?"
"Sociology? It was coined by Comte—"
"Who popularized it?"
"I suppose it was Herbert Spencer."
"And what did he say about Marx?"
"Huh? Almost nothing, as a matter of fact."
"And what was the strange thing the dog did in the nighttime?"
Jill laughed, which was half the battle won, and Young Don sputtered, which was the other half. "I don't think you can conclude—"
"Read any Max Weber?" I said.
"Are you a Marxist?" He probably thought it was a good counterattack, but I couldn't help laughing, both at the question and at his predicament.
"Not likely," I said. "Merely a student of applied realities. And a lover of art. And a cardplayer."
Donny frowned as the conversation went completely out of his reckoning. "You're a gambler?"
"Not when I can help it," I said. "You?"
It was time to bring Jill back into it. "How about you?"
She gave the question more consideration than it was worth; probably the overintellectual type. "Sometimes," she said. "Gambling can be exciting."
"Winning is better, if you know how."
"You know how?" she said, trying to act a little amused.
"Show me your paintings, and I'll let you in on the secret."
"Sure," she said, laughing. "When?"
"Now," I said. "Unless you're finding the party too exciting to slip away from."
"You have wheels?"
"No, I have feet. It's a lovely night, and Berkshire isn't far."
"Not too cold; there's no wind."
She looked up at me through squinted eyes. Her brows were fair and I saw the faint blond roots of her dark hair. Amusing. Our eyes locked for a moment, and I thought I detected a sense of humor down there somewhere, as if she knew what was was happening and thought it was funny. Maybe she thought she was gambling. In any case, Young Don was forgotten. "All right," she said. We went to the hallway, where I helped her with her parka of some synthetic material. My coat was the authentic English bobby's coat; very natty. Stylish. We left together, while Donald was carefully looking in another direction.
The night was the cold of Midwestern mid-winter with a big moon, a day shy of full, but mostly hidden by high, fast clouds. There were few streetlights. No one was out, save a howling dog a block away, an owl who darted from tree to tree in a vain search for winter rodents, three rats whom the owl didn't notice, and one dark gray cat who kept appearing, staring at us, then vanishing behind the houses. The rats smelled like the sewers they lived in; I was pleased when we were past them. Eventually the cat left us alone, at around the same time the dog stopped howling. Either the dog's master had shut it up, or the cat had killed it. Fine either way.
I offered her my arm and she took it. "What's the secret, Jack?" she said.
"Always keep a few important cards where no one can see them."
"That's it? Cheat?"
"You call that cheating?"
"Where do you live?"
"Off-campus housing. On Fullbright. A big, white house with blue lights coming out of the attic."
"Do you live in the attic?"
"No. Are you really a gambler?"
"As I said, not when I can help it."
"All right, then, a cardplayer?"
"I enjoy card games."
"Is that how you make your living?"
I laughed at that, but didn't explain why. Her touch on my arm sent the message that she might be getting annoyed, but by then we were practically at Berkshire. She had a key so she opened the door and went inside. I studied the mid-nineteenth century archway. She said, "What are you waiting for?"
"I'm trying to figure out whose work this is."
"Oh. You're into architecture?"
"Not really," I said.
She looked puzzled and held the door open for me. I entered, and she led me down to the studio to show me her etchings. Finis.
I stopped typing a few hours ago, took the last page out of the machine, and set it facedown on the pile to my left, as if I had finished and wouldn't resume. I've spent the intervening time sitting here, staring into space. I suppose I might as well keep typing.
This room, the one with the typewriting machine, seems to have been redone in the 1950's, then partly redone again in the late seventies, probably just before the house was abandoned. There used to be wallpaper, but now there is bare plasterboard thick with splotches of greenish glue. The windows are boarded shut, and I type by the light of a single candle, one of those thick tall ones that can stand on its own without a holder. It has been scented with what someone thought was apple blossom, and I suppose it is closer to that than anything else, but it isn't very close, nor is it strong. I can still smell the wood as it collects pockets of moisture and rots. The desk drawers, still full of desk things, are heaped next to me, as if when Professor Carpenter moved away he wanted to take it with him, then changed his mind, not thinking the desk worth the trouble. I guess he was right; it is small and cheaply built of plywood. I wonder why he left the typing machine, though. One of the desk drawers contains most of a ream of paper, however; good enough paper to have survived these ten or fifteen years.
