Angela Korra'ti

This is another of the books I’ve read in my marathon charge through a bunch of Elizabeth Lowell’s older romance works, and it’s the last of the “Only” quartet and related duology. Unfortunately, it’s also my second to least favorite.

Lowell’s writing here is certainly about on par with the other works, but the biggest beef I have with this story is a hero who really needs to be punched right in the jaw. Right out of the gate, Hunter Maxwell is convinced that Elyssa Sutton is the “town flirt”, which is code for the “town’s rampaging slut”, and he has no real evidence to believe this whatsoever: just the flimsy word of one minor NPC who’s an ass anyway. He gives her constant shit about it, up until the obligatory “but I’m going to go at it with you like rabid coyotes” scene, and all I could think through most of the story was “wait, and there were readers that found this behavior sexy? Da hell?”

Bah. It’s a shame, because as with the other stories, this one’s not without decent suspense. Sure, the Culpepper Clan is providing stock Bad Guys right out of central casting, but okay, even given that, the whole scenario with their trying to take over the ranch next door and how they’re holding an important side character hostage is entertaining enough. But our so-called hero Hunter’s behavior to Elyssa all throughout the story, even given how he’s all bitter and stuff because the Culpeppers murdered his wife and child and his wife was an actual rampaging slut anyway, really was more annoying than sexy. Lowell’s done quite a bit better since this book, fortunately. For this one, two stars.

Deborah Grabien’s Still Life With Devils is an esoteric little novel, one part police procedural, one part paranormal mystery, and one part romance. Leontyne Chant is an artist with an unusual gift: the ability to walk into her paintings. But her brother Cassius, chief of Homicide in the San Francisco PD, must call upon her for help to solve a string of serial killings–and soon Leo discovers she not only has seen the killer before, but that she’ll have to call upon her unique ability to help her brother bring the case to a close.

This book’s sensibilities are elegant, and it’s refreshing to read a murder mystery that doesn’t lavish gory detail upon the killer’s activities. Rather, Grabien brings a quiet, suspenseful sophistication to the table. Four stars.

(P.S. I know I said I was going to try to be impartial with Drollerie Press reviews, but hey–this one was really, really solid, and I’m really rather proud to be associated with the press that produced it. The same will be said of the next couple of Drollerie books I’m about to review!

Also, it is worth noting that this book is one of the ones Drollerie has out in print. So if you’d like to see what we can do with a printed work, ask your favorite local bookstore to pick this one up today!)

Silent on the Moor, the third of the Lady Julia Grey novels, is not as awesome as Book 1–but it’s better than Book 2, and I enjoyed it quite a bit.

The scenario’s a time-honored one straight out of Gothic romances: i.e., our heroine heads out to a remote location, in this particular instance to the manor that our hero has recently acquired, and our hero spends a lot of time being mysterious and brooding. There are mysterious household denizens with mysterious secrets, as well as the obligatory May or May Not be a Ghost. There are salt-of-the-earth villagers who have their own takes on the mysterious secrets of the great house. There’s even a gypsy wise-woman who has all sorts of interesting background on Brisbane. And, of course, there’s the moor, lonely and haunting and full of Gothic atmosphere.

What actually gets Lady Julia out there is the very straightforward motive of wanting to confront Brisbane about the state of things between them, as of the tail end of Book 2. She pulls this off accompanied by her sister Portia (who has love life issues of her own, for things are not well between her and her beloved Jane) and brother Valerius (who’s there as chaperone, since Julia chasing after Brisbane is Shockingly Improper and such). Enough is made of Julia’s intentions and how she’s basically bowled her way into a house full of strangers to remind you of the morals of the time, yet, this hardly stops Julia from going about her business. And once Brisbane’s on camera, the book comes together. There’s a murder attempt, investigation of creepy Egyptian artifacts with creepy mummified babies, and a host of intriguing questions about why exactly Brisbane bought this mansion in the first place.

Good fun overall. I have no idea whether there will be more of these, due to how the book ends, on a nice stopping point. We’ll have to see if Raybourn takes these characters any further. Four stars.