. Jo here, pondering mothers and sons in historical romance, in part because the heroine of my MIP, The Viscount Needs a Wife, keeps mentioning or thinking about the subject.
Also, two things came at me in close succession, and got me thinking. Why don't the heroes of historical romances have deep bonds with their mothers?
So, first question — am I wrong? Do you know any historical romances in which the hero has a deep bond with his mother that plays a part in the book?
Let me explain the two things that caused my pondering.
The first was an article about Dorothy Dunnett's writing, which reminded me of the emotional intensity, and the complexity of her character Lymond.You can read the article here.
The second was a reminiscence piece on the radio about World War 2 soldiers who returned to Jersey after the war. The Channel Islands were the only part of Great Britain occupied by the Nazis. Click on the link for more about that.
The elderly Jersey men talked of their emotions on sailing into the harbour of their home not knowing what to expect, and one man's voice broke as he said, "My first thought then was to see my mother." You can here the 5 minute piece here.
In the first book of Dunnett's Lymond Chronicles, The Game of Kings, Francis Crawford's mother Sybilla plays a complex part, but for most of the book they have only the briefest, and most unpleasant, encounter. Before that they've not met for about four years since he was first taken prisoner in battle in his teens and taken to England, and then framed as a traitor and on the run. (I'm not going to bother about minor spoilers. The book was published in 1961!)
In Game of Kings Lymond is creating havoc, often within his family, and only one step ahead of execution throughout. The struggles are mighty, the sufferings stupendous, the emotions violent (this is, after all, Dunnett) and the reader is often confused as to whether he's hero or villain. But by the triumphant end we're left in awe of Lymond's intellect, physical abities, and above all his self-reliance.
Yet at the end, we have this. The Queen Dowager of Scotland, the infant Mary Queen of Scot's mother, asks what reward he wants "other than the unqualified love of my daughter."
He says, "I have no other desires, and can imagine none."
"No?" said the Queen Dowager, and rising swept Francis Crawford out of the room…. "No other desires? Au contraire. There are some that I shall expect to find out and one, assuredly, that I know," said the queen with decision; and opened a door.
In a lifetime of empty rooms, this was another.
Then there was a whisper of silk, a perfume half-remembered, a humane, quizzical presence; and a wild relief that deluged the tired and passionate mind."
Sybilla was there. She saw her son's eyes, and flung open her arms.
So I encountered two examples of the powerful bond of warriors to their mother, one from real life and one from fiction, and they stirred the question above — why don't we have such bonds in historical romance? Remember, one is real, remembered seventy years later in a broken voice.
One thought is that in a romance the hero is bonding with the heroine, which will take priority.
I could counter (I love arguing with myself!) that it's not an either/or, any more than love of children and spouse is. I could also argue that the bond could be there at the beginning and superceded as the book progresses.
I don't find either, but I'm looking forward to learning about titles in which the bond exists.
I admit I'm not great at creating such mother-son relationships. Quite often the mother is dead, and I've created some mothers-from-hell. One good one that comes to mind is in Deirdre and Don Juan, where Everdon has a close relationship with his mother and turns to her for advice.
But I'm looking for recommendations of books in which the hero holds his mother in his heart in some iconic way, and possibly turns to her for emotional support. I'll extend it to all romantic fiction, past and present. Which ones fit the bill?
If there aren't many, why not? If this bond is real for many men and has been through the ages, why is it not represented in fiction, especially fiction in which the hero is a warrior?
Do we want to read such books?
I love the ending of Game of Kings, and it doesn't only work because at that point Lymond hasn't found his soul mate. By the end of the six book series he has, but his bond with Sybilla has not been diminished. The book ends with the couple, as it should, but a page before the end we have a crucial scene which includes Sybilla and ties up the thread of the mother/son story. That thread has not diminished the love story as far as I'm concerned.
So, any thoughts on this?
Any suggestions of books that fit my requirements?
Any real life stories of mothers and adult sons?
Jo
Off the top of my head, only Sylvester and False Colours by Georgette Heyer. In both, the heroes are very fond of their mothers, but they are in no way dominated by them; they are very much their own men.
Off the top of my head, only Sylvester and False Colours by Georgette Heyer. In both, the heroes are very fond of their mothers, but they are in no way dominated by them; they are very much their own men.
Off the top of my head, only Sylvester and False Colours by Georgette Heyer. In both, the heroes are very fond of their mothers, but they are in no way dominated by them; they are very much their own men.
Off the top of my head, only Sylvester and False Colours by Georgette Heyer. In both, the heroes are very fond of their mothers, but they are in no way dominated by them; they are very much their own men.
Off the top of my head, only Sylvester and False Colours by Georgette Heyer. In both, the heroes are very fond of their mothers, but they are in no way dominated by them; they are very much their own men.
Adding to Janice’s comment I’d also include Heyer’s Devil’s Cub. BUt Sylvester was the first one to spring to mind.
Adding to Janice’s comment I’d also include Heyer’s Devil’s Cub. BUt Sylvester was the first one to spring to mind.
