Lady of Sin, by Madeline Hunter [1]

*/***** (1/5)

Only those moments featuring the mystery plot with the orphaned boy Harry engaged my interest in LADY OF SIN. The rest of this book contained way too much repetitive introspection and inane thoughts mixed in with the "romantic" exchanges that quickly evaporated my attention span. More than ever, I noticed endless paragraphs of insipid, meandering introspection interspersed between the conversation. I often lost the thread of both the thoughts and the conversation and I didn't care to pick up either of them actually. The romance was lackluster, the pacing awfully slooooooow, the plotting (regarding an orphaned boy's parentage) too sparse, Charlotte too selfish and shallow, and Nathaniel too weak and forgettable. Charlotte really doesn't have a leg to stand on, her self-serving interests aim to preserve her social status and her family's social status in British aristocracy at the expense of an orphaned boy's potential birthright (who lived in poverty). As many times as the book would have us believe Nathaniel an "honorable" man, it's really too easy him to sever the orphaned boy from his birthright or to forget justice for murder (the boy's mother) all in exchange for sex with Charlotte. As much as the book would likes to describe the depths of the emotional connection between Charlotte and Nathaniel (same idea repeated using different words over and over), it still just seemed like meaningless sex (nothing wrong with that really). The sex scenes suffered from all the repetitive introspective musings that forced an emotional connection between the h/h. Extraneous events continued from prior books (THE SINNER, THE ROMANTIC) plague this one such as the birth of Dante's child and Pen's wedding. Seeing Pen and Julian finally wed was actually nice, though would have been much nicer to see it through Pen or Julian's eyes. I kept wanting to see Adrian Burchard from THE CHARMER, but alas, he isn't part of the Duclairc family. I disliked the resolution of this novel too: I found it too tidy while selfishly skewed towards Charlotte's interests. I don't feel Nathaniel did enough to prove (or disprove) the orphaned boy's possible legitimacy.

Who does this book belong to? Definitely Charlotte, because although Nathaniel begins the investigation, he bows out early and often because of the sex with Charlotte. It's Charlotte who compels Nathaniel to see it through. The Lady of Sin title seemed a misnomer though, she's pretty bland and the one night of scandalous sex she has occurs prior to this book. She's a lady that values her social status above truth, justice or honor. So in that way, I suppose she's sinful, but not in the promiscuous sense.

This book likes to keep telling its readers how things are instead of showing us. The book likes to keep telling us Charlotte and Nathaniel hate each other when every indication in this book seems contrary to these assertions. The book likes to tell us Charlotte and Nathaniel share a deep, emotional connection (again and again in many different words) but again I found no emotional link between the two. The book likes to tell us how clever Charlotte is but some of the things she deduces has less to do with brilliance and more to do with common sense. The book likes to tell us how honorable Nathaniel is and how he pursues truth and justice but I found all of his actions in this book contradictory to this characterization.

Why does Nathaniel wish to abandon his quest for the truth behind the boy Harry's parentage after sex with Charlotte? He's really a weak character, and no, it doesn't show that he somehow "loves" Charlotte because he's willing to abandon the truth after what the book tell us is an emotional and physical high with Charlotte. It shows he's fickle, he lets his groin guide him, and that he's completely whipped. It should be about right and wrong, but instead he's willing to accommodate Charlotte (he spent the night giving Charlotte pleasure) because uncovering a secret behind Harry's true parentage would uproot Charlotte's family. Doesn't he care about the truth or doing the right thing? After a village shows no sign of the woman Jenny (who knows more about the boy), he has a "spry" step and he's happy that there's no sign of the woman who could tell them more about the boy Harry! Oh my god, please, if he wasn't remotely whipped before, he is now. He's wants to accommodate Charlotte's wishes after she allows him to pleasure her all night, and he wants to retreat from the truth or flee from doing the right thing in exchange for sex with Charlotte (because any potential truth could create a chasm between Nathaniel and Charlotte). Later, when Charlotte discovers the full truth, Nathaniel offers Charlotte comfort and pleasure and resolves to never speak of it again (because it upset Charlotte so much). Was the sex good enough to deny a boy his true birthright or to dig deeper behind it? Nathaniel's consistent answer to all their roadblocks: oh yeah, let's just have more sex, push off the difficult choices for later! I don't view any of these cowering retreats from truth and justice in Nathaniel as noble, and they're bartered with sex from Charlotte. Look at STEALING HEAVEN's Marcus: he found a way to be with Nesta and avoid open rebellion from the Welsh. Marcus and Nesta's contradicting wishes and their mutual passion didn't effeminate Marcus like it does LADY OF SIN's Nathaniel.

Charlotte is one annoying, shallow, selfish, snide heroine. There isn't a single quality -- with the possible exception of appearance -- to recommend her. And not really appearance either because she's "ethereal" through Nathaniel's eyes while Nathaniel is "handsome" through her eyes (over and over). Don't you love how romance heroes are so deep while their heroine counterparts fairly single-minded over height, muscles and handsome appearance? LADY OF SIN reminded me again of this ploy in the romance genre; that is, making the heroes deep and above appearances while the heroines very superficial. Charlotte wishes to protect her family from what she perceives are "scandalous lies" despite the possible authenticity of the "lies." She spurns any truth that would denigrate her reputation and her family's reputation. In fact, she's proud that amongst her family (her two brothers, and her older sister Penelope from THE ROMANTIC), only she is invited to all of the esteemed social circles. Amongst her family, she notes only her name and reputation maintains high standards for self-righteousness and eludes social censure. She values social status over truth or doing the right thing. When evidence finally indicates a legitimate and as yet unknown heir (not Ambrose the child she loves), Charlotte grieves that her life will be ruined. Cry some more, Charlotte? What, will she have to live in poverty? Will the child she loves (Ambrose) not know a comfortable life? None of this, she's genuinely more concerned about her social status and her family's social status than the truth and bestowing another child his rightful inheritance. Another child (Harry / Jose / Joseph) that has only known strife, poverty and hardship. Another child that has no family or real home. And here is our heroine Charlotte only concerned about herself. She even considers whoring herself to Nathaniel to ensure his silence, which she essentially does anyway since Nathaniel is so whipped he's willing to deny a boy's birthright in exchange for sex with Charlotte. Charlotte's "ghosts from the past" after she (and we as the reader) discover the full truth are lame and the very fact that she struggles with them unwarranted.

The emotional melodrama Charlotte suffers over the potential loss of her happiness if another child earns his rightful title and inheritance was beyond absurd and very frustrating to read. Not like she's been living a joyful and fulfilling life all this time because if that were the case, she would not have ventured to an orgy party (off-screen and prior to LADY OF SIN). Nathaniel was too eager to abandon his quest for the truth after sex with Charlotte.

All in all, poor characterizations, subpar plotting and pacing and below average prose. The best part of this novel? The preview to THE RULES OF SEDUCTION (*****), which I'll have to read again at some point.

The Romantic, by Madeline Hunter [4]

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

1. The Seducer (**)
2. The Saint (*)
3. The Charmer (****)
4. The Sinner (SKIP)
5. The Romantic (****)

Madeline Hunter's dark, strong and silent heroes continue to enthrall in the final installment in this series on the Dueling Society. Unlike THE CHARMER (which belonged to its heroine), this novel thoroughly belongs to its tall, dark, handsome and silent hero who is a romantic at heart: Julian Hampton. A solicitor by profession and lacking the title and wealth of other romance heroes, Julian Hampton's pithy and succinct eloquence shields a poetic, romantic heart that yearns for the woman he's loved since he was a youth. From the amusing letters he's conjuring to write to the happily-married ladies who thrust eligible ladies at him, Julian exudes a sly sense of humor. The eligible ladies fail to excite him however because for all of his teenage and adult life, Julian Hampton's heart surreptitiously aches for Penelope, the notorious Countess of Glasbury and Viscount Leclere's sister (from THE SAINT). THE SEDUCER and THE SAINT builds the foundation for Julian and Penelope's story here in THE ROMANTIC. Although THE CHARMER features the best historical backdrop, THE ROMANTIC contains the strongest plotting and pacing of the series, engaging me and surprising me even as I predicted other elements. There's suspense, adventure, murder, a trial, whodunit mystery, and of course, romance and passion. I was thankful that even though Julian yearns for Penelope his whole life, the book avoids the copious pining and repetitive introspection which would take away from his character. One thing you have to love about Madeline Hunter's characters and stories: her stories offer more historical backdrop and plotting than the average romance book while her characters are doing something beyond seeking and having sex. Here, Penelope is very proud of authoring a piece on married womens' rights.

