Category Archives: Hero Archetypes

Review – Blue Jasmine – Violet Winspear (1969)

29 Thursday Sep 2016

Posted by in Harlequin Romance, Hero Archetypes, Romance Cover Art, Uncategorized, vintage romance review, Violet Winspear

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Originally published in hardcover in 1969 by Mills & Boon, Violet Winspear’s category line classic Blue Jasmine, had three Harlequin Romance line reprints by 1976. If there was to be a romance canon, Blue Jasmine might make the list.

But it’s impossible to review Blue Jasmine without the foundation of E. M. Hull’s The Sheik. It’s like trying to discuss Samuel Johnson without mentioning James Boswell. And really, why would you want to?

Blue Jasmine Violet WinspearE(dith) M(aude) Hull’s (1919) The Sheik is, in fact, an even surer ringer for the romance canon (again, if such a thing existed). The Sheik’s Ahmed Ben Hassan was played by Rudolph Valentino in a 1921 film adaptation to audiences who just couldn’t believe it. As a romance subgenre, it’s a long-time market win.

The two novels are similar enough in storyline and character development that I’ve had students argue Blue Jasmine is plagiarized. I say instead that Blue Jasmine is a worthy tribute that imitates to flatter.

Take as a goose-pimpling example the scene when the heroine realizes she’s trapped in a tent with the sheik, surrounded by his loyal entourage in the middle of the desert, and there’s no escape from his animal spirits…

In The Sheik by EM Hull:

Why have you brought me here?” she asked, fighting down the fear that was growing more terrible every moment.

He repeated her words with a slow smile. “Why have I brought you here?” Bon Dieu! Are you not woman enough to know?

And in Blue Jasmine by Violet Winspear:

I have no need of your money, so I fear it cannot buy your freedom. There is only one thing that can, and you are a surpassing innocent if you don’t know what it is.”

She stared at him, her eyes like bruised flowers in her pale, shocked face. “I don’t know,” she whispered.

“Really?” His eyes flicked over her. “With your unusual looks, you tell me you don’t know what a man means when he brings you to his tent. Ma belle femme, I think you do know.

the sheik EM HullBoth The Sheik and Blue Jasmine present typical Winspear heroes. If you remember, Winspear presents heroes who “frighten but fascinate…the sort of men who are capable of rape: men it’s dangerous to be alone in the room with.” Winspear, however, likely wouldn’t have loved Ben Hassan. Sadly, Diana, the heroine of The Sheik, is raped off-scene, repeatedly, and for several months (until she falls in love, as any woman would).

Although Blue Jasmine‘s sheik, Kasim ben Hussayn is a  Mr. Angrypants of the first order, heroine Lorna is yet spared rape. A Winspearean hero, a product of his time, would threaten, but never follow through (unless he was a captain of a sailing vessel).

Blue Jasmine first cover

original 1969 cover of Blue Jasmine

As for the heroines, Blue Jasmine‘s Lorna is independent, saucy, up for adventure. Diana in The Shiek is presented as all these things, but, in addition: boyish and unfeeling, an interesting corruption of womanhood that in the first quarter of the twentieth century might demand correction more so than by the late 1960s. But, of course, both heroines fall for their captors, succumbing (in similarly described pivotal scenes) on a far side of the enemies-to-lovers trope continuum.

After all is said and done, Winspear’s heroine, like Hull’s, is revealed (thank the Almighty Christian God) to have fallen for a European. Today’s popular romance market might not balk with singular voice at a bona fide Arab hero (and all of our gods please bless this guy), but in 1919 and 1969, a sheik had to look like a Princeton man.

 

 

 

 

 

Review – The Little Nobody – Violet Winspear (1972)

15 Monday Jun 2015

Posted by in Giulia Torre, Harlequin Presents, Harlequin Romance, Hero Archetypes, Romance Cover Art, Uncategorized, vintage romance review, Violet Winspear

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A Romance Canon, one as staid and firm (and stout) as Harold Bloom‘s should include Violet Winspear, whose corpus includes over 90 titles written for Mills & Boon. I love her name almost as much as I love Foyle’s War’s Honeysuckle Weeks.

The Little Nobody was chosen for the alpha hero lurking beyond it’s title.

Violet Winspear The Little Nobody

With a little nobody, a Big Somebody must be in there somewhere.

