Maisey Yates opens Gold Valley romance #4 with the line “Grant Dodge was alone. And that was how he liked it”, ensuring the reader that Grant Dodge is about to NOT be alone and that his hold on his solitude is to be shaken by the heroine. Said heroine, McKenna Tate, is blithely slumbering in an abandoned cabin on the ranch Grant shares with his brother Wyatt, sister-in-law Lindy, and sometimes-around veterinarian brother Bennett and sister-in-law, Kaylee. A “full house” of family and connections, but Grant prefers his solitude: what’s up with that and how will it be “shook up”? My tone may be flippant as I introduce Yates’s romance, but the romance is anything but: it’s angsty, heart-wrenching stuff with two very broken, very vulnerable, pain-filled protagonists. One is broken by his first marriage and the other broken by a life as a foster child, unloved, unwanted, uncared for. Reading their story, I thought Yates penned her most painful story yet, unredeemed by humour, or playful sex, banter (okay, there are soupçons of banter, but hardly) tenderness or joy. Grant and McKenna are two suffering characters, with burdens making Aeneas’s look like fluff, and the romance suffers under their weight as much as they do.
Miss Bates was in the mood for something long buried in the TBR, not an ARC, or new release, something Christmas-y and vintage-y. Diane Farr’s Once Upon A Christmas is no Georgette-Heyer rom, but it certainly hails from a happier, more innocent time for the genre. Published by Signet in 2000, it belongs with Balogh’s and Kelly’s Regency Christmas romances. Though not the stylist Balogh is, Farr’s romance plumbs depths that surprised MissB and tells a lovely Christmas-consummated romance.
When the novel opens, Celia Delacourt, tragically solitary after losing parents and siblings, in mourning, is visited by Her Grace, Gladys Delacourt, Duchess of Arnsford. “Aunt” Gladys, sufficiently supercilious, willful, and autocratic to rival Austen’s Catherine de Burgh, offers Celia a home for the holidays and beyond. Still numb with grief, knowing she’ll soon vacate the vicarage that has been her only home, Celia travels to Delacourt Palace to find that Her Grace plans to groom her for marriage to her benignly cavalier son and the Delacourt heir, John/Jack, Marquess of Lyndon. Suspecting his mother’s matrimonial machinations, Jack arrives, ostensibly for the holidays, with every intent to foil them.
If Miss Bates could hand out book prescriptions as doctors do medicine, Marion Lennox would go on every prescription pad entitled comfort read. A Lennox romance offers a view of the world that says kindness and care are what make it better; everyone is capable of changing to be able to love; grace and consideration are virtues to look for in a mate; and the genre can be sweet, funny, tender, and true, without being saccharine. Lennox’s The Billionaire’s Christmas Baby does this by bringing a baby and unlikely hero and heroine together at Christmas. Lennox’s romance is the Cinderella-troped story of the aptly-named Sunny Raye and equally allegorically-named billionaire Max Grayland as Sunny sheds love’s light onto Max’s loveless, lonely existence. The two of them are redeemed and love made possible by the appearance of one newborn bundle of cuddly joy and screaming-like-a-banshee set of lungs baby, Phoebe.
