Multiple ratings
The concept of this anthology was that well-known romance authors would each write a story outside of their usual genre, but their name would not be attached to it until some time after publication, leaving the reader to guess which author wrote which story. I thought the concept was clever and was executed well - although I am pretty sure I know the author of one story, I can only make guesses at the rest.
Even though I auto-buy three of the five authors included in this anthology (Thomas, Barry and Satie), and regularly also read and enjoy Duran's books, I found the majority of stories (3/5) just okay. I've been thinking about this: on one hand, it's very common for anthologies to be a bit of a mixed bag, while, on the other, I think the experimental nature of the anthology could also be a contributing factor. Not having the authors name attached to their work means there's a lack of confirmation bias, because the reader can't go in thinking: 'I've loved all of this author's previous work, surely I will love this as well' and is thus more critical than they might otherwise be.
Nonetheless, I think that Sight Unseen is full of quick, interesting reads, and contains something for everyone, except maybe readers who heavily lean towards historical romance. The novelty factor also adds something fun and unique to the reading experience.
Lost that Feeling - 3 stars
Before being captured as the leader of a rebellion, Alma used her magic to wipe her memory. When her fellow rebels break her out of the prison where she has been kept, she must relearn her place in this underground movement against the King, and begins to question her motives her wiping her memory, and her relationship to Driss, the man who helped her escape.
Objectively, the world-building in Lost that Feeling was great. I'm sure most people would have enjoyed it more than I did, but I have very been particularly interested in the kind classical fantasy setting that appears here. Given a strong romance arc - like in Grace Draven's work - I can sometimes let myself go and enjoy such settings, but there were only the slightest hints of romance between Alma and Driss. Having said that, I did like the open and hopeful ending, which reminded me of the teasing ending of a prequel novella, before the book actually dedicated to unravelling the hero and heroine's relationship.
A Clear View of You - 3 stars
Kate works as a psychic to pay off her student debts, even though she hates it and the whole thing is obviously bogus. But then North shows up, offering her an obscene amount of money if she'll use her 'skills' to help him locate an object.
As a Fey, North knows that Kate has no psychic talent, but what she does have is a mother who is meddling with powers beyond her control. He needs Kate's help to gain entrance to the compound where her mother's so-called 'coven' live, and take back a Fey orb whose power is being misused, before it is too late.
Again, I liked the world-building and backstory of this one more than the romance. Kate has issues from growing up with a hippy mother who believes she is a witch, and just wants to lead a normal life. North is more of an enigma as a character, but the differentiation between the mundane and fey worlds were well-explained and -constructed. However, I wasn't convinced by the romance arc, and feel like the story would have benefited from being a bit longer, or having a bit more characterisation on North's part.
Free - 3 stars
In small-town Montana, Wren's father and uncle run the local second-hand car dealership and a motorcycle club. She's sure that the club just a social thing for bored guys for like motorbikes and wearing leather jackets until the dealership's dorky part-time accountant, clues her into some suspicious stuff on the books.
Brad has had it bad for Wren for ages, but she's the town's unofficial first daughter, not to mention the on-again/off-again relationship with one of the guys in the motorcycle club. But when he accidentally lets Wren in on what's going on behind the scenes, assuming she was already in the know, she begins to make her own investigations, and needs someone to turn to when she uncovers something unpleasant.
Heroes in motorcycle clubs are currently all the rage, and Free used this trope in a creative way that I really appreciated. Making it MC-adjacent meant that the reader doesn't have to tackle the moral greyness or suspension of disbelief involved when the hero is actually a biker. The story was also very well written and paced. I considered giving it a higher ranking, but didn't, because Wren's portrayal of the dumb-blonde-with-smokin'-body portrayal rankled. There's nothing inherently sexist about it - in fact, it is a good example of Butler's concept of performative gender, but it was continually a point of focus in a way that centred the male gaze, and it dampened my enjoyment of the whole thing a bit.
Chariot of Desire - 3.5 stars
The 70's were good to the legendary band Donjon, but as the 1980's roll around, the rock'n'roll lifestyle has taken its toll. Lead singer Donny has joined a Christian sect, and is thus unwilling to sing any of their backlist that contains immoral themes. So, basically, all of it. With the stress on the band reaching breaking point, Donny turns to the band's drummer, CJ, as they try to find a balance between Donny's religion and demons, CJ's standoffishness and the good of the band.
