REVIEW: Maisey Yates’s LAST CHANCE REBEL

last_chance_rebelAbout three years ago, Miss Bates loved Maisey Yates’s HP, Pretender To the Throne. Her recent Yates read, Last Chance Rebel, has much in common, though the mythical-kingdom setting is nothing like the small-town-feel of Copper Ridge, Oregon. Nevertheless, both novels are about contending and making peace with the past, recognizing internal patterns hindering connection and love, and how forgiveness of self and others heals us, the other, and the community.

Last Chance Rebel is Yates’s eleventh Copper Ridge, Oregon series romance and more are out, or planned. Yates has created one of the great contemporary rom series around this community. Her view of it is neither rose-coloured nor condemnatory. Instead, she focusses on interweaving various members’ lives as they come face to face with the incontrovertible fact of love, a feeling so strong, so vibrant, and so frightening that Copper Ridge’s men and woman alternately run to and from it. Like Pretender To the ThroneLast Chance Rebel has a physically scarred heroine, scars caused by the hero’s carelessness. Like Pretender To the Throne, family circumstances bring the hero home to confront his past and role in the heroine’s life. Like Pretender To the Throne, the heroine’s rage against the hero is explosive and the hero’s guilt and atonement, spectacular.   Continue reading

Mini-Review: Elizabeth Hoyt’s DUKE OF SIN

duke_of_sinOne of Miss Bates’s favourite romance tropes is the villain’s redemption, the character who serves as the foil and nasty in previous books FINALLY! gets his story, or enters a rom nasty as death and emerges a poignant hero. Miss Bates counts some of her favourite romances among these tropishly-delicious rom-narratives, especially Kleypas’s The Devil In Winter and, oh my goodness such goodness, Georgette Heyer’s first two Alastair trilogy books, These Old Shades and Devil’s Cub. Elizabeth Hoyt’s tenth Maiden Lane novel, Duke Of Sin, has a villain-hero who combines the qualities of Sebastian, Lord St. Vincent; Justin Alastair, Duke of Avon; and, his son, the Marquis of Vidal. Valentine Napier, Duke of Montgomery is “the most wicked man in London … as deadly as a coiled adder.” He’s beautiful, decadent, a blackmailer and murderer and, though exiled, he’s back and ready to restore his rightful place in society by all unsavory means. But into his blackened heart and hollow soul crawls a little avenging angel of a housekeeper, Bridget Crumb. 
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Mini-Review: Nicole Helm’s OUTLAW COWBOY

outlaw_cowboyEver since she was a tween, Miss Bates has loved the film version of Breakfast At Tiffany’s. Miss Bates cannot resist the ethereally beautiful, vulnerable Audrey Hepburn or poignant Golden-Boy George Peppard. What Blake Edwards made of Capote’s novella is pure romance genre. More than anything, Miss Bates loved watching two morally compromised characters find love. They are, of course, morally compromised in their eyes, not the viewers’. Their growing love helps them re-evaluate who they are, see themselves in a better light, and give themselves what they deserve: love and belonging. In Nicole Helm’s Outlaw Cowboy, second in the Big Sky Cowboys series, Miss B. found just that, a viscerally satisfying romance about two people who are hardest on themselves emerging out of their dark nights of solitude to love, connection, family, and hope. Caleb Shaw is Mel Shaw’s brother; Mel is the heroine of Helm’s first romance in the series, Rebel Cowboy. That novel opened with Mel’s struggles to keep the Montana family ranch afloat. Bro’s on the bottle and father, paralyzed in an accident five years ago, has given up, checked out, and broods throughout the family home. When Outlaw Cowboy opens, baby bro Caleb has taken the ranch reins. He stopped drinking and desperately wants to retain ownership of the family land. Caleb is haunted by his mother’s abandonment and one terrible night he almost beat a man to death when he saw him holding a gun to his daughter’s head.
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Review/Response/Appreciation: Jo Beverley’s EMILY AND THE DARK ANGEL, Seeing Lucifer, Finding Michael

Emily_2Jo Beverley’s 1991 Emily and the Dark Angel restores your faith in the genre. That was Miss Bates’s thought as she turned the last page with a satisfied reader’s affection-sigh. Miss Bates is glad she read Emily Grantwich and Piers Verderan’s wooing on paper: a traditional format for a traditional Regency, which never loses its freshness, elegance, or emotional power. What brings about that lift, the reader’s spirit-rise, the recognition of “I’m in the presence of one of the genre’s greats”? It’s difficult to pinpoint, as elusive as catching a sunbeam. It’s trope-manipulation, or gentle tinkering; it’s psychological acumen. It’s the bringing-to-life of time and place; it’s secondary characters who breathe. It’s turn of phrase the reader recalls long after the last page is turned. It’s banter and confession and the fulfilled promises of desire and being understood.

