I've been very happily reading through Lisa Kleypas' catalog. The Wallflowers books are pretty great (other than the one with the St Sebastian dickhead) and I think the Ravenels don't have a bad volume, even if the first one is a little weak. But this is inevitable when reading backwards through someone's novels: you're going to hit a dud written 20 years ago when said novelist was just beginning to hone their craft. This is that dud. 

I do not mind ridiculous set-ups in romance novels. In fact, I think building as ridiculous a set-up as possible and then getting the reader to buy it is one of those skills romance novelists share with mystery writers. It's a convention of the genre. But the ridiculous set-up in Somewhere I'll Find You repeatedly annoyed me: the children of two jerks are married to each other when he's seven and she's four. One needs money; the other wants his grandchildren to have a title. You know, typical Duke of Marlborough marries Vanderbilt stuff. It's the forced marriage trope, cool cool. But then several times the characters mention that clearly the marriage can't be legal, so why the front door is anyone worrying about it? When girlfriend comes of age, she changes her name and joins a traveling troupe of actors, because you're not going to tell me what to do, Dad!!! I'll just go hide from a marriage that isn't legally binding! She's all scared her husband will come find her because what if he's a dick like her dad, but I keep flow-charting back to the fact that everyone is behaving as though this sham marriage matters. 

So ten years after she's told her dad to pound salt and taken off, main girl is like the most successful actress in London, acting opposite the theater owner and all around growling misanthrope in hot pants who should have been the lead. Everyone thinks they are making the beast with two backs, up to and including her husband, who comes looking for his wife in London so they can divorce and have their own lives, and instead finds this zesty and refreshing young actress. But then dun dun dun they are one in the same! What are the odds! And he loves her and think they should stay married! But she wants to continue her career! So they have some contrived conflict about it until events conspire to work out! 

Bah, this is all too wonderful for me. I think I'm supposed to think there's fate at work here or something, but it all just seems dumb and awful. The romantic lead dude consistently blackmails, maneuvers, or otherwise ignores our heroine's wishes. He also does that thing that so many romantic leads do, which is just get overtaken with black jealousy maybe the second time he and lady friend hang out and she spends any attention on another man. I'm supposed to take this as a sign of his deep affection I guess, but it reads like controlling asshole to me every time. And when they do finally bone so he's sure he owns her now? That jealousy translates to a highhandedness that's both patronizing and paternalistic, which is a nice trick if you can pull it off.

Additionally, there is a subplot involving a slinky bitch-goddess mistress of the main guy who gets curbed when he finds his actress/wife. She then pulls a fake-pregnancy plot to try to entrap him into marriage while crawling all over the dude trying to lure him back with her luscious sexuality. The sexy mistress who flies into jealous rages after bro finds his virginal soulmate is a trope I could do without, and I do not appreciate the slut-shaming and compare/contrast between different sexual modes for women. Virginal mouse or luscious sexpot are not actually in conflict with one another. They could both exist quite happily in the world together if they weren't constantly set up as this ridiculous dialectic. 

Anyway, I should emphasize that I generally like Kleypas, so this is an anomaly, something pulled from the back catalog when it probably should have just stayed in the dustbin of the 90s. I am also totally going to read the next in series too, because it's about the growly hot pants theater owner. He gives such charmingly jaundiced advice to our heroine in this novel, and ye gads do I love a cynic. 

He's no gentleman, but he's all heart. He just doesn't know it yet. American Asshole takes personality clashes on with an arrogant jerk and his headstrong rival. Tenor may be his own worst enemy. His bark, has nothing on his bite. Business is the name of the game and he's about to get schooled in matters of the heart. The battle of the dueling matchmakers takes a knock out punch when the man with no heart discovers he just might have met his match. Mia could be his happy ending, if he tones down his pride and listens to his heart. American Asshole is what happens when love gone wrong, comes right. Electricity is the star of the show and this couple makes sure you feel the burn. 

Have now read  You twice now  and have to say it is just as good and fun the second time around as it was the first.Have only read Hidden Bodies once so far but will be honest though and say  I am glad she changed to the third person point of view in the sequel.  I was both a fan and not a fan of the second person perspective in You.Though maybe she changed it because well the "You" is now dead  in the sequel so can't really use that "You" again now can she? Now don't get me wrong when done correctly, especially in You, is jarring and just makes you feel slightly weird reading it . Think the jarring nature of it was what made reading You so much fun. Thing is the jarring nature of it also takes you out of the story at times. That and well second person usually for me only works really well in choose your own adventure sort of novels . It works in those sort of novels because the YOU they are referring to there is actually you. Descriptions of the you in them is none existent because  well the point is  that the reader is supposed to be so lost in the story they actual feel they are along for the adventure and the second the writer adds any descriptions the more people that will not match that description and thus not be able to see the themselves in the story any longer. The thing that makes You different is that the You Joe describes is not you the reader but a character in the story and you are more or less sort of living in her body for the story I guess is the best way to put it. I think You works and is way creepier , least to me, when he does mention the character he is stalking by name. Course get why he does because well she is a character in the story so unless the you was actual the reader be strange if not mentioning her name but again the effect is way better when the character's name is not mentioned.

This book is about a bunch of overgrown teenagers with raging hormones, irrational, stubborn and angry. There is no reason to their actions, no logic in their thoughts. The writing itself is on immature side. Disappointed. The rating is for the 40% I've suffered through.

A little weak on mystery, I think. George didn't impress me either. 3.75 stars, all courtesy of Jefferson, whom I liked quite a bit.