THE ROMANTIC is probably the darkest book in the series as well. Penelope isn't a virgin and she's married: separated from her husband, the earl of Glasbury, who engages in sordid sexual activity including BDSM. Penelope's notorious reputation, Julian's angst over Pen's affairs following her separation with the earl, Pen and Julian's advanced age (both are 'old' for romance stories) and the reprobate earl's insidious designs all make for a dark read. I found some of the early, seductive interaction between Julian and Penelope a bit jarring. I think the book tried to build chemistry by making Pen feel for Julian early but it didn't seem to fit. For instance, after returning from Naples and faced with the terror of returning to the depraved earl, Julian comforts Pen in his strong but silent manner with a hand-to-hand touch or a squeeze on her shoulder. These subtle touches sends shivers of anticipation through Pen, and it didn't fit after all these years. This is the first time she's noticing Julian in such a manner? Why, all of a sudden now, I mean she's known Julian her whole life, right? Sleeping next to Julian's room and taking a bath in Julian's cottage all seem to force the sensuality between the two too early as Pen enjoys the delicious seduction. Still, I enjoyed Julian's angry reaction to Pen's list of potential conspirators in a public affair to force the earl to divorce her. She leaves out Julian as a potential candidate, and he's furious.

Another thing you have to love about Madeline Hunter's stories: both the hero and heroine end up giving to each other in love. The giving and loving is mutual. As much as Julian protects and loves Pen his whole life, Pen helps him and takes care of him at the end. You could tell she's really awed by the depth of his love and loves him in kind. She did seem too ignorant of the depth of his love though, always making excuses for his loyal protection and love earlier. When she still couldn't surmise the recipient of Julian's unsent love letters during the trial at the end, her ignorance started to grate. However, Pen's ignorance added to the drama and tension in the plotting. I would have hoped the book made Pen's ignorance of Julian's profound love deliberate on her part. Like she knew subconsciously the depths of Julian's love for her but couldn't face it because she felt she was unworthy or she was afraid to believe in it. Alas, there's no such admission, she simply says she had no idea and that she's honored by Julian's lifelong love for her. Despite her persistent ignorance, I did feel Pen deserved Julian. It's clear Pen is very compassionate always abandoning her interests for the sake of others'. Pen says she married Anthony because he was an earl and she was young and stupid but that wasn't the complete picture. I couldn't abide Pen marrying the earl in the first place, but then we learn financial straits handicapped Pen's family during her first season. The earl of Glasbury's generous offer compelled Pen to accept and she later convinced herself that it was her fault. Then after separation, she avoided outright confrontation with the earl because she wants to shelter her family from scandal as much as possible. Yes, I think Pen is very deserving of Julian's undying love and devotion. I could understand Julian's love for Pen since they grew up together and Julian witnessed first-hand Pen's compassion serving as her family's solicitor.

The Story, possible SPOILERS.

After a comfortable separation between the earl and countess of Glasbury lasting many years, the earl desires to sire an heir off the countess, Penelope. The reasons which previously checked the cruel earl's hand no longer matter seem to matter to him, and he demands his conjugal rights as a husband and master of his wife. The earl is, after all, well into his 40s while the countess Penelope well into her 30s. The earl harbors a cruel streak in sex as he enjoys inflicting pain and subordinating his sexual partners. A virginal Penelope didn't know any better at the beginning of her marriage, and finally flees after witnessing the earl's horrible treatment of another child. She divulges the worst to her friend and solicitor Julian Hampton. We know from THE SEDUCER that Hampton secured a permanent separation for Penelope by threatening to reveal the worst of the earl's twisted pleasures. Now, years later, the earl wants her back to sire an heir and no revelations of his sordid depravities will check him. English law bestows all the rights in marriage to the husband, especially an aristocrat, and Penelope has no choice but to run for her life.

Penelope runs straight to Julian Hampton like she did before and Julian promises to protect her from the earl. They retreat to Julian's rustic cottage but eventually the earl discovers Penelope's whereabouts. They again flee, this time to meet the one witness who could convince society that the earl has wronged Penelope. When they find the witness deceased, Penelope feels she has no choice but to flee the country and travel to America. Julian eventually convinces her to face the problem head-on and make a choice for herself instead of trying to protect her friends and family. Both decide to engage in a very public affair of convenience, hoping to incite the earl to file for divorce.

The story grows and evolves with twists and turns, getting stronger the more you read it. Pen's strife to escape the earl meshes with her burgeoning feelings for Julian. In the end, the varying elements of suspense, mystery, love and passion manage to entertain and engage.

The Charmer, by Madeline Hunter [4]

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

The Dueling Society Series
1. The Seducer (**) - Daniel
2. The Saint (*) - Vergil
3. The Charmer (****) - Adrian
4. The Sinner (SKIP) - Dante
5. The Romantic - Julian

I was charmed by Hunter's 3rd installment in this Dueling Society series entitled THE CHARMER; finally a story in this series I can get behind! Although the inspiration for this novel lies with Adrian Burchard, THE CHARMER soundly belongs to his heroine Sophia Raughley, the new Duchess of Everdon. Remarkably, provisional laws granted by British royalty allows a daughter to inherit the Dukedom of Everdon after sons. Following the death of Sophia's cruel father, Sophia now comes into Everdon's title and vast estates. Only Sophia doesn't want any of it. THE CHARMER contains by far the strongest historical backdrop in this series and I always appreciate a story which offers more than the run-of-the-mill romance. Reform over aristocracy's power in the English Parliament entangles the new Duchess as each side of the Reform movement vies for Everdon's power over its 12 elected M.P.'s in the House of Commons. Everdon also holds a vital seat in the House of Lords and although the Duchess cannot sit in the House of Lords, the one she marries can.

Like most of Hunter's novels, the book is emotionally charged. Sophia's demons and tortured history take center stage and Adrian mitigates Sophia's journey from the frightened girl constantly running away to a woman who finally assumes responsibility and gives in love. Since THE CHARMER gradually reveals Sophia's demons, at first I found myself disliking Sophia who just seemed like a spoiled brat. But I found myself doing a 180 on her by the end of the novel as I grew to empathize her after learning of the treatment she receives from her father and her struggle with her tremendous guilt (over her brother and betraying reform activist Captain Brutus). It's a tribute to Hunter's writing and plotting that compels the evolution of the reader's opinion of a character along with the character. As for Adrian, I truly treasure Hunter's heroes like Adrian Burchard because even though he isn't the notorious rake of every other romance novel, he makes a substantial impact and the story wouldn't work if he didn't push Sophia at every step. He's dark, and unlike heroes who command a room when they walk in it, Adrian's power lies in the background since he's an accomplished spy. I always enjoy Hunter's heroes who aren't born into title and wealth. The prose is excellent, the characters poignant (especially Sophia), the h/h chemistry evident and I found the plotting and pacing equal parts political, witty, engaging, comical and suspenseful. THE CHARMER is the first book in this series from which the meticulous setup from the previous two novels finally hits home. I don't have too many complaints with this novel, and it's worth a re-read actually.

The Story.

After the Duke of Everdon passes away, the Iron Duke, the Duke of Wellington, dispatches his protege Adrian Burchard to fetch Everdon's errant daughter, the new Duchess of Everdon, Sophia Raughley, from Paris. Wellington and other members of the aristocracy along with the King of England require Everdon's vast influence to defeat a hotly-contested Reform bill currently in the House of Commons. Seven years ago, 29 year-old Sophia Raughley escaped her home, country and father following very traumatic events to while away in leisure and comfort in Paris. Adrian boldly a enters a staged harem scene in Sophia's home in Paris and whisks away a foxed and scantily-clad Sophia from further debauchery. Great, Adrian thinks, he has to deal with a debauched duchess and force her to accept a responsibility she renounces. Adrian perseveres however and after some fun games of wit and clashing of wills, Sophia finds herself back at Everdon's seat in Marleigh and suddenly visited by the King of England, the Duke of Wellington and other key members of the aristocracy. Wellington's political party - the Toreys - want Sophia to direct her subordinate boroughs to vote against the reform currently in the House of Commons while a prior amorous acquaintance, the radical Captain Brutus, threatens Sophia to support the reform. Wellington also wants Sophia to marry Gerard Stidolph according to her late father's wishes.

She's torn from both sides of the reform bill, she's haunted by demons from the past, and the King and Wellington want her to marry someone whom she despises. In the midst of it all, Adrian Burchard accompanies Sophia in her journey to overcome demons from the past and present as she travels to her boroughs and meets her M.P.s in the House of Commons. The tension between Sophia and Adrian slowly builds and their chemistry resonated. Whenever Sophia wants to run away from it all as she's done previously, Adrian lends a firm yet supporting gentle hand of reassurance. Adrian is fascinated by Sophia's layers and slowly but surely, he digs deeper to learn and love each layer.