I am pleased at how well my skill at working this machine has returned. The sound of the type bars striking the paper and the little rattle of the keys do not echo, perhaps because of the textured ceiling. There are still a few mice in the walls; I wonder what they live on.
What else to talk about?
I suppose I could continue where I left off a few hours ago, and bring matters up to the point where they stand now.
I left Jill sleeping deeply on the cot in her studio, went back to the train depot, and the next day went and looked at the house. The neighborhood is quiet, not too well lit, and situated not far from Twain. I decided it would do, so I made the arrangements to have my things moved.
Bah. I don't want to talk about all of that. It was more than a week ago, and old news is dull, even when writing to one's self. What about last night? That's more interesting, because I've finally heard from Kellem.
I spent all night looking for a place to play cards without finding one. When I finally gave up, I made my way to this place that is home for here and now. I threw my coat over the end table next to the window, closed the window against the increasing chill, and opened the front door. There was a small slip of paper in the mailbox. It was in Gaelic for some reason, and said, "Day after tomorrow, 10:30, outside Howard's—L." I went back inside, burned the note in the fireplace, and stretched out in what was left of a bulky stuffed gray chair that someone had decided wasn't worth moving. The springs on one side of it were broken, so I sat with a list to starboard.
These tenses are interesting. I don't know whether to write, "the springs were broken," because they were when I was sitting on it, or, "the springs are broken," because as I sit here they still are. The first way is somehow more entertaining, like I'm telling myself a nice little story, but it also seems contrived. Funny, the things you never think about until you set about committing them to the page.
For that matter, I hadn't given much thought to Laura Kellem, although she is the reason I've come to this little star in the map next to Lake Erie. Even now, when I think of her, all I get are moments, ripped out of time, with emotional harmonics but no melody for context. I can close my eyes and see her, looking at me with an expression that, at the time, I took for tenderness, but that I later came to believe was only a vague cousin—the fondness one might feel for a cat who lived with a close friend.
Odd, that. How long has it been since I have had a close friend? Will I ever again? Perhaps. Jim and I seem to be hitting it off rather well, I suppose because neither of us has anything the other wants. Which, now that I think of it, was never true of Laura and I, even when we were close—or what passed for close between us.
It was close on my part, I think. I cared for her. I'd have to say that I loved her, with the sort of burning passion that I then knew how to feel, and now know how to inspire. It would probably be trite to say, "What goes around comes around," but that's what it feels like.
Excerpted from Agyar by Steven Brust, Terri Windling. Copyright © 1993 Steven Brust. Excerpted by permission of Tom Doherty Associates.
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Most Helpful Customer Reviews
Agyar Janos has changed his name to John Agyar to fit in better in the Midwestern United States. He has lived over a century and expects to survive many more as vampires can live forever. Currently, John has moved into a house in Lakota, Ohio, where he shares the residence and has formed a cautious friendship with Jim the ghost................................. John uses local artist Jill Quarrier as his blood supply against the will of the mortal though she struggles to break his hold on her. Jill's sociology student boyfriend Don Swaggert becomes jealous of her attention to John and threatens to kill his rival; the vampire without blinking kills him. John¿s vampiric master Laura Kellem demands he turns himself into the police to protect her nocturnal dining. John is going to do so until he meets Jill¿s roommate Susan. Now he has a reason to live, but must free Jill, find a way to be with Susan as equals, and finally confront his ruthless master Laura with the odds so overwhelmingly against him no gambler would risk the bet........................... AGYAR is an excellent modern day vampire tale that will make believers of anyone who reads this exhilarating tale. The action-packed story line moves at a brisk pace, but the key is the solid cast. Readers will accept the existence of vampires and their caste system due to the completeness of Laura and John as full blooded beings. Jill¿s desperation to free herself, which includes the use of magic, also comes across as genuine. Finally Susan completes the quartet that makes for a strong book that will land on all the best of the year short horror novel lists......................... Harriet Klausner
I was honestly blown away. I have read almost all of Brust's books and this is among the best of them. the story of Agyar is a wonderful tale of a supernatural being, who befriends a ghost and is the ultimate Lady Killa.lol great book, i suggest you read it.
