Blackwood Farm, Chapter 20
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And I'm back for another random update!


The laptop computer does not arrive for three days, at which point it is brought by his new tutor Nash Penfield, though Quinn has declined to actually meet him until "more favorable circumstances"

In those three days, Quinn has a ton of tests done and the conclusion is he's a-okay.

"In between my long journeys down the beautifully painted passageways of the hospital labryinth I told the full story of the violent night to everyone who wanted to hear it."

I feel like this means he walked around the place yammering at anyone unfortunate enough to make eye contact with him.

Quinn tells Dr. Winn about Goblin, who "listened quietly and thoughtfully" and "there was something deeply reserved about him" and he is "delicate" with all his "remarks". One of these remarks is to ask Quinn if he'd like to see "a small select panel of psychiatrist."

Quinn says no. Then he tells us that Aunt Queen changes his mind. Then he talks about her wearing sack dresses and cloche hats. Then he goes back to how she changed his mind by saying if he doesn't, "we'll stand accused of simple negligence. Think it over, Quinn. We could both be accused."

...I'm confused. Firstly, Quinn's not a minor, so I'm not sure how AQ could be accused of neglect, even if she was his legal guardian. Secondly, how would QUINN be accused of neglect?

AQ says they have to go home and "get back to life the way we want it to be." Quinn asks "How's that Aunt Queen?" and says if they go off on one of her "exotic junkets" then there will be no Blackwood Farm when they return. I have genuinely no idea how he got "let's go on an exotic trip!" from AQ saying that. Also, what, will the staff just blow Blackwood Farm up if they leave? Wait, actually, that's not a bad idea...

Quinn tells AQ how he doesn't want to meet Nash here, she agrees, and adds that she's very sure that Jasmine is flirting with Nash right now and "something's come over Jasmine. And it's high time if you ask me" and says how Jasmine is "prancing about" in some fancy clothes she gave her a few years ago and how she never used to wear the "truly fine things" that Aunt Queen gave her (maybe she doesn't want them, AQ?) and "I think Jasmine sees her destiny."

Quinn asks what that is, AQ says "To run Blackwood Manor in our absence."

Ah yes, that's Jasmine's destiny, to wear your hand-me-downs and run your home for you without pay. What else could her life possibly be about? She surely doesn't have one outside of you guys! Anne Rice is so progressive, man.

"I mean, Jasmine has languished in domestic service all her life, and she's sharp and well-spoken and can certainly take on the responsibility for a portion of the profit."

Ah, yes, well-spoken, the ultimate backhanded compliment of white people to black people. At least that makes sense coming from an old well-mannered white Southern lady though, just, I don't think we're supposed to see it as symptomatic of her being that.

Quinn says he didn't think they made a profit because Pops always said "operated at a loss" and Aunt Queen says "Oh, Pops was pessimistic, bless his soul, and of course he was right"

...if he's just stating the facts, that's not pessimistic? Also if you operate at a loss, then what profits will Jasmine be getting? You're saying "she'll get some of the profits" when there are no profits. You're basically trying to foist all the boring, annoying parts of living in a big fancy manor off on the unpaid domestic worker who doesn't even live in it but in the fucking bungalow out back. I did not dislike Aunt Queen till this moment and I really hope even Rice isn't oblivious to see the problem here.

AQ says that "when Pop's will is read, everything will be easier". Quinn asks when that will be, and is told that since Patsy got home two days ago, they can do it the day after tomorrow.

Quinn tells us that a "Technicolor Goblin" was in his dreams recently and I have no idea what he's talking about, then goes back to what AQ is actually talking about, telling us how the idea of Jasmine running the manor excites him and "It was perfect for Jasmine. Aunt Queen understood Jasmine as no one else did, not even Jasmine."

Ok, the idea of someone understanding someone else better than they do themselves is not AUTOMATICALLY racist because the former is white and the latter is black, but in the very gross, condescending, exploitative dynamic that the white characters have with the black characters in this book, it is. In another book, this would not have made me bat an eye. I might find it sweet. In this book, it makes me wanna scream.

"Suddenly, and with surprising verse, I wanted to escape this place. If Jasmine was going to resist her 'destiny', I wanted a chance to talk with her."





He also wants to get back because he wants to see her all dressed up in that Chanel suit Aunt Queen mentioned and "in my fiendish eighteen-year-old heart, I wanted a second shot at Jasmine"

I want to cut him some slack for acknowledging his treatment of her as "fiendish" but I feel like it's meant tongue-in-cheek here.

