Whose Baby? (2000), Maternal Instinct (2002), With Child (2005), Snowbound (2007) and The Man Behind the Cop (2008): romantic suspense, family-centred, child-parent-focussed, believable problems and dilemmas, and all Janice Kay Johnson category novels Miss Bates read and enjoyed. Johnson goes about the business of producing solid, unassuming romance novels without “strum und drang.” Miss Bates can’t say that the Johnson novels she’s read are huggable-loveable and she’d carry them to a desert isle, except for the contemporary marriage-of-convenience and unusual Whose Baby? Nevertheless, they never fail to leave her thoughtful about the complications life can throw at good, ordinary, fallible people, how to contend with troubles in “battalias,” how to make families out of pretty crappy circumstances, and how to love another person in his/her imperfections. Not a bad feat, even if Miss Bates’ reader heart doesn’t miss a beat reading. Johnson does no less in her latest Harlequin Super-Romance, One Frosty Night. Miss Bates has quibbles, but this is a solid romantic suspense, with more suspense than romance. Continue reading
Miss Bates loves trees and lives in a country with plenty! She writes and reads and ponders in company with the maple tree in her front yard and records time’s passage by its changing leaves. This is one reason she enjoyed Inez Kelley’s “Country Roads” series. Kelley has set her three romances in West Virginia’s forest and the intricacies of a traditional logging industry (something else Kelley’s setting shares with Miss B’s country) making its way in the modern world, walking a fine line between profit and conservation. Moreover, Miss Bates enjoyed the romances: they’re sexy, heroines don’t take gaff from the heroes, and the heroes are manly-men who concede. Of the three, Take Me Home, The Place I Belong, and Should’ve Been Home Yesterday, Take Me Home edges out as her favourite. The first and third in the series were un-put-downable: the prose is smooth; the setting, beautiful; the heroine and hero, lovingly conflicted. Should’ve Been Home Yesterday had the added advantage of being a convincing contemporary marriage-of-convenience narrative, one of Miss Bates’ favourite romance tropes. Furthermore, it was a second-chance-at-love story, a wonderful combination of flashback, forward action, and two people meant to be together if they would only be honest with each other. At least there are reasons in their past that make the close-mouthed agony understandable. Despite the wonderfulness, Should’ve Been Home Yesterday suffered from the same problems, to a lesser degree, that Miss Bates found in The Place I Belong. Continue reading
Miss Bates is always interested in a romance novel portraying an ill hero, or heroine (though it’s interesting that she has yet to read an ill hero). As Fitzgerald’s narrator, Nick Carraway, said in The Great Gatsby, ” … there was no difference between men, in intelligence or race, so profound as the difference between the sick and the well.” This has made for some great romance novels; in both cases, the heroine is ill, or recovering from a life-threatening illness: Donna Alward’s How A Cowboy Stole Her Heart and Karina Bliss’ Here Comes the Groom. Indeed, how a romance writer treats the topic (sorry for the pun) makes for compelling reading, especially the hero and heroine’s navigation of their relationship in mortality’s crosshairs. It’s the only reason Miss Bates made it through the sole J. R. Ward Blackdagger Brotherhood novel she ever read, Lover Eternal. (She quite liked it, but one was enough, thank you.) Trish Milburn’s The Texan’s Cowgirl Bride, a mouthful of a title, held that promise for Miss Bates. She really, really wanted to like the story of Savannah Baron, peach-pie-baker par excellence and store-owner, faced with a life-threatening illness, and soldier-turned-private-investigator, widowed hero, Travis Shepard. Milburn’s romance novel is set up with interesting premises: its problems lie in their execution. Continue reading
Every spring, in Miss Bates’ cold, northern land, people visit the sugar shacks, where they use what-look-like-wooden-tongue-depressors to scoop warm maple syrup from snow. They take sleigh rides through grey-white woods and sit to a meal of eggs, ham, and baked beans … doused in maple syrup. Precious memories for Miss Bates from her early school years, even if present comforts don’t mind relinquishing maple syrup goodness to avoid muddy boots, bumpy rides, and artery-hardening fare.
When Miss Bates went to primary school in the early seventies, her teachers wore fringed leather skirts, peasant blouses, and sported long hair. They played guitar and had students sing along. One of the songs they sang was John Denver’s “Country Roads.” Miss Bates didn’t know where West Virginia, the Blue Ridge Mountains, or Shenandoah River were and didn’t care. She sang her heart out and not terribly well to the accompaniment of teacher’s guitar: “Country roads, take me home, to the place I belong … ” Her then sophisticated and risqué native city was as far from the Appalachians as bodies can get in North America, but the sentiments of home, nostalgia, and belonging are still with her.
What do Miss Bates’ happy reminiscences of sugar shack outings and Denver’s “Country Roads” have to do with her latest romance read? Everything. Because the running of the sap and a mountain mamma have everything to do with Inez Kelley’s latest, Take Me Home, the first in her “Country Roads” series, which Miss Bates really really liked, with caveats, but liked. Continue reading