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GIULIA TORRE

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GIULIA TORRE

Tag Archives: 1970s harlequin

Review – The Little Nobody – Violet Winspear (1972)

15 Monday Jun 2015

Posted by Giulia Torre 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 Giulia Torre 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 – To Tame a Vixen – Anne Hampson (1978)

14 Saturday Feb 2015

Posted by Giulia Torre in Harlequin Romance

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In honor of the launch of Hollywood’s iteration of Fifty Shades of Grey, and my aching, silent love affair with Mr-Grey-will-see-you-now Jamie Dornan, I’ve found a vintage Harlequin romance that spanks.

They’re in Africa growing citrus. Three orphaned cousins at the finegaling of their aging uncle abandon their fiancées for a year to the old man’s farm. Because he doesn’t trust the boys they’ve chosen, he will withhold their inheritance if they don’t farm for a year.

Oddly enough, if, after the year, they return to their original boy-choices, he will still withhold their inheritance. But ah, well. Harlequin plots have seen less tenable bargains.

And this one promises spanking. On the back cover.

To Tame a Vixen

Beth couldn’t forget or forgive the humiliation.

An illustrious beginning.

Ten years before, Chad Barret had put Beth across his knee and spanked her with her own leather sandal.

Hmm. 1978. What might it have been? A huarache? A Bass Sunjun?

In any case, the heroine was twelve, and it happened off-screen. Bugger.

Worse, when it happens on-screen, it’s absent of everything we want in a hard, perverted slap on the ass.

When at last he held her from him she was ready; her hand came up and fetched him a slap across his smiling, triumphant face. He caught her hand, twisted her arm and her body at the same time. She gasped disbelievingly at the swiftness of the manoevre that brought her across his uplifted knee. He actually moved her dress before the beating began.

Well, actually, that was kind of hot.

But I had to delete the several sentences that follow. They’re outside a social club, and really. There’s been very little threatening build-up. No lip-biting or drafts of contracts promising titillating pain. It’s only page thirty. No more spanking follows. Only bruising kisses and upper arm bruises.

Chad is a brute, and Beth is a shrew. He calls her a bitch several times throughout the book. We know nothing about why he’s always threatening to bruise her, why he can’t just let his lips graze every so softly over her mouth.

Only that he’s dominant, domineering, manly. And doesn’t look good in black or beige.

It’s not a very good book. About it would seem on par with Fifty Shades, which after only a few hours in the theaters, has garnered little support from the masses, with 1 1/2 stars on Rotten Tomatoes.

So, can I go see him now?

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

29 Wednesday Oct 2014

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

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1970s harlequin, Boon Harlequin, category romance, contemporary romance, cover art, giulia torre, Harlequin, hero, hero archetype, retro romance, romance book review, romance cover art, romance novel cover art, romance novel reviews, romance reviews, romance writing, romantic hero, vintage romance, wolfe island

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.

REVIEW – The Travelling Kind – Janet Dailey

15 Wednesday Oct 2014

Posted by Giulia Torre in Uncategorized

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TThe Travelling Kind Janet Daileyhe Travelling Kind – Janet Dailey (1981)
Harlequin Presents #427

She noticed his kit before she noticed him. A firm leather saddle, smooth from riding. A promising start indeed. I’m a new country gal, and I love me a cowboy.

Charley Collins works an Idaho ranch with her brother, who has just broken his leg, so she needs a hired hand. She gets in her old truck and drives around looking for one.

She finds Shad.

No. No comment.

Shad Russell is a drifter. As the teaser promises, “Falling in love with a man like Shad would be asking for heartache.” He’s a loner, never settling in one place for long.

In the mean time, she hires him and he sleeps in the bedroom across the hall.

I’d never read a Janet Dailey book before. She wrote a romance for every state in the union. I’m embarrassed to admit that in 1981, I don’t know how many books that means, but somewhere close to 50. In the year The Travelling Kind was published, Harlequin saluted her as “the world’s No. 1 publisher of romance fiction!”

A little taste of the no-good-for-Charley drifter…

His mouth came down those last few inches to settle onto her lips with tantalizing ease. A sweet rush of forbidden joy ran through her veins as her hands slid around his neck and she melted into his arms. A steel band circled her waist to press her tighter to his length while his other hand tunneled under the thickness of her hair to cup the back of her head. The driving hunger of his kiss parted her lips, giving him access to the most intimate recesses of her mouth. She was caught in a whirl of sensation, all golden and consuming.

Although a stew of familiar now, this is a pretty great kiss for 1981. But with this book comes a few cock-blocks. Namely, the neighboring rancher, Chuck, who wants to marry her. Yeah, Chuck and Charley. Chuck is neither smart nor sexy. When Shad finally does leave, after Charley’s humiliating sobs (humiliating for Charley and the reader) and shouting at Shad that she won’t wait for him, she doesn’t. And she gets engaged to Chuck.

Until Shad returns two months later, the night of the engagement party. “I know I hurt you when I left but – Aren’t you glad to see me?” Banal cowboys must not be my thing. Because when he walks away, and Charley returns the ring to Chuck, I just want Shad to keep on drifting.

