Readers familiar with MBRR will know I am interested in romance’s dark moment, which I define as a betrayal. The darker and more heinous the betrayal, the better executed the narrative tension, when it seems as if hero and heroine will never mend their rift. In Linden’s latest, An Earl Like You (second in the series The Wagers of Sin), this new-to-me author deftly creates a romance which sustains the coming betrayal from the first chapter to the final. I was coiled with tension from the get-go which I attribute to Linden’s premise. Upon his father’s death, Hugh Deveraux, 7th Earl of Hastings, learns that the 6th earl’s profligate ways left their family destitute: estates given to gardens and follies rather than tenants, debts galore, two sisters dowry-less and a mother grieving; the Deveraux women are ignorant of their new circumstances … and Hugh wants to keep it that way. What’s a peer to do but take to the gambling tables in a desperate attempt to ensure his mother’s well-being and sisters’ future? Until Hugh loses and is faced with a devil’s bargain from a wealthy speculator, Edward Cross, looking to ensure his daughter’s future. Cross asks Hugh to meet him at his palatial Greenwich home, tells him he now holds his debts and will call them in … unless Hugh woos and wins Cross’s plain, spinster daughter, Eliza.
When I read the title of Louise Allen’s A Lady In Need Of An Heir, I immediately thought of Cecilia Grant’s incomparable A Lady Awakened. And, of course, reading Allen’s effort, I couldn’t help but compare it to Grant’s. At first, I thought it would be too similar and prepared to be disappointed, harbored a certain peevishness at Allen for copying Grant’s idea. I was happy to discover that Grant’s Lady and Allen’s are two different animals. Allen wrote her own story; I just didn’t like it very much. It was smoothly written, researched, considered, an attempt was made at thematic richness, a feminist message was conveyed without betraying the historical realities. It was rich in stuff. It was a romance that Allen obviously worked carefully and hard on. Still. I was, at least initially, deceived into a false sense of reader-enthusiasm. Allen’s Lady had a promising opening: atmospheric, a compelling premise. In the fall of 1815, former Colonel Nathaniel Graystone, Earl of Leybourne, from hereon referrred to as “Gray,” arrives in Portugal’s Douro Valley at his godmother’s, Lady Orford’s, behest. As his barge moors at the port-producing estate of Quinta do Falcão, Gray is beset by memories of the Peninsular War. I thought, “oh, wounded warrior, this could be good … ” (Alas, this aspect of the novel wasn’t dropped. A romance red herring I do not like.) Continue reading
I cannot begin to describe how much I loved Parker’s first two books in the London Celebrities series. Act Like It edges out Pretty Face by a hair’s breath as my favourite. My love for the first two was followed by my anticipation for the third, Making Up. I built up a lot of excitement and eagerness to get to Making Up and I dug in with the reading hunger of a Crusoe presented with his first home-cooked meal. I’d encountered Parker’s leads in previous books and loved them: Pretty Face Lily’s pixie roommate, Beatrix Lane, and a giant of a make-up artist, Leo Magasiva. They were familiar, beloved, and would make my Kindle emit sparks with their charm – my reading immersion would be complete. (For now, let’s say there was mild glow emanating from the Kindle; sparkly territory, we did not reach.) Making Up opened with Parker’s snarky humour, which I’d come to love in the two previous books: sharp, witty, quick banter, self-deprecating barbs, and a backstage irreverence that only people who perform for a living can understand, face forward, wild, sweaty groping awkwardness to get there. Continue reading
Caitlin Crews’s Imprisoned By the Greek’s Ring is a cautionary tale about revenge, a redemptive story of two broken people learning to love, and a sly meta-romance. It is outlandish, exaggerated, high strung, and over-the-top. Its premise is unlikely; its romance, hyperbolic; its hero and heroine, made of clichés and uberness. In a nutshell, it’s an HP romance and delivered exactly what I sought: an immersive id-reading experience. It is apropos that it kept me up till the wee hours and I crawled into work (looking quite deceptively crisp and business-like, with a string of meetings to plan for and endure) with major bleary-eyed book hangover. (And to whomever left espressos and stickie buns in the common room, you have my eternal gratitude.) Crews is one of the masters of the genre and she drew me in (it took some work) and left me on the bank and shoal of time, happy to have spent a few hours with her visceral characters and plot. Continue reading
True to characters cover!
