I am a sucker for road romances, foul-mouthed gunslinger heroines, gambler heroes and anything set in the old west, so this scratched all my itches. It also had some fabulous, slow-burning sexual tension that more recent books just don’t seem to have the patience for anymore.
I just found the heroine almost Mary Sue-ish. She spends the bulk of the book being acted upon rather than driving her share of the action, then seems to be rewarded in the end for being such a good person before. For a heroine who was supposed to be a rough-and-tumble outlaw, she constantly needed the hero to bail her out after she charged into things half-cocked.
I had a lot fun reading it, but it wasn’t the best book it could’ve been. C+
This author’s books are consistently enjoyable for me (Wild Fling or a Wedding Ring? even got a rare 5* review from me on Goodreads) so just seeing that she has a new book out is enough to get me to buy without so much as a glance at the blurb or the reviews.
Never Stay Past Midnight had all the elements I love this author for. The heroine’s a grown-up with an adult’s life, libido and responsibilities. The hero’s wealthy and successful, but human. Both are reluctant to commit to a relationship, but neither’s reluctance stems from blanket judgments of the other’s gender, or any high-angst disavowals of the existence of love. They just got unresolved baggage from lives that didn’t come with training wheels.
Unfortunately, the strength of that conflict and the depth of their feelings on commitment made the rushed ending unsatisfying. While their fling that became more was charming and believable, the hero’s abrupt about-face on a serious bone of contention weakened the story. B+
The heroine heads west to Texas as a mail-order bride after the Civil War destroys her home and family in Georgia. She expects to be met at the train station by her fiance, but is instead met by his younger brother. After falling from a horse and breaking his leg, her fiance couldn’t make the three-week trek each way himself. Hijnks ensue.
Starts slow with a metric fuck ton of angst over the hero’s scars, goes nuts with adjectives and flowery metaphors, but nails yearning and sexual tension like a boss. The end waffled more than an IHOP, but I was invested like whoa. B-
While I enjoyed the main couple and their romance immensely – there are real obstacles to their getting together and the yearning was palpable – the suspense plot lacked, well, suspense, and the heroine’s son was the most convenient plot moppet of all time. OF ALL TIME.
Highly entertaining, but uneven and unmemorable. C
All of the standard Presents tropes that I usually enjoy – revenge, self-made men, yachting on the Mediterranean, shitbag family drama – were accounted for in this book, but it very much did not work for me at all.
It wasn’t so silly that I stopped reading it, but pretty damn close. It was the way they treated the whole “mistress” thing, like it was a job position. It was really absurd. She not only walks up to him and says, “I had heard you were between mistresses at present. I had so hoped to be the next.” There was also this bizarre exchange:
“While I appreciate your list of rules and regulations, and will make every effort to follow them, being a mistress is much more than the ability to follow orders.” She traced the strong line of his jaw, the proud jut of his chin, with a lazy fingertip—though she felt as far from lazy as it was possible to feel. She kept on. “A good mistress must anticipate her partner’s needs. She must adapt to his moods, and follow his lead. It is like a complicated dance, is it not?”
Is this a Presents, or D/s erotica? As I told Liz, in a contemporary setting, “mistress” should be used like “pooch,” that is, only in tabloid headlines. D
Anyone who wanted to like Beautiful Disaster but just couldn’t hang with the deeply internalized misogyny and textbook abuser archetype hero need to read this book. Everyone else needs to read this book too, but those readers especially deserve to treat themselves. It’s well written and populated with fully-developed characters. A strong theme of respect and empowerment for women runs throughout without ever getting preachy (oh, well, never bad preachy, anyway.) The heroine is self-saving and the hero is just a beautiful person. A-