Adding to Janice’s comment I’d also include Heyer’s Devil’s Cub. BUt Sylvester was the first one to spring to mind.
Adding to Janice’s comment I’d also include Heyer’s Devil’s Cub. BUt Sylvester was the first one to spring to mind.
Adding to Janice’s comment I’d also include Heyer’s Devil’s Cub. BUt Sylvester was the first one to spring to mind.
Perhaps female writers don’t explore the relationship between mother and son because they don’t know enough about it. We know about our own relationship with our own mothers but in my experience, after marriage, men modify the relationship with their mothers. I read my husband’s letters to his mother when he was a student and they seemed very close. That was then. After he married me, he certainly loved her, but his family with me was his main concern. Whereas, my relationship with my mother didn’t ever change.
Perhaps female writers don’t explore the relationship between mother and son because they don’t know enough about it. We know about our own relationship with our own mothers but in my experience, after marriage, men modify the relationship with their mothers. I read my husband’s letters to his mother when he was a student and they seemed very close. That was then. After he married me, he certainly loved her, but his family with me was his main concern. Whereas, my relationship with my mother didn’t ever change.
Perhaps female writers don’t explore the relationship between mother and son because they don’t know enough about it. We know about our own relationship with our own mothers but in my experience, after marriage, men modify the relationship with their mothers. I read my husband’s letters to his mother when he was a student and they seemed very close. That was then. After he married me, he certainly loved her, but his family with me was his main concern. Whereas, my relationship with my mother didn’t ever change.
Perhaps female writers don’t explore the relationship between mother and son because they don’t know enough about it. We know about our own relationship with our own mothers but in my experience, after marriage, men modify the relationship with their mothers. I read my husband’s letters to his mother when he was a student and they seemed very close. That was then. After he married me, he certainly loved her, but his family with me was his main concern. Whereas, my relationship with my mother didn’t ever change.
Perhaps female writers don’t explore the relationship between mother and son because they don’t know enough about it. We know about our own relationship with our own mothers but in my experience, after marriage, men modify the relationship with their mothers. I read my husband’s letters to his mother when he was a student and they seemed very close. That was then. After he married me, he certainly loved her, but his family with me was his main concern. Whereas, my relationship with my mother didn’t ever change.
I think one of the things that prevents heroes from having a strong bond with their mother is the desire of writers to justify the brokeness/rakishness/coldness/whateverness of the hero. A man with a healthy bond with a loving mother is not likely to be that kind of hero because he is already loved.
I think one of the things that prevents heroes from having a strong bond with their mother is the desire of writers to justify the brokeness/rakishness/coldness/whateverness of the hero. A man with a healthy bond with a loving mother is not likely to be that kind of hero because he is already loved.
I think one of the things that prevents heroes from having a strong bond with their mother is the desire of writers to justify the brokeness/rakishness/coldness/whateverness of the hero. A man with a healthy bond with a loving mother is not likely to be that kind of hero because he is already loved.
I think one of the things that prevents heroes from having a strong bond with their mother is the desire of writers to justify the brokeness/rakishness/coldness/whateverness of the hero. A man with a healthy bond with a loving mother is not likely to be that kind of hero because he is already loved.
I think one of the things that prevents heroes from having a strong bond with their mother is the desire of writers to justify the brokeness/rakishness/coldness/whateverness of the hero. A man with a healthy bond with a loving mother is not likely to be that kind of hero because he is already loved.
I remember reading a lot of Dorothy Dunnett back in the day – the Nicolo Rising series.
As far as Mother/Son relationships go, I wonder if, in reality, there were very few Mother/Son relationships purely because of the way most sectors of society ran. Sons were – in general – brought up with their fathers as soon as they could be. They would join another household as apprentice, or working in the same areas as their father.
There ARE exceptions, of course – Eleanor of Aquitaine comes to mind immediately.
Just my 2p worth.
John
I remember reading a lot of Dorothy Dunnett back in the day – the Nicolo Rising series.
As far as Mother/Son relationships go, I wonder if, in reality, there were very few Mother/Son relationships purely because of the way most sectors of society ran. Sons were – in general – brought up with their fathers as soon as they could be. They would join another household as apprentice, or working in the same areas as their father.
There ARE exceptions, of course – Eleanor of Aquitaine comes to mind immediately.
Just my 2p worth.
John
I remember reading a lot of Dorothy Dunnett back in the day – the Nicolo Rising series.
As far as Mother/Son relationships go, I wonder if, in reality, there were very few Mother/Son relationships purely because of the way most sectors of society ran. Sons were – in general – brought up with their fathers as soon as they could be. They would join another household as apprentice, or working in the same areas as their father.
There ARE exceptions, of course – Eleanor of Aquitaine comes to mind immediately.
Just my 2p worth.
John
I remember reading a lot of Dorothy Dunnett back in the day – the Nicolo Rising series.
As far as Mother/Son relationships go, I wonder if, in reality, there were very few Mother/Son relationships purely because of the way most sectors of society ran. Sons were – in general – brought up with their fathers as soon as they could be. They would join another household as apprentice, or working in the same areas as their father.
