From the desk of Katie Patchell:
Captain Wentworth and Anne Elliot’s romance in Jane Austen’s Persuasion is one of the most captivating in classic literature. Opinion varies as to what it is that makes their romance so satisfying, but something almost all fans of Persuasion can agree with is the complete beauty that is found when a hero and heroine, after long separation and opposition, discover that the time apart has done nothing to lessen the strength of their affection. Sarah M. Eden follows this timeless pattern in her latest Regency romance, For Elise, but unlike in Persuasion, the hero and heroine do not face a father’s disapproval or society’s disappointment—they face a murderer.
It is the spring of 1815, and Miles Linwood, recently returned from the West Indies, cannot pass a day without being haunted by memories of his carefree childhood friend and neighbor, Elise. Four years previously a tragedy had shattered both of their lives, leaving them to cope as they always did: together. A few weeks later and with no explanation Elise left Miles’ estate, vanishing without a trace—until four years later, when Miles catches a glimpse of familiar brown curls and Elise’s peculiar blue eyes in a small town. Miles is overjoyed to discover his best friend, but Elise is drastically altered from who she used to be, and is now hostile and untrusting, particularly towards Miles. Continue reading
From the desk of Katie Patchell
A young vicar trapped in a country village, dreaming of exotic lands. A woman pressured to marry the next eligible gentleman that comes along, yet yearning for freedom and true love. Whether or not the hero and heroine attain their dreams can be discovered in Charlotte Brentwood’s 2014 debut, The Vagabond Vicar, a traditional Regency novel containing romance, danger, and just a little bit of small-town gossip.
William Brook dreams of experiencing adventure and saving lives as a missionary to lands far away from English shores. When he receives a summons from the Dean of St. Mary’s, William expects his dreams to be realized, but within five minutes all his hopes are dashed: rather than the difficult but meaningful life of a missionary, he has been given the title of vicar and a safe living in pastoral Shropshire, England. On arriving in the small village of Amberley, William views the peaceful fields, chattering busybodies, and pushy mothers of single daughters with dread. When he first meets the lovely Miss Grant, he expects her to be a husband-hunting gossip, but on closer acquaintance, William discovers that she is the most intriguing and perceptive woman he has ever met. But his past experiences of love and friendship have trained him to reject what is bound to only hurt him in the end. Continue reading
From the desk of Katie Patchell:
A manor filled with secrets, frozen in time. Rumors of hidden treasure. Whispers of murder. Stubbornly silent local residents. One newly arrived and extremely curious heroine, a young woman who will stop at nothing to discover the secrets of Pembrooke Park. Whether or not the heroine prevails can be discovered in Julie Klassen’s latest Regency novel, The Secret of Pembrooke Park, a novel which delves into the darkness that resides in all human souls.
At the age of twenty-two, Abigail Foster believes that her future is secure: after building the house that she and her childhood friend, Gilbert Scott, designed, he will propose, Abigail will say yes, and they will happily spend the rest of their lives together. But when Abigail witnesses a loving interaction between her younger sister, Louisa, and Gilbert, she realizes that her dreams may never become a reality. With her father’s shocking news of a failed investment and significant loss of wealth, Abigail begins her search for a small place in the country for her family to reside, and is stunned by the generous offer given by a mysterious solicitor on behalf of an unknown distant relation: to live in Pembrooke Park, a manor that has been uninhabited for eighteen years. When Abigail arrives at the large country manor house, she opens the front door to an eerie sight—everything inside had been left in a state of disarray, preserved as if the last residents had suddenly fled. Continue reading
From the desk of Katie Patchell:
In the Regency era, the only acceptable musical instruments a woman was allowed to play were the harp and piano, and if she played any other, particularly a violin, she would be looked-down upon in society and considered unfeminine. But in Camille Elliot’s recent debut novel, Prelude for a Lord, the heroine defies conventions and plays this beautiful but forbidden instrument, which stirs her heart, makes her forget her past and society’s censure, and ultimately, entangles her in a web of romance, mystery, and danger.
