Showing posts with label F Reviews. Show all posts
Showing posts with label F Reviews. Show all posts

Thursday, November 15, 2012

"The Blessed," by Tonya Hurley

The Protagonists:

Agnes: Even though her suicide attempt fails, this naive Catholic schoolgirl still holds out hope that true love exists. But why is she drawn to this strange church during a hurricane?

Cecilia: An underground musician who's left to drown in a puddle and wakes up in the hospital with a strange new purpose. Just don't let her go near any open iron maidens, she's super clumsy. You can get stigmata from those things!

Lucy: A venomously awful and self-centred socialite who's made a living out of being famous for being famous - until she finds out who her real friends are when she accidentally overdoses at a club. Wait, no, I was wrong - she's venomously awful and self-centred throughout the book and spends most of the story trying to make everything about her.

The Secondary Cast:

Sebastian: The book's Hot Male Mentor and designated Catfight Lightning Rod, Sebastian escaped from a psych ward to find our three heroines and inform them of their destinies - in the slowest and vaguest way possible.

Dr. Frey: An eeeevil psychiatrist whose motivations and allegiances remain unclear for the entire book. His villainy's demonstrated by his desire to, uh, prescribe the proper treatment and medication for mental illness. Apparently treating mental disorders should be left up to Jesus. It says a lot about this book that his weapons of choice against our heroes are logic and medical reasoning. If logic is an enemy to your story, you need to look at your book, and look at your writing choices.

Angst Checklist:
  • Help! I'm a Vicious Celebutard surrounded by other Vicious Celebutards!
  • My Music Is Too Pretentious for Regular Clubs Therefore I'm Broke
  • I Tried to Kill Myself for Attention but All I Got Was the Opposite of Attention
  • Psychiatry is the Devil. Literally.
  • Catholic Churches are losing ties to their roots, I mean where you can find a decent parish with a functional iron maiden anymore?
  • Hot Abs for Jesus
  • Sex dreams in which you die violently that are still hot
  • Sex dreams only without the sex and lots of trippy imagery
  • Sex dreams only with no sex and no dreams where you bash your head into mirrors, fall into iron maidens and set your hair on fire. Uh, the way Jesus intended.
  • Heroism is for suckers, unless you do it in over-described fabulous wardrobes
Tweet It! My livetweets reading this hot mess are Storified here.

The Word: I spent about 4 hours figuring out how to write this review. How best to convey the utter disgust and rage I felt reading this terrible, offensive, insane-in-the-membrane book. I must have stopped and started a dozen times. Finally, I decided to keep it simple, and let the madness flow out of me naturally.

I was actually excited to read this book, if you can believe it. As a practising Catholic who is also writing a novel about saints for NaNoWriMo, I thought this book (which I picked up at BookExpo America) would provide the perfect creative inspiration.

I was wrong.

Our three "heroines" (and I use that term extremely loosely) all wind up in the ER on the same night after their Darwinian attempts to remove their defective genes from the YA Heroine gene pool failed - Agnes tried to kill herself to spite her mother and her ex-boyfriend, Cecilia the pretentious-preachy indie musician drunkenly drowned in a puddle, and professional famewhore Lucy accidentally overdosed at a club.

While convalescing, they each mysteriously receive a strange bone chaplet with a unique gold charm on it that draws them to a run-down church in Brooklyn.

Now, in a decently-written YA, this would start the plot going and lead these heroines on a journey to find out who they really are and what their purpose is. However, that would require writing and developing a female character deeper than the layer of dust this book will soon acquire at the Used Book Store. And why do that when it's so much easier to describe their designer outfits or the expensive furniture and accessories in their bedrooms?

To save on having to give the protagonists enough character development to motivate their own choices, the book has the heroines do things because they mysteriously "feel" that they should, or because a vague force compels them to make uncharacteristic decisions.

It's thanks to these inexplicable plot contrivances that our booze- and pretension-addled heroines wind up in a decrepit old church where a Hot Mysterious Male Mentor Figure named Sebastian awaits. Because he is a Male Person with Abs, it takes about five minutes before all three of our heroines are venomously catfighting for his attentions.