He tells Aunt Queen he will see the panel of doctors but wants to do it in his own clothes, specifically his Armani, the handmade shirts she sent him from Europe, his lucky Versace tie, and his Johnston & Murphy shoes.

...I feel like Rice really enjoyed getting to rattle off those brand names. He also says Goblin likes those clothes too and always gets excited when Quinn dresses up for an event at home.

AQ says she'll arrange for it and asks if Goblin will be at the meeting, Quinn says of course he will and that he can't always control him anyway and that Goblin has put up with " a great deal of contemptuous dismissal"

AQ says "I suppose so" and Quinn notices her yet again staring at the spot where Goblin is. And there is an "amazing" development with Goblin in that he's NOT wearing the same thing Quinn is, he's wearing jeans and flannel from home. "But it was the ever-shifting expressions on his face which most frightened me" and the "frigid quality to him" as well as a "despairing look" despite the fact Quinn himself feels safe here and tells us how staff and family and so on have all been visiting and bringing him sweets and things.

Quinn now has the laptop and tells AQ he needs to work now and she should go to dinner. She asks what he's going to do, he says he and Goblin talk with it. AQ goes "Oh my darling Quinn!" with "confusion and anxiety" to which Quinn replies that Goblin saved his life. AQ asks what would happen if he just stopped interacting with Goblin altogether. She also suggests simply destroying the Hermitage house on the island and dismantling the mausoleum. Quinn says to this "You're shocking me. You're hurting me!"

oh my god Quinn

He says he's been inspired by the desk and marble chair and wants to do the Hermitage floor in marble and he knows AQ is upset by Pops dying but "I want that place, don't you see, and it belongs to us, not this interloper!"

Goblin is staring intently at AQ, who just says "Alright, my precious dear" to Quinn (GAG ME) and goes to the super fancy Grand Luminere afe on the super fancy hospital rooftop because this is the fanciest hospital in the world I guess.

Goblin is wearing Quin''s Versace tie and "It looked positively flaunting." Quinn speaks with him on the computer and asks why Goblin hasn't talked to him even though Quinn gave him credit for saving him by telling everyone he did it. Goblin responds that "I like being angry"

Good for you, Goblin.

But Quinn says that's wrong and how "the man who hurt me was angry" and how the man did "bad things" and Goblin tells Quinn to use bigger words, that he knows all the words Quinn knows and that "when I was angry it was for you" Goblin says they're trying to take him from Quinn, to divide him. Quinn says he's loyal to Goblin and loves him and they can't be parted, but if Goblin is violent and angry then Quinn can't love him. Goblin retorts that it's alright if he's violent and angry if it's to help Quinn, which is a very good point. There's a time and a place for everything, and that includes getting pissed and fighting back to save a loved one. Quinn is impressed by the sophistication of Goblin's phrasing, and agrees with him.

Goblin says "you make me laugh" then pushes the laptop off Quinn's lap and kisses him and grabs him and says in a "slow, masculine" tone that "You're afraid of me now."

and we're back to weird ghost rape

Quinn asks Goblin if Goblin wants him to be afraid of him, and tells him he can't love him if he's afraid of him, that he'll hate him. Goblin kisses him again and puts his hand between Quinn's legs. Quinn tells him "Not here" and "Be patient." which means apparently Quinn doesn't object in general so much as just the time and place and I don't even know how to feel about that.

Goblin says that he knows Quinn wants it because he feels what Quinn does and "it was over within seconds"


there's that then

Quinn asks Goblin after about the stranger, who was he, Goblin says he doesn't know, but that he does know lots more than Quinn thinks he does. Quinn tells him to go away so he can think, Goblin says Quinn can't command him like he thinks but that he'll do it because he loves Quinn. Quinn asks him not to frighten him anymore (I'd personally like for him NOT TO RAPE HIM ANYMORE) and Goblin says he doesn't want to but that "they" want to change Quinn so Quinn won't hear or see him anymore. Quinn tells him that's not possible, repeats his wish to be alone right now, and asks Goblin where he goes when he's not with him. Goblin doesn't answer, Quinn asks again, no answer, Quinn feels him leave and then he makes the Sign of the Cross. He wonders what to do, and wishes for someone to tell him. I understand that feel. He thinks about the stranger too, and what if he came back. And how "if I went to sleep, I'd dream of Rebecca"

