Aimee
After being in limbo, trying a few books and nothing quite hitting that unexplainable thing I needed it to hit, I finally found it in this book.
I wasn't a huge fan of Mason overall, though he did have his moments. Linnet was my main source of perseverance. As with most of the books I've read from Alice Coldbreath, the plot was easy-going and lacked drama, though still somehow managed to retain my interest. A few underdeveloped plot points, but those were to be expected.
Overall, for what it was, it did the job. Lighthearted enough to be relaxing but struck the balance where it didn't fall into boring. An okay read :)
It's rare nowadays that a book hooks me immediately from the get-go, but I knew pretty early on that I was going to enjoy—and I did, very much so.
I'm going to have to re-read this book to give it the review it deserves, but I loved it. I thought it a beautifully told story without overwrought and unnecessary dramatics; just the simple yet profoundly wholesome story of two men falling in love during a time that didn't see it as such.
I originally had this book set at 2.75, but decided to raise it to a gratuitous 3 as I did enjoy the beginning.
I felt that the beginning was somewhat stronger than the rest, though not without its problems. I wasn't a huge fan of the insta...interest (?). It happened too quickly, with little to truly substantiate this sudden concerned and protective nature. Their lack of any real connection left things feeling inauthentic and simply for convenience's sake, to get the plot rolling quicker. I mean, you're telling me this man's hit over the head and half-dead, yet his interest in Violet prevails enough that he chases her to the south of France? I'd have preferred it, and enjoyed the beginning more, had things been worked differently to where their connection was truly fuelled by something other than superficially developed interest.
While this book attempts to include themes of female strength, it felt very watered down—almost to the point of passive gratuity. This relates to my main gripe with the book as a whole: the male saviour/white knight complex. I could write an essay on the issues I have with this book relating to Daniel's male saviour syndrome (which I may write for my upcoming blog), but the fundamentals follow that I felt Daniel was fixing more than helping. His male saviour complex subverts the attempts at female strength and autonomy by replacing Violet's external control with a more palatable, internalised form—which defeats the whole purpose/underlying message! He becomes this benevolent fixer that ends up framing male protection (and violence) as the singular solution to female pain and trauma, thereby trading her overt oppression for a more romance-justified version of control. More so than that, he engineers the destruction of her external threats, which serves to mitigate any attempt at agency on Violet's part. He becomes the sole agent of change for Violet, providing freedom like a gift to bestow over a state she achieves. You could argue she achieves this as a byproduct of Daniel's machinations, but her healing journey felt almost secondary to the more overt plot of him proving his worth by rescuing her. It's because of this that I feel she's just exchanged one cage for another, going from one of fear and exploitation to one of luxurious, passionate dependency—an unequal power dynamic with a man that just so happens to be decent.
That being said, Violet's representation of trauma and PTSD was better portrayed here than in other historical romances I've read. However, as others have brilliantly pointed out, a large chunk of Violet's trauma was bitten off. You could argue too much, for despite the majority of the book (and you could argue Daniel's whole character purpose) being dedicated to her recovery, nothing in it felt particularly satisfying. I think this is partially down to how Jacobi and Violet's rapist were handled—also tying into my issues with Daniel's male saviour complex. Both villains make too late of an entrance, with very little development, to feel like much of a threat. Their resolution felt superfluous and too poorly developed to truly warrant the feelings of revenge and justice that I'm sure was Ashley's purpose in those scenes.
One thing I did appreciate was the infuriatingly sad reminder of how many brilliant women—from the poorest to the wealthiest of the world—were confined to the strict boxes mete out by society, unable to cultivate or mobilise their capabilities. Violet was a decent attempt at highlighting how—in another life, under a different sex, with more resources—she too could have been Daniel: afforded a university education and the time and resources to follow his passions.
That leads me into my next issue, which was how trickle-down economics was framed as kindness, which was most potent in the country inn scene. Perhaps on an individual basis there's some merit, but it still left a distasteful feeling. Daniel's entitlement is on full display, from his actions to Violet's constant rumination of it. Even when the entitlement is acknowledged by Daniel himself, it doesn't make him any more likeable. It feels too much like virtue signalling to come across as anything but a half-assed attempt to make his entitlement more palatable.
There's so much more I could say, but the review would be too long 😂 I'll update should I decide to write my full thoughts elsewhere.
Overall, I have too many issues with this book—a lot of which I cut—to truly enjoy this book. Aspects were good—I enjoyed the Marseille bonding bits, for example—but there was too much talk and not enough walk for my tastes. Between the poorly developed attempts at female strength (that Violet deserved much better than), to Daniel's persistent need to wax poetry during inopportune speeches (which made him feel like a flip on those villains), the book had too many inconsistencies and instances of performativeness to truly feel like a good book. Disappointing, considering I was very much looking forward to reading Daniel's story.
Anywhere between a 3.75 an a 4.
I have some mixed feelings on this book that I'm not sure I can explain beyond just feeling.
One thing that I thought quite early on was how it reminded me a bit of the Emily Wilde trilogy. The world and some characters felt like they could be part of the same universe—very cosy, very detailed in their world-building.
I also very much appreciated the social justice undertones (or, really, overtones 😂), especially when it came to Vanessa and the portrayal of empathy and generosity in people—but only when it comes to those they love, or those that you've seen suffer yourself. Very much a representation of parochial altruism and distributive justice. Vanessa initially was evidently a character showcasing their initial “pleasant-minded people never want to discuss or be witness to cruelty suffering”, and even with her eventual willingness to become less ignorant (for Dora's sake), there's a new discussion that that brings as to those who are aware of suffering yet are half-arsed about it. This speaks to the layers of complicity; those who wilfully ignore or are wholly ignorant suffering; those who are aware and yet do nothing; those who are aware and do what they can (but superficially, and even with reluctance); and those who do everything and aim for true change and better. Additionally, the portrayal of blame of others for suffering, or the consideration of yourself as distinguished from others who passively view it, was very well represented. Bit long-winded, but I mean to say that I really liked the inclusion of these things 😂 Very poignant, as it's always been, but especially in the current times.
I also found the theories and circumstances around Dora's half-soul quite interested and well -thought, especially when it came down to her reuniting with her other half and their opposing but linked personalities.
That being said, I wasn't vibing with the ending all that much, and I can't really say why. It wasn't bad by any means, and I thought the ending of the last chapter, and the epilogue, with Elias and Dora was very cute (albeit a bit too vague/fade-out for my liking). I'm not too sure why, but it didn't hit the spot for me personally.
