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Called Out of Darkness

Anne Rice

  a l s o b y a n n e r i c e

  Christ the Lord: The Road to Cana

  Christ the Lord: Out of Egypt

  Blood Canticle

  Blackwood Farm

  Blood and Gold


  Vittorio, The Vampire

  The Vampire Armand



  Servant of the Bones

  Memnoch the Devil



  The Tale of the Body Thief

  The Witching Hour

  The Mummy

  The Queen of the Damned

  The Vampire Lestat

  Cry to Heaven

  The Feast of All Saints

  Interview with the Vampire

  Ca l l e d O u t

  o f Da r k n e s s

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  Ca l l e d O u t

  o f Da r k n e s s

  A Spiritual Confession

  A n n e R i c e

  Alfred A. Knopf New York • Toronto 2008 t h i s i s a b o r z o i b o o k p u b l i s h e d b y a l f r e d a . k n o p f a n d a l f r e d a . k n o p f c a n a d a Copyright © 2008 by Anne O’Brien Rice

  All rights reserved. Published in the United States by Alfred A. Knopf, a division of Random House, Inc., New York, and in Canada by Alfred A. Knopf Canada, a division of Random House of Canada Limited, Toronto. Knopf, Borzoi Books, and the colophon are registered trademarks of Random House, Inc.

  Knopf Canada and colophon are trademarks.

  Grateful acknowledgment is made to Curtis Brown, Ltd., for permission to reprint an excerpt from “The Tale of Custard, the Dragon” by Ogden Nash, copyright © 1936 by Ogden Nash (originally published in Child Life magazine in 1936). Reprinted by permission of Curtis Brown, Ltd. Library of Congress Cataloging-in-Publication Data Rice, Anne, [date]

  Called out of darkness : a spiritual confession / by Anne Rice. p. cm.

  eISBN : 978-0 307


  1. Rice, Anne, [date]

  2. Spiritual biography—United States.

  3. Women novelists, American—20th century—Biography. 4. Rice, Anne, [date]—Homes and haunts—Louisiana—New Orleans. 5. Spiritual life‚ Catholic Church. I. Title. ps3568.i265z4626 2008




  Library and Archives Canada Cataloguing in Publication Rice, Anne, [date]

  Called out of darkness : a spiritual confession / Anne Rice. 1. Rice, Anne, 1941–—Religion. 2. Novelists, American—20th century—

  Biography. 3. Catholics—United States—Biography. I. Title. ps3568.i265z53 2008




  Fo r

  The boys of

  the Redemptorist Seminary

  of Kirkwood


  my father

  Howard James O’Brien

  Out of the depths have I cried unto thee, O LORD. Lord, hear my voice: let thine ears be attentive to the voice of my supplications.

  If thou, LORD, shouldst mark iniquities, O Lord, who shall stand?

  But there is forgiveness with thee, that thou mayest be feared.

  I wait for the LORD, my soul doth wait, and in his word do I hope.

  My soul waiteth for the Lord more than they that watch for the morning: I say, more than they that watch for the morning.

  — From Psalm 130

  The King James Version

  Ca l l e d O u t

  o f Da r k n e s s


  T h i s b o o k i s a b o u t fa i t h i n Go d . For more than twenty centuries, Christianity has given us dazzling works of theology, yet it remains a religion in which the heart is absolutely essential to faith. The appeal of Jesus Christ was first and foremost to the heart.

  The man knocked on his back on the Road to Damascus experienced a transformation of the heart. St. Francis of Assisi, giving away all of his clothes as he turned to follow Christ, was reflecting a decision of the heart. Mother Teresa founded her world-famous order of nuns because of a decision of the heart. The immensity of these figures finds an imperfect student in me, but not an inattentive one.

  I want to tell, as simply as I can—and nothing with me as C a l l e d O u t o f D a r k n e s s a writer has ever really been simple—the story of how I made my decision of the heart.

  So here is the story of one path to God.

  The story has a happy ending because I have found the Transcendent God both intellectually and emotionally. And complete belief in Him and devotion to Him, no matter how interwoven with occasional fear and constant personal failure and imperfection, has become the true story of my life. If this path to God is an illusion, then the story is worthless. If the path is real, then we have something here that may matter to you as well as to me.


