Musings on Romance

Category: A reviews (Page 1 of 16)

Hello Stranger by Katherine Center,  narrated by Patty Murin

Hello Stranger by Katherine Center,  narrated by Patty Murin. A new favourite author/narrator pairing.

illustrated cover, cartoon style with a pretty white woman in a pink party dress and pink roller skates raising a paintbrus in the air on the right and a handsome white guy in kind of nerdy/conservative clothing with a little white dog on the left. They appear to be on a rooftop in a city at night.

Last year, The Bodyguard was in my best of list – not only did I enjoy the story but I adored the narration by Patti Murin – so it was a no-brainer for me to review this year’s release Hello Stranger.

Sadie Montgomery is a portrait artist, broke and desperate to get her big break. She barely squeaks by with the earnings from her Etsy shop. She lives in her studio which she’s not supposed to do as her landlord, Mr Kim, (her BFF’s father) assures her it’s not “fit for human habitation”. She refers to it as her “hovel”.

Her father is a very successful cardio-thoracic surgeon who is disappointed with Sadie’s career choice. When Sadie’s artist mother died when she was 14, he remarried very quickly thereafter. Sadie does not get along well with her stepmother, Lucinda, and positively detests her stepsister, Parker, – who is a very nasty piece of work indeed.

But things are finally looking up! Sadie is a finalist in a national portrait competition – one of 10, out of a pool of 2000 entrants. In six weeks, she has to deliver an original portrait and she has the chance to win $10,000 and finally get some success.

On the way home from buying party supplies to celebrate her making the cut, she has a seizure and is rushed to hospital. There, she is diagnosed with a venous malformation in her brain which needs to be fixed or it could be fatal. It is the same thing that killed her mother. Following surgery, Sadie is left with a condition known as “acquired prosopagnosia” – acquired face blindness. She not only cannot recognise faces (something those who are born with prosopagnosia cannot reliably do to one degree or another), but the faces themselves are a jumble of pieces, like a mixed up jigsaw puzzle or a Picasso painting. For a portrait artist, this is a disaster. The condition may or may not spontaneously resolve. It’s a lot for her to cope with.

Sadie is comforted by her beloved dog, Peanut, who is a “gentleman of certain years” and her sudden crush on Dr. Oliver Addison, the new vet at the clinic where Peanut was boarded when she was in hospital. She can’t see his face of course but she just knows he’s a looker. He’s also very kind and loves animals. Check and check.

Meanwhile, her neighbour, Joe, moves from “weasel” category into the friend zone. She thought he was a womanising creeper but as she gets to know him she realises that’s not what he is at all.

Sadie is a person who does not like to ask for help. She is always and ever “okay”. Great, even. Joe is the guy who is always willing to help. He helps anyone – even Parker, when she moves into the building largely to mess with Sadie, because she really is awful.

Over the weeks leading up to the portrait competition, Sadie has to find a way to paint a face that doesn’t look like a police sketch or a ghoul and, she has to ask for help. Both of these things are incredibly hard for her, especially because she refuses to tell most people about her face blindness. She thinks of it as a failing or a weakness and is embarrassed by it.

It’s not difficult to guess the gimmick of the story so I don’t necessarily give myself points for picking how things ended. What makes it so fun is the characters and the way the story is told.

Sadie is wonderful. She’s funny and interesting. Her flaws are realistic and understandable. She has had to learn to rely on herself since her mother died and her father essentially abandoned her (emotionally at the least) and now it is a point of pride to keep doing it. She wants to honour her mother and find some further connection to her with her painting. Just before she died, Sadie’s mother was also a finalist in this same portrait competition.

And Joe is the best. I never believed he was a creep – I figured who he was talking about in the elevator that time. He’s kind, generous, smart and good-looking. Mr Kim calls Joe “helpful” because that’s what he is. But he’s no doormat either.

The only thing I’d say is that I think the “gimmick” went on just a little too long. I began to get impatient for the big reveal. For me, it tipped over from tension to the wrong side of frustrating. But this was only very close to the end and it’s a small thing in the bigger picture (heh, see what I did there?).

