**/*****
A HUNGER LIKE NO OTHER isn't bad for a paranormal romance. It really isn't. It just reminded me why I don't read vampire/warewolf/etc. stories from romance authors as much as historical romances. A personal fault, I've read a few accomplished scifi/fantasy (sff) from very engrossing worldbuilding authors, and romance authors just don't compare. The immersing gravity and rich fabric of the lore and history from sff authors are far superior. Unfortunately, good sff authors also desperately need a kick in the gut in the love/romance department because they either: (a) ignore it, or (b) write it in a very shallow way.
A HUNGER LIKE NO OTHER relays most of the lore of the world in the dialogues between characters, all of it very satirical, light-hearted. The lore just didn't come alive as a result. I prefer my fantasy novels relaying the lore in interesting, descriptive ways via action, not via exposition or a character's dialogue obviously inserted to educate the reader on the world. A HUNGER LIKE NO OTHER contains plenty of dialogue and exposition explaining the lore in a very satirical way, and it was hard getting over the suspension of disbelief factor, even for someone who reads sff avidly. Even Lachlain's estate in Scotland didn't seem =real=, didn't come =alive=. One moment the estate is this expansive, well-guarded inaccessible stronghold, while the next the Valkyrie are tearing down the gate and the castle's door because they were able to trace its location from Emma's cell phone.
I found the amazon-like Valkyrie very annoying and hard to digest, always bringing up questions about the relative power of the different species in Kresley Cole's world. One moment 3 strong Valkyrie (Annika, Regin, Lucia) are having problems with a demon Vampire, the next they're this ungodly kick-butt and indestructible race of amazon women able to easily imprison Lachlain's brother and defeat Lachlain. I had to wonder why the Valkyrie aren't the dominant species here even with their lower numbers. Nix took irritability to new bounds, all-sage and loopy, like she had an answer for everything. Don't get me started on our protective Valkyrie Annika. The big and imposing Wroth appears at the end and suddenly he seems more powerful than anyone there, certainly more powerful than Lachlain's brother.
A HUNGER LIKE NO OTHER also didn't make me want to read any more of Kresley Cole's Immortal series, definitely not the next one featuring Kaderin. From the little we saw of Kaderin in A HUNGER LIKE NO OTHER, she's our obligatory cold, kick-butt heroine, and I just can't identify with that. Bowen was the most interesting supporting character in A HUNGER LIKE NO OTHER. In fact, after Emma, Bowen is the next most interesting character.
Certainly, A HUNGER LIKE NO OTHER excels in the sexy-saucy-sensual department. I did enjoy our heroine's character; Emmaline oozes sex appeal, sass and a humorous wit. There's a scene where she's walking towards Lachlain in the lobby of a hotel wearing a tight skirt, and the book describes the scene from both Emma's point of view and Lachlain's point of view. It was charged with a sexual energy that really defined the novel. If only the lore was as interesting or the plotting as engaging. But then again I guess vivid settings, captivating world building and gripping plotting aren't marquee characteristics of a romance novel anyway.
Our hero Lachlain isn't nearly as interesting as Emma, other than for his obvious size in every respect. He's been tortured and feels the emptiness of lacking his soul mate for 1200 years. As a result, his character is reduced to two aspects really: vengeful towards his torturers of a 150 years, and protective, overbearing and lustful towards his identified soulmate. The later overshadowing the former. Both aspects contain his Lykae/warewolf bestial nature, perfect for the "love" scenes, ably satisfying Emma.
All the trite elements of a paranormal genre are certainly here -- the tortured hero with a brutal past (literally), the characters all having soul mates, the hero identifying his mate yet the heroine initially reluctant to reciprocate, and plenty of blood-sucking.
The Story, possible SPOILERS.