There's truly some hilarious moments in the novel like Jacques' accusation that English men don't measure up to the lovemaking of Frenchmen and Adrian's funny rescue of Sophia and her menagerie from a burning house. There's really some witty banter between Sophia and Adrian that only Madeline Hunter can deliver on. There's always a danger in this type of novel focusing on a heroine's plight that the hero disappears and blends into the background but that's not the case here. Adrian Burchard makes a substantial impact from beginning to end.

Worth a re-read? No doubt.

Lessons of Desire, by Madeline Hunter [1]

*/***** (1/5)

Carnal pleasure is as much a woman's need as a man's. Do not deny your desires, but beware whom you choose as a partner. Most men are conquerors at heart. Seek out the enlightened few who have risen above this primitive curse. If you choose to take your pleasure with a conqueror, make sure you cede only your body and only temporarily. And never, ever succumb to the delusion that you can change such a man. --Artemis Blair speaking to her daughter Phaedra of lessons about desire.

This advise would apply in Madeline Hunter's LESSONS OF DESIRE if Elliot Rothwell actually did anything. Instead, he harbors a lot of emotional angst and he acquiesces to everything according to Phaedra's terms and conditions. I have to admire Madeline Hunter for writing a heroine so different from the historical-romance norm such as Phaedra Blair, but I can't say I liked Phaedra and Elliot together. The book belongs to Phaedra Blair, her eccentric individuality, her dogged pursuit to print her late father's explosive memoirs, and her investigation to discover her late mother's last lover. On his deathbed, Phaedra's father claimed this last lover of her mother's eventually caused her mother's morose decline. Elliot Rothwell accompanies Phaedra on this journey to discover her mother's last lover. Elliot tries to dissuade her from printing portions of the memoirs which vilify his family, but he mostly cheers her on from the sidelines. Throughout the second half, Elliot inappropriately grovels at Phaedra's feet quite a bit too. Even following the very last page of this 386-page paperback, it didn't seem like Phaedra really wanted to marry him. Although she finally agrees and thinks she wants marriage with Elliot, she unfairly tests Elliot quite a bit. She makes him beg and voice copious words of love and affection before nonchalantly agreeing to marriage. Phaedra really doesn't deserve Elliot, and I was a little sickened by Elliot's constant debased groveling at Phaedra's feet.

I found the plotting, prose and settings below-average in this novel, but my dislike of the characters may have something to do with that feeling. For many romance books with relatively weak plotting, it's usually a hit-or-miss deal resting on whether the characters work for you or not. Madeline Hunter is better in this respect than most because she usually intersperses some intriguing plotting aside from a gritty romance itself. In LESSONS OF DESIRE, I felt the incongruous h/h interaction took away from the plotting dealing with Phaedra's memoirs. STEALING HEAVEN (*****) also featured a confident, strong heroine at odds with her hero. There however, the hero turned heaven and earth upside down for his heroine, and it was very compelling. The combative tension there was mutually acknowledged and anticipated by both. In LESSONS OF DESIRE, Elliot doesn't really do anything, and his excessive groveling at the end seemed very inappropriate for a woman who clearly doesn't want marriage. Her last-second turnaround towards marriage wasn't very convincing either.

The best part of this book? The preview to SECRETS OF SURRENDER featuring Roselyn Longworth slated for a June 2008 release. Who is Kyle Bradwell? No wealth and title? Interesting... And good to see Alexia again in SECRETS OF SURRENDER.

In many ways, LESSONS OF DESIRE represents the antithesis of RULES OF SEDUCTION (*****) and its heroine. RULES OF SEDUCTION's Alexia was practical, sensible and amenable to marriage, while LESSONS OF DESIRE's Phaedra is the polar opposite. Phaedra doesn't believe in the very institution of marriage. In other ways, the two novels are similar. There are three things you can count on from a romance novel: words of love, acts of love and marriage (not necessarily in that order). In both RULES OF SEDUCTION (*****) and LESSONS OF DESIRE, we find the words of love in the concluding pages of the novel.

Phaedra Blair believes in a philosophy espoused by her late mother, "free love" (a forward concept for the time period). Later in the novel, Elliot recognizes the philosophy for what it is: "free pleasure." Phaedra also scorns a marital relationship which in her view chains a woman to a man. Poor Elliot, more than once, Phaedra fervently rebels against marriage with Elliot. When Elliot disconsolately provides Phaedra with the names of lawyers who help women in divorce cases, Phaedra hypocritically feels a "twist of disappointment" that Elliot would not contest her wishes for undoing their marriage. When Elliot writes to her expressing concern for her safety at her home, Phaedra almost blames Elliot for not asking her to come live with him. All this after Elliot practically begs her to continue with the marriage only to have her reject the marriage, and by extension, him! And over what? A feminist philosophy which repudiates the notion of marriage and how it always has to be: the woman chained to the man. If anything, it was Elliot enslaved by Phaedra, not the other way around.

Possible SPOILERS ahead.

Elliot chances on too many opportunities to protect Phaedra from herself but he never seizes them. The book makes Elliot too much of a romantic goody boy: in Italy, he arranges to liberate Phaedra from an imprisonment of her own making twice, he protects her, he submits to her conditions for intimacy, he accepts Phaedra's lifestyle of "free love" and defends Phaedra's mother and her way of life when Phaedra expresses hatred towards her mother, he honors Phaedra's oath to print her father's controversial memoirs, he never coerces the witness Merriweather to retract statements which impugn Elliot's family, he never asks Phaedra to omit the portions of the memoirs which malign his family's name, he doesn't even abscond with the manuscript when Pheadra didn't want to print them herself. He further stays away from Phaedra when she rejects marriage to him. A continued liaison would obstruct her stubborn need to undo the marriage. All of her strife and pain is self-inflicted, and she causes poor Elliot much emotional angst. Elliot seemed too accommodating. Elliot is lucky that Phaedra comes around, and that seemed cheap too because she was pregnant by then.

It was all too much, a little ruthlessness from Elliot to save her from herself was definitely in order. He's already loving Phaedra under her terms (as a "friend" in free love), in various good-boy ways he's already protecting her promise to her late father about the inflammatory memoirs, and he won't even request that she remove the portions which maligns his family. Lord, enough already... Even if the portions of the memoirs detailing Elliot's father prove true, what is the point of it all except to drudge up the past and give the ton more gossip? If she's worried about the press she inherited, she could have recovered losses incurred by not printing the memoirs a thousand fold by accepting Easterbrook's compensation. If the popularity of the memoirs keeps the press afloat, it won't really be her doing, she didn't write the memoirs, and she didn't build the business. What's her stake in any of this except a promise to her late father condemning others from his grave?

I thought it was incongruous to have Elliot to use the words "love" first when it was always Phaedra who rejected and rebelled from him. After everything Elliot does under her terms both with their passion and the memoirs, it should have been Phaedra who first comes forward with her love to Elliot. In one of the love scenes, Elliot thoroughly services Phaedra going down on her and all he asks of her in return was to vocalize she's his for tonight. She refuses. Elliot grovels quite a bit at the end which didn't seem to fit considering Phaedra's philosophies and persistence to continue with the publication of the memoirs. Similar to THE SAINT's hero and heroine, you have Elliot wanting more from Phaedra (marriage) than just the "free pleasure," while Phaedra resistant to the last page. Unlike STEALING HEAVEN, the philosophies and plight of this book's aggressive heroine Phaedra simply aren't justified. Her philosophy is just naive, and her plight to publish the memoirs just plain stubborn (the memoirs will provide mere gossip and slander peoples' names, nothing else). It seemed like Phaedra was running roughshod all over Elliot, so he'll be debased, so he'll grovel, and so he'll voice words of love first. Even in the last 4 pages of the novel, she forces him to grovel after he's already voiced words of love and affection a month earlier. Elliot asks, "What must I say or do to convince you that we belong together?" She coldly answers, "I came here to listen." So he continues to grovel at her feet: "I want this marriage, Phaedra. I need it to know you are mine. I love you even more than I desire you. I want you with me always. I want to return to a home where you live. Do you never dream of such things too?" Until she hears this groveling (something he's done before at least twice), she still lets him suffer and imagine the worst: that she still doesn't want marriage. She has this superiority complex to be on top the entire book and her realization she "loves" Elliot doesn't change that, even at the denouement. The way Phaedra approaches Elliot after she publishes the memoirs clearly reinforces her need to chain her hero, to make him debased. She waits for Elliot to reiterate his words of love and desire to marry her before casually accepting the marriage.