But overall, a good and poignant read for those who want a bit of romance and fantasy beyond the superficial/typical. Despite my own reservations, I did enjoy reading and would definitely recommend others giving it a go! I'm intrigued as to what the rest of the series has in store :)
Admittedly, I didn't make many notes during my reading, but I think I've got a semi-articulate train of thought going 😂
As always, I enjoy Mimi's writing for one reason more than others: her ability to create a good atmosphere. It's why I feel I need to re-read this book; the more tense the scene, the more engaged and compelled I was to read. I was reading so fast I was skimming words and probably flew past things 😂 But I really enjoy Mimi's writing style and think it compliments her stories so well.
One thing I was really grateful for is that we didn't get an immediate acknowledgement of Nicholas as John, even during his POVs. They truly felt like two distinct and separate characters, just with the odd, subtle hints that insinuated otherwise. It not only allowed me to feel that I saw Maggie's side of things more clearly—as someone who felt the similarities yet was second-guessing—but also really aided in creating that distinction between past and present. Revealing him explicitly to be Nicholas from the onset would've taken away from the slightly mysterious allure—yes, even though we know it's him 😂
Another quality of Mimi's writing that I've grown to really appreciate in the now two books I've read from her is the subtle sensuality. I've found that authors often use lust and sex—the easier methods—to attempt sensuality, but I've oftentimes felt it can either go overboard and/or drown out anything else. I find Mimi's ability to create sensual allure, to have St. Clare feel sexy and attractive, without resorting to overly lusty thoughts and/or behaviours a really nice quality in her books (as someone who's personally tired of insta-lust and all that it comes with).
All being said, I did find a few things underwhelming despite my overall enjoyment.
One glaring thing for me was how convenient Maggie retaining Beasley Park felt; it felt like a very contrived way for a full happy ending, and I didn't much fancy the way it came to be. After all the worry and fretting, of Maggie coming to realise the redundancy of her role at Beasley Park, only to get it in the end? I know it was done for Maggie to gain her compete happy ending, and as a comeuppance for Fred, but the resolution felt extremely underwhelming.
I also felt that some character backstories/filled-in gaps were poorly developed. I can't really explain my thoughts and feelings on this beyond feeling rather meh at Nicholas's revenge upon his return to England. It felt very lukewarm, though I can understand things changed once he was reunited with Maggie. Hopefully when I re-read I'll be able to elaborate more eloquently 😂
Overall, whilst not as much of a fan compared to The Work of Art, I did like enjoy the love story between Maggie and Nicholas/St. Clare, and will definitely be re-reading in future to give it another shot!
Between a 4.25 and a 4.5 rating overall.
My first Mimi Matthews book, and it was wonderfully different to my typical HR reads; I'd grown tired of the overused rakish Dukes and insta-lust, and this was a surprising but very welcome departure.
This was like the complete opposite of insta-lust/a lack of emotional connection. I really felt that Philly and Arthur's connection was borne from commonalities and compatible personalities over sexual attraction or otherwise. Sure, the physicality was there to a certain extent, but it didn't feel lusty; more so a seemingly genuine appreciation for someone beautiful—both body and character. Tbh, I felt no lust whatsoever, which could be partly attributed to the fact that Mimi doesn't write intimate scenes. Their interactions and connections felt wonderfully devoid of lust, yet their compatibility in all aspects didn't dwindle despite that. Their scenes, and especially their initial scenes, were so lovely and sweet; a very innocent, first-love type love.
On a similar note, it was wonderful to finally have some emotional intelligence and maturity between a couple. Wilful miscommunication between two adults has always rubbed me wrong, so I was really happy to see how well they communicated with each other—minus the obvious, and though can understand why Arthur lied by omission with the Duke and such, I do wish he'd have communicated it earlier.
Another thing I picked up early that I really enjoyed was Mimi's writing. Her writing's as strong as any other accomplished HR author, but what stood out to me was her ability to create and sustain atmosphere. A key example was how well I felt she expressed Moreland's atmosphere and demeanour—very uncomfortable, very sinister, without overdoing it. He truly felt like a psychopath (or is it a sociopath? I always get the two mixed up). In addition, the small scene with Forsythe during Philly and the Duke's carriage ride was so well placed despite its seemingly small inclusion. It served to really hammer home that sense of dread and uneasiness; you could feel what Forsythe was likely thinking at that moment, able to visualise the ominous scene that he was seeing: another young woman on the cusp...
Relating to that, I loved the initial contrast between the Duke and Arthur; a discussion on violence, power, masculinity, and trauma that subverts itself when you look at the Duke versus Arthur—trauma-induced versus cruelty-inflicted, and violence as a symptom of injury, not of character. The “half-mad” former soldier versus the man whose violence is an extension of himself, a feature of his personality. The sad irony was really palpable to me, given that Arthur was a man brutalised by violence, Moreland as a man who brutalises with violence, and the contrast between the Duke's carriage ride versus Arthur in Chapter 20 is enough to instil that. I felt it really elevated the romance between Philly and Arthur; two wounded people recognising and working through both inflicted pain and inherent cruelty—in the ways they've respectively experienced it.
Admittedly, I wasn't expecting Forsythe to be the villain. But despite the surprise, it did come across as somewhat meh for me. I didn't quite understand it. Forsythe fell for Molly; Molly wanted wealth so married the Duke; they continued their affair despite her marriage, until the Duke found out and forced Molly to end it; Forsythe murdered Molly and wanted the Duke blamed, thus deciding he'd murder Philly to have the Duke punished for her murder, and by virtue, Molly's murder?? I get that his vengeance was to Molly for making him feel unworthy of love, but surely the fact that he'd killed her, and the blame resting on the Duke, meant that there was nothing more to be done?? I suppose it was that he felt it was the Duke's fault, but I wasn't really feeling the connection personally.
But overall, it was a book I truly enjoyed reading. I've missed feeling butterflies when reading, and there were a few moments where I felt them. I'll definitely be reading the rest of Mimi's oeuvre!
I'm not quite sure what I'd rate this personally, so I've left it blank. I'm most likely not the target audience 😂
Overall, I felt like this was a cute, light story, though it did have some writing and formatting issues that just came down to personal preference (e.g., for instance, did take me a while to get used to the lack of quotation marks).