One of the first romance novels I read when I returned to the genre and combed through best-of lists for titles to throw money at was Lisa Kleypas’s Dreaming Of You. I adored Sarah and Derek, the casino setting, the pesky, bespectacled heroine and hardened with a secret heart of gold hero. Ostensibly, Lorraine Heath’s Beyond Scandal and Desire has echoes of Kleypas’s romance classic, but in many other ways, it is an entirely different beast, unique to Heath’s vision. Beyond Scandal and Desire‘s cross-class promise, its ingenue heroine who’s too smart to stay that way and guttersnipe-made-good hero kept me reading through a slow, though evident of a sure writing hand, first third. The similarities to Kleypas saw me through the premise’s set-up. What kept me rivetted was Heath’s weaving of a tale about the need to be recognized, acknowledged, loved, and validated, a journey both hero and heroine take in their unique ways, about what family means, and where we can meet on a plane of forgiveness and reconciliation. To start, the novel’s gothic opening sees a London aristocrat deliver a new-born to the East End Widow Trewlove, by-blow of an affair? shame of the aristocracy? Yet, the birth scene had been one of tenderness and love between mother and father … whatever happened here, I wanted to know.
I adore Michelle Smart’s category romances. The HP is my romance-ice-cream-tub of choice, so good while I’m reading it and then, disoriented and nauseous from melodramatic hangover. My forehead-slapping reaction: “Did I really just read that?” Yes, dear reader, I read them: the romance guilty pleasure, outlandish, overblown, eye-rollingly breaking every smidgen of feministic progress the genre has made. Some HPs are out there and so badly written, they’re easy to ridicule. Some are written with elegance and humour: I’m looking at YOU, Sarah Morgan. Smart’s HPs usually elicit the latter response, but A Bride At His Bidding? Well, this is one of the strangest HPs I’ve ever read … and that’s saying a whole hell of a lot if you’re one of the category’s aficionados as I am. I’m having a hard time making up my mind whether A Bride At His Bidding is a laughable mess, or brilliant. Maybe both? All I know is that its idiosyncratic narrative and character about-faces gave me reading whiplash, goggle-eyed reactions of gasping disbelief, derision, and heart-clenching delight and enjoyment.
Deanna Raybourn’s third Veronica Speedwell, Victorian-set mystery finds her prickly, sleuthing pair, Veronica and Stoker, where they’ve settled since book one’s conclusion: in Bishop’s Folly, setting up the Earl of Rosemorran’s museum from his vast, eclectic, esoteric collection. In A Treacherous Curse, their museological endeavours are interrupted by a mystery that tickles their adventurous spirits and curiosity, challenging and deepening their relationship. Unlike my other favourite historical mystery series, C. S. Harris’s Sebastian St. Cyr, it is interesting to note how Raybourn’s sleuthing protagonists are not endowed with a strong sense of justice. They’re driven by a crossword-puzzle-doer’s instincts, the need to solve the quandary, or as Veronica quips, “To investigate one murder is a curiosity. To investigate two is a habit.” This is not by way of criticism. It isn’t fair to compare persimmons with pineapples, but I do like to muse on authors’ world-building and thematic choices. What gives Raybourn’s series moral impetus, at least in these initial volumes, is the revelation of our main characters’ pasts. (In A Treacherous Curse‘s case, Stoker’s is under scrutiny.) Maybe this will change in future volumes? What else informs Raybourn’s series’ moral impetus is the fierce protectiveness and loyalty that Veronica and Stoker (aka Templeton-Vane) hold for each other. There’s romance dearth for romance readers, but enough of a spark to keep me reading, for this and sundry reasons. (I am delighted that Veronica ogles Stoker’s Laocoönian body, while he exhibits near-prudish bashfulness. So much fun in those scenes!) Continue reading
