3.5 At the invitation of her new rancher brother-in-law, New Yorker Phoebe Apple is traveling west to see how her sister is adjusting to marriage when she is abducted from the train by three masked men. Lucky for Phoebe, her brother-in-law asked his son, Remington Frost, to keep an eye on Phoebe (which, for some reason, he doesn't tell her; he just follows her without revealing his name). Remington tracks the outlaws and rescues Phoebe when the baddies leave her alone tied up in an abandoned cabin not too far from the Frost ranch.
The plot of the rest of the book focuses more on the search for who was actually behind Phoebe's kidnapping, and why, than on the romance between Remington and Phoebe. There are a handful of suspects besides the actual train robbers (whose minds we spend far too much time in): Phoebe's sister, Fiona, who doesn't seem happy with her new life and who seems to have some sort of grudge against Phoebe; the long-time ranch cook, who may or may not have been sleeping at some point in the past with Fiona's new husband; the cook's son, who may or may not be related to the Frost family in some way. There are also a lot of secrets being kept by Fiona and Phoebe, which, in Goodman's characteristic narrative manner, are kept not just from other characters, but from the reader, as well. I find this technique more or less frustrating, depending on the specific book; in this one, it was extremely frustrating, because the scenes between many characters, especially those between Phoebe and Fiona, were often really confusing due to lack of knowledge of what really happened between them in the past.
I loved, loved, loved the dry, understated banter between our two protagonists, though, despite the fact that none of the plot's conflict stems from the romance or from the interior struggles of either of the protagonists. I especially liked the way humor plays a role when Phoebe and Remington engage in sex. There are very few writers who incorporate humor (not slapstick, but dry, droll poking fun at one another) into sex scenes; Goodman's use of it indicates just how right for each other her two protagonists are, as well as the respect each has for the other.