“There is a curious lacuna in Abigail, and one that is never revealed through the stylized vocals of King Diamond,” said HRH to Celia. “Speak not of the ludicrous sequel. We are not barbarians, madame. We consider texts unburdened by a priori knowledge. As King Diamond sings, we meet the ghost of Count de LaFey, and also his unfaithful wife, and their descendant Jonathan and his wife Miriam. One almost need not even mention Abigail herself. The stillborn child of de LaFey’s wife, conceived in the sullen pits of adultery. Although the main thrust of the album concerns itself with Abigail’s attempts to possess Miriam, represented as the symbolic transition from eighteen to nine, I remain struck by our ignorance of Abigail’s father. Her sire is the one player never identified. I wonder, madame, have you any theories as to the identity of this unfortunate progenitor?”