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Sunita's Best of 2010 Review: Emily and the Dark Angel by Jo Beverley

Sunita's Best of 2010 Review: Emily and the Dark Angel by...

In the spirit of better-late-than-never reviews, here is one of my favorite books of 2010.

Dear Ms. Beverley,

Before there were Mallorens, before there were Rogues, there was the Daffodil Dandy. You are justly renowned for your ability to create a fully realized world inhabited by characters across multiple books, but readers who love your historicals are not always familiar with the Regency world you created in the 1980s and 1990s. Linked together by the inscrutable, yellow-clad character of Kevin Renfrew, your early Regencies conform to the standards of the genre but invest the characters and the setting with a depth and richness which few other authors and series have been able to match. The books were published in hardcover and are available in some public libraries, but used paperback copies can be hard to find and expensive, so when I heard that the six novels in the series were being reissued in trade paper and ebook formats, I was thrilled. The reissues began in 2008 with a 2-in-1 edition entitled Lovers and Ladies, which comprised The Fortune Hunter and Deirdre and Don Juan. In 2009 Lord Wraybourne’s Betrothed, the first of the series, was reissued, and then in 2010 the last three reissues were released, culminating with Emily and the Dark Angel in October. While Deirdre and Don Juan is probably my favorite of the set, Emily and the Dark Angel is arguably the strongest novel of the six, although I encourage fans of your other work and of Regency trads to read all of them, in order, and to hunt out a copy of the short story in the series, “If Fancy Be the Food Of Love”.

Emily And The Dark Angel By Jo Beverley Emily and the Dark Angel is set in Melton Mowbray, the famous seat of English fox hunting and the home of the Quorn Hunt. Emily Grantwich is trying to keep the family estate together under trying circumstances. Her father is an invalid, suffering injuries in a misguided, tragicomic duel with a neighbor, and her brother, the heir, is missing in battle during the Napoleonic War. When the estate of said neighbor is inherited by Piers Verderan, a rake known as the Dark Angel, Emily is repeatedly thrown into contact with him despite the warnings and fears of her friends and family. Verderan, a jaded sophisticate, has come to examine his recent inheritance, whose situation in the heart of the Quorn makes it immediately appealing despite its dilapidated condition.

The plot is deceptively simple. Aging spinster meets rake, opposites attract, spinster tries to keep estate from falling apart, people and events from rake’s past reappear in the present, and the course of true love is eventually smoothed out after a series of bumps. But while the plot and context are drawn from familiar Regency traditions, the characterizations, relationship, and context are beautifully imagined and presented. Emily is an unmarried, inexperienced, unsophisticated woman in her 20s, but she is also intelligent and quick-witted. Verderan, or Ver, is a real rake, not a fake one. He is sophisticated and ruthless, and rumors about his youthful peccadilloes swirl. But he is also intelligent, sensitive, and surprisingly patient with both his young relatives and with Emily. By the end of the novel he is still the rake we met at the beginning, but we understand how he came to be the person he is, and we can see how marriage to Emily will soften some of the hard edges even as he retains his acerbity and sophistication.

Emily and Verderan make a wonderful match, even though they are drawn to each other somewhat unwillingly. Their interactions are by turns funny, sexy, and serious. The book observes the trad norms of avoiding explicit sexuality, but you convey the sensuality of their relationship and others, very clearly. And Emily and Ver don’t engage in the annoying banter that passes for wit in so many novels today. They spar, and their dialogue reflects their intelligence, but it feels like conversation real people would have.

“You must consider yourself fortunate, Miss Grantwich, to live in the heart of the Shires."

Emily focussed again on the road. "On the contrary, sir. The recent passion for hunting is very disruptive. As I have no taste for the chase, I get no benefit from the hullabaloo and a great deal of bother from the hunt charging across our land."

"I'll go odds your father and brothers don't agree," he remarked.

Maliciously she said, "As my father is an invalid and my brother has been missing in action for four months, I think their interest in hunting down foxes is limited." Emily was immediately ashamed of herself. His arrogance was no excuse for her to be positively catty.

She swivelled her head up again and saw a trace of disdain which she knew she deserved. Quickly she said, "I do apologize. There's nothing civilized you can say to such an announcement, is there? I can only excuse myself as being out of sorts after …" Emily found she could not think of a way to describe the recent contretemps.

His lips twitched with what appeared to be genuine amusement. "After being barrelled into," he offered. "Screeched at by a lady of obviously loose morals and drowned in revolting Poudre de Violettes? A powerful excuse for any incivility, I assure you."

Emily’s home circumstances are sympathetically and realistically depicted. Her father chafes at her assumption of control, and she finds it difficult as a single woman to conduct the business necessary to maintain the estate. She is clearly very competent, but she is constrained by the restrictions placed on her, and while she has no desire to marry her worthy but annoying and boring suitor, she knows how limited her life will be if she does not.

Verderan is a wonderful hero. His rakishness is real, his estrangement from his mother and home in Ireland understandable, and his reluctance to acknowledge his attraction to such an unlikely romantic object fun to read. When he falls, and falls hard, it’s very satisfying. The final scenes, fittingly set at the hunt, do both Emily and Verderan justice.

No review of a Jo Beverley book would be complete without a discussion of the context. This book is the penultimate book of a series, and characters from the rest of the books play major roles in it. But in your books the supporting characters never feel like series bait. There is no schoolboy organization to tie the characters together; rather, they are either related or have grown up together. You have stated in discussions of your work that you aim to create a world, and this book is an excellent example of what you mean by that. Our main characters are members of communities embedded in the larger society. They don’t exist in isolation, and their actions affect many others around them. Even Verderan, who has cut himself off from his immediate family, is enmeshed in social relationships.

