REVIEW: Mary Balogh’s THE ESCAPE, Running To, or Running From?

The_Escape

Beautiful cover!

One of Miss Bates’ dearest friends is an artist. She once told Miss B. that visual artists fall into one of two categories: those whose primary focus is colour, or those whose primary focus is line. Maybe we can say the same about romance writers? Those who use line make use of strongly delineated roles for their characters; they rely on convention to build a narrative. Their characters, such as in PNR romance, do not deviate from their prescribed roles: mates are fated; there may be some negotiation and manoeuvring to reach the HEA, but, overall, the reader can see exactly where this is going. Deviations occur in plot rather than characterization. We may also see this in romantic suspense, which is not to say that subversions of the conventions don’t occur. Then, there are colorists, whose primary focus is in the development and transformation, over the course of a simple narrative, of character, in particular the heroine and hero. Mary Balogh is a colorist; her interest lies in characters in transition, caught in a moment when they have to do serious thinking and decision-making about where they’re going. She is also interested in how desire and love can insert themselves into people’s lives at the most inconvenient, unlikely, and often unwelcome moments. Hero and heroine have to work out the impetus towards love/commitment and pulling away from the bonds of engagement, a yearning for connection and longing, at the same time, solitude and independence. These conflicting and conflicted impulses are evident in both her male and female characters. Continue reading