Love Stone

by Deana James

CAPTIVE LADY
Burnished gold and priceless gems adorned her skin, expensive silks and supple suedes swathed her curves--but there was nothing lovely Morira valued more than her freedom. And when she was abducted by handsome Rhiannon, her father's most hated foe, the independent beauty ached to slay her brazen enemy. She knew it would mean her own death, but it was better to die with honor than to live in slavery.

ARROGANT LORD
Rhiannon gazed at the desirable captive and knew he had to have her. That they were rivals stirred him even more; he would savor her shame as she obeyed his commands and endured his ardor. But after just one night of torrid passion and tender need, the dark-haired lord could not deny Moira was born to be a princess. He would grant her anything but her precious freedom--for now he was a prisoner of her love!

Genres: Historical Romance, Medieval, Historical, Romance, Dark Romance, Medieval Romance

462 pages, Paperback

First published January 1, 1983

About the author

Deana James was a pen name for Mona Dean Sizer.

As Deana James, she wrote 20 books, all but 1 were historical romances for Zebra.

A proud, lifelong Texas native, she passed away on February 17, 2022.

aka Mona_D_Sizer and Rachel Davis.

Reviews

[Mermarie · Rating 3 out of 5]

Spoilers gonna be spoilin'. Lots of those below.



I know what everyone's thinking: This Warrior Princess, possibly an Xena before her time? I hear murmurs and stifled coughs, "BEHEMOTH! That's a huge bitch!"



But that is hardly the case with Moira of Lome. She's not a huge bitch, or Mannequin-isque creature from mythological lore, in fact--she's not genuinely even much of a warrior woman. She wasn't allowed to be. So, who is this Moira, exactly? I feel scholars will be mulling o'er this lil' tidbit for aeons to come.

Once upon a time Moira's homeland of Northern Wales was being ransacked by the invading English and two main houses controlling Northern Wales were at odds. Moira's father is Lord of one opposing houses whose constant feuding have left him basically without the benefit of a male heir. What is the easiest solution for such a loss? Why simply mentally 'male' training Moira, his only living child, to take on the role of battle-hardened Knight, in his grief-stricken state of detachment and desperation.

To think I could change a woman into a man!

Moira's life has been nothing but utter shite; training, constant upheaval and disillusion from her own sense of self, unless pre-programmed by her father. She's rarely been considered but for a weapon, a tool in her father's hand. I commend any Medieval concept of ingraining these brutal trainings into a woman's means. I think, if challenged and with vigorous exercise, a woman's body has the capacity to rival, or surpass a man's strength training. Here's the stickler, though; Moira's entire femininity of any kind, and gender--were all but muted. Erased. James did an impeccable job of presetting the Medieval mind to find such a masculinity in a woman to be unflattering & uncommon; a thing of repulsion. That's likely a quite accurate account of the Middle Age culture, true--however, I've never quite witnessed the lengths a figure went to achieve his male conversion before, though. I'm not entirely sure sacrificing a woman's entirety and identity to CREATE a man, sit all to well with me.

Moira's penchant for civility was a surprising factor, all in all, given she had been affected by an abundance of savagery her entire existence. This leads to Moira's fatal error, when celebrating a recent raid victory, she decides the poorly beaten and chained prisoner of war is of no great threat and commences to fetch him water, whilst her entire House are drunk off their asses in the dining Hall. The Wolf, Rhiannon seizes the opportunity and violently strangles Moira to the floor with his manacle chains--you know, because Medieval damsels haven't quite embraced the cinema trope of an object(generally food or drink) being just out of reach from their grappling hands, and a badly injured person requiring said object to be moved further within their vicinity. Of course, this is merely a ruse and Moira paid the price for her stroke of humanity.

The chase is on...

For over 40% of this entire novel these two fucktarded lacklusters are traipsing across the countryside--Moira now in a reverse prisoner role--set out for Rhiannon's House a bazillion miles away. He is badly injured, his wounds half rotten; he's severely fevered and delirious, but still Moira insists on treating him through this calamity, at her own demise? This is where the novel itself dons the cape of many Medieval unpleasantries. The rough conditions, the filth, a cornucopia of grotesque living conditions associated with the era itself. It was unruly and caustic. There were fur mantle'd villains and woodland barbarians in every secluded area--toothless crones and a certain timeline realism that splashed my normal Medieval fluffy-bon-bonz to a murky puddle of obscure fascination. I was, admittedly, reading straight Historical Fiction for a good portion of this novel. I had no understanding how Romance could bloom in this festering cesspool of endless sweat and apprehension.

Nevertheless, Rhiannon claimed Moira immediately as his slave, for life. Bound and rebound to his will. Sadly, Rhiannon's a 24 old seasoned knight, and that did not even begin to fly, with me. No. Freakin'. Way. Y'little peck. Moira saves Rhiannon's life COUNTLESS times along their travels, despite the severe beatings and trappings of humanity being shed due to his wounded condition. She was also undergoing days of endless riding and no sustenance.

