I’ll repeat what I tweeted a few days ago … “Virginia Heath, where have you been all my life?” There’s nothing more satisfying to a reader than to find a great new author. I’ve loved the length and ethos of Harlequin Historicals, but haven’t found a glom-worthy, auto-buy author among them. I am cautiously, optimistically saying Heath may be “it”. The final book in her King’s Elite series, The Determined Lord Hadleigh, had me in thrall the past few days with engaging characters, a slow-moving, slow-burning romance, and an ease and smoothness to the writing that we rarely see in romance, sadly. (I didn’t even mind that I came to the series at the end, even though I was sorry to have missed the previous books.) I was captivated from the opening scene: dramatic and “tell me more” compelling as it was.
Gosh, I love these Ruth Galloway mysteries. Totally hooked. Reader-ga-ga. I have six in the TBR and one anticipated in 2020 before I await the next volume (as I do C. S. Harris’s Sebastian St. Cyr historical mysteries). As always, I try to read each volume slowly and savor, but the last quarter sucks me in; today, errands and chores forgotten, I sat in the old reading chair and inhaled A Dying Fall.
To sustain a great series, as Griffiths and Harris do, requires a lovely balance of various elements: firstly, there must be an element of surprise in the mystery, its context and motivations; secondly, an element of familiarity, in the detecting figures; thirdly, those familiar figures, if they prove introspective about their lives, which Ruth and Harry prove to be in every volume thus far, and the events occurring around the crime, grow more compelling. So, the new, the familiar, and the nuance in the familiar make for a beloved, anticipated-next-book series. Continue reading
We meet Cora Preston, the heroine of Nicole Helm’s A Nice Day For A Cowboy Wedding, as she comes into her own: “She was reaching for the stars now, or maybe those snow-peaked mountains. Strong, immovable, and majestic.” Five years ago, Cora and her then seven-year-old, Micah, lived with an abusive husband and father. When Stephen threatened Micah rather than her, Cora divorced him, got full custody of Micah and a restraining order. In the intervening years, Cora and Micah moved to small-town Gracely to live with Lilly, her sister. They’ve been difficult, growing-pain years, but the movement has been forward and positive. Cora and Micah are forging a new life. Cora’s gleaned herself off of total dependence on her older sister, is living on her own with her son, and partnering with Lilly to launch a wedding-planning business. More importantly, she and Micah’s therapy, while a work in progress, is helping them cope with the day-to-day. Micah is showing signs of teen-age rebellion and sullenness, but Cora is mothering more than being mothered. Micah is in baseball day-camp and Cora on her way to her first wedding plan client, Deb Tyler of Tyler Ranch. Cora is a vulnerable heroine, but determined to succeed and do right by her son. I liked her from the get-go.
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.
Eons ago, I read Julie Anne Long’s I Kissed An Earl and liked it well enough, but not with the passion of anticipating the next book in the series or eye-balling the newly-arriveds for her author’s name. I was surprised to see her turn to contemporary romance as she seemed quite ensconced in the former. But, hey, what do I know about author inspirations or the changing face of romance publishing? Bupkis. I was curious, however, and since contemporary is my sub-genre of choice, happy to give her a try with book four of the Hellcat Canyon series, The First Time At Firelight Falls, and even happier to eat reader humble-pie when I was *forced* to reassess my initial ho-hum judgement of it. It is seemingly run-of-the-mill contemporary small-town romance: Hellcat’s denizens are eccentric and supportive, there’s a good dose of wholesome humour and a modicum of conventionally-positioned, hot sex between the leads, and, at least initially, a whole lot of not-much-ness.
With much sadness, I read Janice Kay Johnson’s note on her Superromance, In A Heartbeat. It is her last, alas, and the category is no more. I’ve loved so many of JKJ’s Superromances, especially the early ones. I read In A Heartbeat with enjoyment, for it is JKJ signature good. I didn’t always love the category’s authors and found some tedious, but I loved the idea of what it represented: a fantasy-based genre coming as close to realism as it could.