Vampires torture Lachlain, the king of the Lykae (a species of werewolves), in the catacombs with the fires of hell draining his life only to have his immortality constantly bring him back to life for the next round of burning death. I thought there could have been more descriptions of the catacombs and the nature of Lachlain's torture without being graphic. But unfortunately, we're treated to a very perfunctory description of the setting in the catacombs and a shallow portrayal of the nature of Lachlain's torture (other than the resulting pain and building vengeance).
When Lachlain scents his One Mate - Emmaline (half Valkyrie, half Vampire) - he finds the strength to escape his incarceration and capture Emma to claim her as her mate, the woman he's been searching for close to 1200 years. The resulting chapters devolve into a pattern: Emma is thirsty for blood, Lachlain offers himself, she drinks, both get off from the experience, rinse and repeat. Her need to drink blood and sustain/heal herself is always at the forefront of the plotting from beginning to end.
They share a feral and bestial sexual experience under a full moon on his estates and she begins to settle down there after that night. The feral experience under the moon supposedly officially claims Emma as Lachlain's mate but otherwise I'm not sure of its relevance. Then her Valkyrie family suddenly arrive for her, defeating and injuring Lachlain. Shortly after the Valkyrie arrive, vampires suddenly arrive at the scene for Emma as well, but most of them get easily slaughtered by the Valkyrie. Unfortunately, Emma willingly reaches out to one of the last living Vampire there. The vampire consequently captures Emma and traces (teleports) her away to Helvita where she meets her evil Vampire father. Following Emma's capture, the Valkyrie at Lachlain's estate suddenly depart gaily and leave it up to Lachlain to find and retrieve Emma, holding Lachlain's brother imprisoned as ransom elsewhere.
I found the protracted ending unsatisfying and the devices in the plotting to arrive at that ending dumb. By the time the book finally ends, the Valkyrie are watching movies and pretending to eat popcorn merrily with Lachlain & Emmaline. I'm not sure if Lachlain didn't want to act against the Valkyrie when they wouldn't let him see a weakened Emma or really couldn't do anything against the Valkyrie even if he wanted to. I suspect more of the later. His brother was easily subdued by them afterall. And Lachlain seemed to easily forget that they held his only remaining family member (his brother) prisoner. He demands for Emma first instead.
Anyway, besides the sensual energy exuding from Emma, the book was pretty weak.
Sunday, May 13, 2007
Shadowheart, by Laura Kinsale [3]
***/*****
On the back cover, author Laura Kinsale tells her readers that she had to tell Allegreto's story, who first appeared in MY LADY'S HEART, having a will and life stronger than any fictional creation. I'm flabbergasted. I admit this is my first Kinsale novel and that I've never read MY LADY'S HEART, but SHADOWHEART belongs to Elena and rests on the strength of _her_ will, not Allegreto's. This isn't Allegreto's story, this is Elena's story with Allegreto cheering her on from the sidelines. Allegreto shows little will or determination of his own, especially compared to Elena.
I'd characterize SHADOWHEART as Allegreto's abiding submission and surrender to Elena's will and strength of character both in private and public. Similar to most romance novels dealing with the tortured-soul hero, the heroine (Elena) divests the hero (Allegreto) of everything he was or wanted to be (or thought he wanted to be), reducing him to lapdog status by the end of the book. As a side note to Elena's will and strength in ruling Monteverde, she also manages to lift the shadow on Allegreto's heart. I was disgusted by the S&M scenes, even those that didn't contain outright S&M still featured plenty of pain, Elena the giver, Allegreto the willing receiver. I'm not sure they're entirely needed, and the "love" between the hero and heroine just didn't ring true at all, considering the hero's lapdog status in the second half on the novel and his willing debasement before her during their coupling. Despite the later parts of the novel trying to show a deeper "love" between the two, I found myself cringing at the prospect of a coupling. It wasn't love, even in the end it wasn't love. The book does everything to make it seem like love and make it seem Elena cares for Allegreto, but I didn't glean any caring or love, only a twisted desire to hurt and have her pirate Allegreto fawn at her feet during S&M scenes in private and before Monteverde in public.