Patti Murin is fantastic. I just love listening to her. She has wonderful comedic timing and perfect intonation. Katherine Center writes with humour but its often about the delivery in audio and the jokes land every time here. But it’s more than just jokes. It’s the amusing asides, the whip smart turns of phrase. Ms Center writes them and Ms Murin delivers. It’s a perfect author/narrator pairing.

Ms Murin has a great range of character voices, excellent pacing and wonderful emotion in her performance. I enjoyed listening to her so much I immediately went to Audible to find more of her work.

Grade: A

Knockout by Sarah MacLean, narrated by Mary Jane Wells

Knockout by Sarah MacLean, narrated by Mary Jane Wells.  Fantastic. Loved it.

Beautiful and buxom dark-haired white woman in an orange/red gown showing some leg as she sits on a chaise and leans forward, one hand under her chin.

 

I enjoyed last year’s Heartbreaker so much that I was eager to listen to Knockout, the third book in the Hell’s Belles series (and I have Bombshell, book one on my TBL). That they are all narrated by Mary Jane Wells, a favourite narrator of historical romance, only made me more keen.

Knockout was even better than Heartbreaker and I loved every minute of it. Detective Inspector Thomas (Tommy) Peck and Lady Imogen Loveless have been circling around one another for 14 months. Imogen is the daughter and sister of an Earl, so is far above Tommy’s touch. But Imogen is attracted to Tommy’s wonderful muscles and his dark beard. It’s fairly obvious that Tommy has been gone for Imogen for ages. Their flirtation is sizzling and very amusing. Imogen is smart and funny, always ready with a quip. I laughed out loud many times during the listen.

A series of fires in the East End have both the Belles and Scotland Yard (most particularly Tommy) investigating. But the likely culprits are too close to home and the Belles aren’t sure whether they should trust Tommy with the information they have put together.

In the meantime, Imogen has acted outrageously one too many times for her brother, Charles, and he has decreed that she should marry. Imogen, not interested at all in an aristocratic marriage, decamps. Tommy is asked, by the Home Secretary at the request of the earl, to locate Imogen. Imogen is not hard to find if one knows her at all and Tommy does – so that’s pretty easy. But an attempt on her life convinces Tommy that Imogen needs protecting and he offers to do just that for the earl until the lady is safely married. Imogen, for her part, agrees to participate in the marriage mart in order to flush out some of the lords the Belles believe are involved in the fires and this puts the lovelorn pair in close proximity.

There is risk and adventure and tension as the lovers are in danger from the shadowy and powerful men who wish to shut down all investigation into the fires. Tommy has a chance to rescue Imogen and, in true Pretty Woman style, Imogen has a chance to rescue him right back. Anyone who knows me, knows I love a good rescue!

Mary Jane Wells has the chance to show off her accent work in Knockout – with a large cast from various classes, counties and countries. I particularly enjoyed how well and how consistently Ms. Wells differentiated between the Belles – Sesily, Adelaide, Duchess and Imogen. They each have a distinct sound and can easily be identified by ear alone.

Imogen has a pert and razor sharp wit and Ms. Wells’ comedic timing assisted the text to deliver it to my ears. Tommy is a delightful mix of pushover (so gone is he for Imogen) and tough guy and Ms. Wells added to that characterisation with her performance.

I hadn’t expected Knockout to be so funny. I’m not sure exactly why. But, apart from the swoony romance between Imogen and Tommy, the humour was my favourite part.

There is also a wonderful teaser at the end of the next book (Duchess’s book) which also promises to be a cracker.

Knockout is great. Recommend.

 

Grade: A

The True Love Experiment by Christina Lauren, narrated by Cindy Kay and Jonathan Cole

The True Love Experiment by Christina Lauren, narrated by Cindy Kay and Jonathan Cole. I loved it. One for the best of list.

Illustrated/cartoon style cover with beach scene - a guy and is carrying a girl in his arms, camera lighting is visible.

