It’s been an interesting week of romance reading for me with two totally different books. One that triggered me and the other that blew me away.
First up was Haunted Dreams by Charlotte Lamb (1995). This is a Harlequin Mills & Boon and British author. This book had a lot going for it, particularly as the hero had a checkered past and the book discussed the conditions of the poor in Mexico, the picking over of dumps and the exploitation of kids. It also featured domestic violence. The hero’s father had been a drunk and violent towards his mother and him and his siblings. All this boded well for me, despite the fact that the heroine was very young (half the hero’s age) and virginal etc. Yet she had some depth to her because she had nursed her dying mother and then rejected by her father after he married straight after her mother’s funeral.
Ambrose (great name!) is a banking man and makes money. Emilie works for her grandfather and is essentially his heir. All well and good. I don’t normally like to do spoilers but hey, this time I have to.
This book triggered me, right at the end too. I had trouble reconciling this so I have come up with the notion that the book is flawed. I know Charlotte Lamb churned these buggers out and maybe she didn’t think this one through, because there were some perfectly good opportunities to make it work out better. OMG! I can’t believe I’m being critical.
Firstly there was a burglary. There was a good setup for this burglary I thought. Emilie had been given sapphires and diamonds for Christmas and the evil cousin was jealous and avaricious and even asked if they were insured. The description of the burglar could have been a woman I thought, but no. It was only an excuse to get the hero to stay over the night. Now random things do happen in life, but in fiction well not so much…not with the potential there to make it work in the story. So the burglary was a minor inconvenience, even though the cousin was a thief!
Then there was the strangulation of the heroine by the hero and the words something like ‘I’d rather kill you than let another man have you’. That’s my trigger. This happened to be, not a strangulation, but a bashing with words similar to this. However, triggered as I was there was a way to pull back from the abyss and Ms Lamb missed that too. She plunged straight into the abyss without a yell.
Do you think in the emotional resolution to the story that the hero would be remorseful, that he would pledge on his life never to touch her again in that way, that it was his horrible background that made him an abuser etc. No. Not a bloody word.
The heroine was upset because he didn’t trust her. She didn’t want to get back to him because he’d refused to believe her. What the actual…??? He sees the bruises says something like I can’t begin to apologise but she says sweet FA. Surely to god, there’d be some request for a promise never to hurt her again or she’ll leave him. No. The bloody violence is not discussed, other than a thin apology. Sorry. That book sucked monkey balls. Well the resolution did.
Then we come to Flashback by Amanda Carpenter (1984). Mills & Boon published in London by an American author. I had this book by me because I’d loved her Cry Wolf story about an artist. It was so emotionally intense that I wanted to read another one to see if that was similar or Cry Wolf had been a one off. Luckily I scored one in the Grace Collection. Funny thing was I reading either a book or an academic article that said Flashback was an amazing anti-war book. So that was it. I dived in. I was also trialing my new data gathering tool that I can hand write while reading for later input into a spreadsheet or database.
This book was amazing. It blew my mind. It is not your average Mills & Boon and even using Pamela Regis’s barriers to analyse it, I found it hard to pin down. It seemed to break all the usual tropes over the head with beer bottles.
I won’t spoil this one but I will note a few features. It has a foreword by the author. This is an unusual feature for the time. It expressed sentiment about the loss of life in war. So clearly the author’s intention was to have an anti-war message.
My premise in reading category romances is that they try to depict reality. Doreen Watt set me straight on this. Before Harlequin Mills & Boon brought in all the lines, the Mills & Boon were one line. I’ve found some stories that would be more intrigue than straight romance. There was one where the protagonists remembered their past lives.(Charlotte Lamb’s Dying for You). Well Flashback features a telepath. Yes, you saw correctly. A bloody telepath. This is probably why it was really hard to identify any barriers to the hero and heroine getting together. They were linked telepathically and it was an intense and emotional story. Amanda Carpenter writes very well and I’m glad to see that after having a break she came back to writing as Thea Harrison and she writes paranormal romance. I have to check her out. She’s snared me!
So this story doesn’t feature another woman to make the heroine jealous. She lives with her mother and is very close to her. So she’s not an orphan caught in the hero’s web of sex and intrigue. She lives almost as a recluse. The telepathy drives the story. There is no sex scenes. It’s so damn intense it doesn’t need them. I think I need to measure my blood pressure after reading it. And what happens to the heroine in the end. Jesus. Mary. And Joseph!
Anyway, read Flashback.
Thea Harrison released her titles again with Samhain. Here is a link to the book. Here.
Also check out Thea Harrison. Here.
Donna Maree Hanson, Author, Phd in Creative Writing 
Charlotte Lamb’s books always have an emotional intensity that feels very real so on one level they always work for me and linger in memory but there is this strange Alpha figure is always too much for the book. I think in lots of ways she writes truthfully about what is one of the essential rom genre trope characters; this is what an Alpha would really be like. Lamb’s heroines are always women with damaged boundaries, I think because all women in our patriarchal society have spent their lives unable to hold the line against the whole world. So in this case she can’t call the cousin out or ask for an apology and assurance because she’s been so damaged she doesn’t have any sense of entitlement.
I think Charlotte Lamb fails to stick the landing a lot because she shows this reality and doesn’t interrogate it. If we are still struggling to have the DV conversation in Australia in 2016 I can see where her blindness (?) comes from. All the unspoken, unacknowledged reality that we don’t want to know about because we would have to change. To feel ourselves entitled to demand our boundaries be respected involves remembering all the times they weren’t.
I think Lamb also writes in the older style of love story where words were never used. You were supposed to ‘mystically’ know.
I get what you’re saying. This is the first Lamb book that affected me this way. It was published in 1995 so a bit late for the older style.I also have to remember the constraints she was writing within as well as the social and culture mores. Like you said, we are still trying to have the domestic violence conversation in 2016. I think it was Daphne Clair (or Robyn Donald) who had a character who was subject to domestic violence and one of his barriers to a relationship was that he thought he might be violent like his father.I guess I had similar expectations with this story.
If I recall my own assault, we didn’t even call the police. That was in 1976. So yeah times change.