On page 384 of 386, the thought of marriage with Elliot now prompts a giggle of happiness all the while she tests Elliot with his love and desire to marry her. It was another incongruous turnaround for a woman who loves Elliot but obstinately refused to marry him because of her philosophies. The book slowly builds Phaedra's love for Elliot and that was good, but her sudden acceptance to marriage was too contrived. Especially after she publishes the memoirs. Any hero would be forced to forsake a nonsensical course such as Phaedra's to condemn families' names. But Elliot of course encourages her and grovels at her feet at the end to take him.

Towards the end, Elliot thanks Phaedra for her decision to leave out the ignominious references to Elliot's family. He says, "I thank you with all my heart, Phaedra. You showed more generosity than I deserve. Your decision spared innocents the glare of scandal and my parents' names the worst whispers." What about the innocents from other families? She really published the posthumous memoirs of a man clearly with nothing to lose in his grave while his written words destroy peoples' lives? And for what? So her bequeathed printing press would prove successful from the memoirs' sales? So she'll preserve her promise to her possibly-bitter late father on his deathbed?

Some of the transitions from a grave, quarrelsome tension to a sensual undercurrent seemed unsuitable at best, very jarring at worst. They're arguing over the gravity of how these memoirs could sully families' names and all of a sudden there's all this sexual chemistry. Other times, Elliot's thoughts over his mother's cheating and his father's cold imprisonment segues into his desire for Phaedra (p. 69). It didn't work for me, but maybe it did for others.

I didn't like this book weighing the greater evil between their father the jailer and their mother the adulteress. Elliot's mother loves another and in response, his father incarcerates her. Of the two evils, LESSONS OF DESIRE taints Elliot's father the late Marquess of Easterbrook's actions as the greater evil. I'm not so sure. He tragically loved someone who loved another. The father responded unfairly, but I don't believe their mother's betrayal in wedlock was somehow "less wrong."

The Saint, by Madeline Hunter [1]

*/***** (1/5)

This series on the Dueling Society marks some of the more monotonously leaden writing I've read from Madeline Hunter. I thought THE SAINT couldn't possible be any worse than the novel that started this series (THE SEDUCER **) but it manages to anyway. Like its predecessor, THE SAINT grasps at setting the stage for subsequent books rather than focusing on telling its story. Worst, I found THE SAINT bereft of an engaging storyline. After the opening chapter, the plotting floundered for over 250 pages while the deadpan hero-and-heroine interaction further paralyzed this plot's pacing. THE SAINT reveals the crux of the mysterious plot in conversations spanning 10 discontinuous pages or so towards the end. Rather than inviting interest, I found the contrary dynamic between our hero Vergil Duclairc Viscount Laclere and his heroine American Bianca Kenwood very blase.

Based on THE SEDUCER and now THE SAINT, this series on the Dueling Society seems to explore how love muddles the best laid plans (or enriches, depending on you look at it). In THE SEDUCER (**), love with Diane obfuscates Daniel's single-minded plot for revenge whereas here, "Saint" Viscount Laclere's love complicates a gifted heiress' dream to sing in the opera, something considered taboo for the time period. Although I found THE SEDUCER's plot drab and its hero Daniel's contrivances to call out a superior shot stupid, THE SAINT's plot is worse as it conveys the salient points of the mystery in prosaically conversationalist diction. Nothing happens for the first 250 pages in this one other than Countess Glasbury's (Vergil's sister) vocational party lasting a few days. More than ever, I wanted this MH book to "show, don't tell." For example, Bianca and Vergil discuss the background behind Vergil's older brother's death from discovered letters, while Adrian Burchard and Vergil reveal other elements in two separate discussions. I also found THE SAINT more predictable than most, as I guessed Vergil's deceased brother's blackmailer from the mysterious blackmailer's first reference in the novel. The finale feebly concludes the novel with a duel to decide everything including the fate of the love story. I thought a very stagnant plotting and pacing supported its lackluster love story.

I can't say either the hero or the heroine really stood out, though both had potential. A contradicting dichotomy of innocence and desirous promiscuity characterizes our virgin heroine Bianca. Despite the book's efforts to make this contrasting dichotomy seem like a novelty in virgin heroines, it was nothing new. Good romance novelists usually present their virgin heroines with a hint of aggressive reciprocation. With the exception of the opening chapter, I found the verbal exchanges and love scenes between Vergil and Bianca in this novel incongruously uninteresting and completely forgettable. The last two or three pages seemed to rush a resolution to the strained love story which didn't fit. I thought Bianca should have went on to perform in Italy for a few years if Vergil was going to conveniently throw propriety out the door at the end anyway. With his sister Penelope, a dubious reputation mars Vergil's family already, so what's the point in preserving some pretense with Bianca and her dreams? I mean you have all this tension in the love story due to society's rules and norms and at the end, you throw them all out the window like it was much ado about nothing. Weak!

I thought Bianca "won" her way most of the time in this novel in spite of Vergil's so-called guardianship restricting her, while Vergil's love seemed to overshadow Bianca's (I discount Bianca's protestations of love in the throws of virgin passion, and no, her reassurance of that love later didn't balance the scales). THE SAINT reverses gender roles a bit: the guy here wants marriage and a life together while the girl wants to just have sex. I thought Vergil made all the concessions and he's the only one who considered both of their individual dreams and combined futures. Vergil has to be careful not to spill his seed inside her so she can continue her dreams to sing. It's Vergil who reiterates again and again that he doesn't want to coerce Bianca into marriage with a pregnancy or a soiled reputation. It's Vergil who refuses a strictly sexual relationship with Bianca to protect her from a notorious reputation. Later, Vergil concedes Bianca's platonic sexual liaison when she persists in refusing marriage. At the end, it's Vergil who first concedes defeat by agreeing to disperse Bianca's money so she may travel to Italy for her singing career and promises to visit as often as possible. Vergil does all of the servicing in the love making; for a virgin heroine with advertised hints of a mistress' aggression, she's pretty self-absorbed in all the love scenes. The love scenes are primarily described from Bianca's egocentric perspective. Losing yourself to passion is one thing, losing yourself again and again without the least bit of any desire to reciprocate is quite another.

This book gave me flashes of Emma Holly's BEYOND INNOCENCE (**) where its hero attempts to pass off the heroine to his brother (for different reasons), though falls in love with her himself. Here, our hero Vergil wishes to marry Bianca off to his rakehell younger brother Dante, a vapidly standard romance-hero characterization whose story in THE SINNER I have no desire to read. I could have done without so much Dante and this book's attempts to make him seem deeper for a future novel wasn't very convincing. Between returning THE SEDUCER's hero and heroine Daniel and Diane St. John, trying to paint characterizations for this book's story and setting up characters for future novels, I thought THE SAINT had its hands full. As a result, THE SAINT failed to tell a compelling tale of its own. I'm trying to remember if Cornell Witherby appeared in THE SEDUCER. I don't remember Witherby dueling in THE SEDUCER. Both Adrian Burchard and Julian Hampton continue to intrigue and I'll have to read their stories in THE CHARMER and THE ROMANTIC, respectively.

The Premise.

American Miss Bianca Kenwood's grandfather Adam left her a fortune and named the Viscount Laclare her guardian until she turns 21 or marries, whichever comes first. A talented singer, Bianca dreams of singing with others for a big audience in a grand setting. Vergil Duclairc the Viscount Leclare gets in the way. Titles, money and English propriety mean little to American-born Bianca, and she forges her own path towards disreputable singing career. After a very engaging opening chapter, the book sags considerably for over 250 pages under the guise of a gathering amongst Penelope's "inner circle" of friends and acquaintances at Laclere House in Sussex. There's two apparent attempts on Bianca's life while other characters arrive for the social gathering. Bianca's cousin Nigel Kenwood, Dueling Society members St. John, Witherby and Dante all join the party at Laclere House. Penelope's friend Mrs. Gaston, an eccentric sponsor of the arts, also joins the party. The ill-reputed Duclairc family is in full form: Vergil, Dante, Penelope and Charlotte all appear. While Bianca plots to realize her dream as an opera singer in Italy, Vergil investigates his older brother's suicide.

The action moves to London for a bit before returning to the country in Manchester where Bianca owns a percentage in a mill. It returns to London as Penelope prepares Charlotte for her first coming-out. The book concludes on the coasts of luscious Normandy in France where a duel lasts about 2 pages found in the last 7-8 pages of the novel. The pacing lolls for days and vacuously zips along for weeks and months. It all seemed disjoint and incongruous. Besides the opening chapter, nothing in the novel invited interest or attention.

I'm thinking THE CHARMER and THE ROMANTIC are better.

Stealing Heaven, by Madeline Hunter [5]

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

"Besides, I always said, if a thief is going to hang, it might as well be for a horse and not an apple."
"When did you always say that?"
He smiled slyly. "When I was a thief."
"So now I am a horse?"
He shook his head. "You are the stairway to the stars. It is heaven that I am stealing here [with you]."