And that's pretty much the book. All these girls do is snipe at each other, fawn over Sebastian, and find new and Catholic-inspired ways to hurt themselves.

No, really. The Blessed is aggressively, offensively stupid for a number of reasons - the vapid and unpleasant heroines, the grotesque random violence, the wonky plotting, the overly-vague and half-assed world building, and the amateurish writing larded with unnecessary adjectives and speech tags.

Worse, The Blessed fails because nothing of note really happens for the vast majority of it. Sebastian waves his arms around and makes a lot of open-ended and non-specific statements about finding a destiny, and it takes him until nearly the very end of the book to reveal what the cover artwork, book marketing, and back cover blurb already did: that the heroines are the reincarnations of the Saints Agnes, Cecilia, and Lucy.

So for the first 300 pages of this book there is no conflict, there is no explanation, there isn't even any development of the very, very slight supernatural plot.

For 300 pages, we have to read about how three hateful girls fight over a man, slutshame each other, and brutally self-harm themselves during a Random Religious Ecstasy (not making this up) in a church during a hurricane without any real reason for why they're there and why we have to read about it.

Even by the end, the worldbuilding is laughably threadbare - Agnes, Cecilia and Lucy have to save the world by doing, uh, good stuff, and by fighting the evil people who are hunting them, er, because they're just evil. What, were you reading this book hoping to learn something?

Plus, if one of the girls dies, the whole world is screwed. Because it's not like there are literally hundreds of other saints waiting in the wings. Or, you know, Jesus. He's usually on hand for these world-ending events. Unless, of course, the author just pilfered random bits of Catholicism without grounding it in any sort of internal logic or actual research. Gee, wouldn't that be offensive?

Honestly, The Blessed is just a heinous mess of random unpleasantness strung together with pseudo-Catholic-hipster pretension. It's ugly and convoluted and disorganized and violent and pointless. It portrays girls as glitzy objects of ridicule who are destined to be brutally victimized. The narrative has no established purpose until the very end and even then it cannot conclude it.

I suffered this book so that hundreds of thousands of you could be spared. Don't let my miraculous sacrifice be in vain.

Avoid this book, in memory of me.
F

Tuesday, October 25, 2011

"Whitney, My Love," by Judith McNaught

The Chick: Whitney Stone. She's in love with her neighbour, Paul Sevarin, and will do anything in her power to get him.
The Rub: Too bad there's a guy out there willing to do anything in his power to get her - and because he's got boyparts, his stalking is far more effective and romantic.Dream Casting: Ashley Rickards.

The Hero: Clayton Westmoreland, Duke of Westmoreland. He gets what he wants.
The Rub: ...But he doesn't always want what he gets.Dream Casting: Rufus Sewel. Or the Devil. Whichever.

The Plot:

Clayton: One way, or another, I'm gonna find ya,
I'm gonna getcha getcha getcha getcha.
One way, or another, I'm gonna buy ya,
I'm gonna getcha getcha getcha getcha.

One way, or another, I'm gonna wed ya,
I'm gonna wed ya, wed ya, wed ya, wed ya.
One day, maybe next week,
I'm gonna own ya. I'll own ya! I'll own ya!

But I'll suspect you're a whore,
So I can mistreat you some more.
What are apologies for?

One way, or another, I'm gonna deflower ya,
I'm gonna getcha getcha getcha getcha.
Then I'll discover I'm wrong,
And then I'll woo ya. I'll woo ya! I'll woo ya!

One way, or another, you will forgive me,
You will forgive me, give me, give me, give me.
And then, I'll re-suspect you,
I'll re-mistreat ya. Mistreat ya! Mistreat ya!

Whitney: Wow, you're a total jerkface.
Who wants to keep me in my place.
I should spray you with mace.

Clayton: WHO SAID YOU GOT YOUR OWN VERSE?

Whitney: I'm sorry! I'm sorry! I just love it when you get all shouty!