There ARE exceptions, of course – Eleanor of Aquitaine comes to mind immediately.
Just my 2p worth.
John
I remember reading a lot of Dorothy Dunnett back in the day – the Nicolo Rising series.
As far as Mother/Son relationships go, I wonder if, in reality, there were very few Mother/Son relationships purely because of the way most sectors of society ran. Sons were – in general – brought up with their fathers as soon as they could be. They would join another household as apprentice, or working in the same areas as their father.
There ARE exceptions, of course – Eleanor of Aquitaine comes to mind immediately.
Just my 2p worth.
John
Janice, in False Colours the twins love their mother, but I wouldn’t say she was their strength and support. I have to admit that I can’t remember the mother’s role in Sylvester.
I’m not talking about dominating mothers, but ones who are a mainstay even as the men reach adulthood and responsibilities.
Janice, in False Colours the twins love their mother, but I wouldn’t say she was their strength and support. I have to admit that I can’t remember the mother’s role in Sylvester.
I’m not talking about dominating mothers, but ones who are a mainstay even as the men reach adulthood and responsibilities.
Janice, in False Colours the twins love their mother, but I wouldn’t say she was their strength and support. I have to admit that I can’t remember the mother’s role in Sylvester.
I’m not talking about dominating mothers, but ones who are a mainstay even as the men reach adulthood and responsibilities.
Janice, in False Colours the twins love their mother, but I wouldn’t say she was their strength and support. I have to admit that I can’t remember the mother’s role in Sylvester.
I’m not talking about dominating mothers, but ones who are a mainstay even as the men reach adulthood and responsibilities.
Janice, in False Colours the twins love their mother, but I wouldn’t say she was their strength and support. I have to admit that I can’t remember the mother’s role in Sylvester.
I’m not talking about dominating mothers, but ones who are a mainstay even as the men reach adulthood and responsibilities.
I’ll have to re-read Sylvester, Anne. I’m not sure about Devil’s Cub. Again, love, but I almost have the feeling that Leonie is responsible for him being a spoiled brat. *G*
I’ll have to re-read Sylvester, Anne. I’m not sure about Devil’s Cub. Again, love, but I almost have the feeling that Leonie is responsible for him being a spoiled brat. *G*
I’ll have to re-read Sylvester, Anne. I’m not sure about Devil’s Cub. Again, love, but I almost have the feeling that Leonie is responsible for him being a spoiled brat. *G*
I’ll have to re-read Sylvester, Anne. I’m not sure about Devil’s Cub. Again, love, but I almost have the feeling that Leonie is responsible for him being a spoiled brat. *G*
I’ll have to re-read Sylvester, Anne. I’m not sure about Devil’s Cub. Again, love, but I almost have the feeling that Leonie is responsible for him being a spoiled brat. *G*
That’s an interesting angle, Virginia. However, as authors we have to try to go into the male mind for his relationships.
Having talked about Heyer, again we have an author from decades ago. I wonder if we’ve changed in how we think about these things and shy away from “momma’s boy.”
That’s an interesting angle, Virginia. However, as authors we have to try to go into the male mind for his relationships.
Having talked about Heyer, again we have an author from decades ago. I wonder if we’ve changed in how we think about these things and shy away from “momma’s boy.”
That’s an interesting angle, Virginia. However, as authors we have to try to go into the male mind for his relationships.
Having talked about Heyer, again we have an author from decades ago. I wonder if we’ve changed in how we think about these things and shy away from “momma’s boy.”
That’s an interesting angle, Virginia. However, as authors we have to try to go into the male mind for his relationships.
Having talked about Heyer, again we have an author from decades ago. I wonder if we’ve changed in how we think about these things and shy away from “momma’s boy.”
That’s an interesting angle, Virginia. However, as authors we have to try to go into the male mind for his relationships.
Having talked about Heyer, again we have an author from decades ago. I wonder if we’ve changed in how we think about these things and shy away from “momma’s boy.”
Very interesting, Fiona. In Dunnett it’s external factors that create the problems but that also create the bond. A writer needs a deft hand with high drama to pull it off, I suppose.
I don’t much like badness in a hero, nor unremitting coldness or bitterness, so I can’t address that except that, as you say, it doesn’t say much for the son-mother bond if she’s still around.
Very interesting, Fiona. In Dunnett it’s external factors that create the problems but that also create the bond. A writer needs a deft hand with high drama to pull it off, I suppose.
I don’t much like badness in a hero, nor unremitting coldness or bitterness, so I can’t address that except that, as you say, it doesn’t say much for the son-mother bond if she’s still around.
Very interesting, Fiona. In Dunnett it’s external factors that create the problems but that also create the bond. A writer needs a deft hand with high drama to pull it off, I suppose.
I don’t much like badness in a hero, nor unremitting coldness or bitterness, so I can’t address that except that, as you say, it doesn’t say much for the son-mother bond if she’s still around.
