It turns out that the only problem with reading books is that in order to read them you have to read them. This is a real lightbulb moment for me. I’m shocked, honestly. This book has a classic setup, and the reason for conflict is sound, but I don’t know if it was enough to carry whole novel. And though I went into this having a great time, unfortunately, I got bored pretty quickly. I did enjoy the basic premise though. Imogen has a polite and amenable relationship with her intended, Ernest, but finds that she has much more of a repartee with his brother, the charming playboy, Ben. And you can’t really blame her either, he sure as hell charmed me! Er... at first (this will come up again later). You know, they just have that classic banter. Only blue talk and love, remember? Even the reason they find themselves in each other’s company so often is well written; Imogen is an aspiring artist and Ben just so happens to be in need of an art teacher. And this aspect was all I really needed for the book to hold my interest, but it tended to get bogged down by other elements that felt at odds with the core idea. Which brings me to the point that I didn’t think was as strong; there’s a bit of a flirtation with the mystery genre in that for a large part of the plot, it would seem like there’s someone trying to sabotage Ben’s standing with Imogen’s family. In theory this is fine, but my only issue was that even though the “pranks” start to get more and more severe (hornets’ nests, holes in the boat, yada yada) it’s only Imogen who has any reaction stronger than an eyebrow raise. Mind you, even Ben has a muted reaction to these attacks, and tries to diminish Imogen’s concern despite being the target!? He just continues to walk around and go about his business like he’s not in danger! It was really weird, to say the least.
So yeah, getting back to the romance aspect for a minute, it seems like we’ve got another love-triangle here, and that’s fine, I guess, but this would have been more interesting if the characters weren’t so dull to me. And when they weren’t boring me to sleep, they were Inconsistent. One moment Ben would be Mr. Prince Charming then pivot into being a pouty man-child. Ernest would be a sensitive bookworm for most the book and then all of a sudden he becomes a patronizing dick (guess he’s not so earnest after all ha ha). It also caused a weird reversal to normal romance stories in that it actually made Ben, the love-interest, start out as a loving character and then randomly becoming a worse person as time went on. What do they even call that? Anti-character development!? I know characters becoming more unlikable is a thing in a lot of stories, but it seemed like an odd choice in a Jane Austen-esque romance novel that prides itself on its charm and relatively low stakes drama. This was especially egregious considering the story is wrapped up, like, thirty pages later. Do these things earlier, please. That way my lasting impressions of these dudes wouldn't have been so overwhelmingly negative. Oh, also I think needed more groveling on his part. That's always a must for me. I suppose these emotions drastically changing like a pendulum swinging is somewhat realistic to real life (“I contain multitudes” etc. etc.), but they happen so, so late in the story that made it me suspicious. And since the mystery here was a little lackluster, I'm going to solve my own mystery and assume that this jarring switch was simply so the book could have a more convenient and traditionally happy ending. I mean, If the love-triangle could be solved with fewer hang-ups, then it makes the whole thing easier to digest! Personally, I think these things should be messier, but that’s just me. I had a good enough time, but I think I’ll need a little break from books of this particular style.
“Should I ask your father or Mr. Beeswanger for your hand in marriage?”
“Perhaps you should ask me?”