Clayton: Love you. Now go make me a sandwich.

Whitney: HOORAY!

Romance Convention Checklist:

1 Evil Misogynist Wrathful Abusive Bastard Hero

1 Hoydenish Doormat Self-Blaming Deserves Better Heroine

2 Sexual Assaults

1 Rape Forceful Deflowering

Several Enabling and Victim-Blaming Relatives

1 Wimpy Romantic Rival

1 Less Wimpy But Still Ineffective Romantic Rival

1 Bitchy McBitchFace
The Word:
How does one begin to review the most offensive, frightening, repulsive book one has ever read?

Well, I suppose I could begin with an apology to Fern Michaels, who previously held that esteemed title on on this blog. I may have hated your writing, Ms. Michaels, but the worst you ever did was inaccurately use the English language and include too many dogs.

And before you get all up in arms, I read the sanitized re-issue of Whitney, My Love, where the hero almost whips and almost rapes Whitney. How almost romantic.

But this really isn't a romance. This is a dark, psychological horror story of how a mentally-unhinged stalker and psychotic mastermind emotionally, physically, and sexually abuses a teenage girl into loving him. And he wins in the end. Hooray.

But maybe I should back up, and talk about Clayton's victim sexual obsession romantic interest: Whitney Stone. She starts out the novel as a pretty hateful little hellion with a budding stalker career of her own: she's determined to pursue and catch her hot gentleman neighbour, Paul Sevarin, with or without his consent. Her antics have already resulted in considerable damage to Sevarin's pride, personal property, as well as his person when one of her more brilliant attempts leaves him with a broken leg.

The entire neighbourhood kind of hates her because she takes her Angst and Daddy Issues out on other people in the form of "harmless" but actually quite dreadful and humiliating pranks. Finally, Dear Old Daddy has had enough of Whitney's crazy and decides to pack her off to France with her kinder and more tolerant uncle and aunt. There, Whitney comes to her senses and decides to clean up her act and win over Sevarin the old-fashioned (consensual) way.

Unfortunately, in France, she comes under the gaze of Clayton Westmoreland, who, after three years of silently watching her and one conversation during a masked ball, decides he must possess her. Despite the fact that he doesn't love her because he doesn't believe love exists.

Our Totally Rational Hero then hands Whitney's debt-ridden father a crisp cheque for one hundred thousand pounds in return for Whitney's hand in marriage, under the condition that Daddy Dearest keep Clayton's betrothal and true identity a secret so that Clayton may have a chance to court Whitney and give her the pretense of having a choice.

However, while Clayton has no problem putting a hundred thousand pounds towards new servants, dresses, and jewels for Whitney - he's not paying for backtalk. When they first meet, Whitney takes an immediate dislike to him, since he spends a great deal of their first conversation talking to her boobs. When they meet again at a ball, Clayton tries to get handsy and Whitney tells him off. Clayton responds by sexually assaulting her for the first time, on page 137:

It happened so quickly, there was no time to react. A hand like a vice shot out and seized her wrist, spinning her around back into the shadows, and jerking her into his arms. "I think," he enunciated in an awful voice, "that your problem is purely a matter of inexperienced teachers."

His mouth crushed down on hers, mercilessly bruising her lips, forcing them to part from sheer pressure.

Whitney writhed futilely in his iron embrace while tears of impotent rage raced down her cheeks. The more she struggled, the more insolent and punishing his mouth became, until she finally grew still, defeated and trembling in his arms.
Clayton really knows how to put the sensual in non-consensual. This sort of behaviour continues for much of the first half of the novel - he continues to spar with an increasingly-irate Whitney until his store of Amused Tolerance for Feminine Defiance runs dry (which doesn't take that long), after which he swiftly resorts to force, manipulation, or outright violence.

As I mentioned in my article over at Heroes and Heartbreakers about "How Alpha is Too Alpha?", an overly-aggressive hero is only tolerable if the heroine is capable of taking care of herself, and if the power in their relationship is evenly divided. The lack of this is exactly this novel's main problem. Through the entire novel, Clayton has all the power in their relationship. He's bought and paid for Whitney, and he's a hugely powerful and influential Duke. Whitney never wins a single argument or confrontation with Clayton, because Clayton has no qualms with crossing the line and using force once the argument doesn't turn his way.