Yes, she would be worth the taming, he thought. Just as any good beast, horse, falcon or hound, was worth taming, she would be without equal when he had finished with her.

As disgusting as any modern woman would be by this inner-monologue of his, I applauded it for its historical accuracy. Women were likely less of value than a good horse, if that. So, we realize the prisoner anteing up the sexorz by right to new Lording, is within the hero's due. Truthfully, I never quite felt he had the spurs to pull off any sort of mentally/physical overwhelming of Moira. In fact, his either attempted accent of (Celtic perhaps?) was short of miserable, and tired. A bit of Old English was definitely present, though bare minimum. Rhiannon spoke in mostly monotone and recited the same concepts throughout the book's entirety. You are mine slave woman..bitch. Don't you ever fight me. I am your MASTERRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR....

"Her face whitened. Ice blue eyes flashed open, dilated with fear and horror. In his eyes and his voice, she read the fate of all captive women.

Sadly, Moira thinks by preventing a sound from emitting, or a plea, remaining completely detached from the experience, that her dignity is somehow salvaged through the whole raping business. o.o? Peculiarly the girl recalls a gypsy woman being gang-raped in her father's very own Hall, once before--but later on the book she denies that her father could have had anything to do with Rhiannon's Knight's family massacre. ........ . . . . . . . . .makes all the sense in the world.

Even though Rhiannon never asks for forgiveness and you wouldn't assume a Medieval era male TO ask, for molesting the girl that he felt completely entitled to; he didn't have to reduce the rape & pillage to a hobby kind of afterthought. You know... boys will be boys. *Shatters eyes from such slot like rolling*

There is some pleasure for a man in taking an unwilling, fighting woman, but it is unsatisfying, a thing of the moment.

But back to the reforming Moira into a man bit, because there is SOOOO much of it, that I believed the hero was a closet. I mean, so closet you're findin' mom's skeletal goldfish disco boots in that bitch.

You are even as God made you. In many ways you are a man, except that your woman's heart would not be hardened to cruelty. Everyone will envy me. A man-woman. I want to see the woman parts of you! Strip for me, sweetheart!

Can you IMAGINE how long it took men to realize some women were worth more than breeding? But you'd never hear Moira truly state as much, not in vocal terms.

I am the lord's slave. Touch me and he will surely see you punished. You are damaging his property!

It seems so contrived, truly, because she was raised as a man, correct? And her abilities were seemingly out of the ordinary for a woman, right? Then why did such a situation completely bereft her of any defenses for her profound skill as the female gender, at all? It's as if she could only defend them, if she were male. OK, I get it, I'm grasping at straws here--but, it's saying to me that even though she knows she's somewhat distinguishing, she'll not admit such in the face of adversary, because she has no swingin' medallions. I believe she would have been a bit more gun-ho, with that lifelong atmosphere...IMO.

The Slave and Master ruse was a constant in Moira's new life, too. It did ring so contrived though, I believe due to Rhiannon's age, though. It's difficult for me to imagine the hero as a 24 year old boy, when I'm mostly accustomed to the salt and pepper salty sorts. The most fascinating aspect of their relationship was that she was actually better than he was. She simply resigned to that life, and I think, by her own choice. Rhiannon may have been a survivalist, true, but he wasn't as stern and hard-cast as she was. I believe she proved her worth over him, countless of times.

"You can read and write?" He stared at her in amazement. He could scarcely sign his own name and here this man-woman could read and write and cast accounts.

Let other women make her dress. She was his man-woman.

Looks like to me, there's one soldier who needs a companion who completely understands him. ;) None of that sissy stuff, with sewing and all that rot. Bah, women's work! By this time, I was under the impression that James had Monty Python and the Holy Grail satire in mind. You had the plotline sinking deeply though, but sporadic little events of what the actual hell is going on in this book?



Too many situations with the unborn child involved, where the blatant cluelessness of both the heroine and hero just baffled me to fuckin' beyond comprehension. When Rhiannon starts questioning Moira on the baby being alive at that moment, I felt like he was a baby brother learning about the fundamentals of reproduction.

I never realized. He is already alive. How does he breathe and eat?" "Through me. I breathe & eat for him, too, and drink fine ale." She chuckled. "I wonder if he will be tipsy. He is very little and not used to such as that."

I took the liberty of googling their baby's picture. For die-hard fans out there. Every few pages this chit was indulging in wine, and I get it--some wine or beer is healthy for a pregnant lady---but everyday? With so much emphasis? Really?



Well, through the dungeon dwellings where Moira's chained, numerous beatings, collared, degraded and starvation, somehow, those two kids made it work in the end. What a power couple.