Max is in a Sydney hotel trying to write his estranged father’s eulogy for tomorrow’s funeral when his father’s mistress, Isabelle, dumps her newborn daughter in Max’s lap. Workaholic Max is helpless before the crying, hungry, wet baby and his only recourse is hotel maid Sunny, who, it turns out, brought up four siblings with the help of her grandparents after their mother abandoned them. Continue reading
Marguerite Kaye’s The Soldier’s Dark Secret and The Soldier’s Rebel Lover were two of Miss Bates’s favourite 2016 reads. Kaye’s latest historical sheikhs series has been less successful in MissB’s humble opinion, but the Christmas-set novella, “A Governess For Christmas” sees Kaye return to finer form: Regency-set, military hero and heroine of humble means and huge spirit. Set on an English-countryside estate during Christmas season, hero and heroine being the charity-case invites, the Duke and Duchess of Brockmore hold lofty sway over their guests, but throw all the seasonal festivities in grand style. Scottish hero, ex-Major Drummond MacIntosh, at 32, has been dishonourably decommissioned for several years. The reason behind his military ousting, by Wellington no less, is a heart-breaking, visceral tale, of which we learn when he tells ex-governess heroine, Miss Joanna Forsythe. Drummond and Joanna, who shares Drummond’s social disgrace, though not military, in having been dishonourably dismissed by her previous ward’s family, are the Brockmores’ socially-redemptive causes. Joanna’s and Drummond’s presence at the Christmas celebrations is an attempt to redeem their reputations and regain the respect and patronage of their social superiors. As Drummond notes, encompassing the season and what he hopes from it, he has “twelve days to impress his hosts sufficiently to earn their patronage and repair the wound he had inflicted on his reputation.” Little does Drummond know that a beautiful governess will repair a far greater wound, that to his heart.
If there’s one underused trope Miss Bates loves, it’s marriage-in-trouble, which is why she pounced on Barry and Turner’s novella-ish, category-length A Midnight Feast. It centres on the leader and doyenne of the space-race, 1960s-set American astronaut world that makes up Barry and Turner’s Fly Me To the Moon series, Colonel Mitch Dunsford and his wife of twenty-years-and-six-kids, Margie.
Barry-Turner have produced an adept narrative: alternating, especially in the first half, between Mitch and Margie’s present estrangement, set in 1965 Houston, and their courtship, young marriage, and flat middle years of care and children on her part and demanding, exhilarating career-making on his. Barry-Turner adroitly portray a marriage void of friendship, connection, and mutual desire, interspersed with chapters that chronologically fill in the intervening years, starting with a heady, whirlwind courtship set in 1945. In that sense, Barry-Turner tell a whole lot of story with a circumspect page-count; yet, their carefully-crafted snapshots of love, lust, affection to benign neglect and cutting indifference still allow the reader to get to know and possibly like their hero and heroine. The narrative is also beautifully bound together with a holiday sequence: starting with a make-it-or-break-it Thanksgiving for Mitch and Margie’s troubled marriage to a lovely Valentine-Day’s-1966-set epilogue. Continue reading
Truth be told, Miss Bates would advise you not to read past this sentence because she loves every Maisey Yates romance she reads. You’ve been warned: you may have heard this before.
With each Copper Ridge and related romance novels that come out, MissB. anticipates disappointment: “finally, this one will be stale, tired, Yates will just go through the motions”. Nope, each and every one is good: thoughtful, sexy, centred on love, romance, healing, fidelity, and commitment. Hero and heroine are often many kinds of messed up, in need of healing what is soul-and-heart broken. They skirt around what their fabulous love-making intimates, dismiss it as lust, run away from what their bodies already know: this is your soulmate, the one person you’ve waited for, the one who ends all others for you, the one you love and will share a family with. It’s simple and familiar and Yates makes it fresh and wonderful every time. You either buy her view of love and marriage, or you balk at the notion of what the body knows, the mind must get used to; and, what the body knows, the soul recognized a long time ago. This is as true for Golden-Good-Girl Sabrina Leighton as for returned bad-boy, wrong-side-of-tracks Liam Donnelly.
Miss Bates admits she is excited when she sees a new Kate Hewitt romance. Hewitt hits all of Miss B’s reading sweet-spots: a reverence for fidelity and commitment, a diffident sensibility about sexuality, and a portrayal of sympathetic vulnerability in her characters. The first in Hewitt’s latest series (with its cumbersome title, The Holley Sisters of Thornthwaite), A Vicarage Christmas has all that and Christmas! And a curate hero! The BESTEST heroes are Protestant clerical types: Miss B. has a real penchant for them. Also, Miss b. loves a northern England setting, and celibate, but not Puritanical, protagonists. Perfect, thought Miss B., and delved into the romance between third daughter/sister Anna Holley and Simon Truesdell, Anna’s vicar father’s curate. Anna travels home to the village of Thornthwaite (from Manchester, where she works as a legal librarian) to spend the holidays with her family: father Roger and mother Ruth, and two of four sisters, Esther and Rachel. The Holleys are a loving family. The girls obviously grew up in a home of care, comfort, and security. But Anna’s visits home are rare. She usually spends her holidays in Manchester and, while Anna’s mother, Ruth, has the cookies and trimmings and Christmas bows and whistles making up most of the vicarage’s spaces, there is something sad about the family, something off.
