Carly Bloom’s Big Bad Cowboy was one of my top 2018 reads, so my expectations for Cowboy Come Home were sky-high. The result? Big Bad Cowboy remains perfection from start to finish; Cowboy Come Home is better in parts than sum.
It held tropish-goodness-potential because reunited lovers, second-chance-at-love romance! Heroine Claire Kowalski loves stilettos, marketing, and her parents’ ranch, Rancho Canada Verde. Two years ago, she also loved ranch manager, Ford Jarvis, who loved and left her. Ford’s back, at her father’s behest, and the town of Big Verde has yet to witness a confrontation such as Claire and Ford’s. Claire is rightly in a rage and Ford is humbly contrite. Bloom’s ethos, however, is comic and her writing penchant is for nice people. Claire fumes and glares, but she’s a good-hearted soul who is still in love with Ford. Ford still loves Claire, but possesses internal obstacles to being with her, then and now. Add oodles of funny friends, neighbours, siblings, and parents who recognize how Claire and Ford “really” feel about each other and their reunion and eventual commitment is head-on, like a bull following the cape. Continue reading
Another volume in a beloved series, read in two days, and now I have to wait till next March for the next one … (be warned, if you haven’t read the series, and you ought, there be spoilers ahead).
Lepidopterist Veronica Speedwell and her partner-in-adventure and love-of-her life, Stoker Templeton-Vane, are caught up in another intrigue involving her half-brother, Prince Eddy, a diamond, a brothel, its procuress, and ever more threats to the British royal family. At its opening, comfortably ensconced at their friend’s, Lord Rosemorran’s estate, Bishop’s Folly, in charge of curating his vast collection, Veronica and Stoker enjoy a respite from their adventures in the best way they know, bantering, bickering, and anticipating love-making. Raybourn has introduced a new tenderness in their exchanges, especially on Veronica’s part, the more hard-assed of the two. A new-found peace and rightness are between them. Raybourn doesn’t disappoint us in this volume: Veronica and Stoker, after kidnappings, extortion, villains on their tail, save the day once again and FINALLY, FINALLY achieve their HEA. (The novel is also set against the backdrop of the Whitechapel murders and Raybourn includes one vibrant, creepy, masterful scene with the Ripper.)
I’ve enjoyed Ruby Lang’s Uptown series and this, the last and third, may be my favourite. The hero and heroine, in keeping with Lang’s urban setting (another kudo for the series), have been around the block. They’re in their forties, were married over fifteen years ago; it ended badly. Now, reunited after a chance meeting, they’re cohabiting thanks to the New Yorker’s ever-present search for a great apartment and reasonable rent. They’re roommates in the Harlem-set building featured in the first two series novellas. Lang has cleverly made setting constant and introduced a new couple into each narrative. By novella three, you’re loving the place, feeling cozy and comfortable with its familiarity, and intrigued by the new couple who becomes its denizen. At 44, Simon Mizrahi has settled into life as a music teacher and choral conductor. He’s achieved professional success. At 42, after travelling the world to learn a unique craft, Lana Kuo returns to NYC as noodle-maker at a Pan-Asian restaurant, hoping, finally, to have a job with health insurance and benefits. She’s content with where she’s brought herself, having learned to ask for what she needs and made her peace with her past: leaving Simon, quitting school. Continue reading
Because I’m not a great fan of rom-coms, I couldn’t believe how much I liked Mia Sosa’s The Worst Best Man. Though I’m not a fan of first-person romance-narration, especially when it alternates H/H POV, there was so much to like about Mia Sosa’s The Worst Best Man. The humour. The ethos. The secondary characters. You’ll notice that I didn’t mention the romance. I can’t say I loved the premise either, but Sosa made it work for me. Carolina “Lina” Santos is left at the altar by Andrew Hartley, thanks to a heart-to-heart the night before the wedding with his younger brother, Max. Cue three years later. Lina is up for a wedding planner job with the luxury-hotel-chain CEO Rebecca Cartright. Whose firm is assigned to work with her on her pitch? Double-nemeses Max and Andrew. To sweeten the competition, Rebecca assigns Max to work with Lina and Andrew with her competition. In a Top-Wedding-Planner showdown, Max and Lina have five weeks to prep their presentation and score the account. There is much at stake for both, financially, also professional pride and family approval.
It’s been a hot week, temp-wise, and I highly recommend reading Adriana Anders’s first Survival Instincts, romantic suspense novel, Whiteout, to help you think cool thoughts and see you groggy-eyed from staying up too late to finish reading it.
Set in the Antarctic, focussed on Dr. Ford Cooper, glaciologist and emotional “Ice Man,” and warm, curvaceous, smiling research station cook, Angel Smith, Whiteout is everything romantic suspense should be. That means romance never gives way to suspense. Oh, there’s heart-in-your-throat scenes, but grumpy-monosyllabic-hero to sunshiny-motor-mouth heroine is everything you’d look for in a we’re-gonna-die-we’re-falling-in-love-let’s-make-love romance narrative. Anders sets her hero and heroine up nicely. Angel has cooked for the “Poley”, the research station team for months and is set to fly back to the States the next day. The night before, she joins the last-night celebrations and shimmies a dance before Mr. Stone-Face himself, Ford. Ford’s attraction has been clinging like a pesky burr-ish ice pellet, but he’s a no-emotions-no-connections-happy-with-my-ice-samples, thank you, ma’am, dude. Except for the part where he can’t get delicious-food, delicious-bod, warm person Angel out of this mind. When the station is attacked and he and Angel are the sole survivors, they set off, grump to her sunshine, on a 300-mile trek to another research station, only a few ski poles ahead of their bad-guy pursuers. Continue reading
When I first started this blog, I was reading romance exclusively. Now, I balance romance with crime and nonfiction, and the occasional classic, or litfic. I like the variety and I tend to have three books going at the same time. I’ve been thinking about what I get from each genre, but mainly been focussing on romance and what it offers a reader, especially because I think it is still maligned in many quarters. There is no one better to show the romance genre’s virtues than Jenny Holiday, one of the masters of contemporary romance. The blend of humour, character growth, and the delightful journey to commitment for her two protagonists are perfectly executed. Though they’re unique, I find similar joy in reading Lucy Parker. The present Holiday volume I consumed, Mermaid Inn, first in the Matchmaker Bay series, adds a magical Canadian small-town setting to the Holiday trail-mix of goodness. In a pandemic panic, I’ll often wake up in the wee hours and reach for a romance to keep the ghosties away. Mermaid Inn kept me company the past three nights and I brought it to a final-page flip this AM with a satisfied sigh.
