The Serpent Prince, by Elizabeth Hoyt [2]

**/***** (2/5)

With THE RAVEN PRINCE's (****) Edward de Raaf, THE LEOPARD PRINCE's (****) Harry Pye and finally THE SERPENT PRINCE's Simon Iddesleigh, Elizabeth Hoyt's heroes evince some of the most unconventional yet compelling guy-characterizations I've ever read in this genre. These are believable, passionate guys in love, not just rich, handsome, pining cartoon pimps to service the virgin heroine. Probably the best of any virgin-heroine-saving-the-tortured-soul routines I've read, THE SERPENT PRINCE paints the wounded story of Viscount Simon Iddesleigh's quest for revenge. Originally introduced in THE RAVEN PRINCE, we know Simon is an expert swordsman, and an accomplished duelist. Although I generally don't go for the virgin-heroine-rescuing-the-tortured-soul routines, that's not what I didn't like about THE SERPENT PRINCE. Thankfully, there were no ultimatums here and no emasculating the hero at the end like so many tortured-soul-revenge stories in romance. In fact, this was the darkest, most believable tortured soul/revenge stories I've read in romance, and better than Madeline Hunter's THE SEDUCER (**). Unlike Hoyt's prior two novels however, THE SERPENT PRINCE was mostly a *yawn* for 250-275 pages in this 362-page paperback. I also thought the settings and prose declined from THE LEOPARD PRINCE, but the disappointingly boring plotting and pacing may have contributed to the weak prose and settings.

I liked the characters, and again their interaction and passion is mutually giving which I always enjoy in Hoyt's stories. Hoyt isn't afraid to let her heroines grab their heroes by the balls, so-to-speak. Unfortunately, THE SERPENT PRINCE's profligate, handsome hero and virginal, sweet heroine dutifully mimics romance genre's strictures for the h/h (more so than Hoyt's characters from prior novels). Other than the h/h, I also liked one of our antagonists, Sir Rupert Fletcher. His characterization was unique, and although I didn't agree with him, I found myself understanding him. He is the perfect gray character, and I do like ruthless realists.

If [Sir Rupert Fletcher] could, he would've lied; he made no bones about it. He'd found that deception was often the best way. More often than not, people wanted to be lied to; they didn't like the truth. How else to explain why they fell for lies so quickly?

Since we don't learn the complete background behind Simon's plight for revenge until 275 pages into this novel, it was difficult to get behind his revenge. The book describes a convincing tale of a man who truly loses a part of his soul with each duel and each kill. We desperately wanted to see Simon drop the revenge for his heroine Lucy even though Lucy didn't lay down any such ultimatums. Once we learn the full import of Simon's revenge, we finally begin to understand his demons, his rage, and his helplessness. But by this point, it's late in the novel, and we're rooting for him to give it up. Thankfully, love doesn't handicap Simon like so many other romance novels, and actually empowers him to redouble his efforts.

Like Hoyt's prior two novels, THE SERPENT PRINCE is very sensual. She never disappoints in that department.

The Story, possible SPOILERS.

Country-bred Lucy Craddock-Hayes astonishingly chances on a naked man in a ditch near her home in quiet Maiden Hill. Leading a quiet life and being courted by a handsome vicar for two years, this naked man suddenly upends her simple life. After discovering he isn't actually dead, Lucy takes the naked man to her home for his convalescence. The tall, dark and handsome man turns out to be none other than the Viscount Simon Iddesleigh. Simon and Lucy enjoy some spicy, enjoyable exchanges early in the novel. Each intrigues and ignites the passion of the other.

In the midst of his quest for cold revenge, Simon Iddesleigh finds that Lucy incites something in him beyond passion: a hope for redemption and salvation. Simon has already dueled and killed two men responsible for his older brother's death and he has only two to go. When attempts on Simon's life place Lucy in danger, Simon quickly leaves Maiden Hill to return to his town home in London. Simon's foray in Maiden Hill leaves Lucy bereft and after two years of waiting for the vicar's marriage proposal, she rejects it. Simon is equally empty and probably moreso given his inner demons . He returns to Maiden Hill to propose marriage. Lucy is thrilled, and accepts.