The fictional world of these young people is located in the larger, real-life world of Melton and the hunting culture. While I’ve read any number of books which namecheck Melton Mowbray, Assheton Smith, and Leicestershire hunting boxes, I’ve never read one with a more fully realized depiction of that world. You weave real-life characters, such as George Osbaldeston, together with your fictional creations seamlessly. As a reader who focuses on context as closely as I do relationships and characterizations, I think this world is as successfully realized as any historical romance, especially given genre and space constraints.

The Regency trad genre has almost disappeared today, although there are a number of good authors writing somewhat related books. But for readers who miss the trad format, or who want a romance that focuses primarily on the hero and heroine and the world in which they live, and who don’t mind a book which foregoes explicit sex but retains subtle sensuality, Emily and the Dark Angel is a must read.

Grade: A


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REVIEW: The Secret Duke by Jo Beverley

REVIEW: The Secret Duke by Jo Beverley

The Secret DukeDear Ms. Beverley,

All right. Here we go with “The Secret Duke” the third book in this series set in mid eighteenth century England. As with the first two books, it involves hidden and/or secret identities and takes place partly on the road which allows the characters to let their hair down – so to speak – and get to know each other outside of rigid constraints of 18th century and aristocratic society. Parts of the book worked very well for me while others…hmm, maybe not so much.

The Duke of Ithorne is a man of power and consequence. Born after his father’s death, being a Duke is what he was raised to be. But occasionally, he assumes an alter ego as Captain Rose, sailing out of Dover. And it’s after one of these voyages that he first meets a young woman who will rock his world. Who is she? Well, he doesn’t know – then – as she slips away after he’s saved her virtue and possibly her life. But four years later, the two meet again, and again, cloaked in disguises and attempting to keep their identities hidden as they tack through the swirling events of London court and country life.

Those who haven’t already finished the first two books might be slightly at sea when characters from them pop up in this one. I still think that people could start here but only if they don’t mind spoilers, especially from “The Secret Marriage,” since many of the events at the end of that book overlap with the early action of this one. I found a lot of that to be slightly awkward, since I already knew about it, and very dragging as there’s a whole lot to be recapped. And while the cat-rabbit of Hesse was interesting enough for one book, I didn’t care to see her again, and for so many scenes, in this one. I think she’s got more dialogue in the book than Rothgar does.

Of more interest to me is the portrayal of the position of women at this time. The heroine, Bella Barstowe, finds out exactly how easy it was for a woman to lose her reputation and how that would blight her life. She makes a small mistake which gets compounded by the actions of the men “in charge” of her then has to face a future that pretty much sucks. If not for the legacy left to her by another woman, she would never have escaped being house bound. Then you show us, through the coterie around Lady Fowler, the other ways women could slip through the cracks and be left destitute. With no money or family, being a woman alone then would have been truly terrifying. Even a young woman such as Bella has to learn how to deal with the world of commerce outside of her home.

Yet, as precarious as you show a woman’s position to be, I’m glad that not all men are portrayed as ogres and tyrants. Women from all ranks of society could find love or at least good men to be in their lives. Otherwise, Bella’s sudden change of heart about marriage would have seemed to quick. Thank you that the Christmas at Rothgar Abbey serves a purpose other than as a sickly sweet Hallmark Card moment in showing Bella that she could live this kind of life with Thorne.

Again, and I know I’ve mentioned this before, I love that we see the power that these aristocratic people, men and women, had in society. Ithorne is well aware of his responsibilities – both day to day and over the holiday – to his people and his duties. He also knows he needs to put in an appearance when George III becomes King. Perhaps not quite the “hell for leather” charge of the court towards a new monarch as in Tudor days but still one Must Be Seen. I wasn’t aware that King had shown signs of his illness so early in his reign. And behind all the great men were the secretaries and valets. I loved the little bit about Ithorne asking his valet about the correct dress for a nobleman to wear when intervening in the affairs of distressed gentlewomen.

This is not a democratic society, heavens no, and I think you make the distinction very nicely. I would never have thought of the fact that a working class person with a silver cross and chain might be thought to have stolen it. Bella worries that the family servants who help her might be made to suffer for it. Rothgar and Ithorne show noblesse oblige toward those they feel responsible for. Ithorne worries about how Bella would fit into upper echelons of society since even being a lower level aristocrat might not be enough to make her transition to Duchess a smooth one.

In Bella’s initial appearance in the story, she’s still young and impetuous. As the book progresses, and she’s had four years to think on things, she’s grown and shows restraint in her actions. She still has her “March hare” moments but they’re tempered with experience and she thinks things through. When she has the chance to take revenge on those who did her wrong, she’s got intelligence enough to know when she needs some assistance. Ithorne, though he doesn’t change as much as Bella over the course of the story, will hopefully have learned something about the place of women in this world.

But the revenge section, as much as I was glad to see Bella get a bit of her own back, dragged for me. As I mentioned, too much cat – and this is from a person who loves cats – and too much time spent with Ithorne as a common man. Perhaps this is due to the fact that you used this plot device in all three books and maybe it’s partly because you show the aristocratic power behind the pomp so well that I want to see more of that. In any event, I wasn’t sorry to see this section end.

I am sorry that this mini-series is now over as I adore Georgian era books and am always delighted to peek into the world of the Mallorens. Poor Bryght and Portia will have to sweat out another pregnancy before their offspring are “off the hook.” And poor Rothgar, along with Robin, will have to pace through another delivery. Will we see more Mallorens? I do hope so.


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