I'm completely spellbound. Bewitched. Enthralled. Mesmerized.

A singularly memorable Madeline-Hunter novel, STEALING HEAVEN rises high above romance stereotypes and its tendency to dwell on characters' appearances. STEALING HEAVEN chronicles a fervid romance, a heart/gut-wrenching romance, an impossible romance, a romance that you simply cannot forget. There's a few books you read once in a blue moon that just never leave you. STEALING HEAVEN is just such a romance. Once I started reading, I literally could not stop. I smiled, I laughed, I cheered, and the novel even brought me to tears. Madeline Hunter throws the gamut of emotions at her unsuspecting readers like me in STEALING HEAVEN.

With BY POSSESSION (****), BY DESIGN (***) and finally STEALING HEAVEN (*****), Madeline Hunter appears to raise the stakes on impossible loves each time. Whereas status and birth seemed to separate our star-crossed lovers in BY POSSESSION and BY DESIGN, there's a lot more at stake in STEALING HEAVEN dividing our hero and heroine. A lot more. As STEALING HEAVEN's heroine Nesta reminds her hero Marcus more than once, "What I want is a small thing in this. In any of it. In all of it."

STEALING HEAVEN's prose and settings could be better given BY POSSESSION, THE SEDUCER (**) and THE RULES OF SEDUCTION (*****). But lord, did the poignancy of the characters, love and story make up for it in STEALING HEAVEN. And I mean make up for it big time. I thought this novel was more passionate and sensual than other Madeline Hunter novels; or maybe I felt that way because of the characters, it's tough to tell now. The chemistry and passion between Marcus & Nesta crackles with a profound intensity.

Marcus of Anglesmore. I don't think I have the words to describe this hero. Marcus lays it all on the line, he risks everything to win his heroine. He's handsome of course, but he also exudes power and cunning. He's experienced it all: being groomed for a lordship as a young child, then having brutally lost it all, watching his sister forced so he could live, living in poverty and thieving to earn a cold, hard piece of bread and then having his lordship returned to him again. Marcus isn't a warrior in Addis's league at the peak of Addis's ability, but still no push-over in that department either. When Marcus arranges to dupe Nesta into a betrothal, it really hits you what he's risking in order to win Nesta considering all of Nesta's dangerous connections. If anyone were to discover what Marcus intentionally fails to report about Nesta's treasonous activities, Marcus would lose everything, he would lose it all again and his life in a blink of an eye. As he tells Nesta from the start, "I would fight to claim you..." And fight he does, even using Nesta as an instrument to claim her. Marcus doesn't care about Nesta's past, he doesn't blink twice about Nesta's promiscuous reputation, and even after their first time he doesn't ask her about it.

What Marcus risks for Nesta considering how little he knows for sure about her shady history and considering what he suspects regarding her treasonous plans for the future makes his plight to win Nesta that much more moving, that much more soulful. Not to take anything away from Nesta, but STEALING HEAVEN belongs to Marcus.

Towards the end, Nesta realistically points out, "The King's man should not be so easily swayed by passion, Marcus." Marcus confidently replies, "The King's man did his duty. If he found a way to do it and avoid a war, he is content. If he found a way to do it and keep the woman he loves (Nesta), he is satisfied. If that woman takes his hand willingly, he will consider it the greatest victory of his life." Later, Marcus admits he's no poet, yet his heartfelt words strike a cord: "I am not good with pretty words, Nesta. Telling you that I love you is easy, but it will never express what is in my heart...I am honored that you gave all of yourself to me...Loving you is the best part of my life. Holding on to you became the most important thing to me after [our first meeting]."

Yes, Marcus sure has grown up from BY DESIGN. Wow, his character is realistic, sensual, cunning and honorable. And yes, romantic beyond any words of expression.

I don't think I've ever read a heroine quite so mature, quite so confident, quite so bold, quite so shrewd, quite so unafraid of the world of men as Welsh-born Nesta verch Llygad. She doesn't blush and melt at Marcus's every touch, she doesn't back down to Marcus's "maleness" and deploys her own female weapons in return, and boy does she give him a run for his money in the battle of wits and deception. Usually even if the heroine is a widow, her first marriage was loveless. In this case, Nesta has actually experienced pleasure before Marcus. It takes courage to write such a heroine as Nesta verch Llygad in a genre chock full of virgins or near-virgins, and I doubt most romance readers warm up to a heroine like Nesta, confident, beautiful, cunning, promiscuous, unbelievably smart and not above using her "weapons" (beautiful figure) to get what she wants. And you have to be beautiful if you caught the King's eye. Nesta has tons of dark connections and a ton of dark history. STEALING HEAVEN's Nesta reminds me of Guy Gavriel Kay's Dianora from TIGANA, the only difference being Nesta's happy ending. Just like Nesta, Dianora too anguishes over her divided heart and divided loyalties. Duty and love wrench Nesta's heart, and her journey as a worldly-wise and cynical woman to actually realize her little girl's dream of true love with a dashing, handsome knight was simply breathtaking. She's totally worthy of Marcus in every way. Marcus is totally worthy of her.

Even though THE PROTECTOR's Anna is the strongest of Hunter's heroines from an athletic and leadership point of view, Nesta verch Llygad is the boldest and most cunning of any Madeline-Hunter heroines I've read to date. As far as the combined realms of brains, beauty and experience goes, Nesta wins hands down, no contest.

Although the title of the book literally refers to Marcus stealing heaven, I thought it could have gone the both ways. In the subtle ways Nesta thwarts Marcus's attempts to marry Nesta's sister in the beginning, she steals heaven for herself too. Only a strong-willed, extremely cunning woman like Nesta could steal heaven in Marcus's arms, every bit his equal in their battle of wits.

The Story.

King Edward has arranged Lord Marcus of Anglesmore's marriage to a Welsh girl with royal blood. After delaying the meeting with his intended for weeks, Marcus finally steals into the garden on a moonlit night for a glimpse of his future bride. Following an electric meeting, Marcus promptly steals some heaven right then and there with some kisses. Marcus anxiously returns the next morning for a formal meeting with his intended bride only to find that he stole kisses with his intended bride's sister Nesta last night. Marcus is livid. The witch didn't tell him who she was when he was kissing her last night!

Readers from BY DESIGN will remember Marcus "Mark" as Joan's younger brother, the heir to Anglesmore. Marcus and his sister Joan had to escape Anglesmore and live an impoverished life in London after Mortimer's man Sir Guy Leighton terrorizes Anglesmore. BY DESIGN ends with Anglesmore returned to Marcus and Addis de Valence (BY POSSESSION) serving as Marcus's tutor and warden. Marcus has already led a scrappy life going from riches to rags back to riches. He's been a thief, fighting in a gang, learning to be a lord, and training to be a knight. The roots of his vast street-smart experience shows clearly in STEALING HEAVEN, and god, has he ever grown up! Under Addis's guidance so too does he demonstrate his honor and cunning as a capable lord.

While Marcus fumes over Nesta's true identity and his strong reactions to her, Nesta schemes to escape London with her younger sister Genith while the King is out of the country. Welsh-born Nesta has surreptitious plans for herself and her sister, and they don't include marriage to the English lord Marcus. She dismisses her own reactions to Marcus as a magical foray from another world, and completely impossible. Marcus has other ideas. Marcus gives chase and finally captures Nesta and Genith after much hardship in spite of Nesta's clever plots to throw off any pursuit. With Nesta and his future bride Genith in tow, he heads to his seat in Anglemore. He also decides to quickly marry the sister Genith as the King arranged and be done with it.

Again, Nesta thwarts him.

After Nesta plots an escape again, Marcus is left with just one sister, Nesta. Marcus's emotions and reactions to Nesta boil over and he resolves to walk a very sharp double-sided edge as the King's loyal baron by tricking Nesta into a betrothal. A betrothal the King could very well disapprove of given the King's connection to Nesta. A betrothal that could could cost him everything. A betrothal to a rebel that could end with his life. Nesta's furious reaction to the betrothal is too fun.

The story rages on in intensity and poignancy as Marcus and Nesta spar in a battle of wits and deception, a battle surrounding a rebellious plot with Welsh freedom at stake. A Welsh autonomy and freedom Nesta will do just about anything for. A worthy cause, to be sure. Both Nesta and Marcus understand each other, both anticipate each other, both accept in each other a conflicting and betraying call to duty, and yet, both still manage to find heaven in each other's arms. Impossible love, you say? It doesn't get more impossible than Marcus and Nesta. At times, this battle of wits is very fun, at other times, very heart-wrenching. At the end of the day, it's all worth the price of admission.

