Guilty Pleasures
- Language
- English
- Published
- 2002
- Publisher
- Jove Books
- Pages
- 272
- ISBN
- 9781101146385
In an alternate St. Louis where supernatural beings hold civil rights, Anita Blake carves out a grim living as a professional zombie raiser, a supernatural consultant for the police, and a licensed vampire executioner, earning her the moniker "The Executioner." Her world, a blend of the mundane and the monstrous, is disrupted when a series of brutal slayings targets the city's vampires. Coerced by the city's formidable Master Vampire into investigating these murders, Anita must navigate a dangerous underworld she usually only enters to destroy. As she delves into the dark mystery, Anita confronts a world more complex and seductive than she ever anticipated, challenging her convictions and forcing her to face an undeniable attraction to one of the creatures she is sworn to eradicate.
Original edition
Guilty PleasuresOriginally published in 1993 English Econo-Clad Books
Other editions (78)
Listen to the summary Narrated summary
My name is Anita Blake. I'm an animator, which means I raise the dead for a living, mostly for legal reasons or to give families closure. But that's not all I do. I'm also a licensed vampire executioner for the Regional Preternatural Investigation Team, and the fangs call me "The Executioner." Ever since the Supreme Court gave the undead civil rights, most folks think vampires are just misunderstood citizens, but I know better. I've seen their victims, and I carry the scars. My world in St. Louis is a messy blend of the mundane and the monstrous, and I navigate it with a gun in one hand and a stake in the other.
The trouble starts when a string of brutal vampire murders rocks the city. These aren't just any vampires; these are powerful, ancient bloodsuckers, found mutilated and drained. The vampire community is in an uproar, and to my utter disgust, they come to me for help. Willie McCoy, a two-bit vampire I knew when he was still human, is the first to approach me, but I tell him where he can stick his case. I kill vampires; I don't solve their problems.
But the undead don't take no for an answer, especially not the Master of the City. Nikolaos, a chillingly ancient vampire trapped in the body of a thirteen-year-old girl, summons me to her lair. She's all porcelain skin and innocent eyes, but her gaze holds millennia of cruelty, and she feeds on fear as much as blood. When I continue to resist, her threats turn personal, touching upon my friend Catherine. Suddenly, this isn't just a vampire problem; it's my problem. I'm coerced into finding their killer, forced to walk a tightrope between the laws of the living and the politics of the dead.
My investigation leads me into the heart of the vampire underworld, a place called Guilty Pleasures, a strip club owned by Jean-Claude. He's a Master Vampire himself, all seductive charm and dangerous power, and he makes my skin crawl even as he stirs something unwelcome deep inside me. He saves my life from one of Nikolaos's more aggressive enforcers, but not without a price. He leaves a metaphysical "mark" on me, a link that begins to tie us together, sharing power and dreams whether I like it or not. It's an intrusion, a violation, and a constant reminder of the tangled web I'm stepping into.
As I dig deeper, the murders become more gruesome, the vampire politics more deadly. I find myself working alongside unlikely allies and facing off against formidable foes. There's Phillip, a human stripper and vampire junkie who offers a glimpse into the desperate lives of humans drawn to the undead, and Edward, another vampire slayer whose methods are as brutal as mine, maybe more so, and whose allegiance is always a question mark. The clues are scarce, the suspects many, and every step I take seems to pull me further into a world I've sworn to simply execute, not understand.
The search takes me to dark parties, hidden rituals, and the chilling realization that the killer isn't another vampire, but something far more insidious. Someone who understands both the living and the dead, wielding necromancy in a perverted mockery of my own gifts. The culprit is a former animator, resurrected and forced to feed on the undead to survive, driven by a twisted agenda.
The climax erupts in a desperate struggle, a dance of death where lives are forfeit and alliances are tested. Phillip, the human I'd tried to protect, falls victim to Nikolaos's cruelty, a stark reminder of the stakes. I confront the true killer, and in the ensuing chaos, Nikolaos herself meets a violent end, her ancient reign brought down by my hand. The city's vampire hierarchy is shattered, leaving a power vacuum and a trail of blood.
I emerge from the wreckage, battered but alive, the case closed. But the world hasn't returned to normal. The marks Jean-Claude placed on me linger, a constant hum beneath my skin, an unwanted connection to a creature I'm supposed to hate. My perception of the undead, and my place among them, has irrevocably shifted. The lines I'd drawn in the sand, between hunter and hunted, good and evil, are blurring, leaving me to wonder what other "guilty pleasures" this dark world might force me to confront.
The trouble starts when a string of brutal vampire murders rocks the city. These aren't just any vampires; these are powerful, ancient bloodsuckers, found mutilated and drained. The vampire community is in an uproar, and to my utter disgust, they come to me for help. Willie McCoy, a two-bit vampire I knew when he was still human, is the first to approach me, but I tell him where he can stick his case. I kill vampires; I don't solve their problems.
But the undead don't take no for an answer, especially not the Master of the City. Nikolaos, a chillingly ancient vampire trapped in the body of a thirteen-year-old girl, summons me to her lair. She's all porcelain skin and innocent eyes, but her gaze holds millennia of cruelty, and she feeds on fear as much as blood. When I continue to resist, her threats turn personal, touching upon my friend Catherine. Suddenly, this isn't just a vampire problem; it's my problem. I'm coerced into finding their killer, forced to walk a tightrope between the laws of the living and the politics of the dead.
My investigation leads me into the heart of the vampire underworld, a place called Guilty Pleasures, a strip club owned by Jean-Claude. He's a Master Vampire himself, all seductive charm and dangerous power, and he makes my skin crawl even as he stirs something unwelcome deep inside me. He saves my life from one of Nikolaos's more aggressive enforcers, but not without a price. He leaves a metaphysical "mark" on me, a link that begins to tie us together, sharing power and dreams whether I like it or not. It's an intrusion, a violation, and a constant reminder of the tangled web I'm stepping into.