At the age of twenty-eight, Lady Alethea Sutherton has accepted her fate: that she will never marry, and will always be looked down upon by society as an eccentric. With her height, striking (rather than classical) features, and her unconventional country ways, she is whispered about by the Bath gossips, but it is Alethea’s consuming passion for music and her skill at the extremely unfeminine instrument—the violin—that has her scorned by polite society.
When she meets Lord Bayard Dommick, the man who eleven years ago convinced her to pursue her violin playing with his offensive statement that it was “unfeminine for a woman to play the instrument” (53), Alethea plans to ignore him at all costs. But when Bayard offers to help her discover why her old violin has suddenly become the obsession of two shady individuals, Alethea has no choice but to accept this potential ally. As she spends more time with him and his two best friends, the remaining members of the famous string Quartet, Alethea discovers that Bayard is far from insufferable, and instead, one of the only people to understand her love of music and the violin. Continue reading
From the desk of Katie Patchell:
Imagine the scene: A woman and man meet in the entryway to a glittering ballroom—full of dancing couples, flickering candles, and the faraway strains of violins. The couple locks eyes, and with that meaningful, tension-filled glance, the man bends down and kisses the woman’s glove.
This seems to be the opening scene of a promising new romance, does it not? But this is not truly the beginning of a romance, but the finale that is six long years overdue. Or is it? In The Unexpected Earl, Philippa Jane Keyworth’s latest Regency novel, readers discover a story of second chances, romantic entanglements, and the rediscovery of true love that is reminiscent of Jane Austen’s beloved novel, Persuasion.
Julia Rotherham is prepared to play the various roles of wallflower, dutiful sister, and old maid at her beautiful younger sister’s coming-out ball. Everything goes according to plan until she comes face to face with the one man she hates with every fiber of her being, the man she’s spent every day for the past six years trying to forget: Lucius Wolversley. Six years ago Julia had given him her heart and accepted his offer of marriage, but shortly afterwards he had broken off the engagement without an explanation and disappeared from her life, breaking her heart and destroying her dreams in the process. Continue reading
From the desk of Katie P.:
In most novels, the heroine has some kind of quirk, trait, flaw, or unique quality—physical or otherwise–which the hero (and the reader) falls in love with. She could have a temper (Serena, Bath Tangle) or a limp (Sorrel, Friends and Foes). She might stutter (Horry, The Convenient Marriage) or make judgments too quickly (Elizabeth, Pride and Prejudice). She could love to twirl (Marianne, Edenbrooke) or love to take charge (Sophy, The Grand Sophy). She might be stubborn (Margaret Hale, North and South) or love matchmaking (Emma, Emma). She might love to read novels (Catherine, Northanger Abbey) or collect insects and plants (Alice, The Naturalist). The list could go on and on. But the one characteristic not often seen (or ever seen) in a Regency heroine is shortsightedness. In Christina Dudley’s latest continuation of the Hapgoods of Bramleigh series, A Very Plain Young Man, readers meet a rake in need of a bride…and a heroine in need of spectacles.
Frederick Tierney is three things: the heir to two estates, a rake, and an extremely handsome man (which he is very much aware). While in London, he breaks off his relationship with his latest conquest, for the first time getting tired of living the life of a profligate (which disappoints his family), saying false ‘I love you’s’ and being chased after by shallow women. He travels to Somerset for his younger brother’s wedding, and to escape his ex-lover’s clutches, he sends her a letter saying he’s soon to be married. Continue reading
From the desk of Katie P.:
Women writers in the 21st century are accepted and praised for their ability to write great literature. Their books are proudly published alongside the books written by men, and literature today is not judged by the gender of the author but by the quality of the content. But it wasn’t always like this. Female authors in the Regency underwent many struggles that are not experienced or understood today. Society in the 1800’s rarely accepted female authors, and it was the exception, not the norm, that guaranteed a woman protection from society after publishing under her own name. So if society frowned upon female authors, then how would an authoress even go about finding and meeting with a publisher? How could she recover from public knowledge of her authorship? What was the consequence of daring to become an author? And what were the pros and cons of remaining anonymous? Julie Klassen answers these questions and more in The Girl in the Gatehouse, a Regency novel filled with romance, intrigue, and a mysterious authoress.