Emily and the Dark Angel contains one of Miss Bates’s favourite romance pairings, opposites-attract: Emily is sensible to Ver’s imprudence, countryside respectability to Ver’s citified worldliness, propriety to his flouting of social conventions, innocent to his debauchery, staid to his temperament, plain to his gorgeousness, and Miss Bates’s absolute favourite, her diminutive stature to his gargantuan. When this yin-yang romance combination is handled as cleverly and sensitively as Beverley’s, the HEA is about the couple’s integrating the best of each other in themselves. Core identity is preserved for tension and interest, but tempered to show us how they will live in harmony.
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REVIEW: Sarah Morgan’s SOME KIND OF WONDERFUL

Some_Kind_Of_WonderfulMiss Bates doesn’t understand why Sarah Morgan’s North American Puffin Island romance is marketed in a double-rom volume with Susan Mallery’s Ladies’ Man. If there was ever a romance that deserved to stand front and center on a cover, it’s Some Kind Of Wonderful. Which is why Miss Bates features the U.K. edition’s pretty, whimsical cover.

Morgan’s Puffin Island series has already given us two wonderful romances, one of the best HPs Miss Bates and friends have read, Playing By the Greek’s Rules, and First Time In Forever. Continuing the story of three bosom friends, Some Kind Of Wonderful tells Brittany Forrest’s tale, Brittany whose grand-mother bequeathed her Castaway Cottage on Puffin Island, the college besties’ summer hang-out and sanctuary when things go awry. Brittany returns to Puffin Island after breaking her wrist excavating Aegean Bronze Age weaponry in Crete. Dr. Forrest’s troubles go from “single spies to battalias” when her private plane ride to Puffin Island comes in the form of one silent, sexy stunner, ex-husband of ten years, Zachary Flynn – the bad boy who abandoned her ten days after their marriage.
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REVIEW(s): Maisey Yates’ A Christmas Vow of Seduction … ‘Tis the Season!

‘Tis the season when Miss Bates embarks on reading and reviewing Christmas-set romance. There aren’t too many pending in the ARC TBR this year, but enough to tide her over till Christmas. Last year, she opened the Christmas review series with a post on past favourites. (There are great recs in the comments as well.) This year, for her début Christmas romance review post, something a little different: a brief discussion of a past favourite and mini-review of a recent Christmas-set read.

Marian's_Xmas_WishMiss Bates thinks the Christmas setting gives romance writers the opportunity to weave a healing theme into the romance narrative arc of encounter, attraction, consummation, repulsion/dissolution, and reconciliation/HEA. Carla Kelly’s Marian’s Christmas Wish, one of MissB’s favourite Christmas romances, embodies this idea. The eponymous Marian, a maybe-too-young, irrepressible, exuberant heroine meets Gil Collingwood, gentle, older, charming, but a little tired of life’s struggle, when her brother brings him home for Christmas. Their romance is sweet and funny; moreover, it also strikes a serious note when Marian uses her healing salve, created to help her beloved animals, on a persistent, painful sore on Gil’s cheek. The physical healing reflects the heart’s healing  of Gil’s reintegration into a family and a hope for the future in the love he’ll share with his betrothed, Marian. The theme of healing through love and the creation of a new family/reintegration into a broken family can also be found in that unlikeliest of genre places, the HP, and, particularly, in Miss Bates’ latest Christmas romance read, Maisey Yates’ A Christmas Vow Of Seduction.  
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MINI-REVIEW: Maisey Yates’ SHOULDA BEEN A COWBOY, Coulda Been A Contender For the Girl

Shoulda_Been_CowboyMiss Bates reveled in reading Maisey Yates’ Shoulda Been A Cowboy like a piglet in her sty. She loved reading and reviewing Laurie R. King’s Dreaming Spies, but it felt good to put on her romance-reading slippers and settle into her favourite genre. She had a moue of disappointment when she noticed that Yates’ story was a novella – not enough, dammit. But she was also glad to see Yates charm her all over again, after a one-too-many sheikh-set duds. Though only a soupçon of romance reading, Shoulda Been A Cowboy delivered a bad-boy-good-girl-unresolved-HS-attraction-prodigal-son-return romance, all beloved romance tropes. Hero Jake Caldwell returns to his home town, Copper Ridge, Oregon, after a fifteen-year absence, to sell his inheritance, a run-down ranch and a few dilapidated buildings. One of those buildings has been given new life by leasee heroine, Cassie Ventimiglia, who runs a coffee shop on the premises, The Grind, and lives in one of the apartments. Jake and Cassie share a history beyond being from the same town. Cassie tutored Jake when they were in high school together, when he was resident heart-throb and bad boy, his Johnny “Wild One” to her “Kathie.” Continue reading

REVIEW: Marin Thomas’s A COWBOY OF HER OWN, Or Girl Gets to Have It All

Cowboy_of_Her_OwnMarin Thomas’s A Cowboy Of Her Own is the final volume in her Cash Brothers series and it shows. There are plenty of brothers, wives, and babies peopling the narrative, though the first half focuses near-exclusively on the hero, baby brother Porter, and heroine, Wendy Chin. Thomas is a new-to-Miss-Bates category author and she was loathe to read this romance: she’s not keen on entering a series at the end and, frankly, she’s tired of cowboys. Cowboys seem to have taken over from the military, or ex-military heroes that were de rigueur in contemporary romance. (Now that our countries are once again embroiled in various Middle East conflicts, they should reappear.) Nevertheless, there were other deviations from the norm in Thomas’s romance that proved most interesting.