Violet Winspear is known for (notorious for at one time) her alpha heroes: angry, incomprehensible heroes and our future bodice rippers. In 1970, she explained:

I get my heroes so that they’re lean and hard muscled and mocking and sardonic and tough and tigerish and single, of course. Oh and they’ve got to be rich and then I make it that they’re only cynical and smooth on the surface. But underneath they’re well, you know, sort of lost and lonely. In need of love but, when roused, capable of breathtaking passion and potency. Most of my heroes, well all of them really, are like that. They frighten but fascinate. They must be the sort of men who are capable of rape: men it’s dangerous to be alone in the room with.

The category line Winspear helped to launched has pervasive arm-gripping, angry kissing, and even spanking. Still, she got a little flack for that.

The Little Nobody is only #15 in the original Harlequin Presents line (of thousands). A more recent Harlequin line of the same name has the same mission as the original:

You want alpha males, decadent glamour and jet-set lifestyles. Step into the sensational, sophisticated world of Harlequin Presents, where sinfully tempting heroes ignite a fierce and wickedly irresistible passion!

The little nobody is Ynis Raiford. She is newly arrived on a dark and stormy night to a gothic castle on the Cornish Cliffs (Cornwall, England) called the Sea Witch.

Her name – Raiford – is not even hers. It’s borrowed from her stepfather, a con man serving time as a result of his designs on the hero’s fortune (a part of it at least). The hero – Gard St. Clair – is a former maestro whose arm was injured by a freak storefront accident, and then severed from his body at the shoulder by a surgeon, unaware he was operating on a famous conductor because Gard’s wallet had been stolen from him by a pickpocket while he was still unconscious and bloody beneath the shattered pane of glass. So, when Ynis’ petty thief stepfather was caught trying to steal from Gard a couple years later, our hero was still a little touchy and unforgiving. Ynis ventures to the Sea Witch to persuade maestro Gard to drop the charges, but finds the hero a tad embittered by pickpockets, his missing arm, and, presumably, the bad weather.

The bad weather is important, because after Gard declines Ynis’ request to free from prison the only family she’s ever known, she runs out into the dark, stormy night and is deservedly hit by a car. She awakes back at the Sea Witch with amnesia and a ring on her finger. Gard claims she’s his fiancé.

Readers of this line are given no insight into the thoughts and feelings of heroes beyond their actions and smoldering looks of incomprehensible rage, but we can assume the hero feels guilty, or something.

So there we have it. Add another woman – “his old love, the beautiful actress Stella Marrick” – and the set-up is a typical 1970s Mills & Boon pretzel-plot.

Of significance…Ynis has been living in a convent for the better part of her life. Though the Reverend Mother tried to convince Ynis to take orders, instead Ynis wants to see the world. She’s at her hills-are-alive moment when this book begins.

What the heroine’s convent background provides is a nice dose of virgin envy. Yes, it’s a real thing. And Winspear knows how to work it.

He didn’t care a rap she found him more fearful than fascinating. He seemed to her to enjoy the fear which she felt. ‘There are certain terrors known only to a girl,’ he said. ‘The fact is fascinating to a man, and that’s the bare truth.’

Virgin envy. I’m green with it.

Review – The Queen’s Captain – Margaret Hope (1979)

08 Friday May 2015

Posted by in Giulia Torre, Harlequin Romance, Hero Archetypes, Laura London, masquerade historical, Pirates, Romance Cover Art, ship captains, vintage romance review

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The Queen’s Captain by Margaret Hope arrived in a box from my mother’s attic. A huge box filled with Masquerade Historicals and Harlequin Romances when they were prized at 60 cents.

The Queens Captain

Consider this a reading case study. I’d call it an auto-ethnography, but, ew.

Phase I. I find the book in a box of books. They’re all vintage, which means all cock-blockers. There will be no sex, and if there’s any kissing to speak of, there will be no tongue.

Shameful.

Phase II. I find this particular book and read the inside flap.

Get to work, lad, or I’ll whip you.

Phase III. I remember a thread on Goodreads. One of those threads where a reader looks to the group for help to remember a title. The title this reader wanted to remember had a delicious scene where the heroine, disguised as a man, gets flogged by the hero. Flogged. Right there on the deck of the ship. The ship’s crew knows she’s a woman, but has been keeping the secret from the captain. They watch her flogged, unable to do anything about it, because there is no mutiny on a ship. The captain reigns supreme in only the way a captain can. (Note to self.) Then, when the captain discovers the man is a maid, the laments that follow are sweeter for the beating.