  Be f o re I c a n d e s c r i b e how I returned to faith, at the age of fifty-seven, I want to describe how I learned about God as a child.

  What strikes me now as most important about this experience is that it preceded reading books. Christians are People of the Book, and our religion is often described as a Religion of the Book. And for two thousand years, all that we believe has been handed down in texts.

  But no doubt many children learned about God as I did—from my mother and from the experience of church which had little or nothing directly to do with knowing how to read.

  Over the years, I turned out to be a consistently poor reader, and I don’t think I ever read a novel for pleasure until I was in the sixth grade. Even in my college years, I was a C a l l e d O u t o f D a r k n e s s poor reader and, in fact, couldn’t major in English because I could not read the amounts of Chaucer or Shakespeare assigned in the classes. I graduated with a bachelor of arts degree in political science, principally because I could understand the historic background I received for political ideas through good lectures.

  I was twenty-seven before I began to make up an undergraduate degree in English, and thirty-one before I received a master’s in English. Even then I read so slowly and poorly that I took my master’s orals on three authors, Shakespeare, Virginia Woolf, and Ernest Hemingway, without having read all of their works. I couldn’t possibly read all of their works. The reason I’m emphasizing this is because I believe that what we learn through reading is essentially different from what we learn in other ways. And my concept of God came through the spoken words of my mother, and also the intensely beautiful experiences I had in church. It’s important to stress here that my earliest experiences involved beauty; my strongest memories are of beautiful things I saw, things which evoked such profound feeling in me that I often felt pain.

  In fact I remember my early childhood as full of beauty, and no ugly moment from that time has any reality for me. The beauty is the song of those days.

  I vividly remember knowing about God, that He loved us, made us, took care of us, that we belonged to Him; and I remember loving Jesus as God; and praying to Him and to His Blessed Mother, the Virgin Mary, when I was very small. I can’t really associate any one image with Jesus because 7

  there were so many around me, from small highly sentimental holy pictures, which we treasured at home, to magnificent images of Jesus in St. Alphonsus Church.

  I’ll describe the church in a minute, as it takes considerable describing, but first I want to mention a small place where we went often to pray. This was the Chapel of Our Mother of Perpetual Help on Third and Prytania streets, a consecrated Catholic chapel with a tabernacle and an altar, in which
Mass was celebrated every day. The chapel was a huge room inside an old Garden District mansion, set in spacious gardens, that was also a high school.

  My mother had graduated from this high school many years before, and I recall going to a garden party on the grounds when I was a little child. The building itself was impressive, with a central doorway, floor-length windows on the front and on both sides, and colonnettes along the front porch that held up the porch above.

  Much later in life—during the 1990s—when I was a wellknown author, I actually bought this building, as it had tremendous meaning for me. Not only had my mother gone to school there, but my aunts and cousins had gone to school there as well. Some cousins had been married in the chapel. And my strongest religious memories were centered on this place. The story of that purchase and what it meant requires a book, and indeed I wrote a novel using the building as a key backdrop, but that is not my concern just now. This is what it was like in the 1940s to go to the Chapel of Our Mother of Perpetual Help.

  We left our house at St. Charles and Philip, and walked C a l l e d O u t o f D a r k n e s s up the avenue, under the oaks, and almost always to the slow roar of the passing streetcars, and rumble of traffic, then crossed over into the Garden District, a very special neighborhood filled with immense Greek Revival–style homes, many of which had been built before the Civil War. This was an immediate plunge into a form of quiet, because though traffic did move steadily on Prytania Street, it was nothing as loud as the traffic of the avenue. The oaks were bigger and more ancient, and the enormous houses with their Corinthian or Doric columns were monuments in themselves. Everywhere there were flowers. Purple lantana and ice blue plumbago burst through the pickets of black iron fences, and beyond in the more groomed gardens grew the flowers I associated with rich people: multi-petaled camellias and gorgeously defined roses in black beds. It was fine to pick the soft fragrant lantana, and the bunches of plumbago. The finer flowers one left alone.

