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3.8 AVERAGE
3.8 AVERAGE
tw: sexual abuse
Meredith Duran is a very talented writer. Her gritty, emotional prose hides behind covers of smiling girls and shirtless men, masquerading as something altogether lighter, while her characters push the bounds of the romance genre. Her books are not lighthearted, typically romantic reads, but often aspire to evaluate deeper, more uncomfortable feelings. Duran often uses sex in her novels to reach into these depths, utilizing it as a tool to explore the darker emotions between the characters, often in regard to disproportionate power dynamics. This often blurs the line of sexual consent in her novels. It is not uncommon for authors to romanticize rape, sexual assault, or otherwise toxic behavior in romance novels, but I personally disparage such novels and make an effort to avoid them.
However, Duran's novels give me pause. None of the heroines she has written have been overtly adverse to the sexual overtures of their Heros, but there is not often permission granted or consent clearly given. Even when the heroine's thoughts are meant to convey her acceptance, nay desire, of whatever sexual act is being introduced, there is often a question of power.
For example, in Fool Me Twice the heroine, Olivia, is in the employ of the Hero, Alistair, during their first two sexual encounters. During one of these encounters, Alistair is deliberately using his body to expel what he perceives to be blind optimism and naivety from Olivia. He means to demonstrate how a man of his position could abuse his power over her by kissing her. When Olivia appears to react positively towards his advances, the encounter grows steamier.
As Alistair's primary struggle in this novel is reconciling to a new, darker conception of himself in the revelation of his late wife's many deceits, this is just one scene in which this self-appointed villainous persona is explored. Basically, because of his wife's betrayals, unveiled only through her death, he no longer believes in himself as the fantastic, virtuous politician he was when she was alive. Although Alistair's contention with his self-image is an aspect I liked about this book, especially in earlier chapters, the villainous role he contrives to assume adds a layer of complexity to their already complex sexual situation.
As an evaluation of human fallibility, I can admire this complexity and how Alistair simultaneously despises and adopts his father's past lecherous behavior with his staff. As a device in a romance novel, I fear its other implications. I'm torn between accepting such scenes as odes to the human condition and rejecting them as a romanticizing of toxic behavior.
As I have said before, this is not the first time Duran has danced across such lines. Both Written on Your Skin and At Your Pleasure examine sex and romance within an unequally structured relationship.
I think Duran explores the darkness of these male characters in a very intriguing way, but I don't think her heroines always fare as well. Mina, from Written On Your Skin, was a strong heroine who battled against the Hero whenever he contrived to oppress her. In contrast, I thought the authoritative, headstrong woman that Olivia was painted as in the previous novel and at the beginning of this book was lost to the whims of Alistair's desires and the conflict of the story the further I read. Plot devices in the last third of the book, some of which felt messy, underexplored, and quite cliche, also served to victimize Olivia even further. Not only does this challenge the already precarious morality of their sexual relationship as it was, but it carries the plot to a somewhat disappointing resolution.
Aside from my scruples with the sexual romance, I think other aspects of the book were disappointing, or at least underexplored, as well. Given that Michael, Alistair's brother, and Elizabeth, Olivia's friend and former employer, were the primary characters in the last book, I would have loved to see more relationship development between them and the characters of this novel. Many of the relationships that Duran built at the beginning of the book were ultimately unimportant to character development or the resolution of the plot. Which was unfortunate, because a few of those characters were quite charming. As a whole, the events/plot points of the book felt a bit disjointed and the resolution felt a bit forced.
Duran's writing was still superb, but this was not my favorite book from her. I'm hoping I will enjoy the next book in the series better, but what reviews I've read so far have me steeling myself for a similar experience with the Hero.