Such a shame. =Really= a shame because I thought Kinsale was fantastic in all other respects: solid prose, vivid settings and imagery, and a rich fabric of history which really had me captivated until the S&M started inundating us in droves and then Allegreto was reduced to a lapdog. SHADOWHEART also featured very engrossing plotting, especially for a "romance" novel. I found Kinsale's worldbuilding rivaling most accomplished adult sff worldbuilders too.
If only, if only...
SPOILERS ahead.
I would organize SHADOWHEART into a prologue and 3 acts.
The prologue begins by introducing our typical headstrong heroine Elena unlike any other woman from the historical time period, dabbling in love potions and other unseemly witchcraft. During the "prologue," we discover that Elena isn't just any low-born English maid, she's a princess from Monteverde, a rather rich Italian province now ruled by Franco Pietro of the family Riata. In a marriage alliance between the English throne via the Duke of Lancaster and the Riata, Elena is shipped over to Monteverde for a marriage with Franco Pietro of the Riata.
The first act begins and ends on the island Il Corvo, where the exiled pirate Allegreto Navona (the Raven) abducts the Princess Elena of Monteverde and forces her hand in marriage and in bed. The Navona is an ancient, powerful, yet defeated Monteverde family on its last breath with the bastard son Allegreto Navona. The Raven is at his best here in the first act, intentionally dark, mysterious and mystical. The witty banter between the Raven and Elena is also fun, Elena holding her own.
The second act brings us closer to Monteverde, first stopping in venice and then finally in the province of Monteverde, at an abandoned and broken Navona castle. The Raven plans to kill his bitter enemy Franco of the Riata and seize Monteverde for Elena and himself. For 5 years the Raven had planned an outright invasion but a severe storm throttles his fleet and now he instead plans on a more subtle, yet deadly, assassination. We're treated to a brutal S&M scene, with the Raven submitting to Elena's dominatrix desires. In a very sick and twisted way, she loves seeing the Raven so helpless, so defenseless, in agonizing pain and so debased before her. The Raven loves doing it for her! The second act ends with a fight between Franco of the Riata and Allegreto, both severely injured but surviving. Elena steps in, assumes rule of Monteverde on the strength of her blood, and has both Franco and Allegreto arrested. She doesn't want Monteverde to bleed more from the bitter Riata/Navona family rivalry and instead charts a course for peace.
The third and final act flaunts in public what the S&M scenes between Elena & Allegreto depicted in private back in the second act. I thought Elena assumed control all too easily and conveniently with a handful of bandits as a force. I was shocked the Riata do not have enough to overcome a few bandits, I mean they've been the ruling family for 5 years! Franco Pietro discovers Allegreto breeded Franco's son Matteo to hate his father, and while Matteo fosters with Elena, Franco stays his hand. In true lapdog fashion, Allegreto chooses to be imprisoned so he can guard Elena from afar since he does not trust the Riata. Both Allegreto and Franco are awed by Elena and her decisive actions. Naturally, Elena broods over being ill-suited as a child girl to rule and be in the company of men such as Franco and Monteverde's councilors. Clearly her strength is on full display as she brings both Franco and Allegreto, both the Riata and Navona to heel, and rules Monteverde in peace.
Allegreto desperately wants to be reinstated into the Holy Church so he can be with Elena in heaven if not in this life. Predictably, the wounded-soul hero has relinquished everything he is to Elena, and now only hopes to be with her in heaven. All the while, the Princess Elena shows courage, cunning and aplomb as a strong and just ruler for Monteverde, again all too easily. There exists a couple of scenes between Elena and Allegreto, with Allegreto servicing Elena adequately when she requires it. Even though the S&M isn't as outright in the third act, there's hints of pain and torture in their coupling. I had to move on as quickly as possible through these parts, funny how I dreaded the "romantic" scenes between the lead pair in historical "romance." The book attempts to paint Elena in a more compassionate and caring light in the third act, all the while trying to show her "love" for Allegreto. I didn't see it, her brutal pain offerings to Allegreto (especially from the second act) just seemed to overshadow the "love" she allegedly feels for Allegreto.
