My recovery from Harari’s 21 Lessons continues in the form of romance-wallowing. What better than a dose of the HP’s uber-heightened-romance? Michelle Smart being a favourite author and with “baby” in the title (I like’em, what can I say?), I knew this would be a “Calgon-take-me-away” reading experience. And it was. I swallowed it in two evening sittings and it would’ve been one were it not for one drooly-sleep on night #1. As far as HPs go, it’s standard fare. Billionaire hero Javier Casillas is cold-hearted, ruthless, and angry, angry at his father who murdered his mother, angry at his brother for abandoning their business partnership to marry his enemy’s sister. He’s still raging at said enemy, his former best friend, whom Javier’d cheated in a business deal and who now sought his revenge by kidnapping and then marrying Javier’s fiancée, the prima ballerina of one of his and his brother’s many assets, a Madrid-based ballet company. Heroine Sophie Johnson walked into his life one night, on a mission to return certain important items to him from her best friend, Javier’s former fiancée. Sweet, innocent, tiny Sophie had been in love with her friend’s fiancé forever. Continue reading
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.
Emma Barry and Genevieve Turner write one of my favourite historical romance series and Free Fall is their fifth story in it. I love that it’s set in the 1960s, a decade I was born into, but don’t remember much of … other than a vague black-and-white memory of MamaB, in bouffant hair, sitting on the coffee table, smoking, and weeping over Bobby Kennedy’s assassination flickering on our tiny, bunny-eared TV. Barry and Turner’s series avoids America’s many ’60s tragedies and focusses instead on the American race to space. Their novels are peopled with astronauts, space scientists and engineers, and Jello-mold-making wives. There is one marvelous female engineer heroine and her grumpy second, Parsons, the scowling engineer who makes an appearance in this present volume. To us, living in these bizarre times, and without the ’60s’ take-to-the-streets ethos, Barry and Turner give their novels a setting that feels like a more innocent, less fraught one. Yet, just around the corner are the women’s movement that will change the genre and us forever and the loss of whatever hope and possibility our American neighbours wrought in Camelot. What I really liked about Free Fall, by way of introduction, is how it’s a domestic novel and more focussed on the heroine’s growth. Vivian Grace “Vivy” Muller is loud, brash, colourful, big in every way, physically, in her laugh, walk, and taste for “bouffant hair” and “winged eyeliner”: “She laughed too loudly, and she did more than wink at boys, and she was always losing her gloves.” Continue reading
Though I read less and less inspirational romance these days, I chose to read Henrie’s A Cowboy Of Convenience because Harlequin is shutting down its Love Inspired Historical line and I was feeling nostalgic. Like Superromance, I’ve found some authors I’ve loved in it: Lacy Williams, Sherri Shackelford, Karen Kirst, and Alie Pleiter. I hope they’ve found writing pastures and are busy and happy sowing their talents.
Henrie’s Cowboy Of Convenience contains much of what we’ve come to expect of the subgenre and, most importantly, what I appreciate of it: a certain humility in its world-building and characterization. Nothing in Henrie’s romance rocked my romance-reading world, but I appreciated what it had to say nonetheless. Its story is typical: a cowboy, Westin McCall, who yearns to start his own dude ranch asks the ranch (where they both work) cook, widowed single-mother Vienna Howe, to pool their resources, marry as a “business arrangement” and start their own enterprise. Vienna, with her daughter Hattie, recently inherited her abusive, deceased husband’s near-by ranch, in Wyoming. Until West’s proposal, Vienna was uncertain as to what she would do with her windfall. The idea of creating a country home and business that her daughter could inherit was too good to pass up and Vienna agrees to marry, in name only, with West.
When I devour an HP romance, I wonder, all over again, why I do? The plots are preposterous; the characters, ridiculously exaggerated; and the theme of a moneyed, ruthless hero entrapping the heroine with a pitiless, self-serving scheme. Her innocence, yuck her virginity, turns his ruthlessness into helplessness and leads to the hero being a better man, the man lurking behind layers of survival and necessity over empathy. The hero is left bare, stripped of all his power in the face of his love for the heroine; he goes from tempered steel to marshmallow in 150 pages. It never ceases to amaze me why I, and countless others, enjoy them so darn much. Smart’s Billionaire’s Bride For Revenge is a perfect example. I think, I suspect, that the reason I and others enjoy them is that life’s petty, everyday, economic impediments are pushed aside by the hero’s wealth and we are left only, solely, with the emotional impediments that thwart hero and heroine from finding fulfillment and happiness in and with each other. The ways they manoeuvre their way through these emotional barriers are sex, conversation, and internal, personal realization, acts of self-honesty. 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
Liz Fielding is one of those romance writers whose “closed-bedroom-door” conceit I forgive. Not to belabor the point, but you know my opinion of the closed-bedroom-door romance and its many shortcomings. Fielding, on the other hand, writes the kind of truth-telling, gently-humoured characters I adore. Her prose is fine, elegant and smooth, deceptively simple and subtly rich. Even flawed, it’s easy for me to enjoy her romances, as I did Her Pregnancy Bombshell.