I found Chariot of Desire interesting and different, for a number of reasons. There's the mid-to-late 20th century setting (which I think is massively underused in romance), the use of religion and sectism and the fact that the main characters are past their prime and live (or lived) for sex, drugs and rock'n'roll. As with other stories in the anthology, there is an open ending without a definitive HFN or HEA, but for some reason it worked slightly better for me here, perhaps because it would have been too much of an about-face for the characters to commit to a relationship together.
The Heart is a Universe - 5 stars
Every generation, on the planet of Pax Cara, a child is chosen and raised with the knowledge that, when they grow up, they will be a sacrifice to the old gods. With less than a month left until she must sacrifice herself, Vitalis is looking for a way out. A hero in his own right, Eleian of Terra Illustrata has watched the media coverage of Vitalis for many years. When they meet at an official function, he makes her a public offer of marriage. She accepts, but both of them are hiding things from the other, and the day of the sacrifice is growing ever closer.
The Heart is a Universe was the anthology's stand-out story for me. The world-building, characterisation and plot were all amazing, and it several times it went in directions I genuinely did not expect. It has an unconventional HEA, and if someone else had told me about it, I would have scoffed and denied that anyone could ever pull that off, but somehow, the author does.
Also, for those of you taking part it July's #RomBkLove on Twitter or elsewhere, yesterday's theme was "favourite Virgin Hero/Heroine", and many of us talked about our love for virgin heroes, and made some suggestions. I forgot to mention Eleian, but he is an awesome virgin hero, and I love the way this is worked into the story.
Concluding Thoughts
Looking back on what I've written, it strikes me that Sight Unseen is not just experimental in form, but is also pushing the romance boundaries in other ways, particularly in the way many of the endings do not fit genre conventions surrounding the HEA/HFN. That makes me feel bad about critiquing them, or - more accurately - critiquing some and accepting others. But I'm all about the HEA.
4 stars
For all its short length, Coffee Boy is an novella jam-packed with both romance and deep, emotive exploration of things that affect the characters.
The narrator, Kieran, is a young trans man who takes an internship in a politician's office (and Coffee Boy is ownvoices story when it comes to trans representation). The office's campaign strategist, Seth, is prickly and reserved, but his crush on their straight boss Marcus is plain as day to Kieran. With Marcus oblivious to both Seth's crush and the fact that he hasn't exactly provided Kieran with the trans-friendly workplace he promised, Seth and Kieran gradually form a workplace rapport that - on Kieran's part - slowly morphs into a crush of his own.
I really liked the tentative way a relationship developed between Kieran and Seth. After Kieran gets only his initial dislike of the standoffish Seth, there's a one-step-forward-two-steps-back dynamic. Kieran pushes Seth's boundaries and Seth tries to find a balance between ensuring that Kieran is treated appropriately, and constantly centring Kieran's trans-ness in a way that reminds Kieran of his visibility and difference.
The two of them are also feeling out each other in terms of being the only two non-cishet people in the workplace, and much of their early interaction includes this: by openly acknowledging Seth's crush on Marcus, Kieran has inadvertently caused Seth to come out to him as bisexual. Their different experiences and age gap mean that Kieran self-identifies as queer; but Seth still associates it with the slur. Kieran is also very aware that he is the one who is visibly non-cishet, who lives with the emotional toll of being constantly misgendered, of people wanting to be patted on the back for accepting him, and of having to pass as female at his job flipping burgers.
Some Goodreads reviewers have made mentions about the 'balance' between the romance and the discussions of gender identity and sexuality, either saying that they found it to be well-balanced or not. Personally, I'm not sure that you can talk about a balance, as though the two things can be separated out and weighed individually on opposite ends of a scale. The fact that Kieran is a trans man attracted to other men and Seth is a bisexual man impacts on who they are, the way they live their lives and interact with each other and the people around them. There is no way to gauge the romance except within that context.
When Kieran and Seth fall into a relationship at the end, I loved the way that their tentativeness dropped away. They are open with each other; Kieran states that he wants to try dating Seth, and Seth makes it clear that their relationship will not affect Kieran's employment opportunities. The sex occurs organically, without any sense that there is something to be negotiated or figured out.