This was a wonderful novel, that has stuck with me even now after finishing it a month ago. The mystery of the novel not only intrigues you as the reader but answers the question of the book from previous chapters. As the pieces of the novel begin to fall into place you can't help but admire the writing style of Steven Brust. The love story is so captivating, your heart wrenches with every turn of the plot. You won't be able to put the book down. Janos Agyar or Jack, is the unforgettable man of the story. Even though throughout history we are taught to hate the evil of the world you can't help but cheer him on to success.
I read this book because someone said it's about a vampire but it never once uses the word "vampire". It also never uses the word "blood" except in a couple of places related to normal human violence.You meet a character you're pretty sure is a werewolf, but it never uses that word.This is a clever detour from the typical vampire genre.
This is one of those odd books that when I started it I realized right off the bat it would be really different than anything I've read recently and thought I would like it, only to get a bit further in and start to have a bit of trouble pushing through. This lasted a bit until the last part of the story where I became used to the writing style and the plot as a whole picked up to where I can ultimately say this was an enjoyable book.In this we get a man by the name of ____ Agyar (he uses a variety of first names). We learn almost immediately there is something unusual about him, he seems young on the outside but thinks old. Agyar as a character provides an interesting dichotomy as an anti-hero. We see him both as a monster, as he does monstrous things but also as a sympathetic creature as he loves, regrets and struggles against unnatural bonds. I felt like I wanted to root for him but often times his dreadful deeds made me feel that he should get what he deserves. In addition to the odd first person POV there is much which we must extrapolate from between the lines to get a full view of what is going on. Agyar does not tell us what he is or even precisely about the act that is what makes him what he is. We watch and consider and ultimately it does become clear. Certainly a different way of going about telling a tale. Although not overwhelmingly violent or particularly romantic it did contain elements of each plot device despite not exploring them in any sort of a traditional way.Although I don't often talk about the cover, this particular one (the one with the roses) struck me at first as rather ridiculous until we learn about the pivotal role of this particular imagery later in the story. It made it a much more interesting picture to me.On the whole this was a pretty unusual book, but it is also probably one that will stick out in my memory because of it. I'd recommend it to those who like monster tales that break the mold of what we're used to.
I like vampire novels & this isn't one nor is it horror or romance, yet it's all 3. The word 'vampire' is never once mentioned in the book, yet you're left with no doubt as to what Brust means. I really can't say more, maybe shouldn't have said that much. The process of discovery is one of the things that makes this book so well done. Each word is crafted with a precision that leads to inescapable conclusions, yet almost made me want to re-read it to see if I could have misunderstood.The world is ours, with a slight twist, requiring very little suspension of belief for a fantasy. The characters are well done & I understood their motivations well, even when I didn't like them. There is a sense of predestination permeating the book, which I don't normally care for, but was pulled off in a masterful manner.I really like Brust's writing, especially his Taltos series, but this book may well be the best that he's written. I don't LIKE it the best, don't re-read it as often as the Taltos books, but I think the writing & plot were the best he's ever done. It's just not as fun & relaxing as the others. Still, it isn't work. It's a fairly quick read.
This is one of my favorite vampire stories. Brust captures the horror of vampiric life, which is not so much in blood lust or immortality, but simple loneliness, confined to life as a kind of homeless outsider.
Having read other reviews, I thought I would really like this book. WRONG! Brust is obviously quite taken with himself and he goes on, and on, and on, and on, about absolutely nothing in this book. There were sub-plots that were introduced in the story but never explained. (The history of Jim the ghost, as an example.) I forced myself to keep reading, hoping it would improve but it didn't. (Sadly, I also bought another book of his before I read the first. . . )