4/5 🌟
3/5 🌶️
Could you love me?" he whispered. The question stole my breath and burned my lungs in the silence that followed.
I wanted to answer, to whisper yes into the space between us, but I was afraid.
⚠️⛔️TRIGGERS⛔️⚠️
BDSM
Autoerotic Asphyxiation
Restraints
Nudity
Graphic language
Sexual Intercourse
Blood
Murder
Graphic descriptions
Forced Proximity
Fellatio
Cruelty
That being said, I’d like to share some info about the controversial sexual situations in this book courtesy of: Sourcebooks Bloom Books 2023
On the one hand, this is a mash-up of fairytale retellings and a very hot romance, with explicit details. But to my mind, and more importantly, it is a stereotypical story from pre-Me-Too days of the appeal of the rapey bad boy.
Typically such plots involve a Byronic hero who is powerful and attractive, yet flawed in ways most notably exemplified in the life and writings of Lord Byron. This hero (often a vampire, but an Elven Lord works as well) is moody, dark, cynical, independent, masterful, and has a mysterious past that not only gives him much pain but has made “love” almost impossible for him. But he is also absolutely magnetic and sexually irresistible. He can be cruel, too, but who can blame him, given all the grief festering inside him? Not we readers, surely!
Furthermore, we know that only a very extraordinary woman [such as each of us secretly is] can get this guy to open up to her and let himself feel love. [The fact that the young woman is usually surly and obnoxious but beautiful adds to her appeal for the Bad Boy.]
This woman has the potential to pull such a hero out of the abyss in which he passes his days and long nights, falling in love with him in spite of his stern demeanor, dark past, and sexual abuse. The reward? She is needed by him, more than she has ever been needed by anyone. And she thereby is “someone.”
Look at what this fantasy says about the women who find it appealing:
1. We may want agency and importance, but these desires pale besides the attractiveness of enticing otherwise recalcitrant men and then wallowing in sexual submission to their uncontrollable desires;
2. Besides, then we not only realize the triumph of having broken through the man’s supposedly impenetrable barriers, but we also have power conferred upon us by being his woman (and the one who finally conquered him!);
3. We find his sexual violation, especially if it involves “ravishment,” erotic and irresistable rather than traumatic and horrific (adding to and reflecting the cultural acceptance of the rape defense of “Hey, don’t blame me! She wanted it!”);
4. Only we can provide redemption for this tortured man.
Gesela is not the weak, fainting sort, and yet clearly there is in this book the association of sexual arousal with her subordination. At one point, we have the somewhat startling passage:
“As much as I hated to surrender to this creature, lying beneath him right now, it only seemed right. ‘Choke me,’ I said. He did not need encouragement. . . I thought I might die from the rush of pleasure that blossomed throughout my body, only growing in intensity as he continued to press on either side of my neck.”
After this fiery encounter, Gesela asks (or rather, “moans”) “What kind of magic is this?” “This is not magic,” he responds, “This is need.” She thinks, “If this was need, I had never known it before, but I was certain I could not live without it . . . .”
Gesela understood Casamir was “demanding my complete submission. I was ready for it.”
There is a long history of men promulgating male privilege and sexual dominance, but this book was written by a woman. That isn’t a mystery; androcentric media has affected women on both conscious and subconscious levels, influencing what they have grown to believe is romantic and/or erotic, and what they define as “success” in life. Thus male domination is a turn-on for *both* men and women. [The dynamic is aided by women wearing sheer, revealing clothing (featured aplenty in this book) and assuming physical positions of submission.] Men can’t resist these women (no matter how surly), and other women want to emulate them. Being “hot” is equated with success and self-esteem, just as Gesela feels being ravished by Casamir makes her “someone.”
BOOK BLURB:
All Gesela's life, her home village of Elk has been cursed. And it isn't a single curse—it is one after another, each to be broken by a villager, each with devastating consequences. When Elk's well goes dry, it is Gesela's turn to save her town by killing the toad that lives at the bottom. Except…the toad is not a toad at all. He is an Elven prince under a curse of his own, and upon his death, his brothers come for Gesela, seeking retribution.
As punishment, the princes banish Gesela to live with their seventh brother, the one they call the beast. Gesela expects to be the prisoner of a hideous monster, but the beast turns out to be exquisitely beautiful, and rather than lock her in a cell, he offers Gesela a deal. If she can guess his true name in seven days, she can go free.
Gesela agrees, but there is a hidden catch—she must speak his name with love in order to free him, too.
But can either of them learn to love in time?
MY THOUGHTS:
This book is best described as a dark fairy tell fantasy retelling of Beauty and the Beast but with Fae. The book starts off with Gesela killing a frog rather than kissing it. Only the frog is actually one of 7 Fae princes. Five of the Fae princes send her to be a prisoner with the other brother, also one of the remaining Fae princes that is just a grumpy, unloving, snake of a man. But Gesela is not exactly Miss Congeniality. The two have much in common and perhaps they can help each other be better Fae and learn to love. The angst in this enemies to lovers romance is thick with tension. They’re attracted to each other in a physical way but also hate each other with as much passion. You know what they say, ”There’s a thin line between love and hate”