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themeadowlibrary's review
hopeful
inspiring
mysterious
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.75
swatson4016's review against another edition
adventurous
lighthearted
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.75
This was one of those novels where I was really wondering if it could possibly have an HEA. I loved this story until about 65% in. The MMC was a little to harsh at points around then, but he makes up for it big time. I enjoyed the premise and the story, but I also wanted there to be a little more pay off at the end.
madwomanreadingromance's review against another edition
challenging
dark
emotional
hopeful
reflective
sad
tense
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
5.0
booketofbooks's review against another edition
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
jackiehorne's review against another edition
4.0
See full review at:
http://romancenovelsforfeminists.blogspot.com/2014/04/justifying-gender-nonconformity-in.html
http://romancenovelsforfeminists.blogspot.com/2014/04/justifying-gender-nonconformity-in.html
ltennant09's review against another edition
emotional
medium-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.25
labwa_0712's review against another edition
4.0
My first book by Meredith Duran was a bad experience. So I did not expect much from this one. But I was wrong. Because whatever lacked in the previous book, this one was full of them.
The writing was amazing, the description, the emotion filled words were beautiful. Some angst lingered between the sentences. A semblance of forbidden attraction between a lord and a servant. An invisible thread of longing and revenge bound both Olivia and Alastair together.
The romance was heartwarming. This recluse duke, wallowing in self pity and vengeance has stopped stepping foot out of his own room. Then comes in a fiery haired nobody, pushing him, prodding him, infuriating him. But now, he’s awake and piqued, ready to destroy the men who destroyed him.
The attraction between Olivia and Alastair was palpable. How hard was it for him to restrain from touching, and how hard she wished she didn’t crave it. Two people from opposite ends of society, how could they ever be together?
I loved this book. I loved the angst. I loved the chemistry. I loved the plot. In a word, this book was amazing.
The writing was amazing, the description, the emotion filled words were beautiful. Some angst lingered between the sentences. A semblance of forbidden attraction between a lord and a servant. An invisible thread of longing and revenge bound both Olivia and Alastair together.
The romance was heartwarming. This recluse duke, wallowing in self pity and vengeance has stopped stepping foot out of his own room. Then comes in a fiery haired nobody, pushing him, prodding him, infuriating him. But now, he’s awake and piqued, ready to destroy the men who destroyed him.
The attraction between Olivia and Alastair was palpable. How hard was it for him to restrain from touching, and how hard she wished she didn’t crave it. Two people from opposite ends of society, how could they ever be together?
I loved this book. I loved the angst. I loved the chemistry. I loved the plot. In a word, this book was amazing.
labri's review against another edition
adventurous
lighthearted
mysterious
medium-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? No
4.0
madisonemx's review against another edition
3.0
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.