What's worse, and what made this novel tear at the insides of my heart and brain, is how Whitney - and every other "good" character - slowly comes over to Clayton's side of things through copious amounts of victim-blaming. The worse he gets, the worse Whitney blames herself. Oh, if only she could control her fiery temper, then she wouldn't try poor Clayton's patience so badly he tried to beat her with a riding crop! Oh, if only she hadn't hurt Clayton's feelings, he wouldn't have sexually assaulted her for a second time! Oh, if only she'd put a stop to other people's gossip, than she wouldn't have embarrassed Clayton into trying to rape her! Oh, if only she hadn't been so stubborn and just capitulated to Clayton's advances, Clayton would never have had to get angry and force himself on her.

Woe is Whitney, her uncontrollable uppityness just keeps getting her into scrapes! GOOD THING SHE FOUND A MAN STRONG ENOUGH TO KEEP HER IN HAND.

Book - meet wall. Literally.
But enough about violence against women - let's talk about how this book fails as an actual book. For a novel that really is all about Clayton Westmoreland, we get little to no backstory or character development for him. He just shows up as a Big Dark Duke and we're supposed to go, "Oh, that's cool. Don't bother telling us any more about your life and personal interests and foibles and fears. You're hot and rich, which is clearly all that we care about when it comes to romantic heroes. No personality necessary."

In later books, Judith McNaught at least tries to give her asshat heroes some sort of backstory or motivation for why they're total assholes about and around women - like a slutty mum or a slutty ex-lover or several slutty mistresses (seeing a pattern here?). Clayton has none of that. He's the product of a love match and he has a fond, positive relationship with his mother. His ex-mistress is not only not a Raving Psychotic Bitch, but she's actually kind of awesome and nice. There's absolutely no development or reason given for why he's so incredibly suspicious and cruel towards Whitney. None.

And this book needs a reason - because the primary source of drama in this novel is Clayton's Mindbogglingly Irrational Ignorance and Distrust of All Things Whitney. Clayton's mind follows a pretty simple pattern:
  1. Clayton loves Whitney totally and utterly, until,
  2. Clayton comes across a scrap of iffy circumstantial evidence,
  3. Clayton jumps to the absolute worst of conclusions (Occam's Razor? What's that? Whitney totally cheated on me with zebras! Not horses!)
  4. Clayton knocks Whitney around and acts like a jackhole
  5. Clayton finds out that whoops, he was totally wrong
  6. Clayton apologizes and is quickly forgiven, and is totally in love with her again, until,
  7. See #2.
The biggie, of course, is when he overhears gossip of Whitney and Paul's engagement (that Whitney had been unable to quell) - and he immediately assumes that Whitney has been cheating on him and by the time he tracks her down he's also convinced she banged a hella lot of other dudes, including stableboys. This, of course, precedes the scene where he drags her off to his estate, literally rips her clothes off, and takes out his trust issues on her hymen, consent-optional. He then apologizes by showing up at a wedding she's attending and looking sadly and soulfully at her until she feels sorry for him.

Whitney, My Love would have been slightly more palatable if this had been the worst and last thing Clayton did. But no.

At that same wedding reception, Whitney's rude to him while they dance - and he then assumes she's an uncontrollable slut again and dumps her again and starts dating some nasty bitchy rival and has to be dragged back, kicking and screaming, by his brother and Whitney herself to see fucking reason. Yes. Whitney, sixty pages after being pretty much raped by Clayton, has to go and BEG Clayton to take her back.

You'd think that would be end. You'd think that discovering he stole his soulmate's virginity for the wrong reason (because there is a right reason?) would make a guy a little more careful about interpreting ambiguous signals, BUT NO.

