Mini-Review: Manda Collins’s GOOD DUKES WEAR BLACK

Good_Dukes_Wear_BlackManda Collins’s (a new-to-Miss-B-romance-writer) Good Dukes Wear Black is third in her Lords of Anarchy series. Though Miss Bates hasn’t read the first two, she can safely say there’s nothing anarchic about Good Dukes Wear Black‘s hero, Piers Hamilton, Duke of Trent, from hereon referred to as Trent (Miss B., and thankfully, Collins, dislikes the name Piers). Au contraire, Trent is a sublime hero: generous, understanding, with just the right amount of protective bluster to endear him to reader and heroine. Our heroine is Miss Ophelia Dauntry, journalist on all things needlecraft at the Ladies Gazette. Collins ensures Trent and Ophelia’s acquaintance by making them friends to the heroes and heroines of the first two Lords of Anarchy novels. Though long acquainted, Trent and Ophelia are only aware of each other as attractive, available young people when circumstance bring them even closer. Ophelia’s fellow journalist, Maggie Grayson, is taken by two thugs (Maggie trying to fend off the brutes and getting a good boink to the head in the process) ostensibly on her husband’s orders because Maggie’s gone mad. Maggie’s husband, George Grayson, was one of Trent’s soldiers in the Napoleonic Wars. When George disappears and Ophelia discovers that Maggie may have be taken because of her investigative work into the mental institution’s unethical practices, Trent and Ophelia set out, as friends, to find Maggie and George and bring the culprits who took them to justice.
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REVIEW: “Manda Collins’s THE PERKS OF BEING A BEAUTY: Contrite Mean Girl Gets Her Man”

Miss Bates hasn’t recovered from her snark regarding novellas, so don’t expect her to make nice in this review. Even though The Perks of Being a Beauty is better written and better all-around than The Misbehaving Marquess and Hot Under the Collar, Miss Bates is even less enamoured of the novella than in her previous reviews. Collins is in firm control of the form here; she doesn’t let the plot take over from the romance. She maintains a nice balance of character and narrative. Her transgression comes in the form of backstory; because Perks follows from her Ugly Ducklings series and centres on the bully-girl in those books, she provides a lot of filler to help the reader understand the heroine and how she arrived at this point in her life.  After the first few chapters set up the love story, backstory takes over and makes for tedious reading. Therein lies the problem that Miss Bates has discussed before: because these novellas come from an understandable desire to sell an upcoming series or bolster a previous one, authors write them as marketing fodder, which should not diminish what is a pleasant read. So is blanc-mange … and even though Miss Bates is a 19th century spinster who often partakes of blanc-mange, she still prefers a cake-pop.

Amelia Snowe is the mean girl brought low by circumstance and a desire to make amends for her former nastiness. Her mother’s death has left her destitute and debt-ridden, working as a debutante’s companion in the bosom of an up-and-coming nouveau riche family, the Smithsons. Our hero, Quentin Fortescue, younger son of an aristocrat, Amelia’s childhood sweetheart and rejected suitor, reunites with Amelia when he attends the Smithsons’ house-party. Quentin’s addition to the party makes for an odd number of men and Amelia is recruited to “make up the numbers,” much to the chagrin of her haughty and resentful mistress, Mrs. Smithson. When straws are picked for partners in the scavenger hunt, of course Amelia and Quentin are thrown together. Here is another problem that Miss Bates finds with the novella: because length does not allow for a natural development of the romance, coincidence reigns and coincidence does not make  for convincing characterization or interesting plot.  Expediency seems the best an author can do under the circumstances.

One of the initial strengths of this novella, unfortunately not sustained, is the honest and open conversation between the re-united sweethearts. What is less convincing is the habit of authors, like Collins here, to endow their historical characters with modern sensibilities. Though it’s obvious that Quentin is attracted to her and willing to take up where they left off, Amelia resolves that she doesn’t want him. Let’s be realistic: why would a young woman of straitened circumstances, whose future holds nothing more than a journey from one genteel but menial job to another, reject a young, healthy, handsome and rich man? Though some reviewers have disliked Grant’s upcoming A Woman Entangled for the heroine’s mercenary attitude, it makes perfect sense to Miss Bates, all the more so when one considers her own straitened circumstances and spinster status.

Quentin is a lovely hero, forgiving, generous, and even more possessed of a modern sensibility. He is as much hero as psychologist, nursing Amelia through her self-hatred, even while making love to her (which, by the way, they do without thought for reputation or consequences, such as, well, pregnancy). When Quentin learns of the extent of Amelia’s bullying behaviour, he recognizes how she’s been trying to amend for it through reparation to those she wronged and by being a loving and nurturing companion to her ward. He is a dear when he soothes her self-recrimination thus, ” … you had no one to rely upon. And that made you a little … hard.” In lines such as these, you can see where Collins’s strength lies. Does this novella do it justice?

Miss Bates would say, these snippets of goodness are not enough to render a rating of more than “Tolerable comfort.” Mansfield Park (Collins’s novella is available on June 18, 2013)

As for the novella trend, Miss Bates is not pleased and joins Mr. Knightly in saying, “It was badly done, indeed.” Emma (Miss Bates thanks her readers for their forebearance as she spouted snark regarding novellas. She promises not to repeat the activity, unless you enjoyed it, in which case, let her know. She has plenty snark left over.)

This honest review was made possible thanks to a courtesy ARC from St. Martin’s Press via Netgalley.