Nobody reads Nora Roberts for shocking and unexpected plots – she basically has a handful of types of books and just rewrites them over and over. The Search falls into Category 2: woman with traumatic past has overcome it to become completely self-sufficient and a little bit closed-off emotionally, meets new guy right as she falls back into danger very similar to whatever caused the trauma in her past, they fall in love while danger deepens and eventually best the foe together. I am not mocking the formula; it works. I read pretty much all of her books (I haven’t dipped my toe into the J.D. Robb waters yet), so obviously I’m okay with formulaic.
The thing is, when most things stay the same, it really makes the little details that she does change up from book-to-book stand out. For a while she added interest with her [not entirely successful] forays into paranormal romance. I think her best tactic has been to focus the book around one or both of the main characters’ jobs and fill in lots of details that way: you learn all about gardening, opening a small business, running a nature preserve, or, in this instance, woodworking and dog training. I know that some people are bothered by this didactic tactic, but like I said, she’s working from a formula here and closing in on 200 books. There has to be an angle to make the books more individual.
Another change that jumps out at you from the backdrop of Exact Same Storyline is Roberts’ shift in gendered characterizations. Her earlier books were all Alpha Male / Spunky Female (the MacGregors spring to mind, but plenty of others as well) – whether the Hero was totally marriage-minded or committed to bachelorhood, he was pretty much guaranteed to be kind of a dick about it and run roughshod over the Heroine’s feelings. She would be spunky and free-spirited but eventually cave to marrying him because really, she was only scared of commitment but now it’s okay because he’s proved that commitment can work!! Or she would have justenough spunk to say something that broke his hard heart on her way out the door when he finally is enough of a jerk to get her to leave him alone and let him live in his Man Cave uninterrupted, and he’d track her down and finally spill open his heart at her feet. So, okay, not the worst kind of Romance Gender Roles (at least I can’t remember any instances of her pulling the “Oh, you big strong Rapist, how can I resist you?” crap), but not the best either. Then she made a clear move toward a more modern take on relations between the sexes, and while similarly heavy-handed, I can’t pretend I didn’t appreciate the string of books that had the Hero saying out loud: “But women are stereotypically supposed to be like [X]; I guess it was silly of me to buy that because you are clearly like [Not X]” or the Heroine being less emotionally available but wising up to the fact that it’s not unmanly to put your feelings out there or be an artist instead of a cop or UFC fighter or whatever. Also she started peppering her books with (incidental, but not invisible) gay relationships, which was a nice little nod toward breaking up all the heteronormativity.
But this book was just weird. He spends most of it telling her he doesn’t find her attractive, while she tells him every little thing in her heart and then when they get together he charms her by calling her a slut. What? I think I can see what she was aiming for here, but there’s Third Wave and then there’s incoherent. Plus, I’m all about open and mature communication, but the level of verbal exposition of deep personal feelings here approached Twilight-esque (if Twilight had been written in complete sentences and any of the characters had a vocabulary of more than 100 words, that is). As a for instance, take this [longish] excerpt from pp. 386-87:
“Good God! I’ve been up here working my ass off to make myself feel strong, capable of dealing with whatever comes at me so I’m not hiding under the bed trembling, and you accomplish the same thing in under five minutes.”
“What the hell are you talking about?”
“You make me feel strong, capable, even ingenious because you just see me that way. I haven’t got you wrapped around my finger, Simon—far from it. And the fact is, I wouldn’t want you there. But because there’s this little part of you that worries I do, or I could, I feel I can take on anything that comes. Anything at all. I feel strong and sexy and capable and ingenious.” She flexed her left biceps. “It’s heady. I’m drunk on it.”
“Well, that’s just great.”
“And you know what else? That you would do that—that silly thing to make a point.” She gestured toward the window. “That you could do that without feeling foolish, but feel just a little foolish because you’ve spent time out there playing with the dogs? Simon, it just disarms me.”
“For God’s sake.”
“It disarms me and delights me. So I’m disarmed, delighted, strong and sexy and capable all at the same time. And no one has ever made me feel the way you do. No one. That.” She pointed at the window again, and let out a laugh that sounded as baffled as he felt. “That right there is why, as ridiculous, as incomprehensible as it is, it’s why I’m in love with you.”
Ohhhhhhhh…kay. Seriously, that’s representative of the entire relationship, and the entire book. It’s not like that was The Big Conversation Wherein Feelings Are Revealed. That’s how every conversation went. And people should be honest about their feelings. And honesty is the best policy. But no one, and I do mean NOBODY, talks like that at all, let alone all the time. There are no quiet moments alone where the character realizes what she’s feeling, just “I, the character, am feeling very happy. But also worried. But grateful for the time we have together even if it is cut short. It’s important that I share my feelings with you because I love you and I need you to know all of my feelings at all times.” And then he responds with, and I shit you not, “You’re not even beautiful.”
Guh, whaa? Why is this emotionally unavailable woman who hasn’t been in a relationship in a decade suddenly baring her every emotion to a man she barely knows who is giving her NO ENCOURAGEMENT OR SUPPORT AT ALL? I just didn’t buy the spark. I knew they’d end up together (see above, re: Category 2), but I wasn’t rooting for them in any real sense, and I didn’t really buy the idea that they loved each other. So, this was a weird one. Oh, and it was hard to like Fiona after she heard the story of a teenage girl almost getting gang-raped and her reaction was to call the girl a wimp because she didn’t join in when the perpetrators were beaten to a pulp. Seriously, Nora? SERIOUSLY?
I do love dogs, so it was nice to read about dog training.