The
advice new writers frequently hear is, “Write what you know.” That’s why I
wrote my first novel, Pulse and Prejudice,
about a Regency-era vampire! Well, that is slightly true, as I had developed an
intimate knowledge of Jane Austen’s classic not just through multiple readings
but also through analytical papers in college. Mr. Darcy had always struck me
as the “Byronic hero”: intelligent, arrogant, introspective, and cynical. He is
also dark and brooding, suave and debonair, as any self-respecting vampire
should be. Darcy shares many qualities with Lord Byron, the model of Polidori's
The Vampyre.
Thus I wrote Pulse and Prejudice: The Confession of Mr.
Darcy, Vampire as a stand-alone adaptation (no prior knowledge of Pride and Prejudice required!) from Mr.
Darcy’s point of view as if Miss Austen had always conceived his character as a
vampire and had just failed to tell us!
Due to my love of history (as well as a
certain British historian), I devoted 18 months researching Regency England and
vampire lore and legend in that era.
So
when I began working on the sequel, Dearest
Bloodiest Elizabeth, I thought bringing the action to my home state of
Louisiana would reduce the amount of effort the historical research would
require. Au contraire! Instead, I
spent over two years pouring over the rich history of Antebellum New Orleans
immediately following the War of 1812.
I found everything I learned about
Nouvelle Orleans so compelling – from Creole Society’s reaction to the
Louisiana Purchase, to the fears of how the “Americans” would upset the tenuous
racial balance, to the infamous quadroon balls – I couldn’t stop myself! Even
as I walked around the French Quarter (formerly known as the Place d’Armes) taking the photos for
this blog post, I complained to my companions about all of the details I wished
I could have included, but then I would still be writing it!
I
did include many actual events, such as the aftermath of the Battle of New
Orleans and the breaching of the levee that flooded the French Quarter in 1816,
as well as real people and places that one can even visit today.
I modeled the
Darcys’ home on Chesneau House on Rue St. Louis (“rue” being the French term
for “street” and not to be confused with a “roux,” a topic for a different
blog!), although I relocated it north of Rue Dauphine, past an actual livery
stable that existed on the corner, so it would not be affected by the
above-referenced levee breach. They attend a ball at the home of Mayor Nicholas
Girod in a building known today as the Napoleon House due to a persistent rumor
that Girod had hoped to rescue Napoleon Bonaparte from exile and harbor him
there. Even 200 years later, revelers dance in that ballroom for weddings or
during Mardi Gras. Across the street, one may still relax at Café Masperos,
where in my novel Mr. Darcy and his cousin Colonel Fitzwilliam frequently meet.
The bar itself no longer extends down the city block, but the entresol –
something like an attic separating the first from second floors for both
storage and insulation – can still be seen. The plantations they visit to
investigate a soldier hanged during the Battle of New Orleans have long since
given way to industry or the elements, but I based the plantation where the enclaver of vampires reside on the
still-thriving Houmas House in Ascension Parish, also used as the setting for
the film Hush, Hush Sweet Charlotte.
Ballrooms,
plantation homes, and cafés notwithstanding, Nouvelle Orleans at the turn of
the nineteenth century lacked many of the comforts of the older, developed
European cities. I could not imagine how residents of the area withstood the
heat when I can barely tolerate leaving my air conditioning long enough to walk
the dogs! I have included many of those little details in the novel as well,
and I have even incorporated some of them into my own home such as using a
sheer curtain on the doorway to the veranda to allow in light and a breeze
whilst keeping out mosquitoes.
The
harsh contrast between the formal parlors of Regency London versus the wilds of
young, untamed South Louisiana comes across vividly in a letter that the
newlywed Elizabeth writes to her father Mr. Bennet upon her arrival there with
Mr. Darcy:
Proceeding
up river, I began to fear that the city would be savage and undeveloped, the
only signs of humanity being the occasional rustic hut. We were surrounded by
such verdure, such lush vegetation and thick woods, the likes of which I had
never known. Long grey beards hang from the trees, which I find delightful. (I
later learnt it to be called Spanish moss, although I prefer the idea of
elderly men living in trees.) But upon our arrival we were greeted by an open
square with a massive cathedral with two towers not even a furlong from the
river, with identical twin buildings on either side. It presents a fine
prospect despite the disarray of many of the buildings aligning the sides of
the Place d’Armes.
Already
I had my fears allayed as we approached the port by the site of an impressive
structure stretching across the levy with a tile roof and arcaded sides. We
discovered it to be a market house, and you know well enough of my character to
guess that I had to investigate this marvel. Indeed, it did not disappoint. The
variety of fruits and vegetables, as well as meats and fish and shellfish, to
be sure, as I have never seen, provided enough amusement even to divert you,
though my preference for the characters, men and women, always inclines me more
to the company than the site—and, oh, what a variety of people! Creole women
with dark hair and alabaster skin in red and yellow gowns, Negroes as dark as
the ebony keys on the pianoforte, and every shade in between. Elegant ladies
the hue of tea with milk wearing colorful turbans. Fear not that I will go
further with this sartorial description of finery, other than to say that the
Indians—yes, Papa, Indians!—wear scarcely anything at all! You can imagine Mr.
Darcy’s disapprobation of a gentleman’s daughter being subjected to the
spectacle of masculine bare flesh covered with nothing more than a skirt of
feathers! I truly wish I had learnt to draw so that I might capture this
picturesque scene to share with you.