Very interesting, Fiona. In Dunnett it’s external factors that create the problems but that also create the bond. A writer needs a deft hand with high drama to pull it off, I suppose.
I don’t much like badness in a hero, nor unremitting coldness or bitterness, so I can’t address that except that, as you say, it doesn’t say much for the son-mother bond if she’s still around.
Very interesting, Fiona. In Dunnett it’s external factors that create the problems but that also create the bond. A writer needs a deft hand with high drama to pull it off, I suppose.
I don’t much like badness in a hero, nor unremitting coldness or bitterness, so I can’t address that except that, as you say, it doesn’t say much for the son-mother bond if she’s still around.
John, it’s interesting that in Niccolo there isn’t a positive mother role. I’m sure DD was actively avoiding using the same motifs.
I suspect that the boys raised by men situation was part of the mother-son bond because the mother represented the gentler, safer, younger times at a deep emotional level. Perhaps that’s less so today, when parenting patterns are more equal?
I’m thinking of all the popular Victorian songs about mothers, always sung by men in my mind, and often framed as from afar. So it’s a sort of fantasy, but seemingly powerful.
John, it’s interesting that in Niccolo there isn’t a positive mother role. I’m sure DD was actively avoiding using the same motifs.
I suspect that the boys raised by men situation was part of the mother-son bond because the mother represented the gentler, safer, younger times at a deep emotional level. Perhaps that’s less so today, when parenting patterns are more equal?
I’m thinking of all the popular Victorian songs about mothers, always sung by men in my mind, and often framed as from afar. So it’s a sort of fantasy, but seemingly powerful.
John, it’s interesting that in Niccolo there isn’t a positive mother role. I’m sure DD was actively avoiding using the same motifs.
I suspect that the boys raised by men situation was part of the mother-son bond because the mother represented the gentler, safer, younger times at a deep emotional level. Perhaps that’s less so today, when parenting patterns are more equal?
I’m thinking of all the popular Victorian songs about mothers, always sung by men in my mind, and often framed as from afar. So it’s a sort of fantasy, but seemingly powerful.
John, it’s interesting that in Niccolo there isn’t a positive mother role. I’m sure DD was actively avoiding using the same motifs.
I suspect that the boys raised by men situation was part of the mother-son bond because the mother represented the gentler, safer, younger times at a deep emotional level. Perhaps that’s less so today, when parenting patterns are more equal?
I’m thinking of all the popular Victorian songs about mothers, always sung by men in my mind, and often framed as from afar. So it’s a sort of fantasy, but seemingly powerful.
John, it’s interesting that in Niccolo there isn’t a positive mother role. I’m sure DD was actively avoiding using the same motifs.
I suspect that the boys raised by men situation was part of the mother-son bond because the mother represented the gentler, safer, younger times at a deep emotional level. Perhaps that’s less so today, when parenting patterns are more equal?
I’m thinking of all the popular Victorian songs about mothers, always sung by men in my mind, and often framed as from afar. So it’s a sort of fantasy, but seemingly powerful.
I’m thinking of your own Lord Arden and his mother. They seem to have a healthy loving relationship, although his relationship with his father is somewhat dysfunctional (to say the least!). It seems that in a lot of historical romances the main characters have already lost their parents and so that bond has already been severed. In real life, my husband is very close to his mother, and as I look at my little son, I pray that there will always be a corner of his heart open to his mama.
I’m thinking of your own Lord Arden and his mother. They seem to have a healthy loving relationship, although his relationship with his father is somewhat dysfunctional (to say the least!). It seems that in a lot of historical romances the main characters have already lost their parents and so that bond has already been severed. In real life, my husband is very close to his mother, and as I look at my little son, I pray that there will always be a corner of his heart open to his mama.
I’m thinking of your own Lord Arden and his mother. They seem to have a healthy loving relationship, although his relationship with his father is somewhat dysfunctional (to say the least!). It seems that in a lot of historical romances the main characters have already lost their parents and so that bond has already been severed. In real life, my husband is very close to his mother, and as I look at my little son, I pray that there will always be a corner of his heart open to his mama.
I’m thinking of your own Lord Arden and his mother. They seem to have a healthy loving relationship, although his relationship with his father is somewhat dysfunctional (to say the least!). It seems that in a lot of historical romances the main characters have already lost their parents and so that bond has already been severed. In real life, my husband is very close to his mother, and as I look at my little son, I pray that there will always be a corner of his heart open to his mama.
I’m thinking of your own Lord Arden and his mother. They seem to have a healthy loving relationship, although his relationship with his father is somewhat dysfunctional (to say the least!). It seems that in a lot of historical romances the main characters have already lost their parents and so that bond has already been severed. In real life, my husband is very close to his mother, and as I look at my little son, I pray that there will always be a corner of his heart open to his mama.
I’ve just started a book with a demon mother in it!
I had a look through my Goodreads shelves, and the closest I could come up with was Regina Scott’s ongoing western historical series for Harlequin’s Love Inspired line (so, Christian historical romance).