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"By the time we reached Mayfair Medical, I was a gibbering idiot in a bloody nightshirt"

He repeatedly tells them that the intruder was in the house, that Goblin had broken the glass and saved his life, and he can tell they think he's crazy. "They" here is Clem, Big Ramona, and Aunt Queen, though since I'm pretty sure AQ knows Goblin is real, it's just Clem and Big Ramona who probably think he's nuts. I just realized that since the cast is divided between the white family and the black staff, it pretty much makes it so only the white people get to have special ghost senses whereas the black people are all boring mundane sorts. Sort of the reverse of the "Magical Negro" trope, and the idea of black people as more connected to the supernatural/spiritual, and yet, somehow not better. Because, rather similiar to the lack of black vampires in Anita Blake, the trope is only inverted in order to exclude black people from the most interesting and privileged status within the story. Black people get to be magical and mystical when helping a white protagonist, but when the powers go to the white people, the black people have to be boring normies who can't understand. This isn't helped much when more white people get added to the cast, since those people (Lestat, Mona, etc.) are all magical types too.

Quinn is put on a gurney and taken to the ER. He has a lot of scratches and bruises and a headache from being slammed against the wall. Goblin is very concerned for Quinn and does not like what is happening, but Quinn tells him not to do anything or he'll make it worse.
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This one is pretty short, so no cut!


It's the middle of the night. Quinn is in and out of sleep, and Rebecca tells him how Manfred bought these antique wicker chairs in the attic for her. But then "she was trying to talk of other things, things I must do, how justice would be achieved, and I was arguing with her" and then he wakes up.

He wakes up because "suddenly, I was wrenched out of the bed and dragged across the floor!"

Whoever this is drags him to the bathroom and lifts him off his feet and smacks him up against the wall. It's a tall mane with large dark eyes and "hair cleanly brushed back from his high rounded temples." He accuses Quinn of burning his books, so I guess we know who this is. His breath is warm but odorless and this is just mentioned in passing but I find it a really good detailing for hinting there's something supernatural about this person.

Instead of feeling afraid, Quinn is angry, and yells at the guy about being a trespasser and how dare you come into my very room!

As with looking at Jasmine's figure when bemoaning he might be mad, the fact that Quinn is describing the man's outfit (open white shirt with white cuffs and a black coat, if you wanted to know) and how his mouth is "very finely shaped, with thick but perfectly sculpted lips" very, very much detracts from the mood of the scene. Rice's strength has always been elegantly phrased descriptions of sensuous details in both objects and people, but she has a placement problem. This is a tense scene with two people angry at each other, one of which is probably very dangerous and could hurt the hero, and there's no, like, sexual tension or anything going on, so this kind of detail, especially from a first-person perspective, really hurts the tone and that disrupts the entire mood for the reader. We go from being tense to going "why do you care about THAT??" It being first-person also makes Quinn look like a foolish jackass for being focused on outfits and lips at a time like this. And while Rice does sometimes use that with the vampires to play up how their senses are so enhanced that they kinda go a little nuts with noticing everything, that's not the case here and not what I think she was going for.

This is a small thing, but I think it's important from the perspective of what works and doesn't in writing, and why that is. Because something that would be great description in another scene is absolutely wrong for this one. It's not just about how things are written, but where they're put in a story.

Quinn struggles against him, the stranger tells him to never go near the island again or touch what is his, Quinn once more says he's a trespasser and tells him to bring it to court. The stranger says "Don't you realize I could kill you?" and asks why Quinn does such foolish things, "what's so precious to you?"

To which Quinn replies "What's rightfully mine!"

So, when Quinn was burning the property of someone just in principal of them being a squatter on his property, it was gross and spiteful to me, especially since it was pretty clear he'd be doing this even if the person was just a poor homeless person like most squatters instead of a mysterious likely-supernatural likely-murderer, but when the person is actually in his house and threatening him, and Quinn is still so stubborn and defiant in his IT'S MINE, it actually gets kind of admirable in a weird way. I remember really enjoying the part in The Wee Free Men by Terry Pratchett where the protagonist, a little girl who is likely a witch, defeats the Big Bad through the force of her own selfishness. Not the Big Bad, but her own. The Big Bad took HER brother, and she doesn't like her brother but he is HERS and how DARE anyone touch or take what is HERS. And Pratchett explicitly refers to this in the narration as selfishness, but it's not painted as good or bad, just powerful. And I actually really ENJOYED this. I absolutely loved that not only did the heroine have this trait seldom associated with heroes (heroes are typically emphasized as UNselfish) but that Pratchett found a way to turn it into a weapon rather than a flaw. It was really clever. I think something cool could be done with Quinn in that regard, that he is such a brat he actually will scream in the faces of monsters if those monsters come near what's HIS HIS HIS

