4.5 stars
This review is of the audiobook version, narrated by Rosalyn Landor.
This was, I think, one of the first of Mary Balogh’s romances I read and I remember thinking at the time that it was something a bit out of the ordinary.
Our hero is Jocelyn Dudley, Duke of Tresham. He’s rich, arrogant and jaded, doesn’t suffer fools gladly and while accepting deference as his due, is secretly tired of all the toadying he experiences day after day.
He has a reputation as a rake, one who doesn’t draw the line at having affairs with married women – and at the beginning of the book, is participating in a duel, having been called out by a furious husband. What the husband doesn’t realise is that Tresham’s highly developed sense of honour will not permit him to call a lady a liar, even to prevent a duel – and in any case, the usual practice in these matters is for both parties to delope (fire into the air).
All would have gone according to plan had not Tresham’s opponent been distracted by screams – and instead of shooting wide, he is startled and accidentally shoots Jocelyn in the leg.
The imprecations to stop had come from Jane Ingleby, a young woman passing by on her way to work. She is immediately summoned to the scene to help – although Tresham is rather rude to her (not surprisingly) – but this means she is late to work and is dismissed from her job as a seamstress. Her employer, sceptical of her explanation of her lateness as being due to having provided aid to the Duke of Tresham tells her she can have her job back if she gets proof, signed by Tresham, that her explanation was the truth, and Jane, having no other alternative, angrily determines to get it.
Jane confronts Tresham – and instead of giving her a letter, he offers her a job as his nurse for three weeks.
The thing that marked this book out for me as being something a little different was the way in which the relationship between the hero and heroine is developed. Jane will not allow Tresham to browbeat her, and although he pretends to be put out, it’s clear that he rather likes having someone stand up to him. I got the sense of an hommage to Jane Eyre in this aspect of their relationship, and later, in the scene where he instructs her to play the piano for him.
As the days pass, they find themselves more and more drawn to each other, and the author does a magnificent job with building the romantic tension between them. Then, in a scene late at night where Jane discovers Tresham playing the piano like a virtuoso (being a musician myself, I always like a musical hero!) - they share a kiss and admit to themselves (if not to each other) that they feel far more for each other than friends should, and that it will be hard for them to part at the end of Jocelyn’s three-week convalescence.
His solution is not marriage; rather, he asks her to be his mistress.
They have fallen very deeply in love – and what I adore here is that Balogh has written a romance in which the protagonists are true soul-mates. I know that’s a rather hackneyed term, but I really can’t think of any other way to describe their deep connection to one another. The time they spend together at Jane’s house in their “den”, where they can be themselves without the need for conversation or any of the trappings of society is a delight to read, as we get to see Tresham as he really is, rather than the façade of the haughty duke he presents to the rest of the world. The scene where he finally lets go and tells Jane about his childhood and how his father ruthlessly beat every artistic, creative feeling out of him because he thought such impulses were emasculating; and later, how his father arranged for his ‘deflowering’ at the hands of his own mistress – is absolutely heart-breaking.
Despite the very real and deep love between them however, Jane is guarding a secret. She is not Jane Ingleby at all, but Lady Sarah Illingsworth, and she is suspected of the murder of her cousin, a widely disliked fellow as it turns out, who was attempting to rape her in order to compromise her into marriage. At first, Jane keeps her secret because she does not want to be caught, and as time goes on, she realises that she should ask Jocelyn for his help. But she cannot bring herself to do so – she is so much in love, and having gained his trust, feels unable to tell him the truth and shatter his belief in her when he has at last begun to believe he is worthy of love for himself and not his position.
Unfortunately for Jane, Tresham discovers her secret before she has steeled herself to tell him, and is furious – at both her, for what he sees as her betrayal, and at himself, for being stupid enough to fall for her and trust her.
My one complaint with the story is that the resolution seems to happen rather too quickly. One moment, Jane and Tresham are arguing with each other and he is saying some rather unpleasant things to her; then that chapter ends and the next begins at a completely different place, with Jane and Jocelyn still seemingly separated. While I can appreciate why this is, and quite liked the reveal, I nonetheless felt a bit cheated out of some sort of reconciliation scene.
Still, that’s the one complaint I have about the book, the rest of which is well-paced and which feels very real in terms of the emotional content. Jocelyn and Jane are both superbly written and the depth of feeling and the sexual tension between them fairly jumps off the page.
As I said, I read the book years ago, so listening to the audio version was almost like coming to a new book, because I’d forgotten many of the details of the plot.
My girl-crush on Rosalyn Landor continues; she’s quickly become my favourite narrator because not only are her character voices so distinct (in the one I’m listening to now, she’s voicing three sisters who appear in scenes together and managing to make them all sound different so there’s no confusion as to which character is speaking), they’re also distinct from her normal, beautiful speaking voice, so you almost feel like you’re listening to at least two different people.
I’ve read a number of criticisms about her voicing of the heroes in the books she narrates, which say she makes them sound older than they should and rather stuffy. I can certainly understand the criticism; her natural voice is quite deep anyway and she usually deepens it further for the male characters. Personally, I don’t mind and I don’t find it unattractive (seriously, there have been times I’ve felt like opening a window even though I know I’m listening to a woman!), but each to their own, I suppose.
But of course, the narration is make or break when you’re listening to an audio book, and if Ms Landor isn’t to your taste, it’s going to make it harder to enjoy or even listen to it. But I certainly have no hesitation in recommending her audios and am on a continuing quest to acquire more of them.