 

I’ve had some great success with Christina Lauren books in the past – whether reading or listening to them and something about the blurb for The True Love Experiment called to me. A TV producer (single dad!! Yes!) and a romance author pair up to create a reality TV dating show, a la The Bachelorette. I’m not even a huge fan of reality TV, let alone dating shows. Still, I was super keen to try this one.

Connor Prince III is an English guy who has been living in the US for some years – he still has his yummy accent though. (Another yes!) He is divorced and has a remarkably great relationship with his ex-wife, Natalia– who is more like a best friend than anything else – and together they share custody of their 10-year-old daughter, Stevie.

Felicity “Fizzy” Chen is a popular romance author who is in both a dating and writing slump. She’s bubbly, energetic, generous and fun. She has never really thought that there would be a soulmate or “the one” for her but she likes romance and sex and is pretty disappointed that she’s had a significant dry spell.

Connor is a producer at a TV production company which had been specialising in environmental documentaries. Only, the boss, Blaine, has decided they need to get into reality TV to make a lot of money and Connor has been tasked with making a reality dating show. He’s not enthused but there is not a lot of work for producers in San Diego. If he leaves for LA where there is more work, he will be too far away from Stevie and that’s not what he wants at all. He’s a hands-on dad who sees his daughter every weekend (although there is a large amount of flexibility between him and Nat, as required, when one or the other has something on). His own father was absent and Connor will not be that guy. Plus, he loves Stevie to bits. He’s been promised money for his next nature documentary if he comes through on the dating show so he’s going to suck it up.

A chance encounter at a bar when he sees Fizzy across the room inspires him and before you know it, Fizzy is the lead in the dating show and, at her suggestion, he’s casting hero archetypes as her potential love interests.

Prior to the show commencing filming, Fizzy challenges Connor to undertake joyful (non-sexual) activities together and over this time each begins to feel more and more the pull of attraction.

Once filming starts, things only get worse – while the “heroes” are all well and good, none of them are Connor. What to do?

It was a delight.

Special shout out to River Pena, the hero from The Soulmate Equation (which I now definitely have to read) who is one of Fizzy’s BFFs. Her other BFF is his wife, Jess. Fizzy is not at all shy – about sex or anything else. She is delightfully blunt. Poor River tends to walk in on Fizzy and Jess in the middle of an explicit conversation – “It was the size of my fist!” – and immediately, without a word, turns around and leaves. It made me laugh out loud in glee.

The romance between Connor and Fizzy is wonderful. Sexy and charming and sweet and just great. I enjoyed the characters separately but together they were something even better.

I loved the narration. If I had one tiny criticism it would be that very occasionally – and I mean very occasionally, I thought the way a certain line was delivered didn’t quite fit the text but that is a tiny criticism as compared to my overall enjoyment.

Cindy Kay does a great English accent for Connor – this actually feels pretty rare to me. Commonly, a British narrator will do a good US accent but the reverse isn’t as often true. Her deeper tone for Connor worked great for me too. Fizzy is well named – she has this chaotic energy about her and Ms. Kay imbued her voice with just that quality without making her annoying or over the top.

I just went and checked my audio file because I could not for the life of me remember if Jonathan Cole used a US accent for Fizzy’s voice. And do you know, he does not. And I DID NOT NOTICE when I was listening. I did not care. How weird is that?? Ordinarily I’m a bit of a purist when it comes to accents. Perhaps it was merely that I found Mr. Cole’s accent overall delightful to listen to – he definitely had a touch of the Richard Armitage’s about him – that I was in a daze the entire time. Whatever is the case, I ought to probably have liked the listen less on the basis of Mr. Cole being unable to or choosing not to use an American accent for the American Fizzy. I ought to have but I didn’t.

Both narrators delivered on character. Mr. Cole was as able to express Fizzy’s energy as Ms. Kay. And Ms. Kay was as good at embodying (emvoicing?) Connor as Mr. Cole was.

I raced through this listen. Just about everything about it worked for me.

In hindsight, I would have liked to have had a little bit more information about how Blaine reacted to the denouement and what consequences, if any, it had (and if none, why) but when I was listening I didn’t really feel any lack.