I'm probably slightly older than the target demographic, being in my mid-twenties, and I felt like that contributed heavily to my feelings towards the book. That being said, I can wholly recognise a decent book without personal preferences clouding judgement, and feel like this book would be an excellent read for teens/those in the later years of school. There were a lot of truly wholesome moments paired with important insight and conversations; relatable with great underlying messages and representation. It did reinforce the fact that I really don't miss school, however 😂
But fuck, a very sweet story. There's just something about crushes and young love and all that 🥰 Their first time was so funny too; I did have a bit of a giggle at her inner monologue—as I found myself doing a lot throughout.
...I have a lot of thoughts on this book.
One thing that stuck out to me and that I thought was done very well was the imagery and visual representation—especially when it came to quantifying and explaining thoughts and feelings. I always appreciate when writing quantifies a feeling versus simply explaining what the character feels, if that makes sense? Maybe it's just that I love some good quality, well-placed metaphors 😂 But this made the book more invoking on top of the already invoking subject matter. For example, I knew what would happen when William went to fetch the cigars, and I haven't had such palpable anxiety and dread whilst reading a book in a long time. Their ability to curate that fear and anxiety was well done.
But what hit me most was the simplicity; of wants, of hopes, of life. To curl up together at the end of a long day; to share a kiss or a hug. The simple desire to be with the man he loves—something many take for granted. I really got a sense for the restraint and constant worry. Secondary to that was—and it hit many others, based on reviews—the gut punch of history. It's one thing to hear about laws and practices of an era not too long gone, but it's another to experience it vicariously. One can only imagine what it was like—pardon, what it is like, as it's still prevalent today. The inability to be with the person you love for no other reason than the perception of religious immortality and “unnaturalism”. It's that thought that made me emotional throughout, and it's one of the many reasons why I will always appreciate reading; the pleasure (and pain) of experiencing a life that is not your reality.
For similar reasons, my favourite scenes by far, and those I consider the strongest, were the prison scenes. I really liked how they were written and how well Simon's thoughts and emotions came across. It gave me the most emotional reactions out of the entire book—the pastor for one, and his freedom and Lillian.
But despite the many positives, there was still a few negatives that served to impact my reading experience.
The most evident was the writing. At the beginning, I didn't notice much, but as I progressed I began to notice mistakes and errors that made it apparent that another round of editing was needed. For example, commas would either be in odd places or not included at all, and there were plenty of sentences that could've been worded better. I also found the writing slightly too modern at times, which can take me out of a story. I could largely ignore this, however, but I did feel like this book needed a spellchecker and additional editing.
But my most overwhelming thought after finishing is that while this book has a good, emotional plot and decent characters, I felt certain things could've been done better and/or differently. This reasoning, for me, primarily comes down to narrative choices.
For one, I felt like the story would've worked equally as well, if not better, without the modern/present day scenes—only further reinforced by the prologue. While I did like the reassurance that they had their HEA from the start, I feel like the unknown and later reveal would've served the plot setup better. For that reason, there was no prologue for me; that last scene between Simon and James did well in serving as the close/ending to their story, and felt quite emotional. I personally felt that it would've been the perfect ending (...in a way; I'd have liked to see a prologue of them as oldies, having lived the rest of their lives together 🥲).
Secondly—and relating to the idea that we're preemptively reassured—I felt that the chosen narrative tense undercuts the high stakes of the story. I feel like present-modal (e.g., I breathed him in for what could be the last time) over past-modal (e.g., I breathed him in for could have been the last time) would've worked better in really driving that angst home. Past-modal is reassuring, but the angst and will-they-won't-they would've been better served under a narrative tense that would allow them to breathe and really instil that palpable fear.
I also wish that certain scenes were foregrounded more. For example, the narrative parallel between James's trial and Simon's; the likely symmetry in their feelings, thoughts, participation in the rigmarole of court. I felt that drawing on and playing on the parallels would've grounded both Simon and the reader more heavily with James—the presence he's figuratively and literally missing.
I also found a few plot discrepancies/holes that I just couldn't quite get behind, whether it be personal preference or object craft issues.
For one, I wasn't too much of a fan of the power imbalance and overall circumstances of their initial...relationship? A magistrate who sentenced you to death, then to penal transportation, then effectively kidnapped you to live with him in virtual seclusion, all because he thought you were hot/had some not-appropriate-for-a-Magistrate feelings, doesn't really scream “🥰” to me—more so slightly predatory. Large power imbalances don't tend to instil lovey-dovey feelings in me, but I was able to ignore it by the end.
I did have a hard time wrapping my mind around the very minimal precautions taken, when you consider the potential consequences. Hiding him until his uncle “forgot” him, then he could go out and about as normal??? Is that all?? Like surely a name change at the bare minimum?? Maybe dye his hair or otherwise a change in appearance or SOMETHING??? Come on, you're supposed to be smart; you're supposed to have thought this through! I get the whole plan was a house of cards, but at least TRY and give it some reinforcement.
Also, I know there's sentimentality, connection, emotion connected to the house, but I'm with James on this one; leave the house and go be with your man! It might possibly be because I didn't feel the emotional connection to the manor, or maybe it's that Simon didn't realise the whole “home is where the heart is” until later. Either way, you leave the house (and Lillian 😭) in the end anyway, so I didn't see much merit in that decision.
AND LILLIAN. I'm just going to pretend that she follows Simon to France and they all live happily ever after in a French chateau in the countryside, because Lillian deserves the world—though I can possibly settle for her living in the manor and popping over to France to see them.
Overall, I found the story to be good and emotional, though I personally felt it would've been better/resonated more with a few narrative changes. That being said, I still enjoyed it and would definitely recommend others to read! :)
Full transparency: I did resort to skimming the book after around 60%.
The saving grace of this book, for me, was the glimpses of Ian and Beth. We saw more of their relationship (and more of Ian) than we have in any book besides their own, and I really appreciated getting to see more of them. Despite the abundance of innuendos and sexual slights, Ian has such a wonderfully innocent and literal love for Beth, and I really enjoy seeing it. But I may be biased in this opinion; I just fucking love Ian.
On a similar note, I really like the Mackenzie family dynamics—inclusive of the wives. Regardless of my feelings towards plot decisions/trajectories, I do think that everyone was well-matched. But more so than that, I love the glimpses into the Mackenzie brotherhood. Ian and Hart's bond was so wholesome.
I didn't quite notice it as much until this book, but the Mackenzie lads are often described as “hard” faced. My brain just gives me handsome squidward.