I think I’ve found that book.

I was so excited, it took me a few weeks to pick it up. When I did, I put it down again. Another week before I picked it up again. The anticipation bordered on dread. I was that titillated.

Phase IV. I forget utterly that this is a Harlequin line from 1979. It wasn’t until the heroine had escaped the ship unflogged that I’d realized my mistake.

What follows is an altogether different reading experience than I’d hoped for, but one I would recommend nonetheless. Margaret Hope may not have allowed her captain to flog the heroine, but she did so much research that I learned a few things about the Defeat of the Spanish Armada and the Battle of Gravelines.

Plus, Hope’s sentence structure is outstanding.

REVIEW – Kiss of a Tyrant – Margaret Pargeter (1980)

29 Wednesday Oct 2014

Posted by in Harlequin Romance, Hero Archetypes, Romance Cover Art

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Kiss of a Tyrant PargeterKiss of a Tyrant by Margaret Pargeter
Harlequin Romance #2375

The virgin’s vindication. One of my favorite tropes. If you don’t know of it yet, it’s a good one. It culminates with the hero – an angry man of the highest order – as his head snaps up to look in mute horror to study the face of the maiden beneath him after he’s inadvertently stolen her virginity. The inadvertent part is important.

But not as important as the hero’s grim belief that the heroine is not a virgin. And dammit, she should be.

What if I asked you to prove you’d never belonged to another man?

Such is the way with Kiss of a Tyrant.

Sloan Maddison is an Australian alpha male who finds himself in the English countryside where his widowed mother contemplates returning to live. In a country inn, he meets interior decorator Stacy Weldon. Stacy is “on leave” from her career, helping her mother and sister at the inn after being nearly raped by her boss. She is wounded and angry and not optimistic about her future.

Sloan is attracted to her. Pretty sure he wants to marry her. So uses his mother’s illness as an excuse to carry her off to Australia. But on the way out the door, he gets wind of that “affair” with her boss. And he’s hopping mad about it. She must have asked for it, and along the way, collected other affairs that now debases their own kindling desire.

The hero’s she-must-have-asked-for-it motivation is a hole in the plot that has widened over time. But it’s easy to jump across. Because Sloan is sexy in the way only an angry pants hero can be. Mean, misguided, and hard to get. Oh, but in love nonetheless.

The wrap-up is a bit holey, too, and would have been for readers even in 1980. Sloan is mean to Stacy up until the final moment, but claims he had known of her innocence for the preceding two whole days before the final page. He wanted to see if she could really adapt to his remote Australian way of life. Huh.

Sloan is mean as a billy goat. But, alas, sexier. So I can forgive the holes, even if Mr. Angrypants can’t.

REVIEW – The Angry Man by Joyce Dingwell (1979)

22 Wednesday Oct 2014

Posted by in Harlequin Romance, Hero Archetypes, Romance Cover Art

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The Angry Man Joyce DingwellThe Angry Man by Joyce Dingwell (1979) Harlequin Romance #2318 The Angry Man. How could I not?

First, a detour to cover art. I am working with an artist on the cover of book two of the RiverLust series, Simon’s Story. It’s called Swan Bay. I don’t believe you can paint a handsome man on the cover of a romance novel. Beautiful heroines? Yes. But the heroes always come off wrong.

Point in fact: The Angry Man cover hero is bleak. Crocodile Dundee with a longer face and shadowed, sunken cheeks. His hair is some kind of a poofy gray 70s mullet. Go ahead. Take a look at the cover of The Angry Man. Does he look angry to you? See that slight lift of his upper lip, over there on the right? The way his brows are furrowed together as he regards the heroine? Yes. The lovely doe-eyed one.

He is not angry; he’s sardonic, bemused. The man on this cover looks more perturbed than angry. Which is the perfect summation of Joyce Dingwell’s hero in this book.

English Polly loved her neighbor, who loved her sister, so her uncle sent her away. To Australia. Where after working on a statistics team as the resident non-statisician, she is told she has to stay another six months, because her former lover’s courtship of her sister is going more slowly than anticipated. So she takes the position of paid companion to Mrs. Clemance, young and beautiful wife of Thorn Clemance. Thorn is an ag specialist for a pharmaceutical company. A medical herbalist. But the beautiful Mrs. Clemance is not his wife. It’s his cousin’s widow. The hero is, in fact, not married. We learn this as the heroine does, and it’s a breathless beat.

