A Civil War Romance in Which we find Many Intriguing Contradictions
The Hero: Theo Ward, dutiful son and attorney-at-law; justice-seeker on the side of right, abolitionist but not activist; mildly henpecked, professionally and emotionally stalled until a second chance at his failed romance galvanizes his enlistment as a Union officer.
Falls For: Margaret Hampton, principled and devoted teacher, pragmatist and secret romantic.
Brought To You By: Emma Barry, in Brave in Heart (July 2013 e-release from Crimson)
From the publisher, courtesy of Goodreads: Theodore Ward is a man of deep passions and strong principles—none of which he acts on. So Margaret Hampton ends their engagement, breaking both of their hearts in the process.
Years after their estrangement, ardent but frozen Theo attempts to reconnect with Margaret. She is no longer trusting of the idea of romantic love, having become pragmatic and wary during decades alone. But with the drumbeat of the early days of the Civil War in the background, how can she refuse?
The courtship that results is hasty, reckless, and intense, fueled by contradictions between Theo’s willingness finally to change and Margaret’s fears about the future. Two smart, stubborn, fiery people will need to overcome the hesitancies of their hearts and the perils of battle if they’re ever to find happiness.
The Setting: Middletown, Connecticut, at the start of the U.S. Civil War, 1861 through 1863. The setting alone is going to get this book noticed within the histrom community, and Emma Barry has been eloquent in framing her enterprise in the long shadow of Margaret Mitchell, in spite of the fact that GWTW is not a romance, and Brave in Heart is not set in the South.
It’s a bold move to set a romance in a decidedly unglamorous wartime, and especially so when there is no plot device to put the couple together at the front (eg. working as spies, battlefield hospital, etc). In historical romance these days, when war is a major theme, it’s nearly always Napoleonic and it’s usually in the hero’s past, not his present. The history here is well-researched and authentic and the details of their lives as lawyer and teacher and members of the educated and privileged class of Connecticut society are skillfully rendered.
GWTW regimental ball scene, replica lobby card, via posterplace.com
Barry’s evocation of a Northern community on the brink of what we (but not they) know to be the massive and protracted trauma of the Civil War is moving and poignant without ever patronizing. I truly loved the opening sequence set during a ball in honor of departing Union regiments, with its heightened emotion and feverish sense of enthusiasm staving off grim realities and dread of what’s to come. The writing itself has an old-fashioned density and dignity that enhances the Victorian-era atmosphere, without making use of overt dialects or overwhelming the narrative.
The Tropes: Second Chance at Love, War Bride, Mother in Law Issues, Love Letters, Ordinary Heroes
Brave but not Badass: “Ardent but frozen” is a great tagline for Theo, asserting a hero who is by definition contradictory. I couldn’t really figure him out and as a result I’m finding this a challenging book to review as a romance. Let’s start with ardent: I badly wanted to connect with Theo as a man driven by strong emotion, but reluctantly concluded that, for me, this was a case of telling not showing. He’s described as impassioned. I just couldn’t feel it, except maybe in his letters. He’s frustrated, with himself and with his life; he has strong political principles and inner yearnings to be an actor on a larger stage. I’m not sure these frustrations make him come across as passionate, though ardent is an interesting word choice because it suggests someone more youthful (even adolescent?) than a man in his late 30’s.
And how about frozen? We see him freeze up — and give up — in the Prologue when Margaret breaks off the original engagement, but WHY is he frozen? I couldn’t get past the fact that he’s 39 years old and the broken engagement happened two years prior – he would have been 37. What happened during almost two decades of adulthood to make him so passive and deferential to his mother? We do learn early on that the death of his father has caused his mother to rely on him and keep him close, but he seems to have almost no discernible personality beyond his politics, his love and admiration for Margaret, and his frustration with his own lack of backbone. I kept wishing that the Prologue had been long enough to help me understand what makes Theo tick, and why he has chosen to live such a narrow life for so many years. I just needed more back story to understand his pressures and priorities.
Arrested Development? Perhaps if Margaret and Theo had been written as younger characters — in their early 20’s, say — the romance might have made more sense to me. Theo in particular comes across as a much younger person, flailing around trying to figure out how to match his actions with his dreams and fantasies. There are several references to the years he has suffered since the broken engagement, so it might have made more sense if they had been estranged for 10 or 12 years, rather than 2, which doesn’t really seem all that long if you are nearly 40. Because the wartime separation is part of the novel’s main story arc, I don’t think it’s a spoiler to note that Theo suddenly enlists in the Union army immediately following an unsatisfying encounter with Margaret in which she gives him a reprise of her original rejection and dressing down. At this point his thought process more resembles that of an “I’ll show her!” adolescent than a seasoned lawyer of 39 years. It also doesn’t come off as the bold, ruthless action of a man in control of his destiny — it feels reactive and hectic, rather than badass. Also, I know authors have little or no control over cover images, but this one, which uses sepia tones beautifully to convey the period, really misleads with its photo image of a young woman who looks decades younger than Margaret’s 37 years.
