MINI-REVIEW: Kelly Bowen’s A ROGUE BY NIGHT

Rogue_By_NightI have come ’round to being a Kelly Bowen fan-girl. I think her romances are among the best in the historical subgenre. They are elegantly executed; the characters are sympathetically idealized without being insipid. Her plots clip along at an excellent pace and, thematically, she is the nonpareil, with a feminist twist to her heroines, taking nothing away from the rich historical context. I’ve enjoyed two Bowen romances to date, with reservations, but I think this third in her Devils of Dover series is her best. I had been intrigued by glimpses of the hero in previous books: the mysterious Dr. Harland Hayward, Baron Strathmore, healer and comforter, ever on some mysterious, not-quite-legal coastal “operation.” (Sadly, the strangely somnambulistic figure on the cover doesn’t do him justice.) Everything comes home to roost for him in A Rogue By Night, when he finally meets his doctoring and smuggling match, “Dr” Katherine Wright, beauty, healer, veteran, and daughter and sister to two of Dover’s greatest smugglers, Paul and Matthew Wright. Though Katherine is of humble beginnings and Harland a noble, they have more in common than their social status suggests.
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MINI-REVIEW: Kelly Bowen’s LAST NIGHT WITH THE EARL

Last_Night_W_the_EarlI’ve been thinking a lot lately about where romance fiction “fits” in the scheme of things literary. I’m tired of arguments either defending the genre or condemning it, discussing its relevance or irrelevance … blah blah blah. Not that these discussions aren’t relevant, they are to those who partake and more power to them. I do enjoy listening “in” to the Twitter debates, etc. But I have been asking why I persist in reading romance when the world around me makes the romance’s domestic world focus feel irrelevant. I think we read romance of any ilk, paranormal, historical, contemporary, conservative to radical in its perspective, because it’s utopian (minus the satire; there is nothing Thomas More would recognize in the genre). End of thought bubble. 

The latest “utopian” romance I read was Kelly Bowen’s Last Night With the Earl, depicting the love and closeness of Napoleonic War veteran, Eli Dawes, the eponymous “Earl” of Rivers, and artist Rose Hayward. Like many romance couples, Eli and Rose are “broken” and their relationship, as it plays out, works towards achieving their healing and wholeness. As a narrative, it succeeded and failed in depicting their story. Continue reading

MINI-REVIEW: Kelly Bowen’s DUKE OF MY HEART

Duke_Of_My_HeartMiss Bates’s heart went pitter-patter when Kelly Bowen’s hero in Duke Of My Heart first appeared. The heroine is ignorant of his duca-city and has “the vague impression of a worn greatcoat, battered boots, and a hulking bearing.” This is no ordinary ducal presence, suave, roguish, rakey, or even beta; this duke is PIRATICAL. And piratical is good: we don’t have enough ship-board romance and we need more! Alas, Maximus Harcourt, Duke of Alderidge is no more piratical than a Regency spinster. He is, however, a “hulking” presence and Miss Bates settled into Bowen’s Regency romance with smug satisfaction.

Maximus unexpectedly returns from India to an in-an-uproar household and Ivory Moore’s presence, a stranger in his rarely-occupied home. He is one irritated, confused duke. Max’s beloved eighteen-year-old sister, Lady Beatrice is missing; his Aunt Helen, beside herself; and, one naked, dead Earl of Debarry, aka the “Earl of Debauchery,” is tethered to his sister’s bed with red, satin ribbons. The scandal, she is HUGE! What was a spinster aunt to do but call on the ton’s detective-fixer, Ivory Moore, to hold back scandal and locate Beatrice.
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