I'm going to be re-reading this one.

Lord of a Thousand Nights, by Madeline Hunter [3]

***/***** (3/5)

1. BY ARRANGEMENT (haven't read yet, having trouble tracking this one down!)
2. THE PROTECTOR (***)
3. LORD OF A THOUSAND NIGHTS (***)

LORD OF A THOUSAND NIGHTS somewhat exceeded my low expectations for it, and I enjoyed many parts of it. Still, I'd rank it a slight cut below other 3-star Madeline Hunter novels such as BY DESIGN (***) and THE PROTECTOR (***). I never did like Ian of Guilford from THE PROTECTOR, and seeing him as a formidable warrior here in LORD OF A THOUSANDS NIGHTS didn't seem to follow from his role as a courtier/consort in the English court from THE PROTECTOR. Now, the Lord of a Thousand Nights title, seducer of a thousand women, that definitely followed. I thought the love between Ian and Reyna was more about Ian's capable talents and past experience with many other women than really about Ian & Reyna. Unlike so many other romance novels, Reyna hurling many expletives Ian's way was handled in a fun way here, actually adding to the romantic tension instead of squeezing the life out of the love and romance.

Possible SPOILERS ahead.

Fortunately, I also thought Madeline Hunter weaved some interesting mystery plots with this romance, and I found myself pleasantly engaged. The mystery involves plenty of backstory on both Ian & Reyna, and once again, each characterization is fleshed out superbly. The only thing I found a bit ridiculous was the way Ian found Robert's treasure at the end. The way he found it was way too easy, treasure map? Okie doke!

The backdrop of LORD OF A THOUSAND NIGHTS continues Morvan Fitzwaryn's strife to recapture his father's seat at Harclow. You'll recall from THE PROTECTOR that Morvan delayed this dream for Harclow to spend time with his love and wife, Anna de Leon. Also from THE PROTECTOR, you'll recall a younger Ian forced himself on Anna only to have Anna punch him. Now, 8 years later, while Morvan and the bulk of his army lays siege to Harclow, Ian of Guilford leads a company of Morvan's men to capture Black Lyne Keep, a keep overseeing strategic land on the border with Scotland. Lord of Clivedale, Maccus Armstrong, is a Scot who captured Harclow from Morvan's father so long ago.

The story begins with the recently-widowed Reyna Graham, Lady of Black Lyne Keep, conspiring to kill the besieging company's leader, Ian. Reyna was married to the honorable Robert of Kelso (more than thrice her age) in order to divert a family feud between the Grahams and Armstrongs, neighbors on the English-Scottish border. Since Morvan is laying siege to the Armstrongs at Harclow, he's secured a promise from Duncan Graham not to attack in exchange for Reyna's safety when Black Lyne Keep falls. Upon seeing the incredibly handsome Lord of a Thousand Nights, Ian, Reyna falters in her assassination attempt and ends up prisoner instead.

Using Reyna, Ian swiftly captures Black Lyne Keep and things between our our capable seducer and beguiling enchantress progress from there as Ian secures Black Lyne Keep for Morvan. There's some interesting plots having to do with the mystery behind Reyna's late husband's (Robert's) history and the circumstances surrounding Robert's sudden death (Templar, poisoning). Towards the very end after Harclow finally falls, we also learn more about Reyna's parentage and Ian's past sins. Meanwhile, we see BY ARRANGEMENT's David & Christiana and THE PROTECTOR's Morvan & Anna in some very fun and enjoyable subplots in the middle. I thought the negotiations for marriage here between Ian and Reyna weren't nearly as fun as those between Morvan and Anna from THE PROTECTOR or Hayden and Alexia from THE RULES OF SEDUCTION.

Oh and I have to say:

Anna de Leon (from THE PROTECTOR) totally steals the show! I swear I cheered and laughed with her every appearance and reference. I was dying for more Anna in this book! Like "...and that big one (Anna), well, show me the man who wants to try telling her what to do...and the big one, well, when they left she practically threatened me, just stared at me dangerous-like and felt her dagger hilt and told me to obey their orders and all would be well." Or Ian saying, "Are you suggesting that Reyna forced Anna into leaving? Hell's teeth, Morvan, your wife could pick [Reyna] up with one arm." Or Anna talking: "[Ian] has a weakness below the right ribs if you need to hit him." Or Anna & Morvan's reunion after 5 months in front of everyone at Black Lyne Keep. Or even: "[Ian] tried his most charming smile [on Anna]. It had no effect whatsoever." Now I want to read THE PROTECTOR all over again!

Lady Reyna is cruel. Twice, Ian of Guilford works at pleasuring her and building her arousal with touches and kisses, and the second before the critical moment of joining when he's fully aroused too, she refuses him, muttering, "I can not." Ouch. That's heartless. We learn later that she's still a virgin from her first marriage and she wishes to protect her late husband from ridicule, but still! Ian says he wants her, but I found that hard to believe if he's able to so easily cut it off like that -- not once, but twice! Ian is a good sport about it, he obediently obliges Reyna's capricious behavior, and then proceeds to bring her climax using his fingers. Unlike other Madeline Hunter novels in similar circumstances, there isn't a mutual agreement abstaining from sexual intercourse here (see BY POSSESSION, BY DESIGN), so these refusals right before the critical moment in this novel are... wow, just... just... cold... brutal... malevolent of Reyna even!

The Lord of a Thousand Nights' chartered and deliberate first joining with Reyna after their marriage reads more like a detached science than a mutual passion. A touch here, a kiss there, a graze, the right position, the right kiss, Ian's calculated restraint. Since it was Reyna's first time, she was in obvious pain for some of it, and for someone like the Lord of a Thousand Nights, he's clearly had more pleasure than the incredible patience, restraint and servicing he showers Reyna with during their first real joining. All of the seduction including the first joining was more about Ian and other women than Ian & Reyna. Even in the very last chapter, Reyna is complimenting Ian's talents with other women: "You have a talent for making philosophy the last thing on a woman's mind." A woman, general. The very last paragraph of the book, when Reyna looks up to Ian, she sees the Lord who's seduced a thousand other women, not her Ian. Maybe women like that, I don't know, but the resulting love didn't resonate quite like the loves from THE RULES OF SEDUCTION, BY POSSESSION, and BY DESIGN.

I thought the THE RULES OF SEDUCTION's story, characters and passion rises above the stereotypes prevalent in historical romances: handsome, experienced guy pleasuring, seducing and igniting the passion of the average-looking, stubborn and resilient virgin. However, these stereotypes mire LORD OF THE THOUSAND NIGHTS' love and romance. In fact the central love is the stereotype here.

The Seducer, by Madeline Hunter [2]

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

THE SEDUCER is an out-and-out Heroine-Saving-the-Hero's-Soul routine, and I just don't enjoy those... even if it is written by my favorite author in this genre. Despite having just read Chadwick's LORDS OF THE WHITE CASTLE which had me screaming to its hero to let go of his rivalry, I wasn't convinced THE SEDUCER's hero Daniel letting go of his plot for revenge was entirely appropriate. I felt that Daniel St. John was way too pining, too unmanned by the end, and that's not something I'm used to from Hunter's heroes. The ultimatum our heroine Diane lays down to coerce Daniel into abandoning his plot for revenge as a price for her love came off avariciously, especially considering everything he's just shared about all the people that died -- including his mother -- mainly because of the villain.

THE SEDUCER goes to extraordinary lengths trying to paint Daniel St. John in a very evil, dark light. In the beginning, he's referred to as the Devil Man. I didn't really see it. Definitely, there are things Daniel does to ruin the men indirectly responsible for killing many people including his parents, and crippling his sister. The book and his sister Jeanette would have us believe the things he does to ruin the men eats away at Daniel's soul. Huh? It's not like Daniel killed anyone, he just ruined them -- and deservedly so! I didn't buy the Bad-Boy act, he's not really all that bad. Hypocritically, the qualities that make him dark, mysterious and attractive to our heroine in the beginning - his cold demeanor, eyes of fire, etc. -- are the very qualities which imbue him with a single-minded, soul-eating purpose for revenge. So the book's crux aims to erase the very qualities in Daniel which attract our heroine to him in the first place, mainly because those qualities supposedly strip him of his soul.