The third and final act ends with Elena risking everything to be with Allegreto. Our heroine gets everything she wants, Allegreto to love and Monteverde to rule. To the book's credit, Allegreto does seem to act out of his own volition towards the end. He's rewarded for his efforts with a new title, Guardian of the Prima's Life and Person.
If you're an S&M fan, and find "love" in it, SHADOWHEART is just for you.
The book seems to suggest that finding such S&M scenes revolting is narrow-minded. For example, when Elena's maid Margaret won't openly or otherwise reciprocate another's love (Zafer) because he isn't Christian, we're led to believe that it's narrow-minded thinking (which it is). The Church, the Pope and Christiandom play a strong role in the daily lives of this historical time period, really constricting and stamping out differing ideologies. When Elena begins to think her sadistic desires are evil, or of the Devil, we can only infer we're suppose to open our mind to such coupling as a possible form of "love."
Maybe I'm just too square and narrow-minded, because I couldn't bring myself to accept the S&M between Elena & Allegreto for anything other than the way it was described: a feral coupling of animals utterly bereft of any heart or soul, much less love. I didn't find a human connection here or anything deep in Allegreto's naked submittal to Elena's sadism. Elena engorges on inflicting pain and playing the dominatrix while Allegreto relishes in receiving it.
She's sadistic beyond belief for a virgin 17,18 year-old, and everything else she says or does that seem heartfelt or endearing (trying to prevent Matteo from killing his own father, preventing Allegreto from killing Dario, stalling her marriage proposals towards the end) are easily overshadowed by her sadism. She delights so much when Allegreto bows, bends and breaks before her. That isn't love or anything deep to me, I found it sick. But hey, that's just me.
When Elena feels Allegreto won't submit to her sadistic whims at one point during the second act (or he couldn't continue anymore), she tells him she loves him. The book describes the words Elena says to him as if someone else is saying those words for Elena, far removed from Elena herself. Upon hearing those words, Allegreto melts away before her, submitting to her completely. Maybe I just don't get it, because I didn't see these words as a sign of affection, but rather a bloodthirsty and cunning manipulation, so Allegreto would submit. Elena begins to fiercely regard the Raven as one of her possessions, what with the Raven bearing all of her brutal marks. The Raven is a happy boy scout about it though, he encourages it and willingly submits, finding his own bliss in her bloody scabbing of his body.
Love doesn't have to be forcing your partner to debase and degrade himself before you, but for Elena, she draws a cruel pleasure from it. Some may argue Allegreto's character is very deserving of Elena's sadism. I'm not so sure, Allegreto's cruelty isn't nearly on display as much as Elena's...
If not for the S&M and Allegreto's lapdog status by the end of the novel, I would have given this novel the 5 stars it deserves. But I just couldn't get past the S&M.
On the back cover, author Laura Kinsale tells her readers that she had to tell Allegreto's story, who first appeared in MY LADY'S HEART, having a will and life stronger than any fictional creation. I'm flabbergasted. I admit this is my first Kinsale novel and that I've never read MY LADY'S HEART, but SHADOWHEART belongs to Elena and rests on the strength of _her_ will, not Allegreto's. This isn't Allegreto's story, this is Elena's story with Allegreto cheering her on from the sidelines. Allegreto shows little will or determination of his own, especially compared to Elena.