Madeline Hunter’s recent book His Wicked Reputation has a pretty good mother in it, but she doesn’t play a huge part.
As for contemporary fiction, Robyn Carr does a really good job with family connections.
Something I’ve noticed is that mothers are often portrayed as extremely elderly, which they would not have been.
I’ve been having a problem recently with romance fiction in general (contemporary romances are pretty bad!) with authors demonising all secondary female characters. I think many authors are fond of turning all the non-heroines into monsters to create conflict, and maybe the lack of the mother/son bond – for SOME! – is an extension of that.
This is something I’d really like to see authors address more often.
I’ve just started a book with a demon mother in it!
I had a look through my Goodreads shelves, and the closest I could come up with was Regina Scott’s ongoing western historical series for Harlequin’s Love Inspired line (so, Christian historical romance).
Madeline Hunter’s recent book His Wicked Reputation has a pretty good mother in it, but she doesn’t play a huge part.
As for contemporary fiction, Robyn Carr does a really good job with family connections.
Something I’ve noticed is that mothers are often portrayed as extremely elderly, which they would not have been.
I’ve been having a problem recently with romance fiction in general (contemporary romances are pretty bad!) with authors demonising all secondary female characters. I think many authors are fond of turning all the non-heroines into monsters to create conflict, and maybe the lack of the mother/son bond – for SOME! – is an extension of that.
This is something I’d really like to see authors address more often.
I’ve just started a book with a demon mother in it!
I had a look through my Goodreads shelves, and the closest I could come up with was Regina Scott’s ongoing western historical series for Harlequin’s Love Inspired line (so, Christian historical romance).
Madeline Hunter’s recent book His Wicked Reputation has a pretty good mother in it, but she doesn’t play a huge part.
As for contemporary fiction, Robyn Carr does a really good job with family connections.
Something I’ve noticed is that mothers are often portrayed as extremely elderly, which they would not have been.
I’ve been having a problem recently with romance fiction in general (contemporary romances are pretty bad!) with authors demonising all secondary female characters. I think many authors are fond of turning all the non-heroines into monsters to create conflict, and maybe the lack of the mother/son bond – for SOME! – is an extension of that.
This is something I’d really like to see authors address more often.
I’ve just started a book with a demon mother in it!
I had a look through my Goodreads shelves, and the closest I could come up with was Regina Scott’s ongoing western historical series for Harlequin’s Love Inspired line (so, Christian historical romance).
Madeline Hunter’s recent book His Wicked Reputation has a pretty good mother in it, but she doesn’t play a huge part.
As for contemporary fiction, Robyn Carr does a really good job with family connections.
Something I’ve noticed is that mothers are often portrayed as extremely elderly, which they would not have been.
I’ve been having a problem recently with romance fiction in general (contemporary romances are pretty bad!) with authors demonising all secondary female characters. I think many authors are fond of turning all the non-heroines into monsters to create conflict, and maybe the lack of the mother/son bond – for SOME! – is an extension of that.
This is something I’d really like to see authors address more often.
I’ve just started a book with a demon mother in it!
I had a look through my Goodreads shelves, and the closest I could come up with was Regina Scott’s ongoing western historical series for Harlequin’s Love Inspired line (so, Christian historical romance).
Madeline Hunter’s recent book His Wicked Reputation has a pretty good mother in it, but she doesn’t play a huge part.
As for contemporary fiction, Robyn Carr does a really good job with family connections.
Something I’ve noticed is that mothers are often portrayed as extremely elderly, which they would not have been.
I’ve been having a problem recently with romance fiction in general (contemporary romances are pretty bad!) with authors demonising all secondary female characters. I think many authors are fond of turning all the non-heroines into monsters to create conflict, and maybe the lack of the mother/son bond – for SOME! – is an extension of that.
This is something I’d really like to see authors address more often.
I think today we are pretty ambivalent about mothers. I noticed the difference in newspaper’s coverage of Mother’s and Father’s Day. Generally, the same can be seen on television portrayal. The fathers were portrayed as having great relationships; the mothers, not so much. Mothers had distinct problems with their children, especially with their daughters. I think the heavy emphasis from psychology for the past century blaming mothers for most psychological problems has a lot to do with the fall of mothers. I remember watching a old Barbara Stanwyck movie where her boyfriend’s mother frames Barbara who is convicted and goes to prison for prostitution. At the end, when the son finds out, he never wants to see his mother again, but old Barbara reunites them. My bet is that romance writers are influenced by so many women having trouble with their own mothers AND their mothers-in-law.
I think today we are pretty ambivalent about mothers. I noticed the difference in newspaper’s coverage of Mother’s and Father’s Day. Generally, the same can be seen on television portrayal. The fathers were portrayed as having great relationships; the mothers, not so much. Mothers had distinct problems with their children, especially with their daughters. I think the heavy emphasis from psychology for the past century blaming mothers for most psychological problems has a lot to do with the fall of mothers. I remember watching a old Barbara Stanwyck movie where her boyfriend’s mother frames Barbara who is convicted and goes to prison for prostitution. At the end, when the son finds out, he never wants to see his mother again, but old Barbara reunites them. My bet is that romance writers are influenced by so many women having trouble with their own mothers AND their mothers-in-law.
