Cruel-to-hide-his-impossible-love trope.
Why impossible? Because hero is the sole heir of his family’s isolated Colorado ranch that either killed the women who lived on it or drove them away like his mother.
There is also a May/December I-knew-you-as-a-kid complication
The plot:
Heroine declared her love for her brother’s friend when she was 18. Hero was mortified by his lust so he was cruel while first kissing her and then rejecting her. Fast forward three years and a bedroom set of handmade furniture: It’s the heroine’s 21st birthday and the hero shows up at her pizza party with a magnum of champagne. They play cards and the heroine ends up committing to a summer of cooking and housework at the hero’s isolated ranch.
Heroine has mixed feelings. She loves the ranch, and thinks this proximity to the hero will help her over her crush.
Hero is a walking hard-on, basically. All that unrequited lust has to go somewhere, so he is jealous of anyone the heroine talks to and he is increasingly cruel to the heroine in hopes she’ll quit.
She doesn’t and in the last week of the summer she goes camping looking for ruins of an indigenous tribe that lived high in the mountains. The hero follows her for protection since her brother can’t make it. They finally have sex. Hero thinks he should marry her because she was a virgin.
Heroine turns down his duty proposal. Hero ignores her for the last few days she’s on the ranch – spending all of his time in his workshop.
Heroine tells him he will have to come to her if he wants them to have a relationship. She finds out she is pregnant and returns to the ruins to leave a piece of pottery the hero had given her long ago. It’s her symbolic goodbye to the hero. Hero finds her there and tells her he is going to sell the ranch. He’s discovered his love for her is greater than his love for the ranch.
Heroine tells him he can have them both because she loves them both. Hero confesses he’s making a rocking chair and cradle in his workshop. HEA
While the characterization/ plot is a bog standard two star, EL adds some literary flourishes that take this story to the next level. Warning – English major overreach and analysis ahead.
First of all, the world-building is fascinating. The ranch is an almost other worldly place, where the hero is not the master of all he surveys. There are parts of the ranch that are unexplored, known only by legend. Yet there is great beauty and riches for those who are brave enough to go off the beaten track. (A nice metaphor for life and for romance)
EL provides history that is both known and unknown. The settlers’ history is written down and seems to support the hero’s view that no woman can stand living in such rugged country. The indigenous people’s history is not written down, but is revealed through artifacts and their ruined settlement. It also seems to support the idea that no families can be raised on this land. However, both the settler’s history and the indigenous people’s history show that it was the women who endured to carry the next generation. The descendants of those unknown people are still walking around as are the descendants from the 8 children of Moriah Mackenzie. (The heroine is the next Moriah Mackenzie, carrying the future generation).
The author also has the characters do stuff that seems unrelated to the romance. That’s not unusual, but what activities she chooses while they are waiting for their impossible love is interesting.
The card game is an unusual way to get the heroine to the ranch. It’s a nod at destiny and the luck of the draw and greater forces so that the H/h don’t have to admit they would really like to be together. At the end it’s revealed that the heroine’s cardsharp brother engineered it, but it still doesn’t take away from the H/h’s reluctance to take responsibility for their feelings - or their ability to bow to inevitable.
The heroine’s first cooking experience is described in great detail. Besides showing how she is tenacious and resourceful, it does something else as well. There are no ready-made ingredients so the heroine has to cook and thaw a block of ground beef to make spaghetti sauce. Then there is a long wait to boil water in a huge pot for the pasta. The heroine almost burns herself trying to drain the water from the heavy pot, but the hero does it for her and is concerned about burns. Then the men eat all the pasta and the heroine realizes they never should have thrown out the boiling water since she could have used it cook more spaghetti.
It may seem like a small thing, but that regret of throwing that heated water away – and the long wait for it - mirror the course of the H/h’s road to commitment. Later, the heroine needs a spice for stew, but no one is going to town and she has to improvise. She finds the ranch has what she needs – juniper berries. Another sign that she belongs on this land and not in town.
And speaking of using the resources of the land, after the hero ran the heroine off the first time, he felled trees and used the lumber to make an elaborate bedroom set. It took him the three years the heroine was away. He puts heroine in that bedroom (and not in any other employee accommodations) when she returns as the cook. Hero is a destroyer, but out of that destruction a new creation. I don’t think the bed symbolism needs to be spelled out. Heroine got a college degree in that time. So their separation was not wasted.
As my skeptical students used to say to me, there is no way the author thought of all of this symbolism when she was writing this story. And I would have to agree that for a first draft, she probably didn’t. But she certainly went back and refined the scenes she had already written.
Winning/losing a card game is a fun romance story trope that was used intelligently. The isolated ranch was a great excuse for the hero not to love – but she elaborated on the symbolism of the ancestors and the meaning of the landscape. Cooking has been used to prove a heroine’s mettle many times, but there is rarely regret from both the H/h about throwing something valuable away. And I don’t dare touch the meaning of the cherry cobbler she served for dessert.
So while I wasn’t swept away by this romance, I have to give EL some mad props for writing a literary category with some meat. Even the title is evocative and I think she must have had something to do with it (most category authors do not name their stories – it’s the marketing people who come up with The Greek Billionaire’s Baby Secret) Fire and Rain are opposites that extinguish one another, but are also of evocative of passion, hearth and home, and quenching after a drought. The characters do mention their fires during love making, but the author doesn’t hit you over the head with it.
/end English major fun.