Meredith Duran is a very talented writer. Her gritty, emotional prose hides behind covers of smiling girls and shirtless men, masquerading as something altogether lighter, while her characters push the bounds of the romance genre. Her books are not lighthearted, typically romantic reads, but often aspire to evaluate deeper, more uncomfortable feelings. Duran often uses sex in her novels to reach into these depths, utilizing it as a tool to explore the darker emotions between the characters, often in regard to disproportionate power dynamics. This often blurs the line of sexual consent in her novels. It is not uncommon for authors to romanticize rape, sexual assault, or otherwise toxic behavior in romance novels, but I personally disparage such novels and make an effort to avoid them.
However, Duran's novels give me pause. None of the heroines she has written have been overtly adverse to the sexual overtures of their Heros, but there is not often permission granted or consent clearly given. Even when the heroine's thoughts are meant to convey her acceptance, nay desire, of whatever sexual act is being introduced, there is often a question of power.
For example, in Fool Me Twice the heroine, Olivia, is in the employ of the Hero, Alistair, during their first two sexual encounters. During one of these encounters, Alistair is deliberately using his body to expel what he perceives to be blind optimism and naivety from Olivia. He means to demonstrate how a man of his position could abuse his power over her by kissing her. When Olivia appears to react positively towards his advances, the encounter grows steamier.
As Alistair's primary struggle in this novel is reconciling to a new, darker conception of himself in the revelation of his late wife's many deceits, this is just one scene in which this self-appointed villainous persona is explored. Basically, because of his wife's betrayals, unveiled only through her death, he no longer believes in himself as the fantastic, virtuous politician he was when she was alive. Although Alistair's contention with his self-image is an aspect I liked about this book, especially in earlier chapters, the villainous role he contrives to assume adds a layer of complexity to their already complex sexual situation.
As an evaluation of human fallibility, I can admire this complexity and how Alistair simultaneously despises and adopts his father's past lecherous behavior with his staff. As a device in a romance novel, I fear its other implications. I'm torn between accepting such scenes as odes to the human condition and rejecting them as a romanticizing of toxic behavior.
As I have said before, this is not the first time Duran has danced across such lines. Both Written on Your Skin and At Your Pleasure examine sex and romance within an unequally structured relationship.
I think Duran explores the darkness of these male characters in a very intriguing way, but I don't think her heroines always fare as well. Mina, from Written On Your Skin, was a strong heroine who battled against the Hero whenever he contrived to oppress her. In contrast, I thought the authoritative, headstrong woman that Olivia was painted as in the previous novel and at the beginning of this book was lost to the whims of Alistair's desires and the conflict of the story the further I read. Plot devices in the last third of the book, some of which felt messy, underexplored, and quite cliche, also served to victimize Olivia even further. Not only does this challenge the already precarious morality of their sexual relationship as it was, but it carries the plot to a somewhat disappointing resolution.
Aside from my scruples with the sexual romance, I think other aspects of the book were disappointing, or at least underexplored, as well. Given that Michael, Alistair's brother, and Elizabeth, Olivia's friend and former employer, were the primary characters in the last book, I would have loved to see more relationship development between them and the characters of this novel. Many of the relationships that Duran built at the beginning of the book were ultimately unimportant to character development or the resolution of the plot. Which was unfortunate, because a few of those characters were quite charming. As a whole, the events/plot points of the book felt a bit disjointed and the resolution felt a bit forced.
Duran's writing was still superb, but this was not my favorite book from her. I'm hoping I will enjoy the next book in the series better, but what reviews I've read so far have me steeling myself for a similar experience with the Hero.
emotional
mysterious
slow-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
No
Flaws of characters a main focus:
Yes
Watching Olivia stand up to the duke was priceless. Also, as a fellow bibliophile, the thing that tipped her over the edge was his maltreatment of books, and I can identify with that.
I really appreciated this story. Two (relatively) mature people whose plans for their life were betrayed by other people learning to trust each other and make a new future together. Funny and heartbreaking by turns.
I really appreciated this story. Two (relatively) mature people whose plans for their life were betrayed by other people learning to trust each other and make a new future together. Funny and heartbreaking by turns.