In the end, I think the baby stopped givin' a shit what mommy did, though. After the trekking in the woods rambling around on foot, Moira complained that the baby went to sleep when mommy was all active and feelin' lively, and I thought----sweet-tits, the baby is freakin' stoned or strung out!! The only LOVE and STONED in this book!

Three stars...'cause the Medieval glimpse was dead-on for quite awhile & Moira was brought to heel(their fight or flight instincts, IMO), when most heroine's wouldn't dare bring their man a glass of water without raising all kinds of hell and contacting inequality groups. And I love Inequality Groups. Stop contacting them heroines. FFS.

[Vellini · Rating 3 out of 5]

I enjoyed this story very much, even though I skimmed some parts. The heroine was very courageous and likeable, the hero on the other hand was childish and forceful (I'm being nice here!), but I ended up liking him in the end . I'll recommend it if one doesn't mind forced seduction.

[Sandi *~The Pirate Wench~*]

(Go to Sarah)

[Blue Falcon · Rating 2 out of 5]

This review is of “Love Stone” by Deana James.

The book begins in an unidentified time in medieval history. Here, Moira of Lorne, the heroine of the book, is watching her father, Peter of Lorne, return from a battle with captives. Among them is Rhiannon ap Breannon, the “hero” of the book (I’ve always thought of Rhiannon as a female name, but whatever). The Lornes and Rhiannon’s people have a long, bloody history of attacking each other, and Rhiannon is being kept alive to be tortured by Peter’s people.

Before that can fully happen, however, Rhiannon escapes, taking Moira hostage. While taking Moira to his family’s keep, Rhiannon beats, threatens to kill, and rapes Moira.

Rhiannon later takes Moira to his home, Wolf’s Keep, where she is imprisoned, beaten, tortured and humiliated in front of Rhiannon’s family (father Lord Gethin, mother Branwen and sister Edain), and their people. Despite their enmity, Moira and Rhiannon marry.

They must fight off enemies from both outside and inside the keep, but they do and have their Happily Ever After.

Upside: “Love Stone” is a well-written book about medieval England and Wales. Ms. James does a very good job of putting her readers into the environment.

Although Moira is abused, emotionally, mentally, physically and sexually, for the most part, she maintains her pride and is the strongest character in the book.

Downside: Start with Rhiannon, who is abusive, insensitive and unfeeling toward Moira for much of the book. The “romance” between he and Moira is very much “Stockholm Syndrome”, which is not something I like in romance novels. I’m also not overly fond of misogynistic books, and “Love Stone” is a very misogynistic book. Ms. James’ writing style here is very wordy.

Sex: Ms. James’ love scenes are very long-not necessarily graphic-but multiple pages long, which I like. I would like them better if there wasn’t so much force and non-consent here.

Violence: In addition to the violence against Moira, there are assault, battery, attempted rape, and multiple killings of horses and humans. The violence is mildly graphic.

BottomLine: I can give Ms. James credit for a well-written book, but take some away for the misogyny.

[Laine · Rating 5 out of 5]

There are very few books that I re-read and this is one of them. Commenters who said they merely skimmed and then rated it low missed what is a complex story of love, honor and family loyalties. Set in a medieval time with realistic historic details, Rhys and Moira are the heirs of 2 warring families. Unlike Romeo and Juliet, they are not struck by love at first sight. To the contrary, they share their families' antipathy to the other as they have been raised to do.

Rhys is captured and abused by Moira's father but he tricks her into showing him mercy to her eternal regret when he turns the tables and escapes with her now his captive. There is a long section showing their travails on the journey back to his home fortress. Seldom have mud, cold and near starvation been described in such detail in a romance. Some punishment they inflict on each other, some is inflicted on them both by nature and thieves with murder on their mind. Despite her womanhood, Moira has been raised like a son and her wits plus strength of will are a match for her captor's. As they joust against each other and unite against common threats, a grudging respect starts to develop between the two destined and bred to be enemies.

Seldom has a young man's intellectual and emotional progression from callow youth to mensch been so cleverly threaded into a story. Yes, Rhys starts out all bravura and triumphant over his major coup capturing the only child of his family's long time enemy. But he gives credit where credit is due and when he sees her in action, he is amazed at how a "mere" woman challenges him at every turn and comes near to besting him (though he is handicapped with wounds and shackles). Rhys starts to admire Moira and imagine her as not just a slave but an eventual companion, even on a battlefield as she is taller and more lethal than many men. Mixed in with his growing feelings of camaraderie though is his constant awareness of her as a woman and a beautiful one. He is bemused by how others will envy him his unique and noteworthy slave-companion. Little does he know at that point that he is on a journey to greater understanding.

