The character of Mona Mayfair, insofar as she is connected with The Vampire Chronicles is relatively new to the series. She was introduced to The Vampire Chronicles in Blackwood Farm as Quinn’s soul mate, with the two characters falling in love, or lust, with one another almost instantly. But, for readers of The Lives of the Mayfair Witches, Mona is a well-known, and valued part of the story, and the world created by the author, a young genius, beautiful, and ambitious, with a tragic genetic history, and an even more tragic future because of the bloodline she is born into.
Mona was born into the Mayfair family, but her lineage read as being of little import in the beginning, as, although she was born with a sixth finger (the mark of the witch), she was not born directly into the line of heirs that the spirit Lasher had orchestrated for the purposes of his rebirth into the flesh. Mona’s mother and father were drunks, and, from a young age, she strove to rise above her circumstance, putting her genius, her grand intellect to use for the purposes of distracting her, pulling her out of the degrading situation in which she found herself. The character of Mona, later referred to by Lestat as the Wonder Slut, is highly sexual and sensuous, creating a network (which she recorded and encrypted, being the young techno genius that she is) of family members she had conquered through sex. Her conquests ranged from the oldest to the youngest, at the supposedly young and naïve age of thirteen. To add to her peculiarity, or rather, her desire to appear innocent, for the purpose of disguising her extra-curricular activities, Mona dressed as a young child, with sweet dresses, baby doll shoes, and ribbons in her hair.
In Lasher, Mona extends her sexual appetite to Rowan’s husband, Michael, and, through their encounter, falls pregnant with a Taltos, like Lasher himself. It is thus revealed, that she shares the line of double chromosomes, like Rowan. But her child is later “taken” from her by another that Rowan and Michael meet in their quest to find answers about the strange creatures. Mona is, naturally, devastated, as well as ill, her body beginning to waste away from the difficulty of the birth, and her genetic malfunctions. It is in this state that she first meets Quinn, who is to be the love of her life.
Mona’s first injection into Blackwood Farm, and, consequently, The Vampire Chronicles, is in the midst of Quinn’s life story as told to Lestat while the two sit in Quinn’s new home away from home, Sugar Devil Hermitage. Quinn talks about how he first saw the woman, with all the sweetness of a girl, and all the charm and appeal of a lady, at Mayfair Medical Centre. That he later tracks her down, that they are intimate, that their feelings for one another grow as passionately, and suddenly, as the affection between Shakespearean lovers. And it is even in this vein, that Mona “becomes” Ophelia. Ophelia to Quinn, and to herself. When Quinn is changed, and takes to avoiding his witch lover, Mona becomes gravely ill, her wasting illness gnawing at her until she is hospitalised without hope of seeing the world outside her window again.
And, as Quinn wraps up his tale, sitting with Lestat, Mona makes her move. She fills a limousine with flowers, and insists on being taken to Blackwood Manor, in spite of her condition. She has herself laid on Quinn’s bed in her flower manger, until her love will come to her. But it is Lestat who races ahead of the younger vampire, and offers Mona immortality. And along with immortality, freedom from her illness, from her inability to be.
Naturally, she accepts.
Lestat envisions her as the perfect vampire. At first. But, after some time together, him, her, and Quinn, it becomes clear that he and Mona are too similar, too alike to be at peace with one another. Mona challenges him at every turn, and, like her Taltos child, she is ravenous to document and study everything she feels now, in this new life. Most importantly, she is desperate to find what became of her daughter.
As a character, Mona’s behaviour belies a need to always overcome churning criticisms of her nature, and of her history. She dreams of conquering all her downfalls, all responsible for them as well. And she hates, despises those that, in any way, look down on her. She is dichotomous that she is on the cusp of womanhood, but has all the petulance of a teenager. She wishes to be Ophelia, imagines herself to be Ophelia, dead in a pool of flower petals, yet, when it comes time for her to let death take her, she chooses life. Or, simply, a death too close to life to be the end of any chapter.