Even Vampires Get the Blues (The Dark Ones, Book 4) by Katie MacAlister

By Katie MacAlister

Paen Scott is a dismal One: a vampire with out a soul. And his mom is ready to lose hers too if Paen can't pay off a debt to a demon via discovering a relic referred to as the Jilin God in 5 days.

Half-elf Samantha Cosse can have gotten kicked out of the Order of Diviners, yet she's nonetheless sturdy at discovering issues, that's why she simply opened her personal deepest research agency.

Paen is one in all Sam's first consumers and the single one to set her elf senses tingling, which makes it pretty well most unlikely to maintain their courting on a qualified point. Sam is confident that she is Paen's Beloved—the girl who may give him again his soul...whether he desires it or no longer.

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Extra resources for Even Vampires Get the Blues (The Dark Ones, Book 4)

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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.

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