Dani Collins’s Cinderella’s Royal Seduction is a fairy-tale retelling with a heroine replete with temper and a prince who exhibits alpha-diminishing humility. I loved it. It’s funny, heartfelt, and possessed of baroque love scenes. The HP’s connection to fairy tale is well recorded; so much so that I was afraid, on first opening Cinderella’s Royal Seduction, it would be trite, tired, formulaic. What I found was anything but. It was delightful, fun, fresh. Much of this may be attributed to Collins’s heroine and hero characterization and how it allows the narrative to subsume the fairy tale, instead of being ruled by it.
Cassiopeia “Sopi” (the worst thing about the novel is the poor heroine’s diminutive) Brodeur is at the housekeeping beck and call of her evil stepmother and sisters at Lonely Lake Spa in the Canadian Rockies, once her beloved mother’s business-child. Though run-down and in constant need of repair, it’s beautifully situated and lovingly cared for by Sopi. Her evil stepmother machinates a visit from Rhys Charlemaine, Prince of Verina, second-in-line to the throne and, unbeknownst to nasty stepmom, horrid daughters, and Sopi herself, due to his brother’s, the king’s, cancer diagnosis, in need of a wife to provide the stability of an heir to their kingdom. Continue reading
Lucy Parker’s Headliners flows out of the events of London Celebrities #4, The Austen Playbook, and the goodness of the former flows like honey out of the latter’s wonderfulness. (Did I maybe love it because it cleansed the reading palate with joy after my dour Jean Brodie read? I don’t think so.)
Parker cleverly situates the great betrayal, in this case committed by the hero, in Playbook‘s events. Journalist Nick Davenport exposed Sabrina Carlton’s father and grandmother’s deception in a news “scoop”, showing the artistic London world that Sabrina’s grandmother was the plagiarist of a famous play, The Velvet Room, a fact her father kept secret and benefitted from. It’s hard to fault someone for doing their job well, but the innocent hurt parties, journalist Sabrina and her actor-sister, Freddy, were the media circus’s reputation-destroying skills’ sacrifices. Nick isn’t proud and he is apologetic. He too lost something: his best friend, theatre critic “Griff” Ford-Griffin, in love with Freddy and now her fiancé. When Headliners opens, however, it isn’t only Sabrina’s career that has nose-dived; Nick’s night-time serious news program is gone. Sabrina and Nick are given an opportunity for career redemption when they’re asked to co-host a flagging morning show. If they can keep their tempers in check, not hiss and snap at each other, they can revive their careers and return to prime-time fame out of the morass of media notoriety. Two long-time rivals have to cooperate for the sake of their formerly successful careers. Can they do it, can they keep volatility in check? Continue reading
I have an innate distrust of any romance with an excess of “baby” endearment and there’s A LOT of “babying” in Love Her or Lose Her, second in Tessa Bailey’s Hot and Hammered series. There were a few things to recommend it: the working-class ethos, that stays working-class, and the marriage-in-trouble trope, which is a rarity and yet should appear more often in contemporary romance. It’s topical and true, after all, and way more believable than ye olde fake relationship. So, my launching into Love Her or Lose Her was with the enthusiasm of the ignorant but tropically engaged. It didn’t take long for my keenness to deflate like a geriatric balloon.
But first, other than the premise, who are the protags and what are their narrative stakes? Rosie Vega works as a perfume-counter girl, then goes home to her taciturn husband, Dominic. He’s a good guy: works hard, doesn’t drink, gamble, or cheat. They share a powerful attraction, which they indulge once a week, on Tuesdays. We don’t really know why they’ve stopped their amorous pursuits beyond Tuesdays, given how hot and bothered they get around each other, but suffice to say, it’s a “symptom” of what’s wrong with their marriage.
I never start a first-person-narrated romance with any confidence that I will enjoy it. I’m old-ish and old-fashioned and with the exception of Jane Eyre want my romances to be thirdly-centred. While I didn’t love Clayborn’s mannered “Chance of a Lifetime” series, I did enjoy it and thought her a thoughtful romance writer, trying too-hard to bring a self-conscious emotional complexity to the romance novel (while not sacrificing the HEA). Like the third-person, I prefer a more definitive HEA, but I wasn’t dissatisfied with Love Lettering‘s ending, thanks to its nod to Austen’s Persuasion.
As a non-fan of planners and pens and gel-vs-ink aficionados, I wasn’t keen on Love Lettering‘s premise: calligraphic heroine Meg Mackworth, with some kind of vague woo-woo sense, weaves the word M-I-S-T-A-K-E into hero Reid Sutherland’s wedding program. One year and a broken engagement later, Reid appears at Meg’s sometimes-paperie-employer, Cecelia’s, with an accusatory tone and the said wedding program. As a genius-IQ, Wall Street quantitative analyst, Reid sure can read a pattern where others might not and he wants to know how Meg knew his engagement would end.