By Blood We Live

Chapter VI

I had slept maybe twenty minutes when I woke to the sound of tires peeling on the road outside my house. An engine raced, powering a fast-moving car up the hill. As I sat up, brakes squealed and a voice raised in a shout that echoed down the valley. The shouts continued until they ended abruptly-mid-sentence-followed by a moment of silence and a woman's high-pitched scream.

It was still dark, although the darkness had that gray edge that meant dawn wasn't far away. I picked up the phone and called the police which, in my compulsion-fogged mind, felt like an act of defiance. Then I rose from my bed a second time, dressed, and ran out of the house.

I didn't think to take the car until I was halfway up the path. By then to run back and get it would have taken twice as long as continuing. The sun rose, casting orange and gold tendrils across the sky. The silence in Fitz's house unnerved me and I was shaking by the time I reached the driveway.

I had never seen the car before-a light gray sedan that lacked pretension-but the Wisconsin vanity plate made its ownership clear. It had parked on the shattered glasses. A woman's black glove lay beneath one of the tires. In the early morning glow, Fitz's manse seemed ancient and old: the lawn filled with bottles and cans from the night before; the shutters closed and unpainted; the steps cracked and littered with ashes and gum. The door stood open and I slipped inside, careful to touch nothing.

A great gout of blood rose in an arch along one wall and dripped to the tile below. Drops led me to the open French doors. Through them, I saw the pool.

Tiny waves still rippled the water. The laden air mattress moved irregularly along the surface, the man's dark suit already telling me this was not whom I had expected. His eyes were open and appeared to frown in confusion, his skin chalk-white, and his neck a gaping hole that had been licked clean of blood.

Of Ari and Fitz we never found a trace. A man who had lived on the fringes as long as he had known how to disappear. I had half hoped for an acknowledgment-a postcard, a fax, a phone message-something that recognized the dilemma he had put me in. But, as he said, an author never realizes that the characters live beyond the story, and I suspect he never gave me a second thought.

Although I thought of him as I read the articles, the biographies, the essays and dissertations based on his life-his true life. I saved his novels for last and his most famous for last of all. And in it, I heard my grandfather's voice, and understood why he never spoke of his life before he returned from the East all those years ago. For that life had not been his but a fiction created by a man my grandfather had never met. My grandfather's life began in 1925 and he lived it fully until the day he died.

I sold the house at the bottom of the hill, and moved back to the Middle West. I found that I prefer the land harsh

and the winds of reality cold against my face. It reminds me that I am alive. And, although I bear my grandfather's name in a family where that name has a certain mystique, that mystique does not belong to me. Nor must I hold it hallowed against my breast. The current my grandfather saw drawing him into the past pushes me toward the future, and I shall follow it with an understanding of what has come before.

For, although we are all created by someone, that someone does not own us. We pick our own paths. To do anything else condemns us to a glittering world of all-night parties hosted by Fitz and his friends, the beautiful and the damned.

PINECONES by David Wellington

David Wellington is the author of the zombie novels Monster Island, Monster Nation, and Monster Planet, and the vampire novels 13 Bullets, 99 Coffins, Vampire Zero, and 23 Hours. A werewolf novel, Frostbite, is due out in October.

Wellington says that for him, vampires have always been the ultimate predator. "We have no predators in our human world anymore-the only people who are ever attacked by bears or tigers are people who are doing stupid things to start with," he said. "But for a lot of human history we were prey animals. It's why we got so smart and so adaptable as a species, to survive in a hostile world. The vampire is the metaphor for what that must have been like, when there was something out there in the dark, stronger, faster, and far more deadly than you were. Something that only wanted to destroy you. So many modern vampire writers seem to miss this point, that vampire are supposed to be a threat, an enemy."

"Pinecones" is the story of the first American vampire-at the very beginning, at the Roanoke Colony, before Jamestown, before the Puritans, before the colonists even thought of themselves as Americans.

When I took my son Isaac away from the colony on Roanoke Island it was fear that drove me, & I freely admit it. I wished to save his life & my own. That is all.