After a terrible indiscretion ruins her in the eyes of polite society, Mariah Aubrey is sent by her father to live in an abandoned gatehouse on the edges of her aunt’s estate, accompanied only by her loyal servant, Miss Dixon. Ignored by her aunt and scorned by all of her loved ones and past acquaintances, Mariah plans to spend the rest of her days living quietly and going unnoticed by all, supporting herself anonymously by writing novels. But when Captain Matthew Bryant moves in to Windrush Court after the death of her aunt, Mariah discovers that her heart isn’t as closed up as she thought. But could Captain Bryant ever love her if he knew what had happened in her past? When a house party hosted by Captain Bryant includes many guests who are from Mariah’s previous life, can she protect herself from them and keep them from revealing her secrets, past and present? Continue reading
From the desk of Jenny Haggerty:
I have thoroughly enjoyed the first three books of the Glamourist History series which has only gotten better as it goes on, but when I read the description of the fourth book I wasn’t positive that improving trend would continue, at least for me. Pirates? The Regency version of a heist film? Those may appeal to many but aren’t my preferred cup of tea.I love that the earlier books incorporate historic events into an alternate Regency world that shimmers with glamour–a magical art of illusion. Napoleon’s wars, the Luddite uprising, and the 1816 climate disruption are integral parts of their narratives, but the new book’s plot synopsis does not hint at a similar use of history. Still, I trust Mary Robinette Kowal’s storytelling skills so there was no way I would miss her latest. I just hoped I would love Valour and Vanity as dearly as the others.
A tip from Lord Byron sends Jane and her husband Vincent to the ruins of a Roman amphitheatre where an ancient but still vibrant lion glamour roars and struts among the rubble. That beautiful lion is forever fixed in place because glamoured images made with traditional methods cannot be moved, but Jane and Vincent hope to perfect a new way of creating glamour by weaving its threads into molten glass which could then be easily transported. To that end they are headed to the island of Murano, famous for its glass-making artistry. They have been on a mostly joyous Continental trip with the rest of Jane’s family, celebrating her sister Melody’s wedding, but Jane is glad she and Vincent will soon be alone because her mother can tend to be high strung. Sure enough Mrs. Ellsworth musters a Mrs. Bennet worthy panic as Jane and Vincent’s ship is about to depart. She’s heard a rumor pirates rove the Gulf of Venice! Pirates! Continue reading
From the desk of Laurel Ann Nattress:
Traditional Regency Romance has had its ebb and flow in popularity over the years. This subgenre of romance novels was made famous by English writer Georgette Heyer with its roots deeply entwined in Jane Austen’s novels of manners and courtship. By 2005, trends were shifting and readers preferred the freedom of the Regency Historical which allowed more intimate relationships and daring plots. In the past few years I have seen resurgence in popularity of the Traditional Regency Romance and credit authors Candice Hern, Carla Kelly, Julie Klassen, Julianne Donaldson and Sarah M. Eden for its renaissance. Now, I am very pleased to add one more author to my list of favorites, Christina Dudley.
I first became aware of Dudley’s talent when I read The Beresfords, a modern retelling of Jane Austen’s Mansfield Park. She had successfully transformed Austen’s dark horse into an interesting and thoughtful contemporary novel receiving such accolades as “brilliant,” “masterful,” and “endearing” from reviewers. Truly amazing. Imagine my delight when I discovered that her next novel, The Naturalist, would be a Traditional Regency, and, it was the first book in a series! Continue reading
From the desk of Jennifer Haggerty:
When the second book in a series is even better than the first, the third book will be highly anticipated and eagerly sought. If that is not a truth universally acknowledged it is at least true for me, which is why I couldn’t wait to get my hands on Mary Robinette Kowal’s Without a Summer, the third in her Glamourist History novels set in an alternate Regency World imbued with the loveliest of magics.
