I want to make it clear right from the start that I’m about to spend an ungodly amount of words discussing this book (not, precisely, reviewing it). There will be spoilers about the romance portion of the story. You’ve been warned.
This is a story of a woman who had a weakness — against all reason — for a particular author’s books. You could call it an illness. Even as each successive book repeated the tired pattern of the first few genuinely interesting and enjoyable, if not downright good, books, she could not stop buying them. She cringed at the overwrought everything, the incredibly odd sex scenes, the problematic plotting, the sheer amount of danger threatening this relatively small community. Seriously. This is the 22nd Cynster book, and if you add in the 14 other books set in a related world, that’s a fuck-ton of murderers, kidnappers, and traitors per capita. The people in that world should pretty much be walking around like this at all times:
Oh, yeah. I guess I should mention that I’m going to use an excessive amount of Psych gifs in this review. (Why, you ask? Because Psych is awesome, and because I had the most fun I’ve had in weeks troving for these gifs. Also, I want to watch Pysch again. You should, too. Besides, I’m going to write a lot of words about this book, and goofy animated clips will make it all more interesting, right?)
Anyway, where was I in my story? Right, so the woman read a whole pile of these books and then — significantly later than she should have (read: after she finished the 30th book) — she had an epiphany: they’re all the same. Her deep disappointment prompted her to write a post, which connected her with other recovering Stephanie Laurens addicts. She’d like to tell you that she held strong after that, stayed on the wagon, but she didn’t.
Read on to hear about The Tempting of Thomas Carrick, my 33rd Stephanie Laurens book.
Thomas Carrick is determined to make his own life in the bustling port city of Glasgow, far from the demands of the Carrick clan, eventually with an appropriate wife on his arm. But disturbing events on his family’s estate force Thomas to return to the Scottish countryside—where he is forced to ask for help from the last woman he wants to face. Thomas has never forgotten Lucilla Cynster and the connection that seethes between them, but to marry Lucilla would mean embracing a life he’s adamant is not for him.
Strong-willed and passionate, Lucilla knows Thomas is hers—her fated lover, husband, protector, mate. He is the only man for her, just as she is his one true love. How can he ignore a bond stronger than reason and choose a different path? She’s determined to fight for their future, and while she cannot command him, she has enticements of her own to wield when it comes to tempting Thomas Carrick.
Let me start out by saying — if you’re going to read this book — you should consider reading the novella that sets it up, By Winter’s Light. (If you’re a fan of strange book blurbs, I recommend you follow that link and check it out. The blurb is a blow-by-blow.) I didn’t read the novella, and I was very confused by these characters’ strange antics and the lack of a solid meet-cute. I mean, for reals, you spend the first 50 pages following Thomas around his day-to-day life. The book kind of assumes that you know that these two characters are destined to be together. It kind of assumes that you know why Thomas is reluctant to agree to his destiny. It assumes that you know what it means for Lucilla to be the “Lady in Waiting of the Vale.” (I’ll tell you, because it’ll make the rest of this discussion a trifle less strange: she’s a priestess to an ancient deity. So destiny means something more to her than to your average gal.) I didn’t know many of those things. I just thought everybody was cray cray.
I guess that’s my bottom line. This book is incredibly odd. When Thomas finally meets up with Lucilla (after, apparently, avoiding her for 2 years), Thomas internalizes for a few pages, and finally is like, “Oh, hi, I need your help, let’s go.” And Lucilla’s like, “Great. Let’s. ……… wait a minute. What’d you do to my brother?” “Oh, it’s no biggie,” says Thomas. “I just knocked him unconscious because I don’t have time to explain the situation to him.” And Lucilla replies, “LOL, k. Lemme write him a note and tuck it into his pocket. You’re right. It’s NBD.” And she leaves Marcus on the ground.
For the first half of the book, Thomas and Lucilla attempt to solve the mystery of who poisoned the Carrick clan healer and the entire Bradshaw family, who pushed the healer’s sister Faith down the stairs of the “disused wing” of Carrick Manor, who let an adder into the still room, who broke into Lucilla’s room and threatened to smother her with a pillow, and — finally — who possessed the prescience and amazing ability to aim a giant stone gargoyle down a several-stories’ fall to nearly kill Thomas and Lucilla, strolling below. Along the way, Thomas and Lucilla kiss on occasion (because this is a romance novel).
The thing is, though, that Thomas and Lucilla’s story isn’t very romantic. That’s partly because so much of the story line for the first half of the book remains fixed on the whodunnit plot, and it’s partly because nearly all of the characterization establishing Thomas and Lucilla, their attraction to one another, their mutual “destiny,” and (I assume) the conflict that’s been keeping them apart (Thomas’s wanting to live his own life and make his own choices) is missing from this book, presumably detailed in the prequel novella. Soooo that’s a problem. But, honestly, I think the bigger problem is that Lucilla and Thomas bring little to the romance party other than instalust, and y’all know how I feel about that. (If you don’t, you’re either new here or you’ve got terrible reading comprehension skills. Fingers crossed for the former.) As much as I’m inclined to enjoy a story wherein the heroine is the instigator of all things physical, Lucilla’s aggressive pursuit of Thomas actually creeped me out a little. He mentions a few times that he’s just not that into her, that — yeah — he’d like to bone her, but she’s just not his type for a long-term deal, and her response is “lol. I’ll wear him down eventually. He can’t fight destiny.”
