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3.95 AVERAGE
3.95 AVERAGE
I'd heard this was one of the most commonly recommended historical romances, and now I can see why. Excellent! The tortured hero was so well done. Fans of Beast of Beswick will probably love this one, perhaps even more. ❤️
In the course of doing some research on romance for a talk I gave at ChLA on TWILIGHT, I came across an interesting article by Dawn Heinecken on how popular romance novel conventions have shifted since the 1990s. Heinecken argues that romance fiction in the 1990s has incorporated earlier feminist discourses. “Novels since the late eighties have moved away from evidencing moments of ‘subversiveness’—i.e., implicit or hidden critiques of patriarchy—to revealing more overtly feminist positions which are ‘feminist’ in that they preset ways of thinking that run counter to the traditionally ‘masculine’ ideology of competition, hierarchy, and autonomy. Thus, the incorporation of feminist values means that not only is the presence of working women widespread and validated, and female characters have both greater social and personal power, but that romance novels embrace a sense of social justice and the necessity for a cooperative relationship that is in direct opposition to masculine modes of thought. At the same time that women’s power is on the rise, descriptions of acceptable male behavior and proper uses of masculine power have been radically altered. No longer content to imply gentleness on the part of the male, romance novelists have launched a penetrating investigation into the male psyche and have constructed a new breed of non-violent hero. Furthermore, sex itself has been problematized and consequentially policitized” (150-51).
Some specific arguments:
Women as competitors in earlier novels; women as friends in later novels
Focus on women as physically attractive vs. focus on personality in later novels
"Alpha male" hero, who keeps emotions hidden except in moments of violence or lust vs. emotionally scarred hero
Less violence against women in later novels
Less assumption that women do not own their own bodies in later novels
Male form more available to the female gaze in later novels
POV both male and female in later novels
Shift toward mutuality between male and female
SEX Older novels: sex is something done to the woman; sex is separate from time, a liminal state in which women can’t control themselves; sex is goal-oriented, ending in climax; sex is the cure to a troubled relationship
SEX Newer: good sex depends upon “specific sexual actions and situations” (167).
Consensual, non-coersive
Sex as part of a process rather than an end
Sex not just physical, but emotional
“sex as an expression of a utopian, reciprocal relationship” (170)
Acknowledgement of the power dimension of sex, thus problematizing sex
I was an avid Harlequin Romance reader as a pre-teen, but always felt vaguely guilty about it. And after taking some Women's Studies courses in college, I understood why. But Heinecken's article suggested that perhaps romance novels had changed since my pre-teen days, in ways that might make their pleasures less problematic. So, with recommendations from the "Smart Bitches/Trashy Books" girls (see their NPR interview here: http://www.npr.org/templates/story/story.php?storyId=102999327), I set off on a course of Regency period historical romance reading...
Smart Bitches highly recommended Chase's LORD OF SCOUNDRELS. I can see why. The writing is strong, and the sex fits all of the criteria outlined by Heinecker. The book, published in 1995, might be a transitional work of sorts -- the hero is a rake, but he has a psychologically compelling reason for being so, a problem that falling in love with the heroine allows him to overcome. The heroine is funny, if without any problems of her own. A good place to start for those interested in looking into what's going on in the contemporary historical romance.
Some specific arguments:
Women as competitors in earlier novels; women as friends in later novels
Focus on women as physically attractive vs. focus on personality in later novels
"Alpha male" hero, who keeps emotions hidden except in moments of violence or lust vs. emotionally scarred hero
Less violence against women in later novels
Less assumption that women do not own their own bodies in later novels
Male form more available to the female gaze in later novels
POV both male and female in later novels
Shift toward mutuality between male and female
SEX Older novels: sex is something done to the woman; sex is separate from time, a liminal state in which women can’t control themselves; sex is goal-oriented, ending in climax; sex is the cure to a troubled relationship
SEX Newer: good sex depends upon “specific sexual actions and situations” (167).
Consensual, non-coersive
Sex as part of a process rather than an end
Sex not just physical, but emotional
“sex as an expression of a utopian, reciprocal relationship” (170)
Acknowledgement of the power dimension of sex, thus problematizing sex
I was an avid Harlequin Romance reader as a pre-teen, but always felt vaguely guilty about it. And after taking some Women's Studies courses in college, I understood why. But Heinecken's article suggested that perhaps romance novels had changed since my pre-teen days, in ways that might make their pleasures less problematic. So, with recommendations from the "Smart Bitches/Trashy Books" girls (see their NPR interview here: http://www.npr.org/templates/story/story.php?storyId=102999327), I set off on a course of Regency period historical romance reading...
Smart Bitches highly recommended Chase's LORD OF SCOUNDRELS. I can see why. The writing is strong, and the sex fits all of the criteria outlined by Heinecker. The book, published in 1995, might be a transitional work of sorts -- the hero is a rake, but he has a psychologically compelling reason for being so, a problem that falling in love with the heroine allows him to overcome. The heroine is funny, if without any problems of her own. A good place to start for those interested in looking into what's going on in the contemporary historical romance.
emotional
lighthearted
medium-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Yes
challenging
dark
emotional
funny
hopeful
lighthearted
fast-paced
emotional
funny
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Complicated
Diverse cast of characters:
Complicated
Flaws of characters a main focus:
Yes
emotional
lighthearted
fast-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Loveable characters:
Yes
Diverse cast of characters:
N/A
Flaws of characters a main focus:
Yes
So much happens in the book and I think the pacing and drama is high throughout.
There is so much excellent banter in this book. Oh boy. Wonderful stuff
There is so much excellent banter in this book. Oh boy. Wonderful stuff
funny
relaxing
medium-paced
Plot or Character Driven:
Character
Strong character development:
Yes
Flaws of characters a main focus:
Yes
emotional
medium-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
emotional
funny
hopeful
lighthearted
medium-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