
#26
So. SPOILERS SPOILERS SPOILERS SPOILERS
SPOILERS SPOILERS SPOILERS
Now that my entire, very teeny tiny readership has gone off to read the book _first_ since I said It's awesome! before all those spoiler warnings, I can now gush.
Squeeeeeeeee!
I think everyone who reads romantic fiction extensively has a complicated relationship with certain romance novel tropes. But there are few romance novel tropes as complex as when you take someone who has been a big bad guy for a bunch of books in a series, and spin him off in a new series where he is the romantic lead.
Yikes.
Hugh d'Ambray gets married.
Of course it is a marriage of convenience! Because. Romance. Tropes!
Obviously, this is a spinoff _series_ in the Kate Daniels universe. There are reading order directions at the beginning of the book. You do You. Also, much like with the unrelated series, Hidden Legacy, I pretty much finished this book and wanted to turn right around and reread it. I _didn't_ because I wanted to squee first, so I went off and read Snob Zones instead. And parts of other things. But what I really wanted to do was turn back to page one and start right over again.
Did I mention this was awesome?
Book starts with Hugh trying to drink his way to oblivion, because of the Void that resulted when Roland (not my husband) (aka Nimrod) (and yeah, he's actually much worse than you might think, altho arguably his childhood was so fucked up he might be _somewhat_ justified. No, I don't mean that) cut Hugh off when he failed to deliver Kate to her dad, the aforementioned Nimrod. Not _a_ nimrod. Nimrod.
Hugh's immortality is thus gone; we don't really know his probable lifespan at this point. But really, who among us really does? There are buses everywhere, not to mention boiling pools of acidic or alkaline water. (Really. I just visited dozens of them. Many smell like _actual_ brimstone. Which is to say, sulphur. I did mention the acid, right?)
Hugh doesn't really know _what_ he has left, and he has to be brought back to sobriety with a healthy dose of guilt from what remain of his Dogs. Landon Nez is hunting them. Successfully. So Hugh has to come up with a base, and what his gang comes up with is the marriage of convenience to a woman of some mystery, Elara, the White Lady, who has some kind of super powerful magic, who might be incarnating some kind of chaos goddess, that might be feeding off of sacrifices. It's all pretty sketchy. There's definitely 4000 or so committed followers of the Lady, and she exerts an awful lot of effort to stop them worshiping her. None of that, no.
In addition to the threat from Landon Nez, which is substantial, and Roland, probably a bit distant, and from the Atlanta Pack and Kate's friends in general (don't forget: he's given them all a lot of reasons to hate him), there is a mysterious new threat, which the Dogs call Mrogs, basically, the magical boogie men.
Hugh obviously can handle Landon Nez. (Barrels! We find out what is in them! This really felt very D&D campaign-y. In a good way.) And the Mrogs dial up slowly enough that Hugh and the Dogs can come up with successful strategies for coping with them, too. It does not hurt that Elara has seers in her crowd of covens, along with her own hefty dose of chaos magic. Much trickier is trying to overcome the terrifying reputation Hugh has cultivated while in service to Roland. He's not real sure what _he_ will do if Roland asks him to come back, which means that any reassurances he might make that he's not working for Roland so things are different don't mean much to anyone (and to give Hugh credit, he doesn't bother to reassure anyone. Quite the contrary. It is Even More Terrifying).
There is so much in this corner of Kentucky to think about, in fact, that the book feels short. And yet it kept me up two nights running (granted, I was on vacation, and so couldn't really commit all my time to it. But I tried!).
The book does _not_ leave you hanging in terms of sexual er, resolution? Consummation? It's a one night stand, embedded in a marriage of convenience, part of a deal made between Elara and Hugh to ensure he doesn't decide to die gloriously in battle just to be shut of all the hassle and pain of the Void. That whole sequence is delightfully dirty.
Other bits of note: Hugh goes to get a horse, and picks up a junior psychopath -- I really like that kid. I'm looking forward to seeing more of him. The horse, meanwhile, is white, huge, and people see something shimmering on its head sometimes when the magic is up. Oh, yeah. Hugh is riding a white unicorn. Awesome.
HEY I DID MENTION SPOILERS!!! GO AWAY!
The end of the book is particularly delicious. In oh so many romantic suspense novels, the hero and heroine team up to solve some sort of problem, and she is put in jeopardy towards the end of the book and must be rescued heroically and somewhat violently -- but not too violently, except sometimes, when it is That Kind of Book -- by the Hero. It's a thing. Well, this time, it is gender bent. Landon Nez kidnaps Hugh and turns him over to Roland after a spot of torture. (Ew. Altho honestly, he has completely earned it. And more. Which he knows.) Roland is trying to sweet talk him into returning and Hugh isn't having it at all. In fact, Hugh makes a blood needle (a little too damaged and drained to produce more than that) and asks why he can still do that (nope, Landon and Roland don't have an answer there either. Fascinating! Guess we'll be asking Kate next, right? Ha ha ha ha ha. Or maybe Julie? Oh, fun days ahead!). Guess who shows up to break Hugh out? The White Lady in full manifestation / incarnation / WTF. So, so, so awesome. Actually, deeply creepy. Not detailed deeply creepy. Sort of via allusion deeply creepy. Probably not _actually_ as creepy as the Black Banshee, tho. That was freaky.
Oh, and sending the elephant back with flowers was _so_ cool.
I'll be rereading it. Probably more than once.