The True Love Experiment is definitely going to make my best of list for this year, no doubt.

Grade: A

Heartbreaker by Sarah MacLean, narrated by Mary Jane Wells

Heartbreaker by Sarah MacLean, narrated by Mary Jane Wells. Great narration and a cracking story.

Fairly generic (but pretty) cover of a beautiful red-haired white woman in a gold/yellow ballgown against the backdrop of an outdoor scene all shaded in blue so she stands out even more. (I reckon the model is the same one as is on Lisa Kleypas's Devil's Daughter by the way.)

 

When I heard that Heartbreaker was a road trip book where the love interests were together for most of the story and that Mary Jane Wells was narrating, I knew this would be a good first Sarah MacLean historical for me to try. Until now I’ve only listened to one other MacLean – a novella length contemporary – A Duke Worth Falling For – which I reviewed here as well. I was not disappointed.

Heartbreaker is the second book in the Hell’s Belles series but it stands alone well. I didn’t have any trouble following the story at all and there were precious few spoilers for the prior book too, for extra bonus points.

Adelaide Frampton (aka Addie Trumbull) grew up in Lambeth, the daughter of the leader of the local gang, the Bulls. That didn’t make her protected or pampered. Instead, she was required to earn her keep by picking pockets and she became a most excellent “South Bank nipper”. After she’s grown up, her father, Alfie Trumbull, arranges to give her in marriage to the leader of a rival gang – the Boys – in order to unite the two groups. Adelaide isn’t keen on the match but doesn’t have much choice. However, at the wedding ceremony it’s clear that a takeover is planned – by her would-be-husband over Alfie’s gang or vice versa – and in the violent fracas (which ends with Alfie the victor and king of the merged “Bully Boys”) she is offered an escape by a mysterious woman.

That woman is Duchess of Trevescan, the leader of what will become the Hell’s Belles.

Five years later, when the main action of the book begins, Adelaide is well established in London society as a distant relative of the duchess and is close with her and the other Belles – Imogen and Sesily. The women have a powerful network of informants and helpers all over England, their goal to take down powerful men who, without their interference, would face no consequences for their terrible actions.

In Sarah MacLean’s Victorian England, a group of overtly feminist women are kicking arse and taking names. It’s fun to read about and obviously influenced by modern (and current) sensibilities. Heartbreaker is not designed and doesn’t promise to be truly authentic to the period.

The Belles’ network includes some rather improbable conveniences but it worked for the story and I was having a good time so it didn’t bother me other than that I noticed them.

Adelaide and the Belles are involved in a plan to take down the Marquess of Havistock, an evil man who makes money from child labour (something quite legal at the time, the story notes) and who has various other nefarious activities. His daughter, Helene, witnessed her father murder another peer and if the Belles can protect Helene long enough to bring the matter before the law, this time, Havistock is going down.

Helene however, has other plans, which put the Belle’s to scrambling. She is in love with Jack Carrington, the younger brother of the Duke of Clayborn. Rather than hide at the Duchess of Trevescan’s house, she and her beloved elope to Gretna. Hired by Havistock, members of the Bully Boys are following. If they’re caught, Helene’s life is forfeit and probably Jack’s too and Havistock will likely get away with it all.

Adelaide follows to ensure Helene and Jack’s safety but on the pretence of stopping the match (her alter ego being “the Matchbreaker”). The duke follows to stop Adelaide from stopping the wedding – he knows nothing of the Belle’s plans for Havistock and the other context around the pursuit – so as to ensure his younger brother’s happiness.

Thus the promised road trip begins, with Adelaide and Clayborn sparring (verbally) and trying their best to one-up the other. Mostly it is Adelaide who is the victor.

As it happens, Clayborn has had his eye on Adelaide for the past couple of years. He thinks she’s beautiful and clever. He’s even noticed her nimble fingers picking ton pockets a time or two and that hasn’t put him off. Adelaide for her part, admires Clayborn’s staunch advocacy in the House of Lords to end child labour but thinks him rude personally as a result of some interactions they’ve had on social occasions. (Of course, Clayborn had his reasons.)