  It was often evening when we made this short walk, and I remember the pavements as clearly as I remember the cicadas singing in the trees. The pavements varied; some were herringbone brick, very dark, uneven, and often trimmed in velvet green moss. Other sidewalks were purple flagstone, just like the purple flagstones of our own front yard. Even the rare stretches of raw cement were interesting because the cement had broken and buckled in so many places over the roots of the giant magnolias and the oaks.

  The walk was two and a half blocks.

  The chapel stood behind a high black picket fence with its gate permanently open, and a short flight of white marble 9

  steps led up to the white marble porch. I don’t recall the chapel ever being locked.

  The sky during these trips was often bloodred, or purple, and the trees were so thick that one could only see hundreds of fragments of the sky amid clusters of darkening leaves. The color of the sky seemed to me to be connected with the song of the cicadas, and the drowsy shadows playing everywhere on the margins of what was visible, and the distinct feel of the humid air. Even in winter the air was moist, so that the world itself seemed to be pulsing around us, enfolding us, holding us as we moved through it.

  The chapel had an immense and ornate doorway. Immediately on entering, one smelled the wax of the flickering candles, and the lingering incense from the Tuesday night benediction service and from the daily or Sunday Mass. These fragrances were associated in my mind with the utter quiet of the chapel, the glow of the candlelight, and the faces of the tall plaster saints that surrounded us as we moved up the aisle.

  We went right past the many rows of dark wooden pews on either side, up to the Communion railing, which I think was white marble, and there we knelt on the leathercushioned step as we said our prayers. We laid down there the flowers we’d picked on our walk. I think my mother told us that Mr. Charlie, who took care of the chapel, would put these flowers in some proper place.

  The great altar against the back wall, just beyond us, was a masterpiece of white and gilt plasterwork, and the altar C a l l e d O u t o f D a r k n e s s proper, the place where Mass was said, was always covered with an ornate lace-bordered white cloth.

  In a long horizontal glass case in the lower body of the altar, there sat a long series of small plaster statues around a table making up the Last Supper, with Our Lord in the center, and six Apostles on either side. I knew this was Jesus there at the table, facing us. And in later years, I came to realize the figures were arranged in imitation of Da Vinci’s Last Supper. It was detailed and artful and complete.

  The Body and Blood of Jesus were in the golden tabernacle on the altar above. This was the Blessed Sacrament. A candle burning in a red glass lamp nearby told us that the Blessed Sacrament was there. This was called the sanctuary light.

  On account of this Presence of Our Lord in the chapel, we moved with reverence, whispering if we had to speak, and kneeling as was proper. This chapel required all the same respect as any large Catholic church.

  I remember the gold tabernacle had a concave front, and carved doors. The tabernacle was set in a lavish plaster edifice that included small white columns, but the details are now gone from my mind.

  We said our prayers as we knelt there. We paid our “visit.”

  And we left as quietly as we had come.

  I don’t remember being particularly puzzled by these truths, that Our Lord was in the tabernacle, in the form of bread, which was in fact His Body and Blood. I just remember knowing it. He was most definitely there. He was splendidly and miraculously there. He was also completely 1 1

  accessible. We talked to Him. We told Him our prayers and our thoughts.

  I was accustomed to all this before I could talk or ask a question, and I was as certain that Jesus was there as I was that the streetcars passed our house. I was nourished on the complexity of this, and I suppose I felt quite gently filled with these ideas.

  Above the tabernacle, in an ornate frame, was an exotic and dark golden picture of Our Mother of Perpetual Help—

  the Virgin with the Boy Jesus in her lap. This was indeed a distinct image, quite different from anything else in the chapel, and I don’t recall ever asking why. Years later I discovered it was a Russian icon, and that was the reason for its unusual style. What I remember knowing when I was little was that Mary was our Mother as well as the Mother of Jesus, and that in this picture, the Boy Jesus had come to her with a broken sandal, seeking her help. A long time later, I learned the story of the picture—that the Boy Jesus had run to His Mother in fear. Angels on either side of Him, quite visible in the icon, had frightened Him by revealing to Him the cross on which He would one day die, and the nails that would be driven through His hands. These angels hovered in the air with these terrible instruments. Being only a boy, Jesus had run to His Mother for comfort, and with a sorrowful face she embraced Him and sought to give Him the solace He so badly needed.