Anyways! I know the main focus of the book is the (rekindling of the) relationship between Hart and Eleanor, the pictures just a plot device to push them together. But there wasn't much focus at all on it, and it remained largely extraneous until about two-third's of the way in. I mean, if some mysterious figure was sending me nudes of myself/my ex-fiancé, I'd probably endeavour a much hastier and proactive response 😂
Additionally, I'm not too sure how I feel about the circumstances of their betrothal. They were in the exact same predicament as last time. What's frustrating is that before the boat scene, Hart recognised that his younger self didn't understand Eleanor (e.g., plying her with fineries, promising her all she wants, etc.) and how that's not the woman she is, yet he makes the exact same mistake in virtually browbeating her into marriage all over again! The whole betrothal and wedding just felt icky—possibly deliberately, but I just didn't feel like anyone was ready. Like, they didn't really need to get married then; somewhere else could've been used as a shooting range.
Also, perfectly sane idea to have a big ass wedding filled with the most important people in Europe (including the fucking Queen of England) with an unknown assassin on the loose and an Irish target on your back???? I'd be surprised if nothing didn't happen, given that you've so kindly provided them the perfect chance! Stupid.
And for a man touted as the foremost Detective Inspector, Fellowes sure shit isn't depicted as such. Man's always at a dead end and finally “finds” the criminal just as someone's half-dead 🙄
Now, onto the sex. I did like the inclusion of the important distinction between BDSM and sexual abuse/violence. That's probably one of the few good things I have to say. I was rather disappointed in the sex. Why spend a good 90% of this book and pretty much any mention of Hart in previous books referencing dark and deviant sexual urges, only for the kinkiest thing to be the barest whisper of bondage and a rather big reveal of women “trusting him with their pleasures”. I know this isn't a BDSM book, and “depraved” in modern versus historical contexts are different, but dammit, I was excited for some exploration! It's like Hart's personality was built up in previous books, only to nose dive at the most important part—his book!
And on a similar note, I felt that Hart, for the most part, had very little development or learning from past mistakes—surprising given there was plenty to learn from. What character development was attempted felt extremely half-arsed and superficial. You're telling me that a man who's spent most of his entire adult life fighting for political power decides to give it up one day after the lightbulb moment because...wait for it...he's realised the world doesn't need him/it goes on without him??? For a character depicted as he has been, that feels like such a lazy and incongruent way for him to give it all up. I understand that his desire for power and influence stems from a need for control, but surely there was something that didn't feel so...contrived?
There was also no delving into his relationship with Mrs. Palmer (ik I would if my man had a decade-long relationship, seemed happy in their naughty pictures together, bought her a house, and went back to her after our engagement and his late wife's death), very little touching on the grief and trauma of his past (Sarah, his unborn son, childhood abuse, etc.). He's supposed to be this scarred man with ghosts, yet things felt very...tepid?
Overall, I think that's the main gripe I had with the story: it all felt very lax and left me feeling somewhat apathetic. It's disappointing, because I was so excited to read about the man Hart MacKenzie was built up and teased to be: scarred, mysterious, hurt, power-hungry, difficult—a recipe for a really complex but compelling story, but it just fell flat for me.
Anywhere between a 4-4.25.
It's something I picked up on in earlier books, but I'm noticing that things move rather quickly relationship-wise in this series. It feels, to me, like there's very little justifiable impetus when it comes to friendships/relationships in these books. For example, I didn't quite understand—nor were we provided background as to—why Daniel first rooted for and protected Ainsley. It felt like they'd both magically became so fond of each other. This lack of foundational understanding made it difficult for me to believe their connection, because it felt pre-existing over developing. Ainsley goes from being someone the Mackenzies (minus Isabella and possibly Mac) know fleetingly, to, all of a sudden, someone whom Daniel's rooting for because “she's what his Dad needs”. It all felt very quick and convenient, though it does avoid bogging down the story right at the start. It's just something that—again, for me personally—felt slightly too convenient over genuine (at least at the start), given it's a boost if your son likes her sort of thing. Though, it seems developments in general happen pretty quick in these books 😂
However, I really liked the dynamic between Cam and Ainsley. I felt they were well-matched; a good mix of exasperation, seductiveness, and no-nonsense. Very cute with that slight bite. I enjoyed how, despite her job responsibilities and initial demeanour, Ainsley had a sort of innocent, cheeky charm to her that I think paired really well with Cam's more gruff and rough personality.
Also, Daniel having his Nanny McPhee “when you want me, but no longer need me, I must go” moment was so wholesomely melancholic (?)—but it was definitely the father-son moment I was hoping we'd get throughout the book. I was truly rooting for Cam and Daniel to grow closer, and so the moment felt endearingly earned.
That being said, there was some heavy topics in this book that I wasn't expecting. I don't think enjoy is the right word considering all Cam (and Daniel) went through, but I can't think of a more appropriate word. I liked learning of backstory and the rightful inclusion of his resulting trauma. The juxtaposition, the “atypical victim”, of Cam being this big, strong man and having to go through what he did at the hands of his wife, protecting his son throughout it all was so heartbreaking, despite what you'd outwardly and initially assume about him. I appreciated the inclusion of Cam as an “atypical” victim; a wonderful representation that they come in all shapes, sizes, and genders. Also, the potential motivations of what his ex-wife attempted are just...oof, no words. It speaks to her loss of power, control, dominance, and seeking to re-gain it in whatever way she could (infidelity, lying, etc.), and when those didn't work, sought to exert it in the most devaluing, vulnerable way—and shared it with others.
Something I appreciated, and thought was very important, was how Cam's trauma didn't just vanish. I see it too often where, once things turn rose-coloured, trauma and past history no longer have any bearing. It was lovely to see Cam work through his PTSD, and Ainsley's understanding and enabled and supported this. I would've liked to have seen more of Daniel's attitude, perhaps his feelings towards gaining a step-mother. Maybe it's something seen in his book.
Overall, in my opinion, definitely on par with the first book in terms of quality and plot. I'm intrigue to move on to Hart and Eleanor's story! :)
I have a lot of thoughts on this book that can be best summed up as: it was meh.
I personally think this book would've been better served as a two-parter, a part on their “old” relationship” that then progresses into their present time period and their rekindling. I struggled to really get a sense of the complexity of their previous relationship, which meant my emotional investment wasn't as high as I'd have wanted for such a multifaceted relationship breakdown.
