I kept waiting for something reasonable to happen. It didn't. I kept reading because the basic premise of a love across classes is something that interests me. Unfortunately, this book was that premise but executed by someone who does not understand class, difference, conflict or erh- anything? Seriously: you have a stableboy and the daughter of an earl who are in love with one another. If you are sane and know anything at all about history, you could probably imagine the inherent conflict and drama in this situation. Not this author, however.
**Spoilers**
This stable boy is educated and well-spoken, for some reason, and they are able to actually carry on a relationship for a while. It starts off then, with the two of them in love, and he telling her that it cannot be (you know, because she, the daughter of a freakin' earl doesn't have any sense of that, like, at all!). So he is quite reasonable about it at the beginning. Then, suddenly, and without any warning to the reader, they are in love the way only people in books are in love: passionately, blindly and without any sense of their surroundings or the world or anything around them. Then they are discovered, and the earl quite naturally and understandably, demands the removal of the stable boy and asks his daughter to be reasonable about it. She isn't, but then she isn't reasonable about anything, so this is hardly surprising. Instead of being reasonable, then, Aline tells McKenna (ugh that name! He is a stable boy. He would be known by his first name. Surnames were for upper servants. But whatever, that is the least of this book's problems) something mean, can't remember what, but she intends to hurt him so that he does leave and does not come back. This makes no sense since he was the one who pointed out to her the impossibility of their relationship. Surely he would be the one to understand if she told him that they could not be together. It makes the weird and wildly implausible assumption that he, like a dog, would not understand her saying that he must leave for his own good or else he might find himself in serious danger from her father, and would keep coming back. At this point McKenna went from reasonable, flirty sort of stable lad, to Romeo, to some sort of moron who doesn't understand English. Until here, though the characters say and do stupid things, everything is still within the realm of being somewhat plausible. As in: if an earl's daughter and a stable boy were to have an affair, this is likely how it would end. But not in this book. This whole situation as described above happens in the first two or three chapters. The bulk of the book does not focus on this sort of conflict. No, indeed!
McKenna goes to America where he becomes very rich. Somehow he also turns stupid and evil in the process. Yes, that, my friends, is our hero's character arc! Because he spends his time in America brooding over being treated so shabbily by Aline. Yes, he blames her for being the daughter of an earl and not being able to go off with a penniless stable boy. He who was first to point out how impossible their situation was, now decides that it was Aline's cruelty and obstinacy that was at fault here. Anyway, not content with simply being stupid and evil, he becomes petty too. He travels all the way back to England with the purpose of ruining Aline and taking her with him as his mistress. Our hero everybody!
The reader, I think, is also supposed to think Aline a bitch at this point, because in order to make her sympathetic, the author maims her legs. So, she is keen to be with McKenna now, and McKenna is keen to be with her, although not entirely honourably. The only conflict between them remaining is... Aline's burned legs! Yes! Yes! Yes! Screw the plausible conflict of class differences! Step aside the Great Gatsby! Pride and Prejudice go away! There's a new master in town! I know this isn't supposed to be "literature" but come on! Are you kidding me, Kleypas!?!? It's like she thought that him being a penniless stable boy and her an earl's daughter was simply not dramatic enough. So added comes McKenna's uncharacteristic, unbelievable lust for revenge, and Aline's burnt legs! And, to make sure that conflict stays and isn't solved until the end, nobody is allowed to speak of Aline's maimed legs, so McKenna doesn't know. And the resolution? He finds out! Yes! He finds out and then suddenly all the other problems go away! She can now marry him, they can be happy together! The class thing was a mere nothing! ARFGH! Just... just... just what the hell!
I realise this sort of reading isn't supposed to be intellectual or anything, but I am not able to switch off my brain completely! If you mean to write a story where stable boy/earl's daughter isn't really that big of a deal then bloody write that novel about the present times! Or about the future! Not bloody historical England, are you kidding me!?