A groggy, caffeine-heavy morning for me after a night reading into the wee hours, thanks to Lauren Willig’s Gothic romance, historical mystery The English Wife. The novel opens in January 1899 in Cold Spring NY, at “Illyria,” Bay and Annabelle Van Duyvil’s country estate. Bay and Annabelle’s hermetic existence has thus far been the bane of Bay’s appearances-are-all mother, Alva. Formidable, humorless Alva is ever flanked by Janie, her mousy, silent daughter and Anne, the mouthy, flamboyant niece she took in. To Alva’s great society-loving heart, Bay and Annabelle are finally celebrating the opening of their magnificent estate by holding a costume ball for New York’s best, brightest, and finest. Until now, Bay and Annabelle’s life has been a mystery. Rumours of eccentricities and infidelities swirl around them, about them … maybe because they keep to themselves and, at least on the surface, appear to live an idyllic existence with twins Sebastian and Viola. Bay and Annabelle don’t seem to give a fig about what the “best people” think, rendering them endlessly fascinating to the society pages and ensuring Alva Van Duyvil’s frustrated, officious meddling. Continue reading
No reading disappointment compares to a book that starts with fireworks of promise only to crash and burn like a petering petard. Such was Anna Bennett’s The Rogue Is Back In Town. I was excited after the first chapter (with its promise of early-Julia-Quinn-like humour); half-way through, I had a lip-twisting downward trend to my mouth; by 70% in, I was into eye-roll and exasperated sighs territory.
First, let me set the scene for you, dear reader. In 1818 London, Lord Samuel Travis, fortune-less younger son, is the bane of his older brother’s existence: carousing, brawling, and neglecting debts. Older brother Nigel, heir and anti-prodigal son, sets Samuel an ultimatum: out of their home and into a property Nigel wishes to sell. Unfortunately, said property has an uncle and niece living in it, thanks to their deceased father’s largesse. Samuel must oversee their eviction and ensure the property is ready for sale. Can you see it coming, dear reader? Yes, Sam meets the adorable, malapropism-spouting Uncle Alistair and beautiful Miss Juliette Lacey and falls in love. Sam and Alistair get on like a house afire and Juliette and Sam, initial resentful bantering aside, follow suit. In a word, dear reader, they bond, full of affection and family-like feelings, with a strong dose of lustful yearnings on Sam and Juliette’s part.
I’m a fan of the kind of book Ashley’s written: historical setting, central mystery, a romance to follow from book to book. I LOVES’EM! My favourites are C. S. Harris’s Sebastien St. Cyr historical mysteries and Deanna Raybourn’s Veronica Speedwell. 2018 is turning out to be a global crapfest in so many ways, but it’s good for having two additions to these series to look forward to. Add the time travel historical-mystery-romance of a Susanna Kearsley and life doesn’t get better. So, you’d rightly say, dear reader, where does Ashley’s fall in your category of reading bliss? Argh, must I add another series to the ones I already follow? It appears I must. Ashley’s premise captured me (and not only because I was a sucker for Downton Abbey). Her cast of characters stays pretty much below stairs, except for one compelling example and a hero who seems to be a class-chameleon.
In 1881 London, Mrs. Kat Holloway arrives at her new position as cook in Lord Rankin’s household, which includes wife Lady Emily, and sister-in-law Lady Cynthia. Kat acquaints herself with the downstairs staff: butler Davis; housekeeper, Mrs. Bowen; and recruits kitchen-maid Sinead as cook’s assistant. Before she knows it, handyman Daniel McAdam shows up too, as a house-staff member. It is immediately obvious that Kat and Daniel have a history, a flirty, attracted manner to him and a “get away, you pest, come hither, big-boy” to hers. Continue reading