One thing I liked, however, was that neither sought others during their estrangement. It goes to show that despite their issues, they did truly love each other (in their own ways). It sounded like it was just two people who were trying to love each other the best they knew how, and a lack of communication and understanding led them to deal with their problems in a way they each thought the other needed, which obviously hurt them respectively.
That being said, I was also kind of tired of all the lust, finding it really took away from the angst for me personally, It served to just hammer home my feeling that they didn't have a genuine connection beyond physical/sexual attraction. More focus on Mac's longing for her as a person, as his wife, than her body; more focus on Isabella's anger and pain and loneliness. Also...holy shit did Mac have a quick turnaround time! How nice to live in a world where men are rearing to go seemingly 5 seconds after finishing 😂
Their argument in Chapter 17 also served to made me dislike Isabella, which wasn't good because I felt meh about Mac too, so now I wasn't rooting for either. She was being wholly unfair, and Mac's clear high-handedness annoyed me to no end. Their arguments were just one trying to one-up the other. Bringing up everything the other person's done/your self-martyrdom is in no way productive. Gets me frustrated that their method of communication is so toxic. This probably just boils down to my dislike of shit communication/miscommunication tropes—especially ones that are too easy to resolve.
On a similar note, there was also too much back-pedalling and inconsistency for me. The constant “let's take this slow” yet fucking two seconds later, adopting a kid together, etc. doesn't scream we're re-learning how to love each other to me. Like you're telling me that you stopped before things hit sexy time because you knew it'd serve only to push her away further, yet not long later you throw all worries out the window because you're horny, naked, and in the exact same predicament as before??? The whole relationship arc just didn't give me any confidence that things would be different this time around.
I found the whole Aimee plotline kind of redundant (though love the name rep! 😂). I felt it served no purpose plot-wise beyond her being Payne's baby (that never became truly relevant because...he never gave a shit) and for Isabella to see how good Mac was with kids, which are weak uses for me personally. The story would've been no different plot-wise had there been no adoption story altogether. It reminded me a bit of couples who have kids in the hopes it'll save their relationship.
A huge thing I felt was lacking was some more background/contextual info. There was no substantive info on Payne and his reasonings beyond him being an obsessed, deranged stalker who could paint. It felt very superficially developed and like it didn't complement the ongoing rekindling between Isabella and Mac as well as the murder-mystery complimented Beth/Ian's in The Madness of Lord Ian Mackenzie. It failed to entice me, and it failed to instil any sort of investment in the plotline 🤷♀️ I might also be biased, but I'd love to have learned more about Bellamy and his pugilist/knee-injury past.
Overall, definitely not as good as the first book. I was intrigued by Isabella/Mac's relationship, but this didn't hit the mark for me personally. I have no confidence in the integrity of their marriage. That being said, I'm intrigued as to Cam's love story though, so will most likely continue :)
This could be between a 4-4.25.
Okay, wow. I very much enjoyed this overall. There were a few things at the beginning that normally don't tickle my pickle—the quick progression, the insta-infatuation, etc.—but I found it was wrapped up in an air of intrigue that was only too compelling.
I know some didn't care for the mystery murder aspect, but I really enjoyed it. I felt that there was a nice balance between romance and mystery, and both served to push the other along without it feeling contrived or overwhelming the plot.
I loved Beth. She had a really nice mix of worldly experience and innocent-like charm. I found her witty nature, especially at the beginning, quite funny. I don't think it was ever mentioned, but I really hope Beth got the ring that Angelina Palmer stole back!
I also found some of Ian's mannerisms and wants as very endearing. Like how he wanted to wait and help Beth get ready, or was adamant about feeding her breakfast. I often find depictions of those with disabilities or neurodivergence to be too infantilising (e.g., too childish, babied, etc.), yet I found Ian's neurodivergence wonderfully representative. He came across as a man with his own difficulties and past trauma—that he navigates well, all things considered—and yet is ridiculed by society and sometimes treated with kid gloves by his family. I liked that Beth was empathetic to his differences whilst still treating him as the man he is.
On a similar note, I felt that Ian's POVs especially were so well done. The things he noticed, how his thoughts unfolded, the manner in which he said things, etc. all served to create a well-curated narrative around Ian and his character. You get a really good perception of Ian as a person during his parts, more so in the manner of writing and his inner monologue over any explicit descriptions of him or any actions he takes.
And the sickbed moments? Urgh. Ian was so intimate in a way not seen before.
That being said, I did feel that there was too much emphasis on lust at times. Just a personal preference! There were bits, like the healing period and the end of the epilogue, where I'd have appreciated a bit less focus on it, personally. On that topic, can we not call a dick a stem though, please? A “rigid stem” just gives me plant visuals. No bueno.
Now for my eloquent, substantive, and amazing thoughts on the importance of Ming bowls in the book! 😁 (fair warning: my thoughts are longer than first thought)
At first, I really didn't like the attitude Ian had towards Beth. It was like she was an object to possess, exactly like the attitude he has to his Ming bowls. But I now feel, perhaps naively, completely differently. She is seen like one of his Ming bowls, but just not in the way I'd initially considered it.
As described and referenced, Ian was someone who didn't understand, nor has experienced, the concept of love. It's something intangible and undefinable to him. He is someone who struggles in expressing his emotions. He thus expresses his emotions, and thinks, in the only ways he knows how.
Enter the Ming bowls! Here's a system of value that he understands and reaches for reference, something he considers rare and irreplaceable. By constantly comparing Beth to (or referencing her in the same vein as) his beloved pottery, I now feel like he's not commodifying her as I'd originally thought; he's more so trying to quantify the unquantifiable feelings she inspires in him. On top of that, if you think about it, it also provides him a sort of instructional blueprint. He's well-versed in the care and preservation of the bowls, and so translating it to Beth, and paired with his constant emphasis on wanting to protect her, it feels like his way of formulating and demonstrating his own version of love.
“Beth was worth saving, worth protecting, like the rarest of porcelains.”
like
what
how
Palmer's death, alongside what's been said around his wife's death
Are you in the mood for nervous, anxious wreck x steady, reassuring rock? Easy breezy panic x worry wart? Perhaps some thorn-in-backside x guy-who-keeps-it-there? Heck, maybe even potty mouth x blabber mouth? If so, this is the perfect book for you!
Things I've constantly though (that have only been solidified) as I've been reading through the series is: Chloe sure does love her dimples 😂 It feels like everyone has them—not that I'm complaining! I am also a sucker for some dimples.