Now Miss Bates has read several Rimmer romances, she can speculate why she enjoys them so much. How are they sufficiently atypical to offer jolts of reader-surprise and predictable enough to be comfort reads? Miss B. has ideas. First, what her latest reading installment is about. Her click-happy finger on Netgalley amassed one too many Christmas roms, but the pleasure of reading one in June is no less. And it’s her favourite kind: the type that opens on Thanksgiving and builds to Christmas Eve and Day. When our romance opens, heroine Ava Malloy, fallen hero’s widow and single mum, “had the medals and the folded flag to prove it,” is contemplating taking a lover: “Ava wanted the shivery thrill of a hot kiss, the glory of a tender touch. To put it bluntly, she would love to get laid.” She’s in a good place: successful, with a great six-year-old daughter, Sylvie, and happy in her friends and family. Enter almost-high-school-flame Darius “Dare” Bravo and his irresistible charm. Moreover, he’s volunteering with a local girls’ Blueberry troop, helping them build dollhouses for underprivileged children. What with Sylvie a part of the troop and Ava having to pick her up and Dare’s persistently compelling flirting, the staid, serious single mum cracks and makes Dare a proposition he cannot resist, especially given he’s carried a torch for Ava since high school: secret lovers from Thanksgiving to New Year’s Day, no strings, no obligations, not even friendship, all the benefits, commitment – bupkis.
Contemporary romance is a big and diverse animal. Its “infinite variety” inhabits a breadth of verisimilitude, from HP fantasy to the realistic, at times gritty, MC urban wasteland, which, MissB argues, meet and mate in the fantasy realm when the straight-line continuum is arced to a circle. All this to say that along realism’s continuum, where tropes work at one point, may fail on another. Sarah Morgan’s third “From Manhattan With Love” romance, Miracle On 5th Avenue, is an example in comparson to her HP, Playing By the Greek’s Rules (possibly MissB’s favourite HP were it not for that pesky Lynne Graham writing annoyingly good HPs, like The Greek’s Chosen Wife.) The Greek’s Rules contains a naïvely endearing, full-force of positivity heroine and brooding, cynical alpha hero, as does Miracle. What works in one doesn’t in t’other, or maybe imitation isn’t the highest form of flattery when an author imitates herself?
Miss Bates was travelling for work on old chugga-chugga trains this week and, to their rocking motion, read a rom novel and novella, Sabrina Jeffries’s The Danger of Desire and Meredith Duran’s “Sweetest Regret”, two of her favourite romance writers. Jeffries’s rom was the follow-up to one of last year’s top MissB. roms, The Study of Seduction. As for Duran, it had been a while and MissB. was most happy to find herself in Duran’s erudite, moving romance ethos.
Jeffries’s late-Regency Danger of Desire sees yet another St. George’s Club heroes, Warren Corry, Marquess of Knightford, so-called rakehell (though he never behaves as such) pit himself against the shenanigans of miss-dressed-as-boy, Delia Trevor. Clarissa, Study of Seduction‘s heroine, asks Warren (possibly the worst rom-hero name ever) to look out for Delia. Delia, on her part, spends her nights, disguised as a young man, gambling her way to discovering the identity of the man who cheated her deceased brother of her, and his wife and son’s, living. Delia’s mystery and intrigue isn’t the only challenge facing her and Warren as they, at least initially, spar and circle each other. Warren, on the surface devil-may-care, contains a psychic wound, which explains his reluctance to marry. Continue reading