When
writing about Southeast Louisiana in 1815, the topic of slavery cannot be
avoided. Unlike other states during that tragic era in the history of our young
nation, the influence of French and Spanish ownership of the area (the Creoles
being the first generation born in Louisiana from immigrants from France and
Spain) created a much different racial atmosphere even in regards to slavery.
As
revolting a concept as the sale of human beings is 200 years later, in
Louisiana families could not be separated when sold. Laws were enacted to
protect slaves from mistreatment, which is not to say it did not occur, but
slaves could – and did – sue their masters for mistreatment. Particularly
during the war with the British, which severely impacted the export of cotton,
many of the plantation owners could not earn enough to provide for their
slaves; so they gave them a patch of land upon which to grow their own
vegetables and even allowed them to take up occupations outside of the
plantation. Many of them earned enough money to buy their freedom.
In New
Orleans itself, the racial makeup at the time was about a third white Creoles,
a third slaves, and a third free people of color. Indeed, most of the slaves
were owned by free women of color, working as domestics whilst their mistresses
carried on their own businesses as seamstresses and haberdashers.
After
Mr. Darcy and Elizabeth have lived in Nouvelle Orleans a few months, Colonel
Fitzwilliam and his betrothed Mina, the Comtesse de Calmet (first introduced in
Book 1) join them and are quite taken aback by the attitudes toward slavery.
(Pardon the racial terms used; they are historically accurate.)
Elizabeth
scratched on Lady Calmet’s door, saying, “Mina, it’s Elizabeth. Fitzwilliam
said you needed me?”
Once the
door opened, Elizabeth was shocked to see the Comtesse in her dressing gown
with her hair still damp and flowing freely. “Oh, Elizabeth, I know you’re no
lady’s maid, but I hoped you might help me dress for dinner.”
Mina
stepped back for Elizabeth to enter, closing the door behind her. “I believe
the hotel staff should have a femme de chamber available. If not, we could hire
one for you during your stay here.”
Mina
turned and put her hands over her face. “I could not believe it. I requested a
bath, and then one Negro after another came in with hot water. I never before
felt so ashamed—that I had actually engaged slaves! I dismissed them all and
took my bath alone. You are correct, the hotel did send a femme de chamber, but
she, too, is a Negress. I don’t know what to do. My own maid refused to make
the trip. Are any ladies’ maids in New Orleans not slaves?”
“Mina,
not all the Negroes you see are slaves, and those who are slaves most likely
are not owned by the hotel but only work here for wages.”
“They
work for wages? I do not understand you.”
“I fear
what you shall think of me.” With warmth rising in her face, Elizabeth turned
away and lowered her head. “You see, our housekeeper is a slave.”
The
Comtesse jerked around and gaped at Elizabeth. “Do not tell me that you own a
slave!”
Wringing
her hands, Elizabeth forced herself to meet Mina’s eyes. “No, we do not own
anyone. She is a slave on a plantation upriver; but, you see, most planters
near New Orleans permit their slaves to take employment outside the plantation.
The girl who works for us does so to gain the means to buy her freedom. Her
husband sells vegetables at Congo Square sometimes, also hoping to buy their
freedom. It is just how things are done here. But upon my word, most of the
Negroes you see in the Vieux Carré are truly free people of color.”
“I have
never heard of such a thing with regards to slavery!” said Mina, her accent
tinged with incredulity.
“Nor
had I until our arrival here a few months ago. From what I collect, it is
unique to South Louisiana. You may be pleased to know it is because of your
adopted country. French ownership of this land countenanced the Negroes here to
have more protection and rights than in other states. I am embarrassed that the
British colonies do not have the same laissez-faire attitude. That is not to
say that some owners even here would scruple to mistreat their slaves; but to
be sure, more free people of color in New Orleans own slaves than do those of
European decent.”
“Negroes
owning Negroes?” Mina shook her head. “I am shocked by the proposition.”
“Let me
call back your lady’s maid and we can ask her.” Elizabeth opened the door and,
taking a few steps down the hall, found a male Negro servant. “Pardon me, would
you be good enough to have the Comtesse’s femme de chamber called back here to
her room?”
With a
bow of his head, the man said, “Oui, mademoiselle.”
When
Elizabeth returned to Mina’s room, she found her sitting on her bed, gripping
the counterpane in her fists. “I see I shall have a great deal to learn if I am
to become acquainted with the society.”
I
found the entire experience of writing Dearest
Bloodiest Elizabeth as illuminating as did Madame de Calmet! Oh, and did I
mention it has vampires as well?
Now this is a sequel, and whereas readers need
not be familiar with Miss Austen’s novel to enjoy Pulse and Prejudice, I fear that they must read book one of The Confession of Mr. Darcy, Vampire,
before proceeding to book two.
I do hope that after reading Dearest Bloodiest Elizabeth, many who
have yet to visit New Orleans will be compelled to come here to experience this
living, breathing time capsule.
I am giving
away a signed paperback edition of Dearest
Bloodiest Elizabeth~Book II: The Confession of Mr. Darcy, Vampire – not yet
available to the public! Please leave a comment and your contact info for your
chance to win!
Author Bio:
Colette Saucier, a bestselling and award-winning
author under multiple pseudonyms, began writing poems, short stories, and
novellas in grade school. She is now
a full-time author of fiction.