The ending transforms Daniel into a love-sick lapdop. Daniel chooses love and agrees to abandon a revenge plot which spins of its own accord at that point. Melodramatic nonsense I tell'ya! And not fun to read at all. After Daniel chooses our heroine, the book notes how he can't fight with swords anymore, how during the climactic duel with the villain his pistol wavers and cannot come to kill the man he's pursued all these years. During the climactic duel, Daniel resorts himself to death and he cannot call forth the cold hatred for the villain anymore. So basically, he's completely unmanned. Is this supposed to be romantic? Emasculating a hero so he cannot do what needs to be done during the critical moment? I mean Daniel already loves Diane beyond measure, why not just allow the hero to call forth that fury and hatred for the critical moment, the fury which gives him his strength? Not to be. I wonder why Jeanette didn't go to the first arranged duel which Daniel retreats from. All the characters arrive at the final, climactic duel to cheer on the hero who cannot shoot his pistol because he's floating on clouds for love of his heroine. The end inundates its readers with Daniel's love-sick, pining introspection.

Looking ahead for a future with love is all well and good, but there's also merit in repaying debts and addressing the past which always tends to catch up on you. Despite all the pining introspection Daniel spews at the end, I felt even if the villain Tyndale had let Daniel be after Daniel chooses love, the past would still hang over him like a dark cloud in some way. I don't think it's possible to purge a past such as Daniel's 100% as many saving-the-hero's-soul-from-revenge stories would have us believe. If for nothing else, wouldn't it be justified to bring down a villain with an unhealthy appetite to seduce and ruin virgins? Surely the heroine can't object to that! But alas, she does here...

Longer than most Hunter novels by sheer page count, this 419-page paperback spends an inordinate amount of time setting up characters for future books. Of those that we're introduced to, only Adrian seemed interesting. Dante is one character I don't want to read about, wonder if his book is any good.

The beginning was good, the humorous exchange between Diane & Daniel at Diane's school hooked me right away. The middle parts of the novel weren't bad, albeit much slower as we're slowly introduced to other characters and the main plot. The ending -- well didn't care for it much at all.

I'm reminded of other romances with heroines saving heroes from revenge plots and this book is better than Medeiros' THE BRIDE AND THE BEAST (*), but not as enjoyable as Foley's DEVIL TAKES A BRIDE (***).

The Story.

Thirty-two year-old tall, dark and "incredibly handsome" Daniel St. John is a shipper, a man of his own fortune bent on a plot for revenge. Although the majority of the book keeps its readers in the dark about the details of Daniel's multi-layered and mysterious past, it's clear he nourishes single-minded purpose for revenge from the onset. His sister Jeanette's crippled and untenable condition only confirm our suspicions regarding Daniel's goals and intentions.

"Lovely", dark-eyed twenty year-old Diane Albret seeks answers about who she is and where she came from. All she knows is that the Devil Man -- Daniel -- takes care of her finances so she may continue at the school in Rouen. She's plagued by fractured, splintered memories of a past which grows blurry.

For as clever and resourceful as Daniel is made out to be, I don't understand his plot to eliminate his ultimate nemesis and villain, famed gunshot Andrew Tyndale, a marquess' younger brother. Daniel's scheme is quite laughable actually. Idiotically, Daniel plans on using Diane's virginity as a means to lure Tyndale and then call out Tyndale in a duel. So you plan on placing an innocent girl in danger so you can honorably try to kill the best pistol around? Daniel claims he won't allow any harm come to Diane, but that's B.S., you can't control everything. The book painstakingly notes Tyndale's superior pistol abilities compared to Daniel so I was waiting for some contingency plan on Daniel's part when the duel he schemes to concoct actually takes place. Nope, no contingency plan. [laughs] Essentially, the scheme was to lure a superior gunshot like Tyndale into a duel so he can kill you. [more laughs] What am I missing here?

The romance was OK, but tainted by the ultimatum Diane lays down towards the end and Daniel's very emasculated status. For the first time in a Madeline Hunter novel, I actually skipped the love scene at the end following Daniel's capitulation to Diane's demands for being together. Just seemed empty by that point. Daniel squirms, pines and wilts too much at the end, mainly because of a drowning love. He couldn't just do what needed to be done. Diane makes Daniel promise to back down from the first duel. He happily obliges in return for sex. Even after learning how sadistic the villain Tyndale can be and of all the horrible things he's done to Daniel and his family, she makes him abandon his plight for justice as a price to be together. Daniel merrily consents.

There's other connections and characters which makes things vaguely interesting: the scientist Gustave, Diane's father and of course members of the Dueling Society like Adrian and Vergil (Adrian seems the most interesting from members of the club).

Overall, the most tiresome Madeline Hunter novel I've read to date.

The Protector, by Madeline Hunter [3]

***/***** (3/5)

Another stellar Madeline Hunter novel with mature and poignant characterizations in the midst of a captivating historical backdrop. I enjoyed the beginning and ending, pleasantly surprised by the action therein. I found the middle portions involving the travel to Windsor and stay at Windsor to see the English King however fairly dry and boring. The negotiation and counter negotiations for marriage were very fun, especially Morvan's counter. After the consummation back in Brittany, the book seemed to relapse a bit again until the finale. Who was the real protector in THE PROTECTOR, our hero or our heroine? I found the ambiguity of this question very intriguing, since even though the hero swears the oath, it's our heroine who does most of the protecting and saving.

I'm not exactly sure what it was but something was missing from the romance. It seemed a bit flat. The middle portions didn't help. The historical backdrop of this novel is probably the strongest of any Madeline Hunter novels I've read so far though. Times of chaos (the plague, war, France, England, etc.) help from a storyline point-of-view, for sure.

I was looking forward to seeing the duel between Morvan and John in the beginning, and later, between Morvan and our villain Gurwant. Unfortunately, Hunter skips relaying both duels and we're just told later on that Morvan won. Very anticlimactic. I guess Anna did all the important stuff in hatching the plans and the rest is rudimentary. Besides playing the domineering lord, Morvan has little to do and I'm not convinced of his prowess with the sword as I was with Addiss in BY POSSESSION.

The Story, possible spoilers.

Tall and lovely Lady Anna de Leon of La Roche de Roald is something of a tomboy, and finds herself heiress to rich and vast lands in Brittany during a time of turmoil and chaos. Both France and England lay claims to Brittany and the young 10 year-old duke of Brittany fosters under the English king's care while chaos ensues in Brittany. Anna however has no desire to inherit her rich lands and even less desires to marry, she's returned home to fulfill her duty until her younger sister marries, and to care for the sick when the black plague runs rampant across Europe.

Anna is probably the strongest of Madeline Hunter's heroines I've read so far, at least from an athletic, warrior standpoint. She's deadly with the crossbow and arrow, a decent sword, tall, lean and finely-toned, and of course, an heiress to rich lands. She isn't one to sit around and wait for the hero to do things, she takes charge, admirably and plausibly. She's also one of the more passionate heroines, abandoning all and giving everything during the scattered but few love scenes with Morvan.

Lowly English knight Sir Morvan Fitzwaryn finds himself in Anna's care at her home in La Roche de Roald after he's contracted the plague. Morvan lost his family's ancestral home in England to the Scots, and now he awaits the King's aid and the chance to reclaim it. The books describes Morvan as incredibly handsome, and only slightly taller than our relatively tall Anna. Morvan suffers from the plague when he first meets Anna, and like other Madeline Hunter novels, Morvan and Anna share an instant spiritual connection from Anna's "deathwatch." After Anna nurses Morvan back to full health, Morvan vows to protect Anna.

When Anna's snubbed former betrothed Gurwant arrives with an army to conquer La Roche de Roald, she devises a genius plan to repel the attack. Of course, Anna implants herself in the thick of the battle and when Morvan returns her to the castle, it's Anna who prevents the inevitable confrontation between Morvan and Gurwant by shooting Gurwant's upper arm. There's some foreshadowing here as Morvan comments that maybe Gurwant lives because he's meant to kill Gurwant. Unfortunately, THE PROTECTOR entirely skips the part at the end which has them squaring off one-on-one. Booo, and very anticlimactic.

Later, Anna & Morvan travel to England to petition the King: Anna wants to join the convent and to pass off La Roche de Roald to Anna's sister to inherit. King Edward however has very different plans for Anna and her lands whose people favor England. Very fun negotiations of marriage ensue reminding me of THE RULES OF SEDUCTION, Morvan getting the better of those dealings. Anna has the last laugh though, making things very difficult for Morvan back at La Roche de Roald when she smiles sweetly and plays the docile, demure lady of the keep -- and fails miserably (knowingly). After a vassal's betrayal, Gurwant captures Morvan, and again it's Anna who comes to the rescue with a brilliant plan of her own. I thought it worked out too nicely without a single drop of blood except for the villain's.

Some additional musings and comments...

In the beginning Anna waves off Morvan's romantic advances as a means to an end, since she's an heiress to rich lands. Later during a moment of heated passion, Morvan stops himself before going further, and Anna believes he was pretending to desire her, that she isn't very attractive to men in general because of her height and tomboy nature. I had to smile, because basically, he's damned if he does, damned if he doesn't. Unlike other adolescent heroine characterizations from other authors however, I understood her reactions and they seemed believable from a passionate virgin. Further, the book adequately addresses her ambivalent and confused reactions.

