I enjoyed the first in Roni Loren’s series “The Ones Who Got Away”, centred on a group of school-shooting survivors as they heal from the past and find love, twelve years after the shooting. I thought the first was great and looked forward to the second, the here named The One You Can’t Forget. Though heroine Rebecca Lindt is the high school shooting survivor, the hero is a survivor of a sort too: from loss, financial ruin, divorce, and alcoholism. Between the two of them, you’d think Loren’s novel’d be a misery-fest. While it’s a serious novel about serious things, it’s also funny, hopeful, and sexy.
We met Rebecca Lindt in the series début, The Ones Who Got Away, as the stiff, cool prom queen to the heroine’s sexy wild child persona. But Rebecca was Liv Arias’s great love’s prom date: Finn may have put Rebecca on his arm, but he was kissing Liv in the supply closet … when tragedy struck. In the first book, Finn and Liv are reunited lovers and Rebecca is the rejected girl next door. Loren more than makes up for Rebecca’s losses by giving her Wes Garrett, tattooed chef extraordinaire. I thought, from Loren’s spectacular start, that I would love The One You Can’t Forget more than The Ones Who Got Away … but nope, the latter still edges out the former, but the former came very very close. Part of that was thanks to a spectacular “meet-cute”, which wasn’t so cute, but definitely memorable.
Finally, a lovely Loveswept cover (no waxy mannequins)!
Ruthie Knox’s latest (previously serialized) novel and first in the New York series, Truly, exemplifies a theme dear to Knox: the discovery and triumph of the hero’s and heroine’s authentic selves. The discovery of the authentic self on the part of heroine and hero is worked out in the romantic relationship of desire, conflict, and love; push-back comes from their masked, or social selves and embedded family neuroses. Miss Bates must say she loves this about Knox and finds it endearingly American: the notion that authenticity is at the core of the self and the self can be remade in a more open, psychically healthier and happier way. When Knox is at her best, her core characters’ authentic selves emerge by abrading the old skin of past hurts and habitual patterns of self-sabotage. This was so in Miss Bates’ favourite Knox novels, Ride With Me and About Last Night, as it was of the less-successful Camelot and Roman Holiday series. (It is a theme that runs throughout her Robin York NA Caroline and West series, more successfully than the latter titles.) Knox’s writer’s-triumph depends on her willingness to free her characters to gambol and screw up and argue and have messy passionate sex; her weakness is a tendency to use them as mouthpieces. Where does Truly fall on that spectrum? Miss Bates loved most of it: the writing is smooth and funny and touching. She loved the opening with the surly hero and innocent-in-the-city, “dairymaid”-wholesome heroine; she loved the interactions between Ben Hausman and May Fredericks. She loved the NYC setting and the hero and heroine wandering through it, falling in love, kissing, challenging each other, and exploring its parks, restaurants, and denizens’ mosaic. However, once again embracing the journey narrative that Knox favours, she transports her couple to Wisconsin … and there, things fall apart and the centre doesn’t hold. Continue reading