...though in Quinn's case, I also would not mind seeing him pay the consequences for that. Actually, that would make for a good story, him dealing with those consequences and how that changes him. And as much as I rag on Rice, I actually do think that's a possibility. She is not talentless, not by a longshot, I would not give a shit about going through this book if she were just plain bad, and she's very capable of making and writing engaging characters. In fact, I would say that characters are really what she does, more than she does stories. Much of the Vampire Chronicles are really just biographies. This book is pretty unique in the degree of plot it has, and that it's a plot that spans the whole novel thus far rather than just a part of it.

The guy releases Quinn and says "I won't kill you. I don't want you dead. I have a theory about you." But he says he will kill him if he goes near the island again, and instructs Quinn to keep everyone away from the island forever, or he'll drag him back into the swamp and kill him the same way Rebecca died.

Then the mirror shatters, Goblin comes up behind the man and chokes him and tries to cut him with a piece of glass. The stranger pushes away the glass "rather easily" and tries to attack Quinn again, but Goblin continues to pummel him and hurl glass at him. Quinn thinks this is a good time to tell us that the man has very long black hair in a slender ponytail and sharply squared shoulders. The intense fight between Goblin and the stranger, who is baffled by what Goblin is, continues. Quinn just does nothing except tell us that when the lights come on, he can see the man more fully and that he has a beautiful face and "satin" hair and perfect skin and a very fine suit. The guy keeps going WHAT IS THIS THING and Quinn is like FUCK YOU, GET OUT.

Well, no, actually Quinn says he won't tell him because he's in HIS house just like how he's on HIS property when he reads his books on the island, and he can see what's attacking the guy but the guy obviously can't. And I'm back to finding Quinn an insufferable brat for the books thing. Oh my god, a man read books on my private island that I wasn't using, this is THE VERY WORST THING!

The man slips out, and everyone in the house wakes up and comes to see Quinn embracing Goblin, who, of course, to them is nothing but thin air.

As a note, last chapter Aunt Queen said that the Shed Men would all be standing guard to keep this stranger from getting in the house again, which means that whoever or whatever he is, he slipped in past them somehow, adding the mystery.

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Well guys, I'm back. A friend of mine told me they really wanted to know what happened next, and since I've since read ahead to Chapter 23, I decided to get my butt in gear and oblige. Hopefully I'll have the energy and drive to summarize the successive chapters too!

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so I have no energy for a proper spork but I picked up Blackwood Farm again last night

while they're out investigating the island, Quinn tells Jasmine to "be my chocolate candy" and they have sex in Pops bed when they get home

he's sure to note that he knows there's no men in her life and "she lived like a nun" while her sister Lolly "had three husbands" WELL DID LOLLY FUCK ANY OF THEM IN HER RECENTLY DEAD GRANDFATHER'S BED QUINN WHAT THE FUCK

Blackwood Farm, Chapter Sixteen
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Quinn describes the two sets of gates that are at Blackwood Farm, and he mentions that Pops planted a pair of "great oaks" by one in memory of Sweetheart. This may be a dumb question, but how long would it take for a pair of great oaks to become, well, great? I always looked at big oaks and thought they must take centuries to get like that, but I don't know much at all about trees. Not a criticism, just a question.

Quinn says that he later found out from the Shed Men that when Pops went out to plant flowers (at least I assume that is what "multicolored impatiens" means) they thought that he seemed "confused and strangely unconcerned about the goings-on at Sugar Devil Island. One side of his face had not looked right, and they had gone to check on him."

Sounds to me like he was having a stroke? Something up with the face means a stroke, right? But do strokes take that long? Wow, I don't know much about strokes either.

Patsy went out to talk to Pops about money, telling the Shed Men on the way that she hated to have to ask for it and it wasn't fair and man, I get it Patsy. Poor kid wants to do what she loves and be independent from her parents but she can't do both. She clearly doesn't want anything to do with this family, especially not Pops, but I guess she really wants to sing, and she needs money for that. Unpleasant as we're meant to find her, I feel for her, as I've said before.