Over the course of their journey, their latent attraction comes to the fore but a HEA for them seems impossible. Adelaide is the daughter of a criminal – indeed she is one herself. She still picks pockets (only for good, not evil these days). The duke has his own secret which led him to vow never to marry but even leaving that aside, he’s a duke.

However, in this universe there is a way for them to be together and over the course of their whirlwind romance (about 10 days I think) the barriers are brought out, considered, strategized upon and, eventually surmounted. It is, after all, a romance novel.

Mary Jane Wells is a favourite narrator (I have a lot of them, it’s true – I contain multitudes) and I knew I was in safe hands with her. As expected, she gave a very enjoyable performance, with good accent work, character voices, emotion and pacing. I had some mixed feelings about the character voice she gave Adelaide. Clearly, Ms. Wells wanted to make each of the Belle’s distinct. This left Adelaide with a bit of a wobble in her voice – the kind I associate with difficult spinsters from Jane Austen movie adaptations – so it took me a little while to get into the groove with it. However, Adelaide herself won me over and by about a third into the book I just accepted the voice as “her”. On the other hand, Ms. Wells’ tones for Clayborn, while familiar, were very very good.

There were a few occasions where Clayborn’s voice was used when it should have been Adelaide’s or vice versa and there was one time where there was a clear error but I don’t know whether it was the text or the narration. Otherwise however, Mary Jane Wells delivered a great performance and remains high on my list of favourite narrators of historical romance.

I’m very much looking forward to Imogen’s book which I think must be next. I believe she will be giving a certain police officer from Scotland Yard continued indigestion and it promises to be glorious. I can’t help but wonder if the mysterious Duke of Trevescan may turn up in book four?

Heartbreaker was a lot of fun. I think I need to check out book one, Bombshell, soon.

Grade: A

Thank You For Listening by Julia Whelan, narrated by Julia Whelan

Thank You For Listening by Julia Whelan, narrated by Julia Whelan. A delight for my ears.

Illustrated cover in pink, showing a book in yellow with the book's title and some blue over-ear headphones with the author's name on the top headband part, there's a cup of fruit tea? in the top right as well

 

Julia Whelan has long been one of my very favourite narrators. I love the way she presents characters, her emotion, her style, and, at base, I just like her voice. It’s very pleasing to my ear. She’s a talented actress who brings those skills to her performances as well and that combination is just killer. Any romance narrated by Julia Whelan will get my attention and so, as soon as I established that Thank You For Listening does in fact have a HEA, I was all grabby hands.

Sewanee (pronounced “Swanny”) Chester is an actress who lost her career when she also lost an eye in an accident seven years before the book begins. She turned to audiobook narration, at first in romance, under the pseudonym, Sarah Westholme. But Swan, as she most commonly goes by, doesn’t believe in love and happy ever afters and got out of romance and into general fiction, using her real name.

While at a book convention in Las Vegas, she meets “the rake” (the chapters have titles) and they have one hot night together. She uses the alias, Alice, on the basis of “what happens in Vegas stays in Vegas” and only knows Nick by his first name. His Irish charm is winning though and Swan keeps thinking about him when she returns to LA.

Swan’s beloved grandmother has dementia and is an assisted living facility. She will soon need more care and that is going to cost a lot of money she doesn’t have, so when a fantastic offer is made to revive Sarah Westholme one more time for a duet narration with the fan favourite, Brock McKnight, Swan says yes.