Though it’s a frequently-used trope, opposites-attract is one of Miss B.’s favourites for its potential banter-conflict. In Thomas’s hero and heroine, we have a bad-boy/good-girl pairing; with a Chinese-American heroine, the appeal turned out more original than your generic white-middle-class female protagonist. Thomas manages a nice set-up in the first chapter: “He was more interested in partying and working only when he needed money to fill the gas tank or treat a buckle bunny to a night on the town. Wendy was Porter’s polar opposite. She was a go-getter and a staylater at the job” and “As an only child and a daughter, she felt the weight of her parents’ high expectations of her. The constant pressure to climb the proverbial career ladder was overwhelming.” Add a romance-unusual profession for heroine, insurance adjuster, and a hero who transports cattle from rodeo to rodeo; add a mystery plot involving disappearing valuable cattle and you have a nice combination of narrative threads. When Wendy’s boss asks her to ride-along with Porter to unmask the cattle-rustling culprit, we have, in turn, a road romance. Continue reading

MINI-REVIEW: Sarah Morgan’s MAYBE THIS CHRISTMAS, Maybe Every Christmas

Maybe_This_ChristmasMaybe This Christmas is Sarah Morgan’s third contemporary romance in the O’Neill series, preceded by Sleigh Bells In the Snow and Suddenly Last Summer, both of which are in Miss Bates’ Teetering TBR. Starting with the third in the series did not deter from Miss B’s enjoyment. The start was a tad wonky with characters from the previous books showing up in various states of blissful couple-hood, as well as sundry O’Neill family members who’d obviously been established as secondary characters in previous books. Maybe This Christmas, gloriously-set in small-town-Vermont winter wonderland, in fictional “Snow Crystal,” is a friends-to-lovers romance narrative high on humour, but no less on gravitas in two hurting friends admitting to love. The heroine, Brenna Daniels, has carried a smouldering love-torch for Tyler O’Neill since they were best buddies in high school. Single-dad, former Olympic skiing champion, and notorious womanizer, Tyler, has in Brenna the one relationship with a woman he’s yet to abandon. Continue reading

Georgette Heyer’s DEVIL’S CUB Foiled By A Heroine “Mistress of Herself”

Devil's_CubIn April, Miss Bates followed a discussion about the question of a romance canon. The debate began with a thorny Salon article which, nevertheless, inspired interesting responses. For Miss Bates, said article was of minimal regard: its noblesse oblige attitude towards the genre ensured she stop reading by first paragraph’s end. The responses, however, were a boon: the always fearlessly incisive Vacuous Minx, no-nonsense sharpness and smarts of Wendy the Superlibrarian, perspective of Love In the Margins, take of Romance Novels for Feminists, and Jody at Momentum Moonlight. Miss Bates, though agreeing with these points of view, found Jody’s stance the most helpful because it summarized the problematic nature of canon setting/launching/exploding and offered an alternate term and means of pointing to seminal texts in the genre. Jody defines “iconic” texts as those which “affect the genre in a meaningful way.” Simple, direct, flexible, and workable. Miss Bates borrows Jody’s term “iconic” to identify “affective/effective” romance texts, such as Heyer’s, subject of her present post. Jody’s definition implies that iconic romance texts are those to which other romance texts accrue. They represent something important to the genre, not that they are necessarily meritorious in and of themselves, though they may very well be. They’re a hub; other texts are the spokes. They’re texts around which discussion occurs. (Sometimes, they may be denigrated, or rejected texts, representing things we don’t want to see in the genre, such as elements found in Old Skool romances.) They may change; more may be added, or forgotten, as the genre develops, grows, or regresses. Time is the only given. Miss Bates also thinks that the genre benefits more from pointing to an author, rather than individual texts, to identify an iconic moment in it. Heyer would certainly be present in such company.

When Miss Bates read her first Georgette Heyer, These Old Shades, she wasn’t aware of Heyer’s iconic status for romance readers. On reading her second, Devil’s Cub, published 1932, a sort of sequel to Shades (not 50!), educated somewhat in the genre (though by no means is she done, nor does she purport to be an expert), it’s evident that Heyer contributed iconic texts. Heyer’s tropes echo in every duke, rake, and plain-Jane; nonetheless, reading Devil’s Cub was alienating. That may be because of a narrative shift in more recent romance that Miss Bates’ refers to as the main characters’ endless internal ruminations. In that sense, Heyer appears quaint vis-à-vis character development and an excess of madcap plot; she forewent modernism. Yet, Miss Bates found something refreshing about a romance narrative where reader has to decode gesture and pose rather than thinker-tells-all of characters’ internal worlds in close point of view. Ye shall know them by their gesture … this is her subject. Bear with her: bodies in Heyer, what do they tell us? How does she establish character through the physicality of gesture, pose, tone, and gaze?  Continue reading