I'd characterize SHADOWHEART as Allegreto's abiding submission and surrender to Elena's will and strength of character both in private and public. Similar to most romance novels dealing with the tortured-soul hero, the heroine (Elena) divests the hero (Allegreto) of everything he was or wanted to be (or thought he wanted to be), reducing him to lapdog status by the end of the book. As a side note to Elena's will and strength in ruling Monteverde, she also manages to lift the shadow on Allegreto's heart. I was disgusted by the S&M scenes, even those that didn't contain outright S&M still featured plenty of pain, Elena the giver, Allegreto the willing receiver. I'm not sure they're entirely needed, and the "love" between the hero and heroine just didn't ring true at all, considering the hero's lapdog status in the second half on the novel and his willing debasement before her during their coupling. Despite the later parts of the novel trying to show a deeper "love" between the two, I found myself cringing at the prospect of a coupling. It wasn't love, even in the end it wasn't love. The book does everything to make it seem like love and make it seem Elena cares for Allegreto, but I didn't glean any caring or love, only a twisted desire to hurt and have her pirate Allegreto fawn at her feet during S&M scenes in private and before Monteverde in public.
Such a shame. =Really= a shame because I thought Kinsale was fantastic in all other respects: solid prose, vivid settings and imagery, and a rich fabric of history which really had me captivated until the S&M started inundating us in droves and then Allegreto was reduced to a lapdog. SHADOWHEART also featured very engrossing plotting, especially for a "romance" novel. I found Kinsale's worldbuilding rivaling most accomplished adult sff worldbuilders too.
If only, if only...
SPOILERS ahead.
I would organize SHADOWHEART into a prologue and 3 acts.
The prologue begins by introducing our typical headstrong heroine Elena unlike any other woman from the historical time period, dabbling in love potions and other unseemly witchcraft. During the "prologue," we discover that Elena isn't just any low-born English maid, she's a princess from Monteverde, a rather rich Italian province now ruled by Franco Pietro of the family Riata. In a marriage alliance between the English throne via the Duke of Lancaster and the Riata, Elena is shipped over to Monteverde for a marriage with Franco Pietro of the Riata.
The first act begins and ends on the island Il Corvo, where the exiled pirate Allegreto Navona (the Raven) abducts the Princess Elena of Monteverde and forces her hand in marriage and in bed. The Navona is an ancient, powerful, yet defeated Monteverde family on its last breath with the bastard son Allegreto Navona. The Raven is at his best here in the first act, intentionally dark, mysterious and mystical. The witty banter between the Raven and Elena is also fun, Elena holding her own.
The second act brings us closer to Monteverde, first stopping in venice and then finally in the province of Monteverde, at an abandoned and broken Navona castle. The Raven plans to kill his bitter enemy Franco of the Riata and seize Monteverde for Elena and himself. For 5 years the Raven had planned an outright invasion but a severe storm throttles his fleet and now he instead plans on a more subtle, yet deadly, assassination. We're treated to a brutal S&M scene, with the Raven submitting to Elena's dominatrix desires. In a very sick and twisted way, she loves seeing the Raven so helpless, so defenseless, in agonizing pain and so debased before her. The Raven loves doing it for her! The second act ends with a fight between Franco of the Riata and Allegreto, both severely injured but surviving. Elena steps in, assumes rule of Monteverde on the strength of her blood, and has both Franco and Allegreto arrested. She doesn't want Monteverde to bleed more from the bitter Riata/Navona family rivalry and instead charts a course for peace.
The third and final act flaunts in public what the S&M scenes between Elena & Allegreto depicted in private back in the second act. I thought Elena assumed control all too easily and conveniently with a handful of bandits as a force. I was shocked the Riata do not have enough to overcome a few bandits, I mean they've been the ruling family for 5 years! Franco Pietro discovers Allegreto breeded Franco's son Matteo to hate his father, and while Matteo fosters with Elena, Franco stays his hand. In true lapdog fashion, Allegreto chooses to be imprisoned so he can guard Elena from afar since he does not trust the Riata. Both Allegreto and Franco are awed by Elena and her decisive actions. Naturally, Elena broods over being ill-suited as a child girl to rule and be in the company of men such as Franco and Monteverde's councilors. Clearly her strength is on full display as she brings both Franco and Allegreto, both the Riata and Navona to heel, and rules Monteverde in peace.
