REVIEW: Roni Loren’s THE ONE YOU CAN’T FORGET

The_One_You-Can't_ForgetI enjoyed the first in Roni Loren’s series “The Ones Who Got Away”, centred on a group of school-shooting survivors as they heal from the past and find love, twelve years after the shooting. I thought the first was great and looked forward to the second, the here named The One You Can’t Forget. Though heroine Rebecca Lindt is the high school shooting survivor, the hero is a survivor of a sort too: from loss, financial ruin, divorce, and alcoholism. Between the two of them, you’d think Loren’s novel’d be a misery-fest. While it’s a serious novel about serious things, it’s also funny, hopeful, and sexy.

We met Rebecca Lindt in the series début, The Ones Who Got Away, as the stiff, cool prom queen to the heroine’s sexy wild child persona. But Rebecca was Liv Arias’s great love’s prom date: Finn may have put Rebecca on his arm, but he was kissing Liv in the supply closet … when tragedy struck. In the first book, Finn and Liv are reunited lovers and Rebecca is the rejected girl next door. Loren more than makes up for Rebecca’s losses by giving her Wes Garrett, tattooed chef extraordinaire. I thought, from Loren’s spectacular start, that I would love The One You Can’t Forget more than The Ones Who Got Away … but nope, the latter still edges out the former, but the former came very very close. Part of that was thanks to a spectacular “meet-cute”, which wasn’t so cute, but definitely memorable.
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REVIEW: Roni Loren’s THE ONES WHO GOT AWAY

Ones_Who_Got_AwayUncertain and with trepidation, I picked up Roni Loren’s The Ones Who Got Away. After watching the news reports about Margery Stoneman Douglas HS  and its mass-shooting aftermath, I wasn’t sure I wanted to read a romance with this premise. But I ploughed ahead and read it because I thought: dammit, is that a niggling doubt that the genre can’t, shouldn’t, would botch, a premise so raw and horrific? Can romance do the subject justice? That little snooty inner judgement said “No, spinster-girl, you’re giving this genre a chance to tell this story.” What I discovered is that Loren got some things right and others, wrong. What Loren got right was situating the story twelve years after the school shooting. While her protagonists’ lives were marked by their experience, the initial horror/trauma has dulled. They have built lives as best they can, found some peace, but the shooting has dictated to them too. The time lapse gives Loren some romance narrative wiggle-room: her hero and heroine are adults focussed on adult things, working, paying their bills, being responsible citizens. They achieved this by leaving their Texas town and what happened at Long Acre High. Continue reading