Now, getting into it; I loved Ollie. That first car drive together? Gold. He's the sweetest lil bean ever and deserves the world. Gavin was also a gentle dom in the best way; guarded and grumpy on the outside, gooey and attentive on the inside. A yummy (bossy) man. Add that he's got his old man crew that he's soft for, and we have a winner.
One thing (of multiple) that I thought was done so well was how both of their fluctuating thoughts and feelings were weaved around each other so well, like a dance. I could see how they respectively parsed and pieced their own feelings together—especially when it came to their changed though differing views of what they wanted/could have.
Similarly, something that I felt was also done wonderfully was Gavin's story. There's just something so heartbreaking in clinging on to something that feels like the only good thing you have, even if it's hurting you in more ways than one. Of being afraid of what comes after—if there really is an after, when it's been your love and life for so long, representing the ending of all you've known and the fear of the unknown you'll be so quickly dropped in afterwards. Add on top the lack of control—from career to body to childhood. Gavin's mindset and thought processes were all wonderfully encapsulated and iterated throughout.
I also found the dual and complimentary pieces of vulnerability in the shower scene not only wonderfully done, but also incredibly symbolic. The literal, physical vulnerability of shaving and Gavin's chronic pain, paired with the imperceptible vulnerability of sharing some past difficulties. Urgh, it was so good.
I'm so happy that they both got their happy ending—and were characters that complimented each other perfectly as opposed to just two people that were forced together for story's sake. There's something so sweet and warm about two giants being each other's safe spaces and protectors—physically, emotionally, and in every other way. Two people, at first glance, you wouldn't think needed protecting, being 6ft+ beefy, talented football players and all.
It was also so nice that the rest of Gavin's life turned from something daunting and unwanted to something he actively anticipates. Fucking adorable that he planned for them to have cute joined bungalows. I can already see it now; one half with a colourful ass garden and brightly painted walls, the other all minimalist and dark. Urgh perfect.
Oh, and this is my official petition for Gavin and Ollie to be girl dads. I will accept nothing less.
Overall, a wonderful and wholesome book that will have you feeling the variety of human emotions. The Bergman family dynamic has a crack quality to it that I love and hope to see more of in subsequent books :)
Ziggy's looking to enact her Miley Cyrus Bangerz moment, and Sebastian is only too happy to help.
I loved the idea of Ziggy battling the outdated characterisations that—while meant well—only serve to infantilise and box a woman who seeks (and is) so much more. It served as a really good testament to how people can be unintentionally cruel despite their intentions being in the right place—even those closest to you.
On a similar note, I felt that Ziggy's ability to guide and teach someone else was also a really nice touch. As the “baby” of the family, and someone who's struggled in being restricted to that role, I imagine there's been little opportunity for her to be the one to guide and nourish. Seeing that with Sebastian was so lovely.
I also find it really nice in how, in the two books I've read now in the series, there's a focus on using full names. There's definitely a deeper meaning, like love interests seeing what's beneath the cultivated, deliberate exterior that everyone else sees or something.
Something that I've really enjoyed and appreciated about these books is my continued learning. Something new that I became aware of is the understated bravery in navigating a world you find difficult to understand, being vulnerable in spaces you can't see if it's safe to be or not. I'm loving being able to learn and glean how others navigate the world through these books.
Another thing that Chloe does so well is their knack for weaving very similar needs and vulnerabilities and goals between people who come from totally different places. I felt it with Ren and Frankie's story and it's reinforced with Sebastian and Ziggy; the fact that each person had overlapping difficulties that felt natural to their circumstances yet were weaved together so seamlessly.
Also loved seeing bits of Frankie and Ren—especially what has become of the inside joke that is endearments. But I also found it sweet how full names become their own intimate endearments for all the couples.
Lastly, got to shout out the wonderful revelation...HE'S A SEXUALLY PROMISCUOUS PANSEXUAL OH MY GOD. Love some good, sexy pansexual rep. Sebastian is exactly who he thinks he is: a handsome, twenty-seven-year-old pansexual specimen of sensual glory—as said in his own words 🙌🏻
So, overall, whilst I felt that some threads were left slightly loose (e.g., Sebastian's parents/bio dad), I found this a really wholesome and sweet read. Hoping to see a lot more of Seb/Ziggy in the next book! :)
As soon as the theatre scene came up, I was sold. But a 6”3 beefy hockey player who's kind, nerdy, progressive, respectful AND A VIRGIN??? JACKPOT 🙌🏻
The first thing I thought was that this book would make a really good adaptation; I can hear their inner monologues as if I'm watching it in a TV series and it has those character voiceovers. Just a lil story about an autistic lil thundercloud with her happy lil golden retriever—who's also a sexy lil shit.
“You've seen me work every moment I have under the lights, Francesca. I plan on being similarly dedicated when the lights are out.”
swoons
“What do you say you let me worry about how and where I wait for you, Francesca?”
As with most of the other books in the series, this is a pretty strong and emotionally hard-hitting read—from Blair and Denny's love story to their mothers' illnesses, the emotion hits you from all sides.
First of all: Lucy Wells sounds like such a baddie. Love her.
Second of all: this book reinforced the firm belief developed in Seeing Red that Blair (and Cass) need to boot Shelby. She gets on my nerves. Leaving your friend for a guy—who is other friend's ex—in a club you begged her to come to? Hooking up with Denny when he's the ex of your other friend? Yeah, not a friend I'd choose to keep, for sure. Poor on Cass for maintaining a friendship with her tbh.
Oh, and just a small detail that I loved: Blair having little stars on her ceiling as a kid, and the symbolism of her taking them down at the start of the book. A small but significant metaphor that brilliantly sets the tone heading into the book.
I really only have two qualms with this book. Denny's “I want her back” was a bit too quick. Beyond past history—and it very well may have been that—I wasn't quite sure as to the whys of it all, at least initially. I felt like more rumination/insight would've been good. I also got whiplash from her mindset being “fuck it, my heart's already in it so I'll deal with whatever happens” to “I have to end it despite the time we had because people rely on me”. Like, valid, but...whiplash. There was a lot of back and forth for Blair, which was intentional and well done, to convey her indecisions and unsureness. Didn't make it any easier to digest though 😂
But it was really nice to see more bits and pieces of Kate and Jackson's backstory. I'm excited to hopefully see more in their story that's coming out next year.
I also really liked the set up of scenes with their younger selves dispersed strategically. I don't normally enjoy them but felt that it was done quite well in this instance.