So, yeah. Right after the dude with a pillow sort of kind of threatens to kill Lucilla, she’s like, “hey man, I know we just talked like one page ago about how you’re looking to marry some nice woman down in Glasgow, so you can continue to run your business, but… let’s fuck.” And he’s like, “yeah, cool, we can have a fling. Sure. Why not? But no commitment, k?” On the one hand, I think it’s worthwhile to point out that Stephanie Laurens has done something completely new here, but it’s not exactly a good new thing.
I suspect the best way to explain what I mean is to tell you a little bit about Lucilla’s parents’ story (my favorite of all the Cynster books), Scandal’s Bride. Some 30 years before the events of this book, Catriona, the Lady of the Vale, meets Richard Cynster and knows (because she’s a freaky priestess lady) that he’s destined to be the father of her children. So she drugs him (I’m not kidding) with a mix of downers and uppers, if ya know what I mean, and has her way with him. (Right about now you should be shaking your head and wondering how in the fuck I could call a book that glorifies rape “my favorite.” I know. There are some deeply problematic elements to this book (to every Cynster book, truth be told), but there’s not a power imbalance between these characters, and the narrative takes pains to point out just how wrong Catriona’s actions are. The story ends up working (for me) because Richard, despite having his choice taken away from him initially, pushes through and demands his own agency. Yes, the book is pretty ridiculous and melodramatic (lots and lots of external conflict driving the characters’ internal journeys: Richard is poisoned, a barn catches fire close to the house, etc.), but it’s interesting.)
ANYWAY. Cynster fans (even we reluctant ones) will naturally contrast The Tempting of Thomas Carrick with its forebear. We’ll look at Thomas’s relative lack of agency and be concerned. We’ll look at his being seemingly content with a booty call and be concerned. We’ll look at Lucilla’s inability or unwillingness to use her words and be concerned. And we’ll spend so much time being concerned that we end up missing out on any sweeping romance (assuming any is there). That’s unfortunate.
Anyway, soon after the falling gargoyle incident, Thomas and Lucilla up and leave Carrick Manor (because someone is clearly trying to kill them, among other, slightly less interesting, reasons) and decamp to the Vale (Lucilla’s digs), and readers are left with a lot of frankly boring sex scenes (although I did cheer when “ecstasy painted a sunburst on the inside of his lids,” because that is awesome.) and multiple scenes detailing Thomas’s bucolic bliss. I mean, it is kind of nice seeing that Thomas genuinely enjoys his time in the Vale — makes it less creepy that he’s destined to live there as Lucilla’s consort whether he likes it or not — but I couldn’t figure out how the story could possibly be headed anywhere half as interesting as figuring out whodunnit. Meanwhile, the whodunnit plot completely fizzles out and is not brought up again until the very end of the book. In fact, the whodunnit plot may (or may not, I mean… who knows?) get solved in the next book.
I was super disappointed when the whodunnit plot was abandoned, because it was interesting, you guys (even though it was kind of obvious whodunnit and even though it took the characters on several jaunts through the “disused wing” and involved a lot of conversation about the “disused wing.”).
Then Thomas realizes — with 100 pages still left in the book, I might add — that Lucilla has been like, “Ima show him what life by my side will be like. It will be awesome. *SUNBURST*” And Thomas gets super pissed (because he rightfully feels manipulated and betrayed) and leaves, after some shouting. Let me repeat that crucial phrase: there are still 100 pages left in the book at that point. I wondered if I’d get to read another 50 pages of Thomas wandering around Glasgow, doing his business, going to parties, before he suddenly realizes that he’s the hero of a romance novel and had better suck it up and get back to his lady-love. Actually, it was about 10 pages of heartbroken Lucilla internal monologue, 15 pages of Thomas wandering around Glasgow in mostly-internal monologue, 20 pages of Thomas making amends first to Lucilla’s family members (WTF) then to her, and finally 50ish pages of setting up the next book.
Yeah. I haven’t even gotten to the way the book is structured (The POV shifts frequently, like every few paragraphs, for no reason — other than lazy writing, of course — and Lucilla is given significantly less page time than Thomas and is significantly less well-developed; both things bothered me to no end.) and the inconsistencies in Lucilla’s character (briefly: she’s the acting-Lady, but she doesn’t seem to do any of the things Catriona did. Her priestess duties seem tacked on and not really part of her actual character.). (Also, I was promised enticements (in the blurb). Where the hell were the enticements? As far as I could tell, the only enticements Lucilla wielded to tempt Thomas were poontang and destiny.) But, anyway, this post is plenty long enough. Besides, you get the idea. The Tempting of Thomas Carrick is not only odd but also just straight-up bad. It’s worse than the Black Cobra intrigue-infested travelogues. And maybe the reason I feel such keen disappointment is that my hopes were so high: after all, I still love Scandal’s Bride, even after everything. I wanted so much to love this book, too, but I can’t.
Marcus’s book is projected to be released in May, and I know I shouldn’t read it…
Hey, don’t judge me. That whodunnit plot really was interesting. And I have an illness!
Feel free to discuss this book with me in the comments or on Twitter, even if you liked it, and you’re thinking to yourself, “why is this horrible person making fun of something I love? And why did I just read 2,000 words about it?!” And if, like me, you’re recovering (or attempting recover, or saying “eh, fuck it” like I clearly am) from an addiction to these books, let’s talk about ‘em! What’s your favorite? Do you agree with me that Scandal’s Bride is crazysauce yet wonderful?
The Tempting of Thomas Carrick was released on February 24, 2015 by MIRA (a Harlequin imprint). For more information about the book, click on the cover image above to visit the book’s page on Goodreads.
*FTC Disclosure – I received an ARC of this book from Rock Star PR for review consideration. Somewhat obviously my opinion is my own.*