REVIEW – Fool’s Paradise – Ann Cooper

25 Thursday Sep 2014

Posted by Giulia Torre in Uncategorized

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Fool’s Paradise by Ann CooperFoolsParadise
Harlequin Romance #2383 (1980)

Recently a girlfriend told me about a neighbor’s bachelor party she surveilled while crouched in the yard beneath a window. One stripper. A dozen men. Wouldn’t you know it? Two hours later she was watching these friends fight in the street.

It’s an age-old formula: sexual tension minus sexual release equals…

For one incredible moment she thought he was going to beat her.

Girls in these romances knew how to keep it close and tight. As a result, Fool’s Paradise features another angry-pants alpha male. I love a Mr. Angrypants when he’s dropped in an HEA…So long as he doesn’t leave me with a case of blue-box, which I’m realizing this era of Harlequin breeds in spades.

Meet-up: He’s the distant family relation (and former lover) newly appointed to save from bankruptcy her historic heirloom home. (cf. The Grass is Always Greener with Debra Kerr, Cary Grant and Robert Mitchum c. 1960).

Conflict: He is angry because she ran away when he proposed marriage. She loved him, but he’s city refined and she’s country estate, so she thought he was proposing marriage to get into her panties. Which would have been my preference.

Although some highly-prized petting does occur off-scene:

He kissed her toes – no one had ever kissed her toes before – then he kissed her knees and finally, a long time afterwards, he was kissing the tips of her fingers. There wasn’t anywhere at all left undiscovered.

Nowhere? Nowhere at all?

In the end, their consummation had me chucking the book onto the nightstand:

It was a long time later when Emma finally woke up in Nicholas’ bedroom.

Am I angry? Not really. It was a good, fast read. And a house full of blue-boxed women won’t result in fighting in the streets.

REVIEW – Rough Justice – and Hero Archetype #2…Mr. Angrypants

20 Saturday Sep 2014

Posted by Giulia Torre in inexorable slide, Lisa Kelypas

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rough justiceRough Justice – by Janine Ellis. Harlequin Romance #2330 (1979)

It’s difficult to describe the disappointment of effective sexual tension that does not end in consummation. Oh wait. I know how. Harlequin has blue-balled millions of readers (and heroes).

No penetration station for these Harlequin Romances. None of Kleypas’ inexorable slides. A euphemism would have been fine. But there is even none of that.

Many of the back cover plot summaries promise women marrying men they hate, don’t know, are scared of, or are otherwise duped by. Perhaps when I hit one with a post-marriage plot, I’ll get my consommé. In the mean time, I am stuck with hauntingly unfulfilled. I am haunted, because this is really quite a well-written book.

The heroine is not stupid. She’s accepted the position of chambermaid at a rich friend’s hotel in Cornwall, England, where from 7am to 1pm she cleans rooms, (including the hero’s), but after work, she’s like one of the family – feuds and all.

As is typical with this decade, multiple actors people the set. The hero has his pick of three other women, total. The heroine, two men.

The title – Rough Justice – describes the hero. Lots of bruised wrists and lips, and jaw muscle clenching, twitching, and jumping. My favorite type of hero, Mr. Angrypants, who gentles when the temperature is right.

He hauled her to her feet, and for a moment she thought he was going to hit her. His hand found her throat and he forced her chin up so that she met his eyes. She had never seen such naked anger, and when he spoke he seemed to have difficulty keeping himself under control. ‘You won’t marry Graham, Lorraine,’ he bit out. ‘I don’t care what I have to do to prevent it…The sooner you give in to me, the better it will be for both of us. The longer you resist me, the worse I’ll make it for you.

Ahh. Make it worse. Please.

Mr. Angrypants is a sub-type of Hero Archetype #1, Mr. Reserve. Mr. Reserve may be trying not to do any number of things while he tries not to kiss you. Mr. Angrypants is simply trying not to rape you. The final scene of Rough Justice illustrates this, where you would think perhaps now that they’ve agreed to marry, you might get some:

‘Do you surrender?,’ he asked, and she nodded, stilling underneath him, and breathing rather shallowly as she felt his full weight against her…After a while, Mark lifted his head and gazed down at her with a warmth that made her shiver…’Tempting as you are, my darling, I’m still angry enough to hurt you – and, he added softly, ‘you know I don’t want to do that.’

Do it. Do it do it do it do it.

His 70s fashion standouts – a navy blue velvet suit, which he wears whenever they play dress-up. The other men wear black velvet suits, so I am assuming navy is somehow innovatory (sic). Innovatory is a word actually used in this book. I feel silly that I haven’t been using it myself.

Her 70s fashion. Simply awesome. I wanted every outfit she wore. Lots of gauzy white cotton dresses and leather sandals. Tight Tshirts and blue jeans. A navy blue and white striped shirt that she finished off with a ‘jaunty’ red kerchief around her neck, because she wanted to look ‘young, fresh and vulnerable.’ This heroine makes fashion choices.

I loved this book! As pitched on the back cover…She’d always wanted to meet Mark Taylor.

Me too.

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