Vampires

Demon Bound (Black London, Book 2) by Caitlin Kittredge

By Caitlin Kittredge

Thirteen years in the past, Jack iciness lay death in a graveyard.  Jack known as upon a demon and traded his soul for his life… and now the demon is again to gather its due.  yet Jack has ultimately chanced on whatever to stay for.  Her identify is Pete Caldecott, and thanks to her, Jack's unlikely to Hell with out a fight. 

Pete doesn't learn about Jack's cut price, yet she does be aware of that whatever larger and much extra risky than Jack's demon is growing to be within the Black.  outdated gods are stirring and spirits are rising--and Jack doesn't stand an opportunity of preventing them with no Pete's help. 

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He has only been able to glimpse this recognition of his own wrongdoing because he has entered into a relationship with Buffy. Good or evil must be seen in terms of relationship with others, not absolutes of action. For Spike, Buffy is no longer just an object, just vampire food, or a Slayer to conquer, or even just a sexual object. The transformational nature of this event (the reaction to the attempted rape) is further signified by his leaving behind his coat. Any Buffy reader knows that Spike’s black leather coat is his signature of self—“It’s Spike!

As Buffy moves closer to adulthood in later seasons, the vampire opponents are not just adults, but distorted reflections of herself—vampires such as the youngappearing leather-clad Spike8 or Sunday, the cool college vamp, who speak in contemporary slang. But in the first season almost all of the vampires and the adults are clearly tied together linguistically, among other ways. Occasionally the teens will display their ability to speak the foreign language of adulthood. In “The Pack,” for instance, Buffy speaks with Principal Flutie about the little pig mascot he has bought for the school’s team.

Each—Esther the illegitimate, and Buffy the odd hero—has fought to be a normal girl. And each realizes the shining pain involved in the cost of return and connection: One of the great themes of Dickens’s Bleak House is our interconnection, and one of the great themes of Buffy is the virtue of community (Playdon; Rose; Wilcox, “Who”). Through the pain of light, the authors of each imagaically recognize both the desire and difficulty of such goals. ” The camera calls attention to the border between light and dark as he walks to the edge of the shadow and stops, and Buffy tells him he may remain.

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