This one was a challenge to review, and I’m still thinking about why. I like the outline of this story a lot, the book not quite as much. Caila, the main protagonist of Tracey Livesay’s Sweet Talkin’ Lover, is a shark, an ambitious, workaholic city slicker dispatched to small Virginia town to investigate a factory her company would like to cut ties with as part of a pending acquisition. It should be straightforward— she’s done similar assignments several times before— but meeting Wyatt, widely known as Mayor McHottie to his great chagrin, complicates things. They’re immediate adversaries and immediately drawn together as Wyatt tries to protect his town and the livelihoods of a third of its people from this potentially devastating event.
The setup sounds familiar, like a Hallmark movie but with ethnic diversity and sex. That’s promising. The book is actually full of tropes popular with readers of contemporary romantic comedy, all of which present the opportunity for internal angst as well as external conflict:
- Enemies to lovers-- Caila and Wyatt’s positions make them adversaries from the start.
- Forced proximity -- Caila is stranded in town for weeks and they have to sort of work together to get the information she needs.
- Insta-lust which is really love. Both have intense physical reactions at first meeting.
- Unlikely Couple— love across social boundaries, specifically race and class. Caila is a beautiful, elite educated Black marketing executive from a middle class background whereas Wyatt is the handsome playboy heir to a very old and very White wealthy Virginia family. it may sound old fashioned but their Interracial relationship is potentially treated as taboo.
- Workaholic city slicker in a small town--Not just any city slicker or fish out of water. She's a dangerous city slicker who threatens their way of life.
The book is not subtle about these tropes. Caila is explicitly described as a city-slicker at one point when Wyatt accuses his grandfather of objecting to him spending time with Caila because she's black.
“I’m not racist, I’m a realist. Her being black is a factor, but no, that’s not why I consider her inappropriate for you.” Bullshit. “You need to think about your position in this town. Ms. Harris is from the city. She’s here temporarily to do a job and then she’ll leave.” They could assert their city-slicker rationale as loud as they wanted, but everyone at that table knew what their primary complaint was."
It may be formulaic, but that’s not not necessarily a bad jumping off point within romance. It could even be a strength. What matters is what the book does with that premise, whether the writing elevates the material and makes it special. These characters and that context have a lot of potential. That’s where Sweet Talkin' Lover runs into trouble-- the execution is rote and the story sometimes only skims the surface of the issues and conflicts it raises. The paragraph above represents a large chunk of what the book has to say about race and class difference, which is not much.
More troubling, the main characters don’t feel quite fully fleshed out and the actions of the main characters don't always add up. Caila is in town because the factory's numbers aren't good and they've been deteriorating for years. Rather than cooperate and provide Caila with the information needs, Wyatt contrives to have her stay in the town for two weeks to do what? So he can turn things around how? Charm her into keeping the factory going against her company's interests despite the adverse financials based on affinity, the strength of his personality, her soft spot for the locals? It's not much of a plan, and seems doomed from the start as his friends point out when Wyatt describes the factory’s dire situation: “What you’re saying will be just as true in two weeks as it is right now. What’s the point of lying to her and making her stay here longer?” That is a very good question.
Caila’s recent difficulties at work also play a part in keeping her exiled on main street long enough to fall in love with Wyatt. Part of the reason she's in Virginia is that she’s been making mistakes ever since the death of a family member and those missteps threaten to sabotage her prospects at the company even with a sympathetic fellow African American woman as her mentor and boss. The Bradleton Virginia assignment is a chance to take a step back and get her act together. But Caila’s downward slide is swift, vague and almost completely off the page. Even the eventual backstory, the reason Caila is closed off and fiercely guarded, is pretty thin gruel when revealed. If the story had fleshed out Caila’s core character in a positive way first, then maybe it would have latitude to portray the cockup more vividly, and it would help sell the idea that her boss was sincerely picking up on something being wrong and wanting to make it better when she committed her to the wilds of Virginia.
Instead, as written, the boss's edict that Caila stay in town for the duration makes no sense other than to bolster the forced proximity trope with Wyatt. It seems a stretch that she should stay in town to collect financial records that could be sent electronically. Or that she would stay when she could go and come back even if her office isn’t an option in her precarious position.
This forced close proximity scenario is problematic in more ways than one—in addition to shaky logic, it relies on deception and that undermines the consensual nature of the relationship. More than that, it undermines the characters. Based on her profile, Caila is nothing if not a smart and practical woman. In fact, these are supposed to be two very sophisticated people. But we don’t see them being particularly smart. So that feels a bit weak.
Setting that aside though, the key thing is that Caila’s core personality is also a bit of a mystery. I feel like this is where further development could have helped. Mostly what we know about Caila is that she has a wonderful circle of girlfriends and she's driven. She's got a great job but tends to neglect everything in her life, especially her family, in favor of work. In The opening scenes she’s on vacation somewhere in the Caribbean but ignoring her friends to take work calls. And we know she's immediately frosty to the people in the town she’s temporarily relocated to.
Caila's instantly hostile behavior feels kind of vague and inexplicable because it's at odds with the demands of the position to which she's so devoted. Polite charm would be more appropriate. She should be smart and persuasive and none of that really shows when she arrives in Bradleton. So what is it that immediately draws Wyatt to her? He fares a bit better. He’s sweet, and loyal and gentlemanly in a progressive, non alpha way, and he has a secret artistic vocation that adds depth to his character.
As a reader of romance I expect to fall a little in love with the characters as they fall in love which each other, to see and appreciate what’s special and be charmed by them. There’s not enough of that here, especially with regards to Caila, until perhaps very close to the end when the conflict comes to a head and she steps up. Beyond that, the haughty workaholic city girl is such a cliche and a sexist one to start. It relies on the idea that working woman just need to get back to nature and basics. Regardless of her accomplishments and friends what she needs is the love of a good man. There’s been quite a cultural backlash against this staple of the genre so why revive it without developing it more?
That said, even with the fuzzy circumstances and latent sexism, with the right execution this story could have been a very fun romp. There is a lot of opportunity for humor in the city slicker scenario. The real sticking point was that the wit and social observation and specificity of character weren’t there to make this familiar journey feel completely worth taking.
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