I think today we are pretty ambivalent about mothers. I noticed the difference in newspaper’s coverage of Mother’s and Father’s Day. Generally, the same can be seen on television portrayal. The fathers were portrayed as having great relationships; the mothers, not so much. Mothers had distinct problems with their children, especially with their daughters. I think the heavy emphasis from psychology for the past century blaming mothers for most psychological problems has a lot to do with the fall of mothers. I remember watching a old Barbara Stanwyck movie where her boyfriend’s mother frames Barbara who is convicted and goes to prison for prostitution. At the end, when the son finds out, he never wants to see his mother again, but old Barbara reunites them. My bet is that romance writers are influenced by so many women having trouble with their own mothers AND their mothers-in-law.
I think today we are pretty ambivalent about mothers. I noticed the difference in newspaper’s coverage of Mother’s and Father’s Day. Generally, the same can be seen on television portrayal. The fathers were portrayed as having great relationships; the mothers, not so much. Mothers had distinct problems with their children, especially with their daughters. I think the heavy emphasis from psychology for the past century blaming mothers for most psychological problems has a lot to do with the fall of mothers. I remember watching a old Barbara Stanwyck movie where her boyfriend’s mother frames Barbara who is convicted and goes to prison for prostitution. At the end, when the son finds out, he never wants to see his mother again, but old Barbara reunites them. My bet is that romance writers are influenced by so many women having trouble with their own mothers AND their mothers-in-law.
I think today we are pretty ambivalent about mothers. I noticed the difference in newspaper’s coverage of Mother’s and Father’s Day. Generally, the same can be seen on television portrayal. The fathers were portrayed as having great relationships; the mothers, not so much. Mothers had distinct problems with their children, especially with their daughters. I think the heavy emphasis from psychology for the past century blaming mothers for most psychological problems has a lot to do with the fall of mothers. I remember watching a old Barbara Stanwyck movie where her boyfriend’s mother frames Barbara who is convicted and goes to prison for prostitution. At the end, when the son finds out, he never wants to see his mother again, but old Barbara reunites them. My bet is that romance writers are influenced by so many women having trouble with their own mothers AND their mothers-in-law.
Jana, I wonder if a difficult relationship with the father strengthens the bond with the mother.
We have the elemental issue that a birth mother always knows that her child is hers whereas a father can have doubts.
Jana, I wonder if a difficult relationship with the father strengthens the bond with the mother.
We have the elemental issue that a birth mother always knows that her child is hers whereas a father can have doubts.
Jana, I wonder if a difficult relationship with the father strengthens the bond with the mother.
We have the elemental issue that a birth mother always knows that her child is hers whereas a father can have doubts.
Jana, I wonder if a difficult relationship with the father strengthens the bond with the mother.
We have the elemental issue that a birth mother always knows that her child is hers whereas a father can have doubts.
Jana, I wonder if a difficult relationship with the father strengthens the bond with the mother.
We have the elemental issue that a birth mother always knows that her child is hers whereas a father can have doubts.
Interesting, Sonya! So other bonds threaten the mating one?
We do have a lot of “bands of brothers” in historical romance. I assume they’re not threatening.
The writer’s psyche is maybe deep, dark, and murky.
Interesting, Sonya! So other bonds threaten the mating one?
We do have a lot of “bands of brothers” in historical romance. I assume they’re not threatening.
The writer’s psyche is maybe deep, dark, and murky.
Interesting, Sonya! So other bonds threaten the mating one?
We do have a lot of “bands of brothers” in historical romance. I assume they’re not threatening.
The writer’s psyche is maybe deep, dark, and murky.
Interesting, Sonya! So other bonds threaten the mating one?
We do have a lot of “bands of brothers” in historical romance. I assume they’re not threatening.
The writer’s psyche is maybe deep, dark, and murky.
Interesting, Sonya! So other bonds threaten the mating one?
We do have a lot of “bands of brothers” in historical romance. I assume they’re not threatening.
The writer’s psyche is maybe deep, dark, and murky.
So, Lynda, the mother as the other woman. And you’re saying it goes back a while. I was coming up with a theory that this was a late 20th century problem, but perhaps not.
I wonder, too, about the married mother as opposed to the widow. The widow can be more focussed on a son for better or worse. If the mother is in a couple she might not spend much time alone with her adult son.
So, Lynda, the mother as the other woman. And you’re saying it goes back a while. I was coming up with a theory that this was a late 20th century problem, but perhaps not.
I wonder, too, about the married mother as opposed to the widow. The widow can be more focussed on a son for better or worse. If the mother is in a couple she might not spend much time alone with her adult son.
So, Lynda, the mother as the other woman. And you’re saying it goes back a while. I was coming up with a theory that this was a late 20th century problem, but perhaps not.
I wonder, too, about the married mother as opposed to the widow. The widow can be more focussed on a son for better or worse. If the mother is in a couple she might not spend much time alone with her adult son.
