Memnoch the Devil (The Vampire Chronicles 5)

Of course Dora didn't know Roger was dead. There was no way that she could know, unless¡ªperhaps¡ªRoger had appeared to her.

But I hadn't gathered from Roger that such was even possible.

Appearing to me had apparently consumed all his energy. Indeed, I thought he had been far too protective of Dora to have haunted her in any practical or deliberate way.

But what did I know about ghosts? Except for a few highly mechanical and indifferent apparitions, I'd never spoken to a ghost until I'd spoken to Roger.

And now I would carry with me forever the indelible impression of his love for Dora, and his peculiar mixture of conscience and supreme self-confidence. In retrospect, even his visit seemed to me to exhibit extraordinary self-assurance. That he could haunt, that was not beyond probability since the world is filled with impressive and credible ghost stories. But that he could detain me in conversation¡ªthat he could make me his confidant¡ªthat had indeed involved an enormous and almost dazzling pride, I walked uptown in human fashion, breathing the river air, and glad to be back with my black-barked oaks, and the sprawling, dimly lighted houses of New Orleans, the intrusions everywhere of grass and vine and flower; home.

Too soon, I reached the old brick convent building on Napoleon Avenue where Dora was lodged. Napoleon Avenue itself is a rather beautiful street even for New Orleans; it has an extraordinarily wide median where once streetcars used to run. Now there are generous shade trees planted on it, just as there were all around the convent that faced it.

It was the leafy depth of Victorian uptown.

I drew close to the building slowly, eager to imprint its details on my mind. How I'd changed since last I'd spied on Dora.

Second Empire was the style of the convent, due to a mansard roof which covered the central portion of the building and its long wings. Old sjates had, here and there, fallen away from the sloping mansard, which was concave on the central part and quite unusual on account of that fact. The brickwork itself, die rounded arched windows, the four corner towers of the building, the two-storey

plantation-house porch on the front of the central building¡ªwith its white columns and black iron railings¡ªall of this was vaguely New Orleans Italianate, and gracefully proportioned. Old copper gutters clung to the base of the roofs. There were no shutters, but surely there had once been.

The windows were numerous, high, rounded at the tops on the second and third stories, trimmed in faded white.

A great sparse garden covered the front of the building as it looked out over the avenue, and of course I knew of the immense courtyard inside. The entire city block was dominated by this little universe in which nuns and orphans, young girls of all ages, had once dwelt. Great oaks sprawled over the sidewalks. A row of truly ancient crape myrtles lined the side street to the south.

Walking round the building, I surveyed the high stained-glass windows of the two-storey chapel, noted the flickering of a light inside, as though the Blessed Sacrament were present¡ªa fact that I doubted¡ªand then coming to the rear I went over the wall.

The building did have some locked doors, but not very many. It was wrapped in silence, and in the mild but nevertheless real winter of New Orleans, it was chillier within than without.

I entered the lower corridor cautiously, and at once found myself loving the proportions of the place, the loftiness and the breadth of the corridors, the intense smell of the recently bared brick walls, and the good wood scent of the bare yellow pine floors. It was rough, all this, the kind of rough which is fashionable among artists in big cities who live in old warehouses, or call their immense apartments lofts.

But this was no warehouse. This had been a habitation and something of a hallowed one. I could feel it at once. I walked slowly down the long corridor towards the northeast stairs. Above to my right lived Dora in the northeast tower, so to speak, of the building, and her living quarters did not begin until the third f

loor.

I sensed no one in the building. No scent nor sound of Dora. I heard the rats, the insects, something a little larger than a rat, possibly a raccoon feeding away somewhere up in an attic, and then I felt for die elementals, as David called them¡ªthose things which I prefer to call spirits, or poltergeists.

I stood still, eyes closed. I listened. It seemed the silence gave back dim emanations of personalities, but they were far too weak and too mingled to touch my heart or spark a thought in me. Yes, ghosts here, and here . . . but I sensed no spiritual turbulence, no unresolved tragedy or hanging injustice. On the contrary, there seemed a spiritual stillness and firmness.

The building was whole and itself.

I think the building liked having been stripped to its nineteenth-century essentials; even the naked beamed ceilings, though never built for exposure, were nevertheless beautiful without plaster, their wood dark and heavy and level because all the carpentry of those years had been done with such care.

The stairway was original. I had walked up a thousand such built in New Orleans. This building had at least five. I knew the gentle curve to each tread, worn down by the feet of children, the silky feel of the banister which had been waxed countless times for a century. I knew die landing which cut directly against an exterior window, ignoring the shape or existence of the window, and simply bisecting the light which came from the street outside.

When I reached the second floor, I realized I was at the doorway of the chapel. It had not seemed such a large space from outside.

It was in fact as large as many a church I'd seen in my years. Some twenty or so pews were in neat rows on either side of its main aisle. The plastered ceiling was coved and crowned with fancy molding.

Old medallions still held firmly in the plaster from which, no doubt, gasoliers had once hung. The stained-glass windows, though without human figures, were nevertheless very well executed, as the streetlamp showed to good advantage. And the names of the patrons were beautifully lettered on the lower panes of each window. There was no sanctuary light, only a bank of candles before a plaster Regina Maria, that is, a Virgin wearing an ornate crown.

The place must have been much as the Sisters had left it when the building was sold. Even the holy water fount was there, though it had no giant angel to hold it. It was only a simple marble basin on a stand.

I passed beneath a choir loft as I entered, somewhat amazed at the purity and symmetry of the entire design. What was it like, living in a building with your own chapel? Two hundred years ago I had knelt more than once in my father's chapel. But that had been no more than a tiny stone room in our castle, and this vast place, with its old oscillating electric fans for breeze in summer, seemed no less authentic than my father's little chapel had been.

This was more the chapel of royalty, and the entire convent seemed suddenly a palazzo¡ªrather than an institutional building. I imagined myself living here, not as Dora would have approved, but in splendour, with miles of polished floors before me as I made my way each night into this great sanctuary to say my prayers.

I liked this place. It flamed into my mind. Buy a convent, make it your palace, live within its safety and grandeur in some forgotten spot of a modern city! I felt covetous, or rather, my respect for Dora deepened.

Countless Europeans still lived in such buildings, multi-storeyed, wings facing each other over expensive private courts. Paris had its share of such mansions, surely. But in America, it presented a lovely picture, the idea of living here in such luxury.