Brock is famously secretive about his true identity (think someone like Sebastian York – although Brock is emphatically NOT York – more on this later) but his voice has apparently melted panties all over the USA and probably parts of the rest of the world too. For myself, I don’t think of narrators quite that way. I do appreciate a sexy voice (I mean, who doesn’t?) but I don’t then sexualise the narrator. Apparently there are a lot of (mainly) women who do. There’s a whole world over on Facebook I’m only peripherally involved in. Brock is uncomfortable with the way he’s been sexualised by his fandom and doesn’t really love audiobooks or romance but he’s good at it and it’s a living. Brock has his reasons for the way he feels which I won’t go into here because spoilers but I admit I had mixed feelings about both narrators in the novel not liking romance. To be honest, I couldn’t help but wonder…

Which brings me to that “more on that later” I mentioned earlier. Right at the end of the audio is an author’s note chapter titled “on Autobiography” where Ms. Whelan talks about how the book came to be and specifically says that Swan is not her (even though they do share some commonalities, which she details) and that Brock is not based on any narrator from real life. Brock is a work of fiction and so is Swan. I was relieved to hear that Ms. Whelan loves her job. I’m really glad she included that chapter because as she mentions at the beginning of it, the nature of her actual job and the characters in the book mean there will inevitably be questions about just how fictional the story is.

Some of the book is nonetheless fairly meta – discussion about not outing a narrator’s pseudonym for example (don’t do that) and about some of the more rabid areas of the romance fandom are true, and the nuts and bolts of audiobook narrating are rooted in reality. Because of that mix of real and fictional, it was, I think, especially important for her to be clear and I’m glad she was.

Back to the book. As Sarah and Brock begin to record their duet narration for what is a serial to be released weekly in eight parts, they start to trade texts and emails and build a connection outside of work. It’s flirty and fun and sexy. They grow closer and eventually they decide to meet. In person. In real life. This is a BIG deal. Both are nervous.

For the listener there are many questions. Brock’s voice is not Irish so he can’t be Nick, so who is the HEA going to be with? Will there be a love triangle? Is Brock good-looking or does he just have a sexy voice? What will Swan think of him when they actually meet? Where’s Nick? Is he coming back or was Nick kind of a breaking of a seal which enabled Swan to open herself to Brock? Where, exactly was this promised HEA coming from? So many questions!

There are also family issues with Swan’s father and grandmother, unresolved issues related to Swan’s accident and her grief about it, the possibility of acting again with her best friend and fellow actor, Adaku. I have to mention that I fell a little in love with Swan’s mother’s new partner, Stu. He was so funny and sweet. I laughed hard at the text messages he sent.

Thank You For Listening is a hybrid of women’s fiction and contemporary romance but there is definitely a romance and a very satisfying one too. In some ways, it is two books, smushed together; there are particular sections which are very romance-y and others which are not. As for heat, there’s not a lot of on-page sex but what there is brings some steam. I didn’t feel robbed.

The narration, of course, is stellar. I very quickly cared about the characters and Julia Whelan’s vocal performance only added to my enjoyment. Because Ms. Whelan also wrote the book, she knew the characters inside out and that had to be an advantage when she was performing them.

Audio narration is acting and the best narrators do more than just read us a story. There’s a bit of discussion in the novel about AI maybe eventually being a significant player in audiobook narration and I cannot tell you how vehemently I rejected the idea. But, as the novel points out, there is an entire generation of listeners who may not know the difference. How sad that would be for them.

Grade: A

July Round Up

Monthly Mini Review

Photo-realistic colour illustration of Victorian types doing surgeryThe Butchering Art by Lindsey Fitzharris, narrated by Sam Woolf – A I listen to the Noble Blood podcast (recommend!) and recently, host Dana Schwarz interviewed Lindsey Fitzharris about her new book, The Facemaker (also on my TBL). She mentioned her debut (The Butchering Art) and I decided to start there as I’ve long had an interest in non-fiction about the history of science, disease and medicine. The Butchering Art tells the story of Joseph Lister, the Victorian surgeon who introduced antiseptic techniques to surgery and saved countless lives by doing so. At seven and a half hours, it is not an exhaustive biography, nor is it intended to be. Rather, as the author said in her recent interview, she distills the information so the finished product reads like narrative fiction. This book was infinitely interesting to me. I was hooked from the start and stayed that way; I was not bored for a single second. In fact, if anything, I was left wanting more.

The narration is excellent. Mr. Woolf gives character voices to speakers just like in narrative fiction and delivers the story with similar tone and expression. The combination of story and narration was a perfect pairing. It’s all true and it’s all fascinating. Continue reading

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