Allegreto desperately wants to be reinstated into the Holy Church so he can be with Elena in heaven if not in this life. Predictably, the wounded-soul hero has relinquished everything he is to Elena, and now only hopes to be with her in heaven. All the while, the Princess Elena shows courage, cunning and aplomb as a strong and just ruler for Monteverde, again all too easily. There exists a couple of scenes between Elena and Allegreto, with Allegreto servicing Elena adequately when she requires it. Even though the S&M isn't as outright in the third act, there's hints of pain and torture in their coupling. I had to move on as quickly as possible through these parts, funny how I dreaded the "romantic" scenes between the lead pair in historical "romance." The book attempts to paint Elena in a more compassionate and caring light in the third act, all the while trying to show her "love" for Allegreto. I didn't see it, her brutal pain offerings to Allegreto (especially from the second act) just seemed to overshadow the "love" she allegedly feels for Allegreto.
The third and final act ends with Elena risking everything to be with Allegreto. Our heroine gets everything she wants, Allegreto to love and Monteverde to rule. To the book's credit, Allegreto does seem to act out of his own volition towards the end. He's rewarded for his efforts with a new title, Guardian of the Prima's Life and Person.
If you're an S&M fan, and find "love" in it, SHADOWHEART is just for you.
The book seems to suggest that finding such S&M scenes revolting is narrow-minded. For example, when Elena's maid Margaret won't openly or otherwise reciprocate another's love (Zafer) because he isn't Christian, we're led to believe that it's narrow-minded thinking (which it is). The Church, the Pope and Christiandom play a strong role in the daily lives of this historical time period, really constricting and stamping out differing ideologies. When Elena begins to think her sadistic desires are evil, or of the Devil, we can only infer we're suppose to open our mind to such coupling as a possible form of "love."
Maybe I'm just too square and narrow-minded, because I couldn't bring myself to accept the S&M between Elena & Allegreto for anything other than the way it was described: a feral coupling of animals utterly bereft of any heart or soul, much less love. I didn't find a human connection here or anything deep in Allegreto's naked submittal to Elena's sadism. Elena engorges on inflicting pain and playing the dominatrix while Allegreto relishes in receiving it.
She's sadistic beyond belief for a virgin 17,18 year-old, and everything else she says or does that seem heartfelt or endearing (trying to prevent Matteo from killing his own father, preventing Allegreto from killing Dario, stalling her marriage proposals towards the end) are easily overshadowed by her sadism. She delights so much when Allegreto bows, bends and breaks before her. That isn't love or anything deep to me, I found it sick. But hey, that's just me.
When Elena feels Allegreto won't submit to her sadistic whims at one point during the second act (or he couldn't continue anymore), she tells him she loves him. The book describes the words Elena says to him as if someone else is saying those words for Elena, far removed from Elena herself. Upon hearing those words, Allegreto melts away before her, submitting to her completely. Maybe I just don't get it, because I didn't see these words as a sign of affection, but rather a bloodthirsty and cunning manipulation, so Allegreto would submit. Elena begins to fiercely regard the Raven as one of her possessions, what with the Raven bearing all of her brutal marks. The Raven is a happy boy scout about it though, he encourages it and willingly submits, finding his own bliss in her bloody scabbing of his body.
Love doesn't have to be forcing your partner to debase and degrade himself before you, but for Elena, she draws a cruel pleasure from it. Some may argue Allegreto's character is very deserving of Elena's sadism. I'm not so sure, Allegreto's cruelty isn't nearly on display as much as Elena's...
If not for the S&M and Allegreto's lapdog status by the end of the novel, I would have given this novel the 5 stars it deserves. But I just couldn't get past the S&M.
Rules of Seduction, by Madeline Hunter [5]
Five-star Material, without a doubt
*****/*****
Also my first Madeline Hunter novel, and it slowly but surely sneaked up on me because it is the first "romance" novel I've read which I consider 5-star material.