Waited a couple of days to review and I still feel like… it was fine. Key parts simply rubbed me the wrong way, particularly the hero using the threat of sexual violence to intimidate the heroine while he’s angry and the heroine yelling at him to Just Snap Out of his depression. By the time the author went, “Don’t worry! She’s never actually scared!” or “He needs to be yelled at this way!” I was already on edge and not enjoying myself.
I do like parts of this book — Beauty and the Beast raised me, after all — and the ending was satisfying, given how terribly Olivia’s treated prior to the start of the book and during the climax of the story. The steamy stuff: greatly enjoyable. My reading experience was just too uneven overall for me to give it a much higher rating or more consideration than this.
I do like parts of this book — Beauty and the Beast raised me, after all — and the ending was satisfying, given how terribly Olivia’s treated prior to the start of the book and during the climax of the story. The steamy stuff: greatly enjoyable. My reading experience was just too uneven overall for me to give it a much higher rating or more consideration than this.
I really disliked the first in this series, so have put off reading this one.... I actually really enjoyed this, even though I occasionally wondered if I'd read it before. Some of the premise is quite similar to other books, but I do like Duran's writing style.
THIS BOOOOOOOOK. Meredith Duran, who hurt you girl?! The feral Duke, the family history, the politics, the conversation by the pond, the carriage scene, ugh so flipping good.
I was wavering through most of the book, but the characters fought for it and I was feeling the emotion at the end. I would have liked a little more love a little earlier, but it was still a great book.
"This girl was beautiful. The garden was beautiful. He had kissed her once, and he could kiss her again. But he owed her better; he saw that, suddenly, for it was she who had drawn him out, her and only her whom he would have walked toward."
I admit I read the first one in the series "That Scandalous Summer" when it came out and I'm having a hard time remembering the general premise of it. Blame it on my lack of memory. Regardless I enjoy Meredith Duran's work and I love stories where the protagonists infiltrates a home for their own purposes.
We meet Olivia, running from an assassin and his employer. She was originally in the first book as the trusted confidant of Elizabeth Chudderley. Given the opportunity to steal some important letters that could secure her safety, she goes into the house of Alastair de Grey, Duke of Marwick as a housekeeper. Her plan is to find letters that she can use to bring down the baddie.
But here's the rub, Marwick has issues. It was assumed he would someday be prime minister because of the track he was on. A great writer, a great orator and philosophy he was meant to do great things. But he found out his wife was cheating on him and passing on secrets to his rivals. When she died, rather than be a little grateful that his troubles would be over he's hidden himself in his home for over 10 months. As a child he knew he was the heir and needed to be a good father figure to his brother. He did everything right, he took on troubles of the bullied, he married right and went to her bed as a virgin, he did everything his father didn't do. And for everything to crumble, it's a shock to the system. Rather than whoring himself out, he's locked himself up in his apartment. His servants run amok, while he deals with his wife's infidelities and lack of political prestige leaves him without office. For a man who once fought for the poor and fought for injustice, he's chosen to become a recluse with no contact to his peers.
While Olivia wants to use Marwick and go through his personal files to destroy Bertram, her enemy and one of the men Marwick's wife was seeing, she begins to know the man. She tries to distant herself so that she doesn't care and develop feelings. But as she's searching his papers, she can't help, but read his drafts of powerful speeches meant to help the poor and those without power. She doesn't want to help him, in front it would be easier if he remained as he was, but she can't help to want to help him.
Little by little, Olivia nudges Marwick to exit his apartment and enter the common area of his house. She wants him to take back his life. He's completely curious about her, why a young woman of obvious good breeding would be in a domestic position. Someone who knows several languages, knows about music, etc would be in her position. When she gives him part of her story, he recognizes that she's made something of her situation, while he who has power because of his sex can do anything, but chooses not to.
There's a great magnetism between to two characters and it's very much a slow burn romance. There's a great scene in which Olivia is rather forced into cutting Marwick's hair and it's such a great representation of who they are as people. There's a bit of a Beauty and the Beast theme going on. Marwick realizes that Olivia stirs something in him that his wife did not. He turns a little beastly when around her, he wants to consume her to teach her a lesson in impertinence, but it backfires. There's such a great show of will and pride and it slowly ebbs away as they realize that together they could be great if only they allow themselves to believe that.
