Then her mouth is sliding against mine. Her lips open, soft and yielding. Our teeth click together, and she tastes like every dark thought I’ve ever had.
Holly BlackYour family is badass,” Sam says. “They set a high bar of badassery.
Holly BlackDid you know that bone china had real bones in it?” Poppy said, tapping a porcelain cheek. “Her clay was made from human bones. Little-girl bones. That hair threaded through the scalp is the little girl’s hair. And the body of the doll is filled with her leftover ashes.
Holly BlackWhen you don't know what you're searching for,” he says, “you have to look absolutely everywhere.
Holly BlackTags: love companionship searching
Books were something that happened to readers. Readers were the victims of books.
Holly BlackCorny nodded, but when he moved to put the key in the ignition, Luis's hand stopped him. When he turned, their mouths met.
"I'm sorry... that I've been," Luis said in between kisses,"distracted... by everything. Is it morbid... that I'm talking...?"
Corny murmured something that he hoped sounded like agreement as Luis's fingers dug into his hips, pushing him up so they could crush their bodies closer together.
Tags: romance
I really love folklore. I had read a lot of faerie folklore that informed the books I wrote. I also really love vampire folklore; my eighth grade research paper was on [it]. [With this project,] it was really helpful to think about the way you can use language. When you're writing about faeries, you can't call anyone "fey"; there are certain words that become forbidden because they're actualized in what faeries do. When you write about vampires, you could think the same way about things like the word "red" or "hunger"--it's interesting to think of the ways that the words have double meanings, or different meanings that shifted.
Holly BlackTags: vampires vampire folklore
My view of writing "Coldest Girl in Coldtown" was to take every single thing that I loved from every vampire book I had ever read and dump it into one book--everything I like--trying to evoke some of the decadence… Vampires are a high-class monster: They want to dress up. They want to drink a lot of absinthe, or force their victims to drink a lot of absinthe. They have big parties and have elegant rituals. I think that's a thing we associate with vampires--they are the royalty of our monsters. We expect them to be rich, we expect them to be well-dressed. I wanted to have some of that be true because I like it, and have some of it not be true because it's kind of weird.
I wanted to put in the idea of infection, which I was really interested in and which was a big feature of the vampire books I read growing up. And, the fear and desire for infection--the way in which our urge towards loving vampires is nihilistic. Our fear of them is our survival instincts kicking in.
The Anne Rice books are a lot about infection. I read "Interview With the Vampire" a million times when I was in seventh and eighth grade. Also, [writing Gavriel's backstory] definitely came from those books: I sat down and reread them all and thought a lot about… the way in which vampirism is pushing away from humanity in interesting ways, and creating something new from humanity. I imprinted on those books pretty hard.
Tanith Lee's "Sabella or the Blood Stone" was a big inspiration. I absolutely loved her books; when I was a kid, I wrote many bad Tanith Lee pastiches. Susie McKee Charnas' "The Vampire Tapestry." Poppy Z. Brite's "Lost Souls." Nancy Collins' "Sunglasses After Dark," which sounds like the most '80s title ever. It's about a vampire named Sonja Blue, and she goes around killing vampires. She's the only vampire who's half-alive. It's a really fun, blood-filled romp. It's very "Blade" before "Blade"--with a lady.
You are more dangerous than daybreak.
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