After he wrongfully accused Whitney of Ho'ing it up and was proven wrong ON TWO SEPARATE OCCASIONS, after they're married and Whitney's preggers, he comes across a scrap of a letter Whitney had written about possibly being pregnant months ago and a) assumes Whitney's kid ain't his, b) decides Whitney's a dirty, dirty whore who never loved him and c) conveniently forgets THE FIRST TWO FUCKING TIMES HE CAME TO THE SAME CONCLUSION AND TURNED OUT TO BE TOTALLY AND COMPLETELY AND UTTERLY WRONG.

And by this point, Whitney won't even let him apologize - the book implies it's because she wuvs him too much let this proud glorious manly man debase himself by admitting he could be wrong about anything, but I like to think it's because even Whitney doesn't want to stretch the story out any longer.

Again - there's no character development, backstory, or motivation given for why someone like Clayton would jump to all these heinous conclusions about Whitney. His actions also beg the obvious question of why Clayton would bother paying 100,000 pounds for a woman he's clearly afraid to leave alone with a vibrating showerhead. But whatever.

This book - ugh. I've never felt so angry reading a book. I also wrote an article about it over at Heroes and Heartbreakers - but even now, I still feel so full of words and emotions about how terrible, how hurtful this book was. It said so many wrong things about men (particularly, how men who are respectful and take "no" for an answer are weak and simply don't "want" it enough) and incredibly, offensively wrong things about women (particularly a scene where a secondary female character finally uses her "natural feminine wiles" - to lie in order to manipulate her man into proposing marriage. Wonder why all McNaught's heroes suspect women are lying, conniving, sluts?).

ROMANCE: YOU ARE DOING IT WRONG.
F-

Friday, April 22, 2011

"The Lady and the Libertine," by Bonnie Vanak

The Chick: Anna Mitchell, a.k.a. "Karida." An illegitimate English girl raised by Bedouin tribesmen, she guards a sacred ruby while longing for her aristocratic father to acknowledge her as his child.The Rub: When a dastardly Englishman steals her ruby, she will do anything to get it back - and almost anything to redeem the rogue who stole it from her.Dream Casting: Gemma Arterton.
The Dude: Nigel Wallenford, Earl Claradon. He's got a birthright to claim and an illegitimate son to raise, which requires more money than he's got - so why not head to Egypt and steal a ruby?The Rub: And since that ruby's being guarded by a hot holier-than-thou chick, why not steal her virginity, too?Dream Casting: Jake Gyllenhaal
The Plot (Tumblr is Too Slow and Cumbersome, it Turns Out! Back to the Same Old, Same Old!)

Nigel: Hi! I'm the hero! I'm a total bad-ass stealer of jewels, cheater at cards, and despoiler of women! *in head* But none of that matters because I'm broke and nobody loves me and I live in a bottomless pit of despair!
Karida: Hey! I'm the heroine! Nobody wants to marry me because I'm all burned and can't have babies and stuff, but at least I have my honour and this great job guarding a sacred ruby.

Nigel:
Oh wow, Karida is so pure and awesome, way too good for someone like me... *in head* ...that over-pious bitch. Imma steal your ruby, how about that?

Ruby: *stolen*
Nigel: Ha-ha! Take that, woman! ... *in head* ....MY ENTIRE LIFE IS A BLACK SOULLESS LIE! Did I mention how NOBODY LOVES OR UNDERSTANDS ME?
Karida: DAMMIT. Curse your dastardly good looks! If I don't get that ruby back, I'll be the worst ruby-guarder ever!" *tries to steal ruby* *gets caught* Wow, I am the worst ruby-guarder ever!
Nigel: If you don't want to go to prison, you and me are going to have to TOTALLY GO ALL THE WAY ... *in head* ...I AM A HATEFUL, EMPTY SHELL OF A HUMAN BEING UNDESERVING OF ALL PLEASURE OR LOVE... *out loud* But in all seriousness, if your clothes aren't off in five seconds I'm calling the cops.

Karida: I find your manipulative sexual coercion inexplicably attractive! Plus, I find it super-hot that my burn scars aren't enough to convince you not to rape me!