As much as I find Madeline Hunter's analogies and imagery as a means to impart something deeper, too abstract sometimes, I did feel one particular imagery from this novel squarely hit the mark. It was Morvan's first night at Anna's castle at La Roche de Roald when Morvan faces sure death from the black plague. He looks on a gorgeous sunset and feels an impending dark isolation. Morvan then stretches on a large rock overlooking the sea and feels another profound human spirit touching his "invisible self", his soul. At the same time high up on the castle's gallery, Anna notices a solitary figure on a rock and her heart wrenches with "astounding empathy," empathy and compassion for the isolation and impending death that figure faces. There's rumors of her being saint and having angelic powers, and I thought this was a beautiful connection, and a beautiful way to describe it.

Again, quality material and something I've come to expect from Madeline Hunter. If not for the rather boring middle parts and being deprived of the final duel between Morvan and Gurwant, I'd warm up to this novel a bit more. As it stands, it seemed like something was missing overall, including in the romance.

By Design, by Madeline Hunter [3]

***/***** (3/5)

Not a particularly bad novel, and like BY POSSESSION, BY DESIGN contains the requisite Madeline-Hunter elements: a relationship characterized by a stormy, yet witty beginning, flaring passion, emotional angst and finally, an unattainable, impossible happily-ever-after. This is my third Madeline Hunter novel, after THE RULES OF SEDUCTION and BY POSSESSION.

If you've read BY POSSESSION like myself, there's too much of a feeling of deja vu to ascribe this book its proper due, and it appeared too many things were recycled from BY POSSESSION. There's the impossible love between two people of different statuses (reverse the genders), there's the hero protecting and abstaining from his desires until the heroine consents, and even the love scenes seemed similar to BY POSSESSION, with the obligatory heroine-strips-in-front-of-hero scene. BY DESIGN contains solid plotting and characterizations, but for me, it could not escape comparison with BY POSSESSION. I was happy to see BY POSSESSION's Addis & Moira quite a bit in BY DESIGN, but their presence also drew constant comparisons. In short, I enjoyed BY POSSESSION's romance, characters and plotting more than BY DESIGN.

BY DESIGN's plotting isn't bad; the settings, though nothing special, were adequate; and the romance, albeit wrenching, didn't resonate as much as the other two novels I've read by Madeline Hunter. Rhys & Joan, though well-conceived and poignant characterizations, paled in comparison to BY POSSESSION's Moira & Addis.

In general, I thought the connection between our leading pair was too abstract. I did appreciate a look into the skilled workers and craftsmen of the medieval era. However, BY DESIGN attempts to "join" Joan & Rhys' souls via their craft, having their souls connect from a crafting "by design." I found the entire notion too abstract, and as much as I appreciate Hunter's liberal use of analogies and metaphors to describe something deeper, I thought this particular connection infringed in on the realm of Unable-Suspend-Disbelief.

The Story, possible SPOILERS.

Readers from BY POSSESSION will recognize BY DESIGN's hero Rhys Mason, the skillful and affluent stonemason who courts Moira for a short while. In BY POSSESSION, Rhys helped bring about a rebellion which leads to weak king's abdication of the throne (Edward II), and firmly thrusts a Queen and her lover, the ruthless and ambitious Roger Mortimer, in power. The story is very much based on historical facts, and obviously Hunter takes some liberties with those historical facts to tell her story. In BY DESIGN, the people of England grow weary and tired of Mortimer's pseudo-monarchy and ambition, and plots surface of a conspiracy to remove Mortimer from power and help the rightful heir -- Edward III - seize the throne. BY POSSESSION's Addis finds himself in the middle of these conspiracy plots in BY DESIGN.

Rhys meets Joan Tiler in a market selling her crockery and is immediately drawn to Joan, immediately discerning a beauty and class in Joan beyond his own ken, beyond his own status. After Rhys buys out Joan's indenture and takes in Joan and her brother into his house, the tumultuous and fitful relationship between Joan & Rhys takes off. Similar to other Madeline Hunter novels, our heroine Joan doesn't trust Rhys yet enjoys a very heated passion in his arms short of intercourse -- Rhys will not go that far until Joan truly consents. Another words, Joan's mind and heart are at odds, and she grasps to causes for complaint in Rhys, such as his connection with Mortimer.

I found the ending in which Joan holds the chisel for Rhys and becomes an extension of his soul so he can still practice his craft, too abstract, too vague. I thought the reappearance of the evil and despicable Sir Guy Leighton again and again a bit too much, I mean Joan puts a knife through Sir Guy, and he's perfectly fine afterwards? A tortured and bruised Rhys pounds Sir Guy in a hand-to-hand duel and he still manages a last-gasp lunge at Joan? I wanted to know more about how Addis and Edward III remove Mortimer and Edward's mother from power besides just sneaking in while Rhys has Sir Guy tangled up in a duel, a diversion.

The final chapter speaks of an impossible love and ends too much like BY POSSESSION, despite all the odds. But I thought BY POSSESSION did it better with better characters.

By Possession, by Madeline Hunter [4]

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

Madeline Hunter's writing always seems to be a notch above others', and BY POSSESSION is no exception. Having read and loved THE RULES OF SEDUCTION before (the only "romance" novel I've given 5 stars thus far), I was right at home with Hunter's medieval-era BY POSSESSION. I'm amazed at how realistic and believable Madeline Hunter's heroes are, and Addis de Valence is very compelling, not the sort of "alpha" romance heroes that are more pining than anything else. Though I found myself thoroughly captivated by BY POSSESSION, I thought the plotting and settings took a firm backseat to BY POSSESSION's heart-wrenching love story. The characterizations of our leading pair Moira and Addis are exceptional (Moira especially), but the settings and plotting are a bit weaker than what I'm used to from THE RULES OF SEDUCTION.

BY POSSESSION chronicles the heart-wrenching tale of a serf-woman's impossible love for a lord, giving all she has and expecting nothing in return. Deservedly, this tale belongs to Moira Falkner, serf-born daughter of an acknowledged prostitute. Moira is servant to Claire, the lady betrothed and later married to the handsome Addis de Valence, lord of Barrowburgh. Moira is so forgettable, so ordinary, Addis dubs her Claire's Shadow when Moira is young. Moira however fosters a deep-seeded and hidden love for Addis, and though many openly ridicule Moira because of her mother's dubious position, Addis is kind to Moira when she's young. Moira returns that kindness with such a profound love that blew me away, Moira gives everything she has, her soul, her heart, to Addis without ever expecting anything in return.

In order to escape a disastrous marriage to Claire, Addis leaves on a crusade in the Baltic, where he's captured and held in slavery for 6 years. Upon his return, he finds himself a foreigner in his homeland where everything has changed. Addis' stepbrother usurps Addis' father and now holds Addis' family's stronghold, Barrowburgh. Addis' father is dead, his wife is dead and he discovers he actually has a son, the heir to Barrowburgh. Only Moira remains as a symbol from his tortured past, having cared for Addis' heir and keeping him hidden and safe from Addis' stepbrother.

Even though Moira is no longer bondwoman, Addis refuses to give her up, and tenaciously grasps onto that symbol from his past, refuting her testimony that she was freed. After a few escape attempts, Moira unwittingly finds herself back in Addis' arms and desperately tries to deny her childhood love for Addis each escape attempt. She doesn't want to repeat her mother's rather notorious and dubious position as a lord's mistress even though both loved each other and were true to each other.

As a serf-born girl, Moira knows she has no real future with the rightful Lord of Borrowburgh, and refuses to accept him as his mistress like her mother accepted her lord. Moira desires a home of her own, and she will obstinately accept nothing less. She's prideful, and she holds her honor and respect in society above else, even trying to suppress a deep-rooted love for Addis.

The remainder of the story tells a heart-wrenching tale of Moira's love that can never be, and the unspeakable peace and love Addis finds with Moira. Addis will only take a willing Moira, and honors Moira so much that he won't even use seduction as a means of her acceptance. Instead, Addis is content finding a peace by just being with and around Moira. Addis finds he is only whole with Moira, and can find no peace elsewhere.

Moira's impassioned love for Addis knows no bounds, she gives so freely without any strings attached, without any expectation, that I was blown away. It was a heart-wrenching love because she knows she can never truly be with a Lord, and everything she gives to Addis is that much more profound, that much more impassioned, that much more gut-wrenching.

Again, an excellent tale and I look forward to reading other medieval-era books by Madeline Hunter.

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.