I am thrilled to have the opportunity to bounce this piece off people as I go along. Having the Vampyre piece pull into focus helped inform the Dracula chapter, and so on. So much exposition, so little time. But people are being pulled along, and that's good, too.
TKT had a few questions regarding both chapters together;
As a muslim, why is Xanthe Greek and not, say Turkish?No, what happens in the cabin is not yet clear. But one day it will be - hopefully in the 1980s. We'll see.
If Aubrey is abandoned in what is now modern-day Turkey, it would make more sense that he finds his way to Romania.
Will what happened in the cabin ever become clear - because now it is not.
She also wanted to know what the Narrator's agenda is - does he have character? Is he a character? Why this obsession with vampires, and why is he telling us all this?
At the Unit today we read the Dracula arc.
London should be mentioned up front.MO pressed me for the rules so many months ago, and I have begun to provide them. But he also impressed upon me the need not to play safe with the rules - he was them to "derail" somehow.
It is not clear Jonathan is setting out to get Porlock. (He leaves and we never see him again.)
If I want Anti-semitism to stand out (in particular, as opposed to general xenophobia or race-hatred) I need a bigger hammer.
MG is familiar with The Vampyres: A Play - both versions, I think - and wants to know why I, personally, want to return to this. What are the personal relationships in this tale which spell that out?
MO wants more blood, and more bodies. I informed him we are creating this for a) Catholic girls schools and b) assisted living facilities. He doesn't care, he wants more blood.
I'll work on that.