I read Betty Neels’s Tabitha In Moonlight at the same time as I read Johnson’s In A Heartbeat and, given Neels’s comfort-read status, I expected some dissonance. In the end, I wasn’t surprised to find none from two authors whose moral impetus is writing about decent people doing good and falling in love. The only difference, given Johnson’s preference for realism, is that her characters do the best they can, in often difficult circumstances. Betty Neels’s characters are about being the best they can. Continue reading
Miss Bates loved Kate Hewitt’s A Di Sione For the Greek’s Pleasure and willingly delved into Hewitt’s women’s fic/romance incarnation in Meet Me At Willoughby Close. Meet Me has enough romance, and a likeable one at that, to satisfy a rom-reader. It contains an endearingly goofy heroine, Ellie Matthews, working at figuring out her divorced, single mum life, moving away from family and, for the first time, at 28, tackling life with eleven-year-old daughter, Abby. Ellie has a new job as an “administrative assistant” in the University of Oxford history department and new cottage in Wychwood-on-Lea, at Willoughby Close. Ellie is paired with her “boss,” a history professor she’s temporarily assigned to, the Darcy-like, upper-crust, Victorian-Era historian Oliver Venables, he of the grey-green eyes and impressive physique. Meet Me At Willoughby Close is funny and romantic. It tackles some serious subjects, with a light touch but no less profoundly: parent-child relationships, bullying, family dynamics, deadbeat dads, and class. Oh, and the joys and vagaries of pet ownership. Ellie’s dog, Marmite, is a great loping mutt whose exuberance (and wee bit of flatulence) elicit reader-giggles in every scene he snuffles into. Continue reading
Now Miss Bates has read several Rimmer romances, she can speculate why she enjoys them so much. How are they sufficiently atypical to offer jolts of reader-surprise and predictable enough to be comfort reads? Miss B. has ideas. First, what her latest reading installment is about. Her click-happy finger on Netgalley amassed one too many Christmas roms, but the pleasure of reading one in June is no less. And it’s her favourite kind: the type that opens on Thanksgiving and builds to Christmas Eve and Day. When our romance opens, heroine Ava Malloy, fallen hero’s widow and single mum, “had the medals and the folded flag to prove it,” is contemplating taking a lover: “Ava wanted the shivery thrill of a hot kiss, the glory of a tender touch. To put it bluntly, she would love to get laid.” She’s in a good place: successful, with a great six-year-old daughter, Sylvie, and happy in her friends and family. Enter almost-high-school-flame Darius “Dare” Bravo and his irresistible charm. Moreover, he’s volunteering with a local girls’ Blueberry troop, helping them build dollhouses for underprivileged children. What with Sylvie a part of the troop and Ava having to pick her up and Dare’s persistently compelling flirting, the staid, serious single mum cracks and makes Dare a proposition he cannot resist, especially given he’s carried a torch for Ava since high school: secret lovers from Thanksgiving to New Year’s Day, no strings, no obligations, not even friendship, all the benefits, commitment – bupkis.
For her final 2016 review, Miss Bates writes about a romance novel that held her in thrall though the night and into the morning, Kerrigan Byrne’s The Hunter, second in Byrne’s Victorian Rebels series. New to Miss Bates, Byrne’s Hunter reminded her of the Monica McCarty Highlander romances that were some of the first she ever read and loved. Byrne’s romance is violent; her protagonists, larger-than-life; and her writing, unabashedly melodramatic and yet elegant. At times, Miss Bates thought this feels “Old-Skoolish” but the heroine’s intelligence and sang-froid and hero’s humility and respect for her make it anti-old-skool. What Miss Bates can affirm is that she loved it. To establish sympathy for a hero who is an assassin hired to kill the heroine in the novel’s first scene, Byrne portrays Christopher Argent’s Newgate-Prison childhood. She paints a scene so horrific for his 11-year-old self that our sympathy is maintained even when, without that introduction, we’d have found his actions unacceptable. Christopher is not as nuanced and interesting as Hoyt’s Duke Of Sin, but Byrne’s romance builds our sympathy for him as Hoyt did for Val Napier: by using the pathos of a difficult, abused childhood … and then sustaining it by showing our out-of-type hero with animals, or children.
After savoring the glorious Betty Neels, Miss Bates read a long-established but new-to-her author, RaeAnne Thayne. Snowfall On Haven Point is the fifth romance in Thayne’s “Haven Point” series, set in the eponymous mythical, idealized Idaho town. Heroine Andrea “Andie” Montgomery is a Portland transplant. She arrived in Haven Point after losing her cop-husband and enduring a sexual assault. Miss Bates appreciated that Andie wasn’t a victim. She’s in a good place: working at her graphic design business, establishing a home with her two adorable kids, Chloe and Will, and building new Christmas traditions in her adopted town. She has made wonderful friends and is considering dating again: she doesn’t allow still-lingering grief and trauma to prohibit her from living life fully and well. The encounter with the curmudgeonly neighbour-hero, Sheriff Marshall Bailey, comes when Marshall’s sister and Andie’s dear friend, Wyn, asks her to check on her injured brother. Though Andie finds Marsh taciturn and even gruff at times, she agrees to deliver meals and make sure he’s all right getting around with a broken leg. A romantic suspense element is introduced when we learn that Sheriff Bailey was deliberately run down in a snowy parking lot while answering a tip from a mysterious caller. (Never mind the TSTL hero: what law enforcement officer would answer a call without back-up?) Continue reading