The first book, Shades of Milk and Honey, contains many elements of a Jane Austen novel–charming cads, lovesick girls, silly mothers, stern suitors, devoted sisters–but also incorporates glamour, a magic art of illusion used to enhance and beautify works of art. Shades of Milk and Honey ends in marriage like Austen’s novels, but Glamour in a Glass, the second book, takes things a bit further because the story of Jane and Vincent continues as they honeymoon in Belgium and this time history gets skillfully worked into the plot. Napoleon is on the march after escaping from Elba, leading Jane and Vincent to devise practical uses for glamour so the British military can defeat his forces. The inclusion of history, the experimental uses of glamour, and the pleasure of watching Jane and Vincent grow as artisans, as individuals, and as a married couple, make Glamour in a Glass a stronger book than its predecessor. I hopefully expected Without a Summer would continue those developments. Continue reading
From the desk of Katie P.:
A lesson learned from the works of Jane Austen is that the rake never saves the day and never gets the girl. Mr. Wickham, Willoughby, Henry Crawford, John Thorpe, and Mr. Elliot are all fine examples of this rule. While Mr. Darcy, Colonel Brandon, Edmund Bertram, Henry Tilney, and Captain Wentworth all perfectly fit their roles as heroes, I’ve lately experienced some niggling doubts about these so-called rakes. Was Willoughby really so horrible, or were his actions the result of a lack of maturity and guidance? Would Henry Crawford have been faithful if Fanny had given him encouragement? This leads to a deeper question–What would happen if the rake DID get the girl? And what if he really wasn’t a rake at all—what if he was the hero in disguise? Those questions are explored and answered in The Earl Next Door (originally published as Anything but a Gentleman) by Amanda Grange, the author of the well-known series of diaries from the perspectives of Jane Austen’s heroes.
When Marianne Travis’ older brother, Kit, runs away from home because of large gambling debts (caused by his friendship with a rogue named Luke Somerville), it falls on her shoulders to run the family estate. Everything runs smoothly (and boringly) until she discovers a wounded man in the woods on her new neighbor’s property—a neighbor who happens to be the most handsome and exasperating man she has ever met—Lord Ravensford. Their first meeting gives Marianne the distinct impression that the Earl is just an incorrigible rake (he has the audacity to think she’s a lightskirt!), but as they spend more time together she finds herself more and more drawn to him and the intelligence and concern she sees behind the mask of a rogue. When secrets come to light about who the earl’s true identity is and what really happened to Kit, can Marianne get past her presuppositions and trust in the earl before it’s too late? Continue reading
Dear Mr. Frame:
I recently read Havisham, your prequel and retelling of Charles Dickens Great Expectations, one of my favorite Victorian novels. Your choice to expand the back story of minor character Miss Havisham, the most infamous misandry in literary history, was brilliant. Jilted at the altar she was humiliated and heartbroken, living the rest of her days in her tattered white wedding dress in the decaying family mansion, Satis House. Few female characters have left such a chilling impression on me. I was eager to discover your interpretation of how her early life formed her personality and set those tragic events into motion.
Dickens gave you a fabulous character to work with. (spoilers ahead) Born in Kent in the late eighteenth-century, Catherine’s mother died in childbirth leaving her father, a wealthy brewer, to dote upon his only child. Using his money to move her up the social ladder she is educated with aristocrats where she learns about literature, art, languages and the first disappointments of love. In London she meets and is wooed by the charismatic Charles Compeyson. Family secrets surface in the form of her dissipated half-brother Arthur, the child of a hidden marriage of her father to their cook. Her ailing father knows his son has no interest in his prospering business and trains his clever young daughter. After his death, the inevitable clash occurs between the siblings over money and power. Challenged as a young woman running a business in a man’s world, Catherine struggles until Charles reappears charming his way into her service and her heart. About two thirds of the way through the novel the events of Great Expectations surface. Charles abandons her on their wedding day and she sinks into depression. Continue reading