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I expect you’ve seen the story about the discovery of Claire Claremont’s less than fond reminiscences of Byron and Shelley (monsters of lying, meanness, cruelty and treachery) which has overshadowed another recent literary discovery regarding Georgette Heyer. Since we’re celebrating Georgette Heyer here with our Venetia readalong, what better place to discuss Miss Heyer, writer of a different sort of book. Apparently concerned that her Regencies and mysteries were not bringing in enough income, Miss Heyer turned her inventive pen to a less sophisticated sort of literature; the sort of badly bound book you could find on sale in sleazy bookstores in Soho in the 1950s.

Sadly, although she had the idea–non-stop action, frequent and vigorous pairings (or threesomes as the following excerpt demonstrates), Miss Heyer relied on the M-dash for words she was too much the gentlewoman to write out and her book was refused publication on the grounds that it might actually have to be copyedited, a rarity in this sort of fiction. Discouraged, Miss Heyer laid the manuscript aside.

But judge for yourself. Here’s an excerpt from that manuscript, tentatively titled These :

There was some slight commotion without; the next moment a footman flung open the library door, and the Duke came —.

—, —, and men went —. Léon had — —out of his chair, and had almost flung himself at Avon’s —, all etiquette and decorum forgotten.

“Monseigneur, Monseigneur!”

Over his —Avon met Davenant’s —.

“He is mad, of course. I beg you will calm yourself, my Léon.”

Léon gave his —a last kiss, and rose to his feet.

“Oh, Monseigneur, I have been —!”

“Now, I should never have suspected Mr Davenant of —to —,” remarked his Grace. “How are you, Hugh?” He strolled forward, and just touched Hugh’s outstretched —with his —. “Léon, signify your —at —me by —up the —.” He went to the —, and stood with his — to it, Hugh beside him.

“Have you had a pleasant —?” Hugh asked.

“A most instructive week. The —here are —. Allow me to point out to your notice, Léon, that an insignificant —lies under that —. It is never wise to disregard the —.”
Hugh looked at —.

“What may that mean?” he inquired.

“It is merely advice, my dear. I should have made an excellent —. My —is almost equal to Chesterfield’s.”

Hugh chuckled.

“Chesterfield’s —is marvellous.”

“A little —. Yes, Léon, what now?”

“Shall I — —, Monseigneur?”

“Mr Davenant has certainly — you well. No, Léon, you shall not — —. I trust he has — no —, Hugh?”

Léon cast Davenant an — —. There had been one or two slight — of — between them. Hugh — — him.

“His — has been admirable!” He ejaculated.

Happy April Fool’s Day, everyone! Have you noticed any good online or real life celebrations today?

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Yes, I still want to be Venetia when I grow up. Sigh.

If you recall, we left off last week with Venetia making a shocking call on Damerel at his bachelor home without any chaperon.

In chapter 15, Heyer continues with this breach of propriety in the way she shows us the servants’ reaction and in her description of the room to which she is shown to wait for Damerel.

The saloon seemed unfriendly, with no fire burning in the hearth, and the furniture primly arranged. They had never sat in it when Aubrey was at the Priory, but always in the library, and it still bore the appearance of a room that was never used. Venetia supposed that Imber must have led her to it either to emphasize his disapproval, or because Damerel had not yet finished his business with his agent.

Dun. Dun. Dun.

Everyone pretend that I saw through that his business with his agent right away.

Uh, no. I did not.

He came back to her, and grasped her wrists. “I told you also we would talk of it when we were cooler: well, my love, the night brings counsel! And the day has brought your uncle– and there let us leave it, and say nothing more than since there’s no help, come let us kiss, and part!

She lifted her face in mute invitation; he kissed her, swiftly and roughly, and almost flung her away. “There! Now go, before I take still worse advantage of your innocence!” He strode over to the door, and wrenched it open, shouting to Imber to send a message to Nidd to bring Miss Lanyon’s mare up to the house.

Now there is a man under the grip of strong emotion.

All the clues I had about what Venetia would do to resolve her situation with Damerel were wrong. Wrong!  My best guess was that somehow Damerel would come to his senses after she moved to her own home. My next best guess was she would get herself compromised somehow.

I confess that I kept thinking of the usual things that happen in Historical Romances penned in the 21st century and that did hamper my ability to work my way though to the possible solutions. I had confidence that Venetia would figure something out, but I did think moving to country by herself would some how be it.

What else didn’t I see coming?

How about Mom being alive? I thought she must be for a while and then around the middle of the book, I figured that couldn’t be, so  I discarded that notion. No, I didn’t see that coming either, and I should have. The clues were there.  Way to go, bro’s, lying to your sister like that.

What about her step-father? Was he a nice guy or a creep who would have taken advantage of Venetia if she weren’t too smart for him? After all, he’s already run off with a married woman once, why wouldn’t he stoop to running off with Venetia? There was a moment there when I was quite worried about the man’s intentions.

I thought the ending was amusing and I loved that way it was so wonderfully anticipated by all the previous times they were interrupted. Poor Damerel, trying so many times to propose to her!

Oh, and wasn’t Edward Yardley THE WORST ever? I wanted to bop that man over the head.

In the end, Venetia wins her man by staying true to herself AND to her understanding of Damerel. If she didn’t truly know his character and love him, she could never have won him. Damerel would have refused to be caught. But, as we know, he was a goner by page 30 (of my edition.)

So often in historical romance, it’s the hero who needs to change. That’s not the case with Venetia. We see, instead, the heroine’s journey into the kind of love that changed her as a person. Though the book opens with the suggestion that Damerel = the fox and Venetia = the best layer, one could argue that by the end, it’s Venetia who plays the role of the fox. Damerel is the ravished best layer. All he can do is capitulate to his superior opponent.

So. What do you guys think? First time readers, or those who recall their first reading, did you anticipate what I did not?

What did you like and not like? Any issues, quibbles or what not? Opine in the comments. Go!]

Today marks the anniversary of the death of legendary fashionista (or should that be fashionisto?) Beau Brummell in 1840. For more information on his life, and his afterlife in pop culture, you can look here or here. Since I have an unexpectedly busy day today (ugh!) I decided to celebrate him with some very, er, decorative images of some favorite costume dramas of recent years. All of these men’s costumes seem in one way or another a tribute to the Beau!

Who are some of your favorite “historical” men??












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