What’s curious about this trend is that, for all its diversity of style and content, from realism to historical fiction to fairies and beyond, the reign of romance has come without a substantive revival of Romanticism—the artistic sensibility that suffused the foundational works of late-18th and early-19th century writers like Blake, Coleridge, Byron, Keats, and the.
Jones’ language, too, has a particular panache. Louis, whose stylized speech feels believable in part because he was born in the 19th century and in part because he’s so self-dramatizing, provides most of the narration. “Paris was Nazi scar tissue” in the late ’40s, he says. “Does anyone ever ask Lazarus if he wanted to be woke?” Louis wonders, in Sunday’s finale, recounting his confinement to and resurrection from a locked coffin.
Viewers spent much of Season 2 anticipating Lestat’s inevitable return. At first, he appeared to Louis in spectral form—a very Gothic haunting that also satisfied fans’ thirst for more of Anderson and Reid’s chemistry—as Louis and Claudia trekked through war-ravaged Europe in search of others like themselves.
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