The Viscount and Viscountess return to London, and Simon continues his plot for revenge. Simon desperately makes love to Lucy as if it's their last time. Lucy wants Simon to stop dueling but Simon cannot rest until his brother is avenged. Simon doesn't reveal all the reasons behind his dueling until much later and though Lucy asks for it many times, Simon changes the subject. If you're looking for a rosy tortured-soul-hero-bent-on-revenge romance story where the heroine conveniently lays down the ultimatum (her or the revenge) which ultimately releases the hero from his tortured plot for revenge, this isn't it. Lucy does save Simon from his tortured plot for revenge and from his inner demons, but not before his vengeance runs its course. There's some tense moments at the end, and the impact of the tortured soul really resonates here.

Again, one of the most grittiest, realistic revenge stories I've read in this genre. I thought the background behind Simon's reasons for his revenge should have been revealed much earlier. Between Foley's DEVIL TAKES A BRIDE (***), Hunter's THE SEDUCER (**) and Hoyt's THE SERPENT PRINCE, all dealing with the hero's tortured plight for revenge, this is one of the better ones. Certainly better than Medeiros' awful THE BRIDE AND THE BEAST (*) which emasculates its hero.

The Leopard Prince, by Elizabeth Hoyt [4]

****/***** (4/5)

Elizabeth Hoyt's stories are quickly becoming a delight to read, and THE LEOPARD PRINCE follows THE RAVEN PRINCE very satisfactorily, albeit just a notch below THE RAVEN PRINCE. Hoyt sprinkles the right touches of a heart-felt romance, humorous wit (real wit), frenzied passion, a relatively engaging plot and unconventional, well-developed characterizations. Settings are stronger in this book, with the rain, the smells, and the lavish estates. Unlike THE RAVEN PRINCE, I thought THE LEOPARD PRINCE dragged a bit in the second half though, especially after Harry Pye's recuperation from the beating. Still, the ending was grand; unique, hilarious and pleasantly trite all at the same time. Like Julia Quinn's endorsement on the front cover, I really didn't want THE LEOPARD PRINCE to end.

I found the combination of an ordinary, average-of-height hero finding love with a spinster, a wealthy heroine very refreshing to read about. Our 30 year-old hero is a lowly but street-smart land steward while our 28 year-old heroine is an earl's sister but the head of her family's finances, the lone benefactor of a wealthy aunt's bequeathed vast fortune and estates. The obstacles our leading pair must surmount to be together is greater than most; the hero is not only much poorer (though he's done well for himself), but also from a lower class.

Similar to the slight discourse on feminism in the beginning of THE RAVEN PRINCE, I thought the brief railing against hierarchal society detracted from hero's strength of character and the story in general suffered because of it. I didn't think hero Harry Pye as one to mope around over the unfairness of life and aristocracy. Thankfully the book doesn't dwell on the subject.

I thoroughly enjoyed the way Hoyt weaved the story of the The Leopard Prince as the story within the story, very much akin to her previous novel.

The Story, possible SPOILERS.

Twenty-eight year-old Lady Georgina "George" Maitland, an earl's sister and the sole benefactor of vast fortunes and estates, exhibits a sparkling wit, and a hilarious innocence. She's on her way to her estate at Woldsly Manor as per her 15 year-old sister Violet's request. The book describes George's striking ginger hair at length, but she isn't a stunning beauty by any stretch of the imagination.

I loved the way Hoyt relates our heroine George's innocence in matters of passion and love in the beginning. I found George's wit and humor over her innocence regarding matters of lovemaking very refreshing and, ironically enough, mature. The satirical humor lent the whole virgin experience in a very humorous yet passionate light. Of course George exhibits a very witty humor in general, one I suspect stems from Elizabeth Hoyt.

George's land steward Mr. Harry Pye accompanies George to her estate, a wound-up man, reticent in manner and speech, not to mention all too proper. George pokes some fun in her musings to herself at Harry's very phlegmatic demeanor, Harry the unknown recipient of George's humorous gibes. Harry returns her carefree fun with some straight-faced sarcasm of his own. Harry Pye is average all around, both in looks and height. However, he possesses a hidden, overpowering physical strength and absolutely devastating emerald eyes.

On their way to George's estate, the carriage overturns in the midst of a torrential downpour and Harry & George spend the night at a dilapidated cottage nearby, hailing the onset of a very passionate yet funny romance.