The characterizations seemed poignant and strong, the plotting and romance meshed seamlessly, the prose was deliberate yet eloquent, the settings and imagery vivid almost dripping from the book into your room, the romance realistic, and of course true to the romance genre, the ending very satisfactory despite the real and gritty nature of the romance itself. The supporting cast of characters exhibited shades of gray, which I also appreciate. I have nothing but praise for Madeline Hunter's story and writing, which I consider top-notch, but interestingly enough, the characters, story, settings and imagery are all =captivating=, and overall, very =enjoyable=.
A rare combination: critically top-notch yet enjoyable at the same time.
The Story, possibly spoilers.
RULES OF SEDUCTION begins with our tall, dark and handsome Lord Hayden Rothwell casting a "shadow" on the Longworth home where a destitute yet strong-willed Alexia Welbourne lives, her Longworth cousins having taken her in after Alexia's own family is ruined. Hayden invades the Longworth home after Hayden discovers evidence of Timothy Longworth's embezzlement in the Darfield and Longworth Bank, a bank Hayden's wealthy family has invested in. Instead of removing his family's fortune from the bank and consequently thoroughly impoverishing the Longworths and destroying the bank, Hayden instead evicts Tim Longworth, his 2 sisters and Tim's cousin Alexia from their home and only partially ruins them. He doesn't disclose the embezzlement evidence which would take Timothy Longworth to the gallows, and leave his two sisters and cousin shamed, abandoned.
Timothy Longworth however is outraged at Hayden despite Hayden's leniency. Timothy Longworth prevaricates to his sisters and cousin Alexia that Hayden removed his family's fortune from the bank and Hayden is responsible for ruining the Longworths. Hayden is honor-bound not to refute Longworth's deception and bring to light Timothy's embezzlement which would not only kill Timothy but permanently shame his sisters and cousin. Alexia slowly but surely builds an unwarranted animosity towards Hayden because of Timothy's lies, and finds herself again without a home or protection as the Longworths can no longer support her. Alexia is very bitchy towards Hayden, but Hayden slowly but surely breaks down her defenses.
The story takes off there as Hayden honorably attempts to assuage Alexia's untenable position after the Longworth demise, while Alexia desperately tries to maintain her enmity towards Hayden. Hayden is intrigued by Alexia's quick mind, sharp tongue and brutal honesty. While Hayden is described as a rich, handsome man, Alexia is described as a very ordinary woman, plain-looking, not necessarily beautiful. Hayden however finds himself drawn to her and Alexia just can't seem to resist Hayden's advances.
Another character's shadow unfortunately haunts our leading pair forming the link between them: that of Benjamin Longworth, Timothy Longworth's older brother, Hayden's friend, Alexia's love. When Benjamin drowns on his way home from a war, Hayden blames himself that he couldn't do more since he was on the same ship and spoke to Ben last. Whereas Hayden is dark, austere and calculating, Benjamin is described as flamboyant, sanguine and smiling.
Benjamin & Hayden are polar opposites and Alexia's journey of love from the bright Benjamin to the dark Hayden comprises the crux of the story.
After a moment of weakness over reading Ben's love letters and discovering of another woman in Ben's life, Alexia grieves, and Hayden is there to lend a comforting hand. After Hayden's unintentional seduction, the rules of seduction are laid out, and Hayden propositions to marry a stunned Alexia, who only expects a status of mistress, not wife. Similar to Hayden, Alexia is very practical and cannot afford to flaunt her pride or wait for love, she accepts her relationship to Hayden for nothing more than a sexual desire and abandons her little girl's dreams of true love. Little does she know...
Even though most romance novels belong to the heroine and her plight, this novel belongs to the character of Lord Hayden Rothwell. Not to take away anything from Alexia, but a cold and calculating Hayden learning to love Alexia and fight for her at the end really represents the heart of the novel.
I only have one complaint: the love scenes are too often described as an analogy, very allegorical. Often the allegory supersedes who is doing what in the love scene.
Overall though, this book is 5-star material without a doubt, and I look forward to reading other Madeline Hunter novels.
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