As I dig deeper, the murders become more gruesome, the vampire politics more deadly. I find myself working alongside unlikely allies and facing off against formidable foes. There's Phillip, a human stripper and vampire junkie who offers a glimpse into the desperate lives of humans drawn to the undead, and Edward, another vampire slayer whose methods are as brutal as mine, maybe more so, and whose allegiance is always a question mark. The clues are scarce, the suspects many, and every step I take seems to pull me further into a world I've sworn to simply execute, not understand.
The search takes me to dark parties, hidden rituals, and the chilling realization that the killer isn't another vampire, but something far more insidious. Someone who understands both the living and the dead, wielding necromancy in a perverted mockery of my own gifts. The culprit is a former animator, resurrected and forced to feed on the undead to survive, driven by a twisted agenda.
The climax erupts in a desperate struggle, a dance of death where lives are forfeit and alliances are tested. Phillip, the human I'd tried to protect, falls victim to Nikolaos's cruelty, a stark reminder of the stakes. I confront the true killer, and in the ensuing chaos, Nikolaos herself meets a violent end, her ancient reign brought down by my hand. The city's vampire hierarchy is shattered, leaving a power vacuum and a trail of blood.
I emerge from the wreckage, battered but alive, the case closed. But the world hasn't returned to normal. The marks Jean-Claude placed on me linger, a constant hum beneath my skin, an unwanted connection to a creature I'm supposed to hate. My perception of the undead, and my place among them, has irrevocably shifted. The lines I'd drawn in the sand, between hunter and hunted, good and evil, are blurring, leaving me to wonder what other "guilty pleasures" this dark world might force me to confront.
What readers say
4.02
155K ratings across the web 7 in 10 readers loved it, 1 didn't like it
The Anita Blake series is widely praised for its strong start, particularly the first several books, which captivated readers with their unique urban fantasy premise. Reviewers highlight the intriguing world-building where vampires and other supernatural beings coexist with humans, often with civil rights. The protagonist, Anita Blake, is initially lauded as a strong-willed, independent, and "badass" necromancer and vampire executioner, possessing a distinctive wry humor and a no-nonsense attitude. These early volumes are described as action-packed, featuring compelling mysteries, genuine suspense, and fast-paced plots. The vampires are depicted as classic, non-romantic, and deadly, contributing to a gritty and dark atmosphere that many found refreshing and influential in the genre.
However, a significant and recurring criticism across reviews points to a drastic decline in the series' quality after approximately the first six to ten books. What began as a supernatural mystery series is said to transform into something almost exclusively focused on explicit and repetitive sexual encounters, often at the expense of plot, character development, and suspense. Readers express frustration with Anita Blake's character arc, noting a shift from a compelling heroine to one perceived as power-hungry, judgmental, and unrelatable, accumulating an excessive number of powers without genuine growth or consequences. The constant expansion of her romantic and sexual relationships, often portrayed as circumstantially forced rather than chosen, is a major point of contention, leading to a loss of respect for the character. Additionally, many reviewers cite a decline in writing quality, including poor pacing, fragmented sentences, repetitive descriptions, and a general lack of logical consistency or engaging narrative in the later volumes.
In conclusion, the Anita Blake series presents a stark contrast between its acclaimed early entries and its later, widely criticized installments. The initial books are highly recommended for readers who enjoy dark urban fantasy, supernatural thrillers, and stories featuring a strong, independent female protagonist solving mysteries in a world where monsters are real. Fans of "old school" vampires and action-driven narratives with a touch of dark humor would likely find the beginning of the series very engaging. However, potential readers are strongly advised that the series undergoes a significant transformation, with later books becoming predominantly focused on explicit sexual content, accompanied by a perceived deterioration of plot, character consistency, and overall writing quality. Those seeking a sustained mystery or character-driven narrative throughout a long series, or who are averse to pervasive and often graphic sexual themes, should proceed with caution past the initial volumes.
However, a significant and recurring criticism across reviews points to a drastic decline in the series' quality after approximately the first six to ten books. What began as a supernatural mystery series is said to transform into something almost exclusively focused on explicit and repetitive sexual encounters, often at the expense of plot, character development, and suspense. Readers express frustration with Anita Blake's character arc, noting a shift from a compelling heroine to one perceived as power-hungry, judgmental, and unrelatable, accumulating an excessive number of powers without genuine growth or consequences. The constant expansion of her romantic and sexual relationships, often portrayed as circumstantially forced rather than chosen, is a major point of contention, leading to a loss of respect for the character. Additionally, many reviewers cite a decline in writing quality, including poor pacing, fragmented sentences, repetitive descriptions, and a general lack of logical consistency or engaging narrative in the later volumes.
In conclusion, the Anita Blake series presents a stark contrast between its acclaimed early entries and its later, widely criticized installments. The initial books are highly recommended for readers who enjoy dark urban fantasy, supernatural thrillers, and stories featuring a strong, independent female protagonist solving mysteries in a world where monsters are real. Fans of "old school" vampires and action-driven narratives with a touch of dark humor would likely find the beginning of the series very engaging. However, potential readers are strongly advised that the series undergoes a significant transformation, with later books becoming predominantly focused on explicit sexual content, accompanied by a perceived deterioration of plot, character consistency, and overall writing quality. Those seeking a sustained mystery or character-driven narrative throughout a long series, or who are averse to pervasive and often graphic sexual themes, should proceed with caution past the initial volumes.
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