While riding the following day, George & Harry observe some dead sheep from poisoning on a neighboring estate owned by Lord Granville, our proverbial villain. Once at Woldsly Manor, George's sister Violet reveals rumors implicating Harry Pye in the sheep poisonings. More details surface of a mutual enmity between Lord Granville, whose lands currently suffer from the sheep deaths, and Harry Pye. I found this plotting with the sheep poisoning a weak backdrop to our story, though curious enough to hold my interest. For all of Harry's investigation over the poisoning conspiracy, it didn't seem like he got anywhere until they spoke to the wizened Granville nanny, Mistress Humboldt. The entire investigation was boring not to mention unproductive.

The investigation did provide an excuse for our leading pair to spend more time together though, and George's claim to Harry's "maleness" was funny, not to mention very passionate. At one point, George blurts out she'd like to see a naked man once.

I didn't mind the torture scene after Granville captures Harry. I thought that was very empowering to read about -- Harry enduring the beatings showed much more strength than a heavily-muscled, chiseled hero from common romance novels.

THE LEOPARD PRINCE belonged to...? I'd say both George and Harry equally share possession of the novel, and though Harry had more of a mysterious background, George had more flair, more panache. I really liked the ending, and it didn't seem to unman our hero as other romance novels often do; ironically enough, our lowly, average steward seemed much stronger in character and spirit than most tall, dark and handsome heroes which pine and wilt before the heroine and her whims in so many romance novels.

Another very fun, enjoyable novel and wow, Elizabeth Hoyt is on fire!

The Raven Prince, by Elizabeth Hoyt [4]

****/***** (4/5)

A very enjoyable read, even though it is a bit heavy on the sensual/erotica side. I was close to giving this book 5 stars, but it seemed a bit lacking in the plotting / vivid settings and bit too heavy in the love scenes for me to give it the 5 stars. I prefer a novel in which the descriptive actions and settings is on equal footing with the banter, the dialogue; however, the banter and conversation overshadows the action and settings in THE RAVEN PRINCE.

Still, THE RAVEN PRINCE is too sweet, too fun to really dislike, even if the sensual passion and dialogue seem to reign supreme. Also, there's a bit of a discourse on feminism in the beginning of the novel which I really didn't care for.

I was surprised to read a novel which seemed to get stronger and stronger the more you read it. I was actually having the most fun in the second half of THE RAVEN PRINCE. The story within the story about the fairy tale titled The Raven Prince which gives the book its title was also very endearing.

Like most romance novels, the heart of THE RAVEN PRINCE belongs with our heroine Anna, as she breaks all social barriers and goes to whatever lengths necessary to claim her man.

The Story, possible SPOILERS.

Near-destitute thirty-one year-old Lady Anna Wren, widowed for 6 years, lives with her mother-in-law and seeks employment to improve her impoverished conditions. Although unbecoming of a lady, Anna reasons that it's better to take a hit in status than not live at all. This constitutes the first of many steps Anna takes to break out of her lady-like shell.

Enter our tall, dark, broad-shouldered and unforgivably rich Earl of Swarthingham, Lord Edward de Raaf. Known for his ugly visage due to his pox scars and rueful temper, he's chased away the last two secretaries and it falls on his pitiful and mercy-worthy steward Mr. Felix Hopple to find one in a day. Anna is at the right place at the right time, and though unheard, Mr. Hopple agrees to take on Lady Anna as the earl's secretary.

After Edward meets Anna as his secretary, tempers and passions flare and the story takes off from there. When Anna learns Edward plans to travel to London to satisfy his manly needs, she follows him and meets him at a stylish bordello as a masked temptress. When Edward finally discerns the identity of the masked temptress who seduces him for two nights in a row, the story couldn't get anymore fun.

My biggest complaint...

Not surprisingly, the range of depth in our heroine Anna's characterization far outshines that of our hero. It seemed all too easy to simply just kill off everyone from Edward's past life, his parents, his sister, his brother, his wife and his stillborn child. After Edward shares how his wife and child died, it came to a point like... c'mon enough already, okay, he has a tortured, wounded past, we get it already! I did appreciate how Edward wasn't a reputed libertine, and actually tries to make something of his estate before Anna. Still, Anna's characterization seemed far more interesting and realistic and Hoyt spends much more time with her obviously. Her desire and need to bear a child she couldn't with her first husband was poignant.

Despite Edward's egregious and fulsome wounded past, traces of feminism in the beginning and a little too much of erotica, the book settled on an enjoyable pace, ending very satisfactorily.