Anyway, she "came screaming back, having already called for emergency help on her car phone" and the Shed Men run over there to find Pops on the ground dead. The whole family go with him to the hospital but it's too late. Aunt Queen orders an autopsy, but isn't able to bring herself to manage the funeral arrangements, so Quinn does.

This is probably the first time I admire Quinn. He's 18 right now, if I remember right, and while that might legally be an adult in the US, I can tell you right now I would not have been capable of doing this at all. And while I've got it very easy, I'm still not as sheltered and babied as Quinn is. So good on Quinn for stepping up for this and getting through it, and not even complaining in the narrative about it.

I love flawed characters, but when a character has been as infuriating as Quinn as thus far, I'm actually glad for them to do something right.
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Blackwood Farm, Chapter Fifteen
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( You are about to view content that may only be appropriate for adults. )

Blackwood Farm: Chapter 14
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Here's Dorian




1 month old mice babies: Lydia (the most black), Priscilla (the most white), Junia (white belt)



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Blackwood Farm: Chapter 13
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I'm working twice as many hours at work now, but somehow I got a hankering to return to Blackwood Farm nonetheless today, and do a quick summary. Not so snarky, but then, there wasn't much to snark in this particuliar chapter.

More importantly, I have new rats! I wanted to get rats from someone who needed to rehome them, or get them from a rescue, but nothing came up, so I broke down and bought three boys from the pet store this Saturday.

On Sunday, I got a message from a friend on Facebook saying they knew someone who needed to rehome their rat.



I said yes, of course. And it's a girl so she'll need a friend, she can't live with the boys! So it'll be five rats. Five rats unknown number of mice, because the store only sells male small animals to avoid accidental breeding, and while I was talking to the salesgirl (who also liked rats!) I was like oh that mouse is so pretty and she was like yeah the gold and I was like I love mice but ugh the boys stink so bad

and she said they got a girl by mistake and she’s in the back and of course she was super pregnant but she’s had her babies and they’re almost ready to be weaned so if I come back on Friday I can have her plus any females in the litter FUCK YES

And I don't remember if I got him before or after my last update so, just in case you didn't know...after Boz passed, I got Mac, a hamster of the same breed who is EVEN ANGRIER OMFG

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I'm reading a spork of The Black Jewels series and I noticed it has something in common with both the Vampire Chronicles and Anita Blake: Only powerful characters matter, and all the good characters are also the most powerful.

Quinn might be an exception, being a very young vampire (but the vampire who turned him was very old, so he might be very powerful, which is the case with Lestat, but there's no indication yet in the book just what level Quinn's at) but other than him, all the vampires that are protagonists and matter enough to have books about them in the series are the most powerful ones. Lestat, Marius, Pandora, Armand...I'm not sure about Louis, granted, and he was her FIRST viewpoint character, but all the others who are of any account are all on the top-tier, hence why Akasha spared them in Queen of the Damned when she wiped out all or nearly all other vampires in the world. Lesser vampires are supposed to be the majority in theory, yet are rarely mentioned, usually only appearing either to be killed (Baby Jenks at the hands of Akasha, for instance) or made inferior by comparison with the powerful vampires Anne Rice favors, like a brief mention of Pandora having hooked up with a vampire named Arjan but should totally be with Marius. Arjan is Indian, which brings me to another point---besides Akasha (who is evil, btw), all the most powerful vampires are white. I should note that there are evil powerful vampires (the most notable being Akasha) but while not all powerful vampires are evil, all good vampires do seem to be powerful. No good character is ever weak.

Likewise with Anita Blake, not all powerful people are evil, but all 'good' people are powerful. Everybody in the harem is a leader, granted power from being in a triumvirate, or granted power from being Anita's Animal Servant, and of course Anita herself is the biggest power of all. Even characters whose weakness is actively fetishized are super-powerful through her. It's like LKH gets off on the weakness of others, but finds weakness too distasteful and gross to possibly exist in a character worth writing about, so she finds a way to have it both ways.

And now from what I'm being told about the Black Jewels series, the same applies. If you're good, you must be powerful. And it's an unearned power, much like most of Anita's abilities and titles.

There is something very, very skeevy and gross here going on. Not to mention it makes for a really shitty story if the good guys are the most powerful, you know?

This might be my last spork, I'm just done with this book, but...

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