Starting from a couple of premises that don't bode very well with me, namely the one-night-stand trope and, having a very low tolerance for snobbery in modern settings and for egomaniacs in any setting, the mi/billionaire hero, I surprisingly managed to quite enjoy this book anyway. It didn't wow me as a whole, but Sherry Thomas's wonderful prose, which I've already come to appreciate in Historical Romances, did the trick again also in her first foray into Contemporary territory. Some plot points felt a little too contrived and I couldn't bring myself to fully warm up to both the leads, though the skilful storytelling and the in-depth characterisations kept me turning the pages nonetheless. Curiosity did the rest, as I really wanted to see how one of my favourite authors had fared out of her usual element. At the end, I'm glad I gave this story a chance and I most likely will try possible future books Sherry Thomas may add to her budding Contemporary list.
Evangeline Canterbury and Bennett Somerset meet on a rainy summer night and have some hot and passionate sex. It could have ended there, just a nice memory, if only Bennett hadn't come up with an "indecent proposal" later on: six months as his fake socially-suitable fiancée, "a Park Avenue trophy girlfriend", with the benefits of an outrageous sum donated to scientific research and the tempting opportunity to slake the unspent lust still hanging and crackling between them. The physical attraction is powerful, Bennett knows how to be persuasive and so Eva soon finds herself impersonating the fundamental pawn in a grand scheme to recuperate a relationship with his estranged parents. Whether the risky game they're playing will lead to playful excitement or to utter heartbreak only time, the time they've put an expiry date on, can tell.
Narrated in first person point of view, Eva's voice and glance take us to glamorous upper-class NYC. A thirty-something successful assistant professor of materials science, she gives us back, in clear-cut mirror pieces, glimpses of her milieu. A "scene" in which she has always moved with some ease and grace regarding her social duties and façade, even though a faint shadow of inadequacy has been following her around. "Incapable of emotional intimacy" the words she uses to describe her sentimental self, commitment issues stemming from an unconventional relationship with her parents that have had her rolling through more or less brief affairs unscathed, somewhat resigned and quite detached. That is until a man like Bennett unexpectedly bursts into her safely managed private life. A man whose "manipulativeness was without bounds" according to Eva's early (and correct) assessment and still "trapped between his pride and his past asshole-ism" by his own admission.
And Bennett is indeed a complex character, but so clearly entrenched in his privilege as to often result, for me, unpleasant. Preoccupied with making sure we register all the posh trappings of his scintillating lifestyle, I perceived him as somebody constantly trying to impress us with a sort of worldly prowess masquerading the underlying shallowness and immaturity instead truly sustaining his personality. Be it dancing the tango as if he were born in a Buenos Aires milonga, selling an inherited Pissarro or travelling to the Amalfi Coast out of season, our Bennett doesn't miss a chance to preen, more or less consciously, and all the while heroically striving not to appear too bourgeois (the horror!) in the process. Now, I could have felt much more forgiving had I been convinced by the "quality" of his love for Eva, but sadly I was not. Maybe the sham-betrothal trope is irremediably doomed to hold little water in a contemporary context or maybe he liked to scheme too much and there was nothing spontaneous about him, so concentrated on himself that he was, but Eva seemed to be a mere spectator sometimes, emotionally alone while he was busy explaining his motivations and background or uttering unrivalled finesses such as "Do I f**k you all night?" during perfunctory love scenes. Apparently, according to Bennett, in certain circumstances noblesse ne oblige pas. It didn't help either in this sense the fact that the author decided to allow a disproportionate amount of space to the recounting of Bennett previous scandalous relationship, the cause of fracture with his family, making the other woman's "ghost" hover and Bennett's ego wallow for too long.
Eva had little left to do with him taking up all the stage and her thoughts, but for someone initially portrayed as having trust and commitment issues she sounded too eager to attune to his pace, not seldom making me forget the independent and sharp minded woman she was supposed to be.
That said, there was an undeniable sophistication to the writing, the first person point of view didn't even have the sort of closed-circuit connotation usually making me dislike this narrative choice very much in less than deft hands, so whether I liked what (or better, who) I was reading about or no, I have to concede how well-thought and well-crafted it was. And I would go as far as saying that this is a book much more enjoyable if read as character-driven fiction rather than proper romance. In this sense, no wonder the strong points that made me eventually enjoy the book were the ones falling outside of the leads' interactions. Besides Eva telling the story and extravagances of her parents and of her younger years, I especially loved the parts describing the balancing bond she has formed with her father's second wife Zelda, a fragile but intelligent and caring woman and for this alternatively a mother and a daughter to Eva, though always showing her, way more than Bennett, the latent capacity to love and to be loved she deep down possessed.