Coffee Boy didn't go much past Kieran and Seth establishing their relationship. Objectively, I feel like that makes sense, since the book was really centred around them sounding each other out, both as queer colleagues and in a romantic sense. But that doesn't mean that, subjectively, I wouldn't have liked to see them further down the track, or have the novella be longer. But that's pretty standard for me and novellas, for all that I try not to judge them as though they were novels.
As a novella, Coffee Boy had exceptional depth. I've talked about the relationship dynamic and the exploration of gender and sexuality, particularly in the workplace, but the other stand-out aspect for me was Kieran's dry, dark sense of humour, which is used to show his expectations about how people will treat him:
Seth actually turns and scribbles something down on a pad of paper in front of him. Kieran can’t imagine what he’s writing. “Remind everyone in the office that new intern is a dude”? Or, probably more likely, “Fire whiny trans guy at earliest opportunity.” (8%)
Later in the story, Kieran also deploys his humour to keep Seth from taking himself too seriously, in a way that demonstrates how well-matched the two are.
Overall, I really loved Coffee Boy, and the only thing that stopped me from giving it 4.5 stars is the fact that it's written in third-person present tense, which gives me a lot of trouble, as I wrote in the last review for a book I read in this style. This is obviously an intensely personal thing, so if it's not something that bothers you, mentally bump the rating up that half star.
4 stars
*EPILOGUE SPOILER ALERT*
Lucy Miller has mixed feelings about going home to the Midwest for Christmas, but then there is a forced change of plan: thanks to other people's incompetence, she and the shy Chanoch Evans will have to work through the holiday on a project. When they are accidental voyeurs to their boss and her husband getting hot and heavy late one night at work, something sparks between them, and they decide that - despite their firm's 'no fraternisation' policy - a Christmas fling won't harm anyone.
Due South and its characters struck a serious chord with me on so many levels. I seriously related to the way that both Lucy and Evans are shy, anxious and slightly socially awkward. Lucy faces derision from her family for being "just a secretary", in the same way I absolutely loathe being called "just a receptionist". Lucy has also faced a lifetime of having her sexuality policed, being told that she is responsible for the way men respond to her body, something that I think most women can relate to. Evans' family dynamic also hit quite close to home for me.
On a less personal note, I loved the way Evans' was so sweet, and tries so hard to be honorable. After he and Lucy kiss for the first time - which he initiates - he has this internal monologue:
As soon as this massive and increasingly achy erection goes away, I am going to offer her the most profound and profuse apology that has been offered to anyone ever. And if she’s uncomfortable with me—and who could blame her?—I’ll offer to hand in my resignation. It’s the only proper thing to do. Sure, I’d have to find something else right away because of my family, but I can’t bear the idea of Lucy having to work with someone who violated her. If I kept a sword in my office, I’d throw myself on it. As things are, I’ve only got some pencils that are in desperate need of a sharpening, a ruler, and some paperclips. I couldn’t even injure myself in a dignified manner. (loc. 385)
The whole book is as droll and funny as that excerpt, both from Evans and Lucy's perspectives. The chemistry and romantic compatibility between the two was also suberb.
Another thing that I really appreciated was the three dimensional portrayal of Lucy and Evans' boss, who runs the gamut from ball-busting dragon lady to sympathetic, caring and overwhelmed. While both Lucy and Evans' have some sentimental attachment to their workplace, Due South is also wonderfully realistic about the ups and downs of being a heavily-relied on employee.
While I enjoyed the heck out of Due South, I didn't feel like the ending was as strong as the rest of the book. It was a bit run-of-the-mill, when both the MCs had been such beautifully complex and different characters throughout. I also felt it undermined everything that preceded it: the story very much revolves around Lucy and Evans as shy, introverted characters and the epilogue somewhat overturned that.
While Evans does have second thoughts about proposing to Lucy in a semi-public place, it's to do with his nerves and not how it might be for her, which I felt was at odds with the way he is normally so considerate of her. Similarly, the resolution sees Evans taking a particular decision out of Lucy's hands, and - while it showed that he cared for her enough to solve a problem for her, potentially at his own expense - it did rankle that he robbed her of agency. However, I was happy that, through Evans actions, the two of them avoided a potential Big Misunderstanding.
Lastly, I know that it's rare for authors to have a say on their books covers, but I'm not a fan of this one. The book makes a point of Lucy being a beautiful, curvaceous woman, and the model is so...angular. She's all jawbone and scapula and absolutely no boobs. Ughh.