The bombshell in question opens the novel as heroine Miranda “Andie” Marlowe makes her way to the Mediterranean island of L’Isola dei Fiori and her sister’s dilapidated, recently-inherited Villa Rosa. As she tells the customs officer, ” ‘I’m running away.” An intriguing opening and one that drew me in. Andie is escaping a confrontation with her one-night-lover and boss, Cleve Finch, CEO of Goldfinch Air Services, for which Andie flies charters. Andie, we learn, is pregnant, the result of Cleve and her one night of shared passion three weeks ago. For the past year, culminating in that night, Cleve grieved the loss of his wife, Rachel. His devastation is evident in every gaunt line of his face, every pound lost from his formerly-stalwart frame, the absence of his smiles, the sadness in his eyes. Andie, with whom Cleve has shared an affectionate friendship since pre-Rachel, has loved with him since the day she walked into his life as an eighteen-year-old pilot. Continue reading
Miss Bates went back and forth on several category romances for Wendy’s TBR Challenge January “short read” before settling on Christine Rimmer’s The Lawman’s Convenient Bride. No rhyme or reason why, except Rimmer is fast becoming a comfort read. The writing is solid and Rimmer always achieves a balance of humor and sentiment. She also really comes down strong on marriage and fidelity without being smarmy or righteous and The Lawman’s Convenient Bride certainly conveys this.
When the novel opens, sheriff-hero Seth Yancy is trying to stave off the president of the Justice Creek library association’s convincing argument in favour of his participation in a charity bachelor auction. From Seth’s opening thoughts, we learn that he has been celibate since a sad thing happened to him seven years ago. But community-minded, honourable, cannot-tell-a-lie Seth cannot resist the call of the library association cause and agrees, even though he’d do anything “to get out of being raffled like a prize bull.” In the meanwhile, he also learns, from this conversation, that the woman who was his deceased baby stepbrother’s lover is one month away from giving birth to his niece. This revelation brings Seth to heroine Jody Bravo’s flower-shop doorstep. They carry on a wary, if friendly conversation and responsibility-personified Seth convinces Jody to allow him to help her out and be a part of his step-niece’s life.
When Miss Bates started reading Hewitt’s Forced Bride Of Alazar, she was not pleased. Alazar‘s title, premise, and set-up left much to be desired, but HPs are Miss Bates reading-snack of choice, she loves Hewitt, and she persisted. There isn’t much to recommend Alazar‘s opening. Johara Behar’s arranged marriage to Malik al Bahjat was dissolved when Malik’s long-lost love, secret baby, and kidnapped older brother showed up. For a few days, Johara enjoys the possibility of steering her life her way. To date, she’s lived quietly in Provence with her mother. She reads, tends her garden, and creates plant-based cures for a variety of ailments. Hewitt’s Johara is a classic introvert. Her hopes and dreams of a free life are shattered, however, when her father informs her that the broken engagement has been reinstated with the new Sultan, the long-lost brother Azim. You’re probably thinking, this is standard HP fare, what got Miss Bates’s goat? Patience, dear reader.
Miss Bates is a fan of Gifford’s medieval-set romances. Rumors is set among the machinations and intrigue of Edward III’s court. One of Gifford’s many appeals is her hero’s and heroine’s place among royalty and aristocracy. Though not of peasant descent, they are always subject to the whims of the royals they serve. Decisions are made for them, even by benign lords and masters such as the ones featured in Rumors.
The romance opens as John of Gaunt, Edward III’s third son, marries Constance of Castile and becomes, in potentia, King of Castile (once he wins it back from the present king). Gifford’s hero, Sir Gilbert Wolford is a man of war who yearns to return to Castile, retake the kingdom, and make his life there. Gifford’s heroine is the widowed Lady Valerie Scargill. John decides one of his greatest warriors, Gilbert, should marry, and who better than the genteel Lady Valerie. Valerie and Gilbert both have reasons for being averse to this marriage, but the royal’s word is law and their lives not their own. They agree to marry, despite the emotional impediments to their marriage becoming a love-match.