Feisty female heroines are rather common in romances but Moira is one of the best. Her loyalty to her father and family pride are strong but she has also been brought up with what was a very male sense of honor in medieval times. In the past these were unified but traveling with Rhys starts bringing out unfamiliar feelings causing inner conflict. She makes legitimate efforts to escape but can she escape the feelings her captor muddles when he is by turns demanding, kind, consoling (when she feels she's let her father down) and sometimes humorous. He is lighthearted and optimistic compared to Moira's pessimism. He's decided they will have a good outcome together while she sees no possibility of that.

There is an episode between them that will be a turnoff for some readers. Warning -
When Rhys decides to initiate Moira into her womanhood (his terminology), despite being drawn to him somewhat she refuses and struggles against it, definitely qualifying it as rape. Yet it's a strange congress where Rhys is not cruel about it, reverting more to his knee jerk training that women are spoils of war. In fact he was going to suffer a worse fate when he was captive in her household, torture-death including blinding and she bitterly acknowledges this. He tells her to feel no shame and enlarges his boon companion scenario to one where she will sleep with him as well as guard his back. He is cocksure (pun intended) that she will grow to enjoy his lovemaking. Moira is stunned at what she considers his flight of fancy as she has a much more realistic notion of the strictures of their time.

But the point is that Rhys IS a dreamer, ahead of his time, coupling it with a will of iron. He stands true to his word to Moira that he will protect her from harm even surrounded by the enemy in his family holding. And that family, his father, mother and younger sister are fully realized characters whose trajectory from complete contempt for the daughter of their enemy to acceptance and more is believable, well delineated. They are not just background characters. Meanwhile Rhys keeps elevating his captive in his mind until he arrives at wife and equal, pointing out to an unbelieving Moira that he is as enslaved to her as she is to him. Eventually Rhys the dreamer and risk taker makes a plan to end the generational enmity between their families and there is a much larger and well-earned HEA than just romantic harmony.

However, Rhys and Moira are the beating heart of the story, symbolized by the ring he gives her, a large ruby held firm in gold eagle talons, the screaming eagle being Rhys's totem. At one despairing point Moira clutches the eagle fillet from his hair calculating she can end her misery with its sharp talons if need be, not dreaming they will turn into a symbolic cradle for her heart. The slow progression from enemies to lovers has never been done better.

[Love love · Rating 4 out of 5]

Over all, this was a very good book and will go on my keeper shelves. The only reason I didn't give it a full 5 stars was based on personal preference. I don't like to read books with overly strong, tall or heavy women in it. The heroine in this story is nearly 6 feet tall (though not over weight) and fights like a man. The author did give her vulnerability which was believable and I liked her as a heroine. However, I really could have done without the Hero referring to her as his " man-woman" over and over again. Ugh

[Dendera · Rating 3 out of 5]

4 stars when I read this many many years ago...But 3 stars after re-reading it today.

[Tara · Rating 4 out of 5]

I liked this book although I did want to strangle the Hero several times throughout. The heroine was strong but like most bodice-rippers, gave in a little too easy.

[HJ]

Know I read this back in the day, and probably liked it, but since I only have a vague recollection, I'll leave it unrated.

Ah, those oldies, but goodies... :)

[Ashley Ramoutar · Rating 5 out of 5]

I like the book and while some part may have been cliché and predictable. I enjoyed it because of the Era it was set in.

[Tapa in lovezone · Rating 2 out of 5]

The way the hero was tortured at the beginning made it hard to believe he was still alive. On top of that, his escape—while taking the enemy’s daughter, the heroine, hostage—felt completely implausible. There is no way they could have survived that journey back to his keep.
The hero was deeply unlikable. He felt far too young for such a dark love story, which made his character hard to take seriously.
The heroine is undeniably strong and has endurance beyond that of any man. The hero often refers to her as his “man-woman.” As a result, the hero came across as childish, while the heroine felt unfeminine. I’m not a fan of these types of main characters in romance novels.
Although I enjoy dark romance, this book simply wasn’t for me.

[Beth · Rating 1 out of 5]

One of the worst examples of eighties rape romances. So called hero tricks heroine into releasing him from from imprisonment by her father. Her reward is repeated rape by hero and becoming his slave. She is imprisoned in lowest dungeon once hero gets home. More beatings and starvation as jailor attempts to tame her for hero. I just skimmed book as I read it when it was first published. Too bad, Deana James has written many really good romances.

[K.h.bb · Rating 1 out of 5]

Such a bullshit, I tried so hard to go through this book but after reading a half of it, which was stongly turcherous, I gave up. I wanted to test my patience and failed as this one was beyond my limits...

[Maddygirl · Rating 2 out of 5]

Classic 80's bodice ripper. I didn't believe the love story. Too many un-redeemed moments. And the overly strong, 6 feet tall heroine fights like a man was incredibly difficult to relate to.