So, Lynda, the mother as the other woman. And you’re saying it goes back a while. I was coming up with a theory that this was a late 20th century problem, but perhaps not.
I wonder, too, about the married mother as opposed to the widow. The widow can be more focussed on a son for better or worse. If the mother is in a couple she might not spend much time alone with her adult son.
So, Lynda, the mother as the other woman. And you’re saying it goes back a while. I was coming up with a theory that this was a late 20th century problem, but perhaps not.
I wonder, too, about the married mother as opposed to the widow. The widow can be more focussed on a son for better or worse. If the mother is in a couple she might not spend much time alone with her adult son.
The only one I can think of is Lady Rivendale, who appears in several of Jo Goodman’s books starting with A Season To Be Sinful. She isn’t a mother, however. She’s a godmother and a sort of courtesy aunt. However, the heroes all have a close relationship with her, as do the heroines. She may spoil them as children, but she certainly feels entitled to interfere in their lives, and they don’t seem to mind.
The only one I can think of is Lady Rivendale, who appears in several of Jo Goodman’s books starting with A Season To Be Sinful. She isn’t a mother, however. She’s a godmother and a sort of courtesy aunt. However, the heroes all have a close relationship with her, as do the heroines. She may spoil them as children, but she certainly feels entitled to interfere in their lives, and they don’t seem to mind.
The only one I can think of is Lady Rivendale, who appears in several of Jo Goodman’s books starting with A Season To Be Sinful. She isn’t a mother, however. She’s a godmother and a sort of courtesy aunt. However, the heroes all have a close relationship with her, as do the heroines. She may spoil them as children, but she certainly feels entitled to interfere in their lives, and they don’t seem to mind.
The only one I can think of is Lady Rivendale, who appears in several of Jo Goodman’s books starting with A Season To Be Sinful. She isn’t a mother, however. She’s a godmother and a sort of courtesy aunt. However, the heroes all have a close relationship with her, as do the heroines. She may spoil them as children, but she certainly feels entitled to interfere in their lives, and they don’t seem to mind.
The only one I can think of is Lady Rivendale, who appears in several of Jo Goodman’s books starting with A Season To Be Sinful. She isn’t a mother, however. She’s a godmother and a sort of courtesy aunt. However, the heroes all have a close relationship with her, as do the heroines. She may spoil them as children, but she certainly feels entitled to interfere in their lives, and they don’t seem to mind.
Laura Kinsale’s Lessons in French. The hero and his mother are kindred souls and have a delightful relationship.
Laura Kinsale’s Lessons in French. The hero and his mother are kindred souls and have a delightful relationship.
Laura Kinsale’s Lessons in French. The hero and his mother are kindred souls and have a delightful relationship.
Laura Kinsale’s Lessons in French. The hero and his mother are kindred souls and have a delightful relationship.
Laura Kinsale’s Lessons in French. The hero and his mother are kindred souls and have a delightful relationship.
Wow, Jo, even all the years since GAME OF KINGS came out and the number of times I’ve read the book, that last scene still packs a powerful punch. No one does it better than Dunnett.
One reason for few hero/mother bonds in current books would be the sheer lack of pages. The shorter a book–and our books are much shorter than they were–the less room there is for secondary relationship.
But it’s more to the point that having protagonists largely orphaned, puts the focus on their independence, and maybe on their emotional need for warmth which the heroine will provide.
I can’t think of any of my books where the hero has a strong, supportive relationship with a living mother. Not uncommonly, they have had a good relationship with one or both parents in the past, which established a foundation for emotional stability, but practically none of these parents are still around during my story, and I’ve had a couple of Mothers from Hell.
Interesting topic….
Wow, Jo, even all the years since GAME OF KINGS came out and the number of times I’ve read the book, that last scene still packs a powerful punch. No one does it better than Dunnett.
One reason for few hero/mother bonds in current books would be the sheer lack of pages. The shorter a book–and our books are much shorter than they were–the less room there is for secondary relationship.
But it’s more to the point that having protagonists largely orphaned, puts the focus on their independence, and maybe on their emotional need for warmth which the heroine will provide.
I can’t think of any of my books where the hero has a strong, supportive relationship with a living mother. Not uncommonly, they have had a good relationship with one or both parents in the past, which established a foundation for emotional stability, but practically none of these parents are still around during my story, and I’ve had a couple of Mothers from Hell.
Interesting topic….
Wow, Jo, even all the years since GAME OF KINGS came out and the number of times I’ve read the book, that last scene still packs a powerful punch. No one does it better than Dunnett.
One reason for few hero/mother bonds in current books would be the sheer lack of pages. The shorter a book–and our books are much shorter than they were–the less room there is for secondary relationship.
But it’s more to the point that having protagonists largely orphaned, puts the focus on their independence, and maybe on their emotional need for warmth which the heroine will provide.
