Note: This post will be a bit spoilery, but no more so than most of the GoodReads reviews.
Best line: (I guess it wouldn’t be fair to include the “creaming lagoon” line.)
“What did she [the heroine’s employer] think she had seen this morning? What imagined construction had she put upon those moments when she was in Piers’ arms? Did she believe that their lovemaking had exceeded the bounds of what was right and what was wrong?”
Notes of interest: Mather begins her notorious envelope pushing, with a heroine who first gets involved with a married man, and then with his son! (Unknowingly and fairly chastely both times, of course. But give Mather a few years…) Rebecca is also illegitimate and it’s not a plot point.
I was especially eager to read this one — even going out of order — because the cover is actually familiar to me. Although it didn’t ring a bell otherwise, I do find it interesting that this is the first of the project reads that really feels like the Harlequin Presents I know and love. I think that the prose style has become more informal and immediate, the physical interaction are definitely more sensual, and though there are a greater number of secondary characters than you’d find in a more modern HP and some foreign descriptions, the focus stays on the relationship and the drama. Whatever the reason, despite a rather dull beginning in which the heroine is tediously frightened about her feelings for the hero, I actually cared about how this one would come out!
I think naming the heroine “Rebecca” must have been either deliberate or perhaps subconscious, because the opening of the book is rather iconic: heroine in service to a cantankerous, demanding older woman meets mysterious widower. (Or so she thinks.) The plot and characters depart quite sharply after that though, and it’s mostly a story about two lovers destroyed by the malicious schemings of a stereotypically bitter and twisted disabled person. (Our second villain in a wheelchair.) Here’s her after spying on them making out:
“Oh, yes, miss.” Adele’s face was contorted with triumph. “Yes, I watched you, and it’s given me a new lease on life, believe me!”
Oh, she is so deliciously awful.
Making out is as far as it goes, but Mather is moving us beyond kisses. Apparently arms were the hottest thing going in 1973: In order not to be too attractive, Rebecca wears a caftan that “hid the rounded countours of her arms.” This was a smart move, because sure enough, the first time Piers get her alone, “his fingers curved round her upper arm” and “he bent his head and put his his mouth against her arm, caressing it insistently.” This before they’ve even kissed.
The plotting is a touch confusing at times, but I enjoyed this one because Piers isn’t a total asshole and/or mystery. Even without point-of-view, we can tell that he cares, and that his assholish moments are because he cares. He’s a prince compared to pretty much ever other hero I’ve read so far, and as I said, for the first time I was really caught up in seeing this romance work out. Yay!