She was a young and beautiful widow fallen on hard times, an aristocrat forced to serve her peers as a tradeswoman. Now neither the name of Alicia, Lady Coombs, nor her station could protect her from Sir Francis Tackar, the ruthless rake who had vowed to have her--or destroy her.
All she had was her pride, her determination, and the unexpected friendship of the darkly handsome Sir Nigel.
Had he already seen too much and guessed too much more about her most private life, her dreams, and desires? She was a woman alone, determined to survive. Could she trust this man or any other?
How she longed for love and happiness! Was that, too, a dream now forever beyond her grasp?
ALICIA was an unusual historical romance for several reasons. Elizabeth Rotter originally published it in 1980 under the pseudonym, Elizabeth Walker (this was the copy I read). Then she reissued it in 1992 under the pseudonym, Laura Matthews. It was listed as a Regency but the only date I could find in the book was 1790, 21 years before the Regency era.
The story included an ample amount of secondary characters that made it difficult at times to keep track of who belonged to whom. It included two slow-building romances: one between Nigel, Lord Stronbert, and Lady Alicia Coombs. The other was between Stronbert's 20-year-old nephew, Rowland, and Alicia's 16-year-old daughter, Felicity.
And then there was the villain. Actually, two villains. Alicia, at the age of 17, was forced to marry the much-older nobleman, Frederick Coombs. It was arranged by her parents so that she would produce an heir. There was some abuse before she had a daughter. There was so much more to this plot (you will have to read the book) but after their daughter's birth, Coombs left to look for satisfaction elsewhere.
Then there was the vain, sleazy and obnoxious Francis Thacker. Call him what you will: pond scum, meadow muffins or cowplop. He was another nobleman, a man with no redeeming values. Oh, except he shot Alicia's despicable husband in a dual. If I formed a list of the top ten villains/villainesses in all of the romances I have read, he would be on this list. In short, he just can't accept the word, "No!".
From my experience, traditional-style Georgian/Regency romances usually feature intelligent dialog between the protagonists and very little sex or discussion of sex. Not so, with ALICIA. Alicia's marriage was a nightmare. After her husband's death, she realized that the only way to survive was to go to work but she knew it would come with a price. With the little money she had, she bought a shop. This was where she met Lord Stronbert, a widower with two children.
This historical love story(ies) read like a traditional, clean romance but it wasn't. Be careful not to read the spoiler if you think you are going to read the book.
Alicia had deep issues with men (who could blame her?) and at moments it read like a contemporary romance. But the plot had texture, layers, and for the most part, I liked Stronbert and Rowland as the heroes. They were a step above most men from that era. The depth of what each man felt, their patience with Alicia and Felicity and the anger and fear all of them kept to themselves...it was such an unusual premise and fairly well-described.
This book had a bit of everything. I loved the H. He's not an alpha but not a beta either. He's really a combination and absolutely fantastic.
There was frank discussion of women's sexuality to include masturbation. There's spousal abuse. There's an abduction and attempted rape. There's dueling. Arson. And of course a HEA.
There is sex in this book but it's not super explicit - more the Carla Kelly Marrying the Captain variety - and even so it's mostly fade to black.
Bottom line is that this book is surprisingly good and I get the feeling it's a departure from her other Regencies.
This was an interesting story dealing with a few serious issues relating to a woman trying to overcome serious spousal abuse, marital rape, and PTSD. There was a happy ending but getting there was a bit rough and I'd warn readers this is not a light and fluffy historical romance. The pieces with the daughter exploring her own sexuality and the nephew visiting the prostitute were unnecessary at best and crassly vulgar at worst. I enjoyed both the main and secondary romances and thought the characters were very well drawn. The dialogue flowed well. The plot twists kept the pace moving. Violence, sex, swearing, themes of physical, mental, and emotional abuse, prostitution, adult themes
Ah, che noia, Laura Matthews! L'idea, penso, era quella di ripercorrere il modello del romanzo settecentesco (con un cattivo senza possibilità di redenzione e un eroe di specchiata onestà, l'uno disposto persino al rapimento e allo stupro, l'altro pronto a tutto pur di proteggere la dama del suo cuore) incorporandovi idee innovative come la 'lady' che apre bottega (un'idea più che accettabile, perché già presente nel romanzo di Mrs Alexander, "Her Dearest Foe", di metà ottocento) e spicciole lezioni di educazione sessuale databili al più dopo gli anni '60 del novecento. In conclusione, uno dei romanzi peggio riusciti di LM: l'ho rimesso sullo scaffale dopo averne letto meno di metà.
Lady Coombs's husband dies and his will states she sell the house and split it with his mistress because the mistress gave him a son. The house is bought by the man who killed her husband in a duel and is obsessed with Lady Coombs. She takes her portion of the money and takes her daughter to another town to buy a shop. This will be her only income and they can live quietly behind the shop in a small cottage but more drama soon follows.