An Unusual Romance Hero: I’m very sympathetic to arguments for getting rid of rigid alpha/beta hero classifications, and Theo makes a strong case for the inadequacy of these definitions. He’s one of the most passive heroes I’ve ever encountered in romance. As I mentioned, I’m finding it challenging to sum up my response to Theo — on the one hand I appreciate the intellectual challenge of encountering and enjoying an unusual hero who’s not an up-in-your-face alpha. I also like Barry’s willingness to construct a hero who is hard to love, but not in the usual bad boy ways, and I do think Theo works quite well as a portrait of a young man riven by inner conflict, still seeking to live an authentic life in accordance with his beliefs as well as with his family’s (his domineering mama!) needs and expectations.
If I’m being honest, though, Theo’s To Be or Not To Be angst just irritated me for much of the novel, and, like Margaret, I kept wanting him to man up. Here’s how Margaret describes her man to a younger friend, during the wonderful ballroom scene where she re-encounters him for the first time since breaking the engagement:
He is a passionate man, but he submits, I think, too much to the desires of others. He…doesn’t achieve moderation. I grew weary of his inner intemperateness and his outward capitulation. It’s a contradiction too great for one man to bear.
Ardent but frozen? Michelle Pfeiffer and Daniel Day-Lewis as Ellen Olenska and Newland Archer in the 1993 film adaptation of The Age of Innocence, via moviemail.com
I need to pause here to savor this language, with its old-fashioned restraint and cadence masking the ruthlessness of the judgment rendered. Barry’s gift for replicating the tone and flavor of period dialogue and prose is unique and tremendous.
Back to Theo — his quest for love, identity, and authenticity put me in mind of another 19th-century passive hero — the tragically trapped Newland Archer of Edith Wharton’s masterful The Age of Innocence. So I am intrigued by all this, but not immersed in the romance. Neither hero nor heroine captured my heart in the way that larger-than-life characters do when I am reading a captivating romance in which the principle focus of my experience as a reader is the anticipation of their every interaction, and the ultimate HEA.
The fact that Brave in Heart, as a work of genre/romance fiction, ends with an HEA, is satisfying on one level, but doesn’t match my experience of these characters or this couple. It just wasn’t a good sign when the hero refers to the heroine as a nag within the first chapters of the book — and not in a jokingly affectionate way. This may be authentic, and how real people think, but it felt jarring and caused me to repeatedly question whether Theo and Margaret really liked each other. She thinks he’s a mama’s boy; he thinks she’s demanding and impulsive. In a romance, I’m not sure I want to spend much time thinking about how the couple will probably drive each other crazy once they start actually having to live together.
A Successful Contradiction of Expectations: What this unusual book did achieve quite brilliantly was to evoke the experience of reading an authentic 19th-century story, and this in itself is quite captivating. Theo survives the great battle of Fredericksburg (again, I’m asserting this is not a spoiler since we know the book will have an HEA), but most of what we hear about his experience of the front is about surviving and enduring. I haven’t said much about Margaret as the heroine, but she, too, is a figure of stoicism and yearning, and I didn’t see her as impulsive or demanding. Her one truly impulsive act was breaking off an engagement with someone she appeared to love but not like very much. But what’s so interesting about this kind of protagonist — whether hero or heroine — is that it suggests the ordinary heroism to be found in endurance, perseverance, and constancy. The ability to love someone in spite of their fears and unredeemed flaws can also be an act of heroism.
In some ways this trope in particular reminds me more of mainstream fiction, or a 19th century novel. It’s almost as if Theo and Margaret are literary characters from a period piece who have been given Romance H/h roles to play, and they do so somewhat awkwardly. In historical romance there is a strange alchemy that happens when the sexy times take us inside the bedroom for steamy sizzle without breaking into anachronism or allowing the characters to become ahistorical. I can’t figure out why the love scenes felt uncomfortable, since there is indeed heat along with a sense of intimate discovery, and both characters remain fully authentic. For some reason I just felt like I would have been OK with letting this hesitant couple have their privacy! These contradictions kept taking me out of the romance itself, but may have served to enhance this novel as a work of nuanced historical fiction.
Bring Back the Epistolary Novel! Finally, the most distinctive feature of Brave in Heart as a romance in the style of a 19th century novel is its reliance on a long separation and correspondence between hero and heroine. The epistolary sections of the book are fiercely and beautifully written, and these passages where we hear the characters narrating in first person were the most effective in pulling me in and allowing me to connect with the genuine romance between Theo and Margaret. I am delighted to be reminded of how affecting an epistolary novel can be, and also how difficult to write an entire novel within the constraints of this format. But if anyone has a chance at reviving this old-fashioned and challenging literary form with authenticity and verve, I’d venture to say it’s Ms. Barry, and I hope she may indeed consider it.
Brave in Heart is available today from Crimson Romance, and is available in the usual formats and places. I received a generous e-ARC of this novel from the author, for an honest review.
My children think most grownup books show people on the cover without their heads. Or half their clothes. Sigh.
Badass Romance 