Nigel: Sweet, let's get married!

Karida: Um, no.

Later, in Egypt...

Nigel: Hey baby, does this rag smell like chloroform to you?

Karida: *unsexy swoon* *wakes up naked in a whorehouse*

Nigel: Let's get physical! Do me or I'll tattle to your family and make you marry me anyway!

Karida: His actions say I'm a dangerous, obsessive rapist but his dreamy eyes say I'm a secret puppy dog, scratch my lonely tummy! Do me, you lonely stranger! Let me marry you and cure your evilness with my womanly purity!

Nigel: Don't have to tell me twice! *in head* I'm just a poor boy, nobody loves me.....

Nigel's Mum: Guess what! Your Secret Baby isn't yours!

Karida's Uncle: Guess what! Your Secret Daddy isn't yours!

Nigel and Karida: Oh, well then.... This is awkward.

Karida: What to do me while I'm tied to railroad tracks?

Nigel: HOORAY!

Romance Convention Checklist
1 Former Thief-Turned-Sacred Guardian Heroine

1 Sexy Naked Date Achieved with Chloroform

1 Impenetrable Disguise

Too Many Secret Babies and Dads to Count

1 Loss of Virginity Through Blackmail

1 Priceless Ruby

Several Fake Rubies


The Word:
Oh, my word. This book.

For this book there are almost no words.

Okay, maybe I can come up with a few words - like how it's books like these that make me understand why people look down on romance.

Let's fill you in on the particulars - first, while this book does function as a standalone, it apparently helps to know a bit about the events that took place in the previous book,
The Scorpion and the Seducer, because the hero of this book, Nigel Wallenford, is the lately-reformed villain of that novel as well as the identical twin brother of that novel's hero.

Nigel Wallenford recently discovered proof that he, not his brother Thomas, is the real Earl of Claradon, and that his parents forged his birth records to indicate otherwise when they learned that a childhood illness apparently rendered him unable to father heirs. On top of that, he's also got a Secret Baby who may or may not be his stashed away in a secret location who needs financial support, which he does not have (Being a Total Licentious Dick to Everyone in the Ton is an expensive lifestyle, it seems).

So, in order to solve his multitude of life problems, he's faked his own death and is posing as his goody-two-shoes-twin in Egypt in order to suss out the location of a sacred ruby that could complete a key that leads to some fabulous treasure.

....Confused yet? You're not alone.

Karida is the young Bedouin tribeswoman tasked with guarding this sacred ruby to ensure no one can access the fabulous treasure. In truth, her birth name is Anne Mitchell, and she was raised in a workhouse in England before being rescued by an aristocrat who may or may not be her father - who sent her to Egypt to live with his Bedouin in-laws. She has since turned her back on her street-thief childhood to live an honourable, if lonely, life guarding her ruby.

Despite their confusing backstories, Nigel and Karida had the potential to have an interesting story - goodness knows the setting and the culture are unconventional and adventurous enough.
Unfortunately...

Nigel is, very obviously, meant to be the Conflicted Villain Hero. However, in his case, being Conflicted means he still goes around acting like a Ginormous Prick, only he Feels So Bad About Himself and Is Crying On the Inside as He Does It.
Again, though, as much as his whinging, angsty, mopey inner monologue wails and screams about how He Is Unworthy of Happiness and Nobody Loves Him, he still goes around doing horrible, awful, completely irredeemable things.

You see, he needs to steal the ruby from Karida, and is at once enthralled and resentful of Karida's pure-as-snow reputation. He mentally ping-pongs between "She is so pure and good, I don't deserve her, I should avert my gaze and wallow in my low self-esteem" and "She is so pure and good,
that bitch, I should totally fuck with her mind - as well as other parts of her".

However, by the end of these inner conversations, his Shoulder Angel is always the one sobbing in the shower while his Shoulder Devil lights up a cigarette in the bedroom next door so he promptly steals Karida's ruby and hightails it back to England. Once she discovers the theft, Karida follows him to London. When he catches her trying to steal the ruby back, he claims he's calling the police, no one will ever believe her side of the story, and the only way she can get out of being sent to prison is to have sex with him.