I loved the characters, I loved the give and pull, the want and denial, the selfless and the need. The language is so good here, it flows, it's tight, there's a sense of direction and connection. I loved it.
I admit I read the first one in the series "That Scandalous Summer" when it came out and I'm having a hard time remembering the general premise of it. Blame it on my lack of memory. Regardless I enjoy Meredith Duran's work and I love stories where the protagonists infiltrates a home for their own purposes.
We meet Olivia, running from an assassin and his employer. She was originally in the first book as the trusted confidant of Elizabeth Chudderley. Given the opportunity to steal some important letters that could secure her safety, she goes into the house of Alastair de Grey, Duke of Marwick as a housekeeper. Her plan is to find letters that she can use to bring down the baddie.
But here's the rub, Marwick has issues. It was assumed he would someday be prime minister because of the track he was on. A great writer, a great orator and philosophy he was meant to do great things. But he found out his wife was cheating on him and passing on secrets to his rivals. When she died, rather than be a little grateful that his troubles would be over he's hidden himself in his home for over 10 months. As a child he knew he was the heir and needed to be a good father figure to his brother. He did everything right, he took on troubles of the bullied, he married right and went to her bed as a virgin, he did everything his father didn't do. And for everything to crumble, it's a shock to the system. Rather than whoring himself out, he's locked himself up in his apartment. His servants run amok, while he deals with his wife's infidelities and lack of political prestige leaves him without office. For a man who once fought for the poor and fought for injustice, he's chosen to become a recluse with no contact to his peers.
While Olivia wants to use Marwick and go through his personal files to destroy Bertram, her enemy and one of the men Marwick's wife was seeing, she begins to know the man. She tries to distant herself so that she doesn't care and develop feelings. But as she's searching his papers, she can't help, but read his drafts of powerful speeches meant to help the poor and those without power. She doesn't want to help him, in front it would be easier if he remained as he was, but she can't help to want to help him.
Little by little, Olivia nudges Marwick to exit his apartment and enter the common area of his house. She wants him to take back his life. He's completely curious about her, why a young woman of obvious good breeding would be in a domestic position. Someone who knows several languages, knows about music, etc would be in her position. When she gives him part of her story, he recognizes that she's made something of her situation, while he who has power because of his sex can do anything, but chooses not to.
There's a great magnetism between to two characters and it's very much a slow burn romance. There's a great scene in which Olivia is rather forced into cutting Marwick's hair and it's such a great representation of who they are as people. There's a bit of a Beauty and the Beast theme going on. Marwick realizes that Olivia stirs something in him that his wife did not. He turns a little beastly when around her, he wants to consume her to teach her a lesson in impertinence, but it backfires. There's such a great show of will and pride and it slowly ebbs away as they realize that together they could be great if only they allow themselves to believe that.
I loved the characters, I loved the give and pull, the want and denial, the selfless and the need. The language is so good here, it flows, it's tight, there's a sense of direction and connection. I loved it.
4.5 Stars
This was so much fun!!!! I loved the grumpy duke. I love that Olivia and him had a lot of banter, none of it stale. There was no annoying love triangle(yay!), and the romance between the two of them was so HOT. This is the first Duran book I have read, and it will not be the last. There was a perfect balance of sex to romance in this for me, not too much, but more than a few kissing scenes. Lets face it, there are only so many times you can read about a kiss being ravishing or branding before it becomes trite.
This was so much fun!!!! I loved the grumpy duke. I love that Olivia and him had a lot of banter, none of it stale. There was no annoying love triangle(yay!), and the romance between the two of them was so HOT. This is the first Duran book I have read, and it will not be the last. There was a perfect balance of sex to romance in this for me, not too much, but more than a few kissing scenes. Lets face it, there are only so many times you can read about a kiss being ravishing or branding before it becomes trite.