A Bite to Remember (Argeneau Vampires, Book 5) by Lynsay Sands
By Lynsay Sands
Rule number one: by no means become involved with an individual who won't be there for you while the solar comes up.
Once bitten, two times shy, and horny PI Jackie Morrisey wasn't going there back. Vincent Argeneau could be the most well-liked man she's ever met, residing or useless, yet she's right here to forestall a killer from turning this vampire into airborne dirt and dust, to not bounce into mattress with him.
Rule #2: by no means kiss a vampire . . . it may be a discomfort within the neck.
Okay, so Vincent's had 400 years to excellent his kissing talents, and he does glance really tempting whilst he runs round the condo shirtless. He's additionally captivating, protecting . . . did we point out he can kiss? Jackie has to be on her shield, otherwise she'll need to get a hold of a brand new rule: If you're going to fall in love with a vampire, determine it's a chew to recollect.
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Additional resources for A Bite to Remember (Argeneau Vampires, Book 5)
Un bravo scrittore sa usare bene la tecnica narrativa, le metonimie e ogni pretestualità funzionale, ma sa anche «nasconderli». Il suo più grande sforzo è proprio quello di sviare il lettore, di confondergli le idee, di creare falsi percorsi, di sbiadire lo schema: in due parole di mascherare la struttura narrativa. Un intero episodio può svolgersi ed esaurirsi là, magari scritto semplicemente per delineare un carattere. In verità esso può nascondere una metonimia, un tirante che più tardi, inaspettatamente, scatterà.
Con questo non voglio affatto dire che lo scrittore deve essere agnostico, cieco e sordo. Tutt'altro, deve soltanto non lasciarsi accecare e assordare dai problemi sociali, andare più alla radice dei fenomeni. Kafka è riuscito come nessun altro a raccontarci l'alienazione dell'uomo contemporaneo senza mai usare questo termine. Immaginare fuori dal linguaggio. Non sempre l'idea prefigura una storia o una situazione immediatamente propizia a una drammaturgia. Qualche volta è solo un sapore, un accostamento di colori, un sentimento lancinante, un clima vago, oppure l'abbozzo di uno stile.
Un piccolo episodio che sembra esaurirsi nel momento ma che in seguito darà origine a un risvolto della narrazione è appunto una metonimia. E opportuno ricorrere ad alcuni esempi: se in una storia, a un certo punto, compare una boccia di veleno, possiamo star sicuri che più avanti risalterà fuori; se un bambino vede di nascosto il padre che infila una rivoltella in un cassetto, senza ombra di dubbio arriverà il mo- LA COSTRUZIONE DEL RACCONTO 44 mento in cui il bambino prenderà in mano quella rivoltella.