Yup, he blackmails the heroine into giving up her virginity. After spending 10 hellish years in a workhouse, the idea of prison is a legitimate terror for Karida. And this isn't one of those scenes where Nigel
says he's going to blackmail her but pulls back at the last minute with an I-can't-do-this-unless-you-want-to excuse.

But oh - she secretly wants it and he doesn't mind her burn scars plus he's totally hot and she gets loads of orgasms out of it so it's really not sexual coercion - except that,
oh yeah, IT TOTALLY IS. In this case, I don't even care about the heroine's reaction - I'm outraged enough by the fact that Nigel thinks, "Hey, it'd be a great idea to force the woman I love to have sex with me under the threat of jail time" and actually goes through with it, and we are somehow expected to believe he is the hero and that this is a sympathetic and romantic scene. What in the actual FUCK.

But oh - it gets worse. It gets so much worse. Karida heads back to Egypt in shame after refusing to marry him (and Nigel makes some creepy-ass "I'll get you, my pretty"-esque comments regarding
that), but Nigel dons a Nerdy Nice Guy disguise and follows behind. Once they reach Egypt, he tricks her into going out alone with him, takes her into a shady alley and chloroforms her into unconsciousness.

Karida then wakes up in a brothel, naked and tied to a bed.
BY OUR HERO, LADIES AND GENTLEMEN. Our "hero" who then orders her to have sex with and marry him, threatening to tear her clothes and tattle to her guardians if she refuses. Oh - and just to clear things up, he insists he won't be raping her because he'll make sure she likes it because he's just that good. Oh, my little heart goes pitter-patter!

And
this, of course, leads me to why I despise the heroine just as much. It's not just that she's annoying - despite being raised by loving and supportive adoptive parents, she spends much of her time moping and whining about how it doesn't matter because her "real" father in England won't acknowledge her. Ungrateful much?

And it's not just because she has all the self-esteem of a dirty dishcloth thanks to burn scars that (mysteriously) left her (apparently) unable to conceive.

No, I hate her character because, far from reacting with horror (or at least indignation) at waking up naked and bound in a whorehouse, she stubbornly insists that Nigel is "noble and good." She knows this because she can see the "pain and anguish" in his eyes - and not the
chloroform-soaked rag in his hand. I kid you not - throughout the first half of this book, Karida judges Nigel solely by the tumultuous angst pouring from his weepy peepers instead of his actual, despicable actions - he stole her sacred ruby. He then blackmailed her into sex. And now he's got her hogtied in a house of ill-repute - but oh! He's so tormented and hurt!

The whole coerced sex isn't even an issue for her - instead she's blubberingly grateful that her hideous burn scars didn't scare her rapist off. She even accedes to his offer to marry her - because once they're bound by matrimony, she'll have all the time in the world to "change him," which mainly involves continually telling him how good and noble he is. Because nothing cures the urge to rape like positive reinforcement, let me tell you.

It's at this point that I'd like to inform my readers that this book was first published in
2007, so it doesn't even have the excuse of being dated that the dog-eared "forced seduction" novels of the seventies and eighties had. This is one of the absolutely worst examples of romantic pairing that I've ever come across - the exact kind of Desperate-Doormat-Heroine-"Cures"-Angry-Rapehappy-Manbeast-Hero stories that the literati assume all romances must be like.

I'd like to say the rest of the novel doesn't even matter after such hideous characterization, and it's true that the rest of the novel's mediocrities pale in comparison to the story of how Karida Cured Evil With the Magic of Her Vagina. But the rest of the novel sucks, too. While the setting descriptions are lovely, the treasure-hunting scenes are strongly reminiscent of
Indiana Jones, there are way more Surprise Secret Daddy plots then there needed to be, and the resolution is pat and cheaply handled thanks to some complete character 180s.

All of this together is enough to put
The Lady and the Libertine in incredibly select company (sharing a grade with only two other books after four years of reviewing) - but that's not a good thing.F