Overall, a solid cowboy romance with a bit of emotional grit! :)
After having DNFed Alive and Wells, I was concerned that At Whit's End would be the only book I enjoy from this series. But I'm so glad to find I very much enjoyed this book!
From the get-go, I very much appreciated the inclusion of Cass having Hashimoto's and PCOS, and how that influences her decision to keep the baby. While I wish her chronic illnesses played a larger part during the pregnancy (as we don't see its impact beyond some joint pain), it's a compelling addition to the same-old accidental pregnancy trope.
Cass was a pretty solid FMC, but I think Chase really stands out as my favourite MMC (sorry, Colt, my love 🫶). A sexy softie that is SO girl dad material.
I must also say that, despite contemporary romances not being my favourite, Bailey's sex scenes are some of the best I've read in the genre so far. The same old kiss -> foreplay -> sex can get repetitive, but I found the sex scenes in the series so far to be much better than expected! I love to see a man not afraid of some sex toy teamwork (sigh, wish they were real).
I had only one slight issue/pet peeve with the whole book: the bar brawl and its ensuing fallout. It felt too predictable. I appreciate the whys around it, but I wish the discussion between Cass and her friends was more a “hey, totally get it was valid, but maybe try and handle it better than causing a brawl next time??” as opposed to “he's misunderstood and had a good reason. also, your feelings run deeper so date :)” She needs better advice from friends (and ditch Shelby); he needs to get a grip. You're thirty three, not eighteen. I didn't quite understand why Chase stonewalled afterwards, but I supppose it's made up for in some ways by him making the effort and becoming sober.
Similarly, I really didn't much care for Cass having to be the one to reach out and instigate resolving things. He's the one that fucked up, so why can't he be the one to do more than attempt texting and actually drive down to make things right?? Yes, they both should've been mature adults and communicated with each other, but I don't think it's fair personally that she thinks he deserves some slack for being a decent baby-daddy-with-benefits. But I might be being too harsh/unforgiving, so take my opinions with a pinch of salt 😂
Anyways, overall, it's a strong read that has enough plot to carry it forward without feeling too convoluted and dramatic for the sake of being dramatic. Hoping to see more of Chase and baby Hazel in the next book (because I'm always a sucker for girl dads and their daughters).
For my first foray into cowboy romances, I liked this a lot more than I was initially expecting to.
The first thing I noticed was the writing. On occasion it did feel slightly cringe, but overall, I thought it was very funny and witty. I tend to prefer the more formal writing found in historicals, but for a contemporary romance, I liked the writing a lot. I found that the author had an excellent ability to create and hold tension—whether that's romantic, sexual, emotional, etc.
That being said, I personally wasn't really feeling the connection between Whit and Colt, at least at the start—though I did grow to feel it as the plot progressed. I know the whole comforting-after-argument thing was supposed to be a moment, but I just didn't feel it. I also wasn't much of a fan of the confession. Why after a bought of caveman jealousy and cultivated anger? 😫
However...
“Future wife”? Cute.
“Hey, Mama”? YES. No notes. Carry on.
I found the sex scenes to be among the better I've read so far. I liked that we steered away from the typical dominating, buff MMC and instead had a dominant lady who knows her way around the bedroom. A whimpering, subby, begging cowboy was not what I was expecting, but it was very much appreciated.
I also loved the brief glimpses and insights into the relationship between Whit and her mother, and the complex feelings she has surrounding the dementia diagnosis and how that's influenced her feelings and impacted their potential future together. The acceptance of their superficial relationship and the inability to have the opportunity to change that is so...urgh, hits you in the feels.
Similarly, something I loved was was that Colt came to conclude he didn't need his Ma's input as to the importance of having kids. I found that to be a really nice touch, especially given that his Mam was an important source of “woah, slow your roll there, cowboy”.
The only thing I can think of that goes beyond simple preferences that I would've liked was more insight into Colt and Jonas's chats and bonding. For a book that's about Colt and Jonas's relationship and bond equally as much as Whit and Colt's, I wish we got to see those important moments and talks that they both had during Whit's POVs. I feel like it would've been nice to see the difference in how Jonas opens up to others versus the only man who seems to be there for him. Similarly, hearing things directly from Jonas's POV—the troubles in school, acting out, his relationship with Whit, his parents' breakup, etc.—would've been valuable, given it was a tumultuous time for a 10 year old. It probably would've given a lot more context as to his relationship with Whit—something I wish we had more softer, more understanding moments for.
Overall though, I enjoyed this book a lot and will definitely be reading the rest of the series! A refreshingly wholesome take on the single-parent trope where the outsider loves the kid before the parent :)
Usually I can tell if I'm going to like/continue a book by the first few pages, and, admittedly, I wasn't too sure at the start of this. But I'm so glad I stuck with it; I liked it so much more than I thought I would!
I really enjoyed the whole anterograde amnesia aspect, as someone with a background in neuroscience/psychology. It was such an interesting take on the typical amnesia trope, and spurred me to research further (my brain was so happy ☺️). Despite my casual perusal, I'm not too sure how medically/neurologically accurate this is, but I didn't come for accuracy.
I loved seeing how Emilia's attitude and outlook changed based on the type of day she was having. From depressed, “what's the point in living if it's like this” to optimistic “my life is like a mosaic and it's still beautiful even if I can't see the whole thing”. Pure poetry 🥲
I did keep wondering why they couldn't use phones and other assistive technology to help make the transition in the mornings smoother (video diaries/a sort of trailer of her life, etc.), but realised I kept forgetting it's the 80s 😂 It does make you appreciate and marvel at how people navigated complex conditions before the conveniences of modern and advanced technologies.
Also, just want to take a moment for Eric; the greenest green flag. A green forest. A green everything. The type of boyfriend that surely can only exist in books.
Overall, definitely a book I wasn't expecting to love so much but definitely did. For what it is, it's a very wholesome and enjoyable read. I could read a book just on their mornings together. So cute 🤭
Not amazing, but not bad. Simply okay.
Feelings came on a little too quick for what I was expecting. Given Stella's ASD and Michael's experience as an escort, I would've assumed a level of impartiality (even despite acknowledged attraction), at least initially.
That being said, I liked that she didn't disclose her ASD outright. I was half-expecting it to be this big reveal. I liked that he grew to like her without the label; he saw her for her, not as her diagnosis. On a similar note, I also like that he didn't tell her that he knew, because it didn't change anything.
Didn't much fancy the fuss leading up to and during breakup—but then again, I'm not one for a miscommunication trope.