  As a little child, I saw all these elements and I understood them in a less narrative way. There was the Child leaning tenderly on His Mother, and there was she, His eternal comfort, C a l l e d O u t o f D a r k n e s s and, yes, there were the angels holding the emblems of what Jesus would one day undergo.

  That Jesus had been crucified, had died, and had risen from the dead was completely understood. One had to look no farther than the Stations of the Cross along the walls to see that story acted out step by step.

  These Stations, which were square paintings, each richly colored and detailed, were vivid and realistic in style, as was every other image in the church.

  To me they looked interesting and were irresistibly pretty. There was nothing exotic or abstract about them as there was with the icon.

  In each picture, Our Lord was serene and infinitely patient, a tall handsome man with long soft brown hair. We felt an immediate sadness when we thought about what Jesus had suffered. But Jesus was now quite beyond all suffering, and what He had suffered, He had suffered on earth among people, and He had suffered it for us.
br />   The other important elements in the chapel were the lifesize statues, each painted in vivid color. They stood on pedestals along the walls.

  My favorite was the statue of the Infant Jesus of Prague. This was the Boy Jesus, again, in lavish gold-trimmed robes, and wearing a golden crown on his blond head. He had a radiant and chubby face—picture a four-year-old—and He held a world globe with a cross atop it in His left hand, while He raised two fingers in blessing with His right. He stared forward with wise and clear blue eyes. I knew this was Jesus as He had appeared to someone, but I don’t recall knowing the 1 3

  name of the saint who saw the vision, only that it had of course happened in Prague. The way we spoke of this image was like a little song: TheInfantJesusofPrague. Another statue I remember from the chapel was that of St. Thérèse, The Little Flower, a beautiful Carmelite nun, who had died when she was a young woman. Her oval face, in its white wimple, was perfect sweetness, and she had a half smile on her faintly rouged lips. She stood gazing invitingly at us, innocent, timelessly happy, resplendent in her Carmelite robes of beige and white, under her long black veil. In her hands, she held a crucifix, but she also held a huge bouquet of roses. She was known as The Little Flower, and this too was always spoken as a tiny song. The Little Flower had been in life a modest and simple girl, nothing as grand as St. Teresa of Avila, or St. Rita or St. Joseph, or St. Anthony of Padua, but The Little Flower worked miracles all the time. Sometimes when this saint worked a miracle, the person found himself enveloped in the scent of roses. I pictured a shower of rose petals when I thought of such a moment. The Little Flower had said that she wanted to spend her Heaven doing good on earth.

  I talked all the time back then to The Little Flower. . . . And I talked to St. Joseph, the foster father of Jesus. I talked to the Blessed Mother unendingly, and I talked to Jesus all the time.

  Even as a quiet little girl, I knew perfectly well that none of the statues or pictures of Jesus was Jesus. These were all symbols of Jesus. That’s why you could have Jesus being crucified in a picture, or sitting at table at the Last Supper or C a l l e d O u t o f D a r k n e s s Jesus as a beautiful little boy. You could talk to the Child Jesus or you could talk to Jesus on the cross, or Jesus in the tabernacle. It was all Jesus. Jesus was beyond time, and Jesus was actually beyond place. Yes, He was in the tabernacle, but He was everywhere, too. You could close your eyes and talk to Him in the middle of a sidewalk if you wanted to. Jesus heard you whenever you spoke to Him. And Jesus saw you all the time whether you wanted Him to, or not. The concepts were not puzzling and they were part of life. Jesus was God. Jesus was part of the Holy Trinity along with God the Father, and the Holy Spirit. God made the world, which meant that Jesus made the world. The Little Flower’s statue wasn’t The Little Flower. St. Anthony’s statue was not St. Anthony. All these beings were in Heaven, but there was no definite boundary separating them from us. Anybody in Heaven could listen to your prayers and help you, if you asked for help. The Virgin Mary and the saints were close to God and they could “intercede” for you. There came with these concepts a whole slew of interesting words, and those interesting words were part of the songs and prayers of the faith that I heard from the time I was born. My talking to Jesus was intimate. Though we knew the Our Father, and we knew the Hail Mary, we spoke to God in our own words. In fact, in those earliest memories, I don’t recall rote prayers.