Look at me, MissKendall, look at me, tell me what you see.’ ‘I-I don’t understand you.’ Polly tried to retreat a step, but he advanced, and at once they stood barely an inch apart. I think you do understand. I think you see a man who is a no-half-measures man. I think you see a man who would not be put off with subtleties, evasions and half-truths from any woman he made his wife. I think you see a man who would demand an entirety, a fulfillment, a conclusion, a completion.’ A pause. ‘I think you see a man who would be demanding four, not eight walls.”

Oh, dear. Here’s looking at you.

The ultimate logic of conflict? Unknown.

There is an ancestral puzzle requiring a flow chart to comprehend. And, for some reason, Thorn couldn’t tell Polly about his cousin’s widow’s recent sanitarium visit, her convalescence in his home, or the will that required that before she inherit, she must remain unmarried for two years. Which would have explained Polly’s charge to keep the young woman away from men.

The hero is in fact exactly like his picture (and the reader). Confused and frustrated. Not an awful book. Joyce Dingwell (b. 1908) wrote 80 of them. She knew how to write.

But for this one, in the end, I am left with only a single, bright nugget: Upon first introduction, her toes were dipped in the river until he found her and hauled her out. A shark had taken the hero’s dog from that very rock, only a week earlier.

There is no cure for a shark attack…When you put your gear on we’ll get back.’ ‘Gear? I’ve only removed my shoes and my pantyhose!’ He shrugged, saying almost uninterestingly: ‘Put ‘em on.’ Incensed, feeling a fool, hoping at least he would look away as she did so, Polly complied. It was not easy to wriggle discreetly into pantyhose, and she wished he would wander off. A tactful man would have. But he didn’t, he stood there right to the final hitch.

The final hitch? This whole line of books is worth reading for the settings. These girls get to go everywhere.

Reserved: Hero Archetype No. 1

29 Friday Aug 2014

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If you were a child of the 1980s, then you remember the thrill of your introduction to Superman. I mean the real Superman: Christopher Reeves.

He played a very handsome, very nerdy Clark Kent. Do you remember how beautiful that man was? Too lovely for this world.

This year, I had the opportunity to remember what it was like to go cuckoo for cocoa puffs over Clark Kent when, much to my surprise, he walked right into a Halloween party: ruffled dark hair, broad chest, lean frame, and nerdy glasses. He sighed, let out the host’s dog, and I was hooked.

The butterflies in my stomach about lifted me right off the ground.

In my adult predilection for Mr. Darcy, I had sublimated my adolescent affinity for Clark Kent.

My very visceral response to the poor young man who won my heart and soul at the Halloween party reawakened it, and being a thoughtful woman of mature years, I explored that response a bit. I wondered, what happened?

The answer came to me rather easily — Clark Kent and Darcy both have that sublime power of reserve. They are duty bound to hold themselves back, to secret their emotions behind screens of propriety. And frankly, this is a real turn on, for many of us.

These heroes may be like Clark, hiding a secret that could place you in peril should you discover it. Or like Darcy, struggling to maintain dignity in the face of your unique charm.

Of course the list goes on as to reasons, but even just these two will do well enough.

Lisa Kleypas will illustrate my point very well. In Seduce Me At Sunrise, (4 stars) Kev withholds himself from Winifred to  save her from peril (him) with an engaging broodiness. In It Happened One Autumn (4 stars) Marcus withholds from Lillian to maintain dignity in the face of her unique charm. Oh, and my personal favorite for the incredible way Harry awakes the morning after he finally sleeps with his wife… In Tempt Me at Twilight, Harry withholds himself from Poppy, well, because he loves her just so darn much. And for that, 5 stars.

What is it about the man who doesn’t want to hold back (of course, he doesn’t want to), but will. Just for you.

And if the sheer pervasiveness of this type of romantic hero has you thinking that, well, ALL romantic heroes use this power of reserve (Rochester, Heathcliff, etc. ad infinitum), we need only go back to Kleypas for the fab heros who wield altogether different kinds of magic: Simon, Leo, Cam.

You see the difference.

Consider your favorite romantic heroes and ask yourself: how many have been drawn from this single operating principle?

And when you begin to recognize how many of your favorites share this quality, please let me know how to find them. I love this kind of hero, and am so glad to find him whenever we meet again.