Overall, an okay, lighthearted read. Perfect for an easy palette cleanser.
This was a wonderfully odd little story. It was so nice to read about two adults with careers as opposed to 19-year-old Chosen Ones.
On a similar note, it was also nice to read about an FMC that—whether deliberate or not, I don't know—is ASD-coded. Her personality and its foibles are so wonderfully expressed and serve to make her all the more endearingly true to self. Like marmite, you (and the characters) either love her or don't, and I loved her—and evidently so did Wendell 😂
That being said, Emily parses her decisions and thoughts with logic that's inherently flawed—if that makes sense?—which was wonderfully congruent and in line with her personality, yet didn't make it any less frustrating. Who in their right mind would casually chop off a finger and then go wondering to free a powerful, trapped fairy King, all for the sake of study and the far-fetched assumption that he'll rectify all the problems, because he did it once, so surely he'll do it again???? Like come on girl 🤦♀️
Wendell was also a lovely divergence from the typical and normative portrayals of MMCs that are often seen in romance novels. Even the gentle, “normal” type male leads can't compare to his wonderfully flamboyant and dramatic nature, though with a surprising violent streak.
Now, admittedly, I didn't much care for the fantasy aspects at the start; I was impatient for the romance, but I did eventually become wholly intrigued by the world-building. And, oddly enough, the romance came a bit out of left field for me. There were definitely hints to Wendell's affections, but I was left feeling a bit unbalanced with the confession and proposal.
Oh, and I fucking loved Poe. Hope we get to see more of him (and the villagers) in the second book!
Overall, a fantasy that I can't say I've ever read similar before, though still very much enjoyed!
For a plot that was mostly devoid of anything substantial, it surprisingly kept me interested and reading.
There was some funny one-liners and wholesome character dynamics. I do wish we could've seen more of the relationships beyond Alisander and Jane; the supporting characters had a lot of potential to further deepen and develop the storyline. Considering a major plot point was Celestia, we didn't see much of Jane nor Alisander bonding with their new baby.
On a similar note, I did find that the plot felt a bit lacklustre overall, with not much happening. It wasn't an issue for me personally, but I don't think the book would've suffered if aspects were condensed.
But one thing I thought was done extremely well was the gradual emotional change in both characters—especially Jane. No other author has quite managed the feeling of seamless transition between fervent dislike to love in the way we see Jane do. I felt like it was done so well and so naturally. Similarly, Alisander's ruminations and thought processes in disseminating his own feelings and actions was brilliantly done. His background also unfurled quite nicely.
Overall, a pretty chill and lighthearted read. Whilst the addition of some more exploration as to dynamics and character backgrounds wouldn't have been undesirable, it wasn't a bad read by any means, at least to me. Perfect if you're looking for a low-effort romance.
Finally, a proper (one-sided) enemies to lovers. None of that half-assed “I hate him but he's soo handsome. I want to jump his bones but I still hate him”—no, happy to see some genuine animosity. Their dynamic felt deliciously substantiated by their history together; the flaws in their past actions and the resulting complexity of their present consequences was so well developed.
I loved how Ian's love felt so multifaceted. He felt extremely guarded, therefore true insight into his feelings was difficult. But that didn't mean you couldn't feel the depth of his feelings—through the fleeting moments that were wonderfully telling in reserved yet significant ways. Even when things turned sexual, it never felt objectifying or purely lustful. And when he was vulnerable? FUCK. Always hits. However, don't get me wrong; his characterisation did feel somewhat superficial and hackneyed in that typical rich, powerful, domineering type MMC with little novelty. Yet despite his generic characterisation, I actually quite enjoyed it for once as it was wonderfully substantiated by the complexity held in other areas.
It was SO refreshing to have virtually no lusty shit. I'm so tired of insta-list and sexual attraction being a continuous focal point throughout. Instead, in the rare instances it featured, sex was used as a means other than for pleasure, and it was so nice to see.
I also felt that the slow, gradual chipping away between them felt natural; the mysterious threat a good way to push them closer without it feeling forced. I loved the dual insight during the earlier days of their marriage especially; the contrast in their feelings that was done so well, somehow conveying all the complex feelings and states of mind that comes with a history like theirs. I also loved their snarky, bitter—and my favourite, petulant—banter. And even as the significance of Ian's actions, his forethoughts, were revealed, things automatically didn't straighten themselves out or feelings suddenly switched a 180. I liked that there was still the hurt, the distrust, the longing, the lessons, etc. All of it didn't go away despite new revelations, and it was so lovely to see them work through it naturally and realistically, over a quick resolution convenient to the book.
I hope there's a prequel of sorts about their first go-around. If there isn't, there should be! So happy I plucked this from the TBR to read!
The book was meh overall; the start was okay and somewhat promising, though the ending was shite.
The plot as a whole felt a bit too juvenile for my tastes, especially the crime aspect. It's like a child's make-believe idea of what a kingpin or criminal gang does. There was a lot of telling instead of showing; Jack being a feared and powerful man despite no real evidence to substantiate, his gang being the biggest and best in the area, Justine's family being uber influential, established as heavily involved in gang/criminal enterprise yet we don't see much of this, etc. Not to mention the half-assed conflict at the end, which felt like a lazy attempt at Justine having a backbone and not acting like a doormat.
I think this book also just comes at a time where—and really encapsulates why—I'm just so tired of the overused characterisation of MMCs in romance nowadays; the ooo big powerful handsome guy who cares for nothing but amassing money and power, but oh add a dash of “he draws the line at harming / exploiting / disrespecting women” to make him more palatable, over substantive moral ambiguity. It's bland and lacks anything remotely interesting, only serving to add a bit of arbitrary depth/mortality to soften a character that's made up of a few half-assed “edgy” traits. It's boring. Next.
I also didn't quite feel the brewing interest or change in feelings personally. Nothing spurred me to understand why we've all of a sudden started liking/loving this other person.
Despite what may be believed by the above, I genuinely didn't go into it expecting revolutionary, deep insights or character profiles. It's just that the execution still disappointed me. I found parts, especially towards the ending, cringe, like a bad TV show. That being said, the dialogue was witty at times, and the premise of Justine being a sort of wealthy social worker (who later crosses paths with a kingpin) was intriguing. I just couldn't overlook or disregard the overt flaws—which are purely based on personal preferences, of course—for the few redeeming qualities.
Overall, it's not a bad book by any means. I think if you can suspend disbelief to the max and turn off your brain, it's a good read/palette cleanser.