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Contemplating Harlequin romances, as I turn speculatively to my shelf and crack my knuckles. Here's some mini-smut-reviews:

Girl in a Golden Bed by Anne Weale - He's an artist. She's an artist. They're in Portofino. There's a bed with a bronze mirror. Beautifully languid.

Enchanted in Venice by Lucy Gordon/Silhouette - blah, blah, blah romance in Venice, but before we get to Venice we have my favorite makeover scene in a book. Hair, face, clothes, the works. 

The Lonely Season by Susan Napier - The lonely season in lonely lands, when fled/And half the birds, and mists lie low, and the sun/Is rarely seen, nor strayeth far from his bed;/the short days pass unwelcomed one by one. - Robert Bridges. Like that.

Foolish Deceiver by Sandra Rhoades - She's a genius, who can never get a date. She pretends to be a bleached blond idiot with mixed results.

Unfinished Rhapsody by Gina Caimi/Silhouette - Best backrub scene ever.

Tainted Love by Alison Fraser - Damn. The pain. The angst. The longing looks.

Just Good Friends by Lucy Gordon/Silhouette - Since I've just listed seven Harlequin romances, I must redeem my cred by saying, one of the best explanations of Benedict and Beatrice from Much Ado about Nothing that I've ever read. Plus, it's really funny, because he's Doyle only not a demon. 

And now, I contemplate the romance. The idea of genre, that like horror (it's opposite?) is intended to engender a specific
emotion in a specific audience. Admittedly, there are different types of romances. Funny. Angsty. Karen likes the
humor. I want my heart ripped out and stomped on. However, the essential premise is same. Formulaic. Boy meets girl.
Conflict. Resolution. In Harlequins I even know the page when things will happen. The plot is almost beside the point. It is the
form of the dance, rather than the dance itself that pleasure lends.

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