I can’t think of any of my books where the hero has a strong, supportive relationship with a living mother. Not uncommonly, they have had a good relationship with one or both parents in the past, which established a foundation for emotional stability, but practically none of these parents are still around during my story, and I’ve had a couple of Mothers from Hell.
Interesting topic….
Wow, Jo, even all the years since GAME OF KINGS came out and the number of times I’ve read the book, that last scene still packs a powerful punch. No one does it better than Dunnett.
One reason for few hero/mother bonds in current books would be the sheer lack of pages. The shorter a book–and our books are much shorter than they were–the less room there is for secondary relationship.
But it’s more to the point that having protagonists largely orphaned, puts the focus on their independence, and maybe on their emotional need for warmth which the heroine will provide.
I can’t think of any of my books where the hero has a strong, supportive relationship with a living mother. Not uncommonly, they have had a good relationship with one or both parents in the past, which established a foundation for emotional stability, but practically none of these parents are still around during my story, and I’ve had a couple of Mothers from Hell.
Interesting topic….
Wow, Jo, even all the years since GAME OF KINGS came out and the number of times I’ve read the book, that last scene still packs a powerful punch. No one does it better than Dunnett.
One reason for few hero/mother bonds in current books would be the sheer lack of pages. The shorter a book–and our books are much shorter than they were–the less room there is for secondary relationship.
But it’s more to the point that having protagonists largely orphaned, puts the focus on their independence, and maybe on their emotional need for warmth which the heroine will provide.
I can’t think of any of my books where the hero has a strong, supportive relationship with a living mother. Not uncommonly, they have had a good relationship with one or both parents in the past, which established a foundation for emotional stability, but practically none of these parents are still around during my story, and I’ve had a couple of Mothers from Hell.
Interesting topic….
I just went and skimmed through all kinds of book lists and it is interesting how seldom the male lead has a supportive, living relationship with a mother in the books. I found plenty where they have aunts, grandmothers, godmothers, no mother.
When I can identify a supportive, living mother relationship, it tends to be in books that form a series.
Off the top of my head, the first series of books I can think of where mother’s of adult men play any significant part is Stephanie Lauren’s Cynster books. The mother’s do get involved to a certain extent but….
Next, Grace Burrowes Windham family books. The men have a positive relationship with their mother but still it is a minor note in the books.
Janet Chapman’s book Tempting the Highlander, the mother’s (actually his stepmother,) has a very strong connection to Robbie.
Linda Lael Miller – several of her books in the Montana Creed Series, their aunt brought them up and was their mother and they had a very strong relationship to her.
JoAnn Ross’ Shelter Bay Series, the men (brothers) do have a strong relationship to their mother but the mother still plays a very small role in the book.
Elyswyth Thane’s Williamsburg Series, there are strong attachments to the mothers and the mother’s keep showing up in the succeeding books.
Carly Phillips had a series of books that featured 3 sons and a daughter, with a living supportive mother.
Very fascinating topic…..I think I’ll have to go look at what is on my bookshelves and see what else I come up with. See if I find any single books with strong mother/son relationships.
I just went and skimmed through all kinds of book lists and it is interesting how seldom the male lead has a supportive, living relationship with a mother in the books. I found plenty where they have aunts, grandmothers, godmothers, no mother.
When I can identify a supportive, living mother relationship, it tends to be in books that form a series.
Off the top of my head, the first series of books I can think of where mother’s of adult men play any significant part is Stephanie Lauren’s Cynster books. The mother’s do get involved to a certain extent but….
Next, Grace Burrowes Windham family books. The men have a positive relationship with their mother but still it is a minor note in the books.
Janet Chapman’s book Tempting the Highlander, the mother’s (actually his stepmother,) has a very strong connection to Robbie.
Linda Lael Miller – several of her books in the Montana Creed Series, their aunt brought them up and was their mother and they had a very strong relationship to her.
JoAnn Ross’ Shelter Bay Series, the men (brothers) do have a strong relationship to their mother but the mother still plays a very small role in the book.
Elyswyth Thane’s Williamsburg Series, there are strong attachments to the mothers and the mother’s keep showing up in the succeeding books.
Carly Phillips had a series of books that featured 3 sons and a daughter, with a living supportive mother.
Very fascinating topic…..I think I’ll have to go look at what is on my bookshelves and see what else I come up with. See if I find any single books with strong mother/son relationships.
I just went and skimmed through all kinds of book lists and it is interesting how seldom the male lead has a supportive, living relationship with a mother in the books. I found plenty where they have aunts, grandmothers, godmothers, no mother.
When I can identify a supportive, living mother relationship, it tends to be in books that form a series.
Off the top of my head, the first series of books I can think of where mother’s of adult men play any significant part is Stephanie Lauren’s Cynster books. The mother’s do get involved to a certain extent but….
Next, Grace Burrowes Windham family books. The men have a positive relationship with their mother but still it is a minor note in the books.
Janet Chapman’s book Tempting the Highlander, the mother’s (actually his stepmother,) has a very strong connection to Robbie.
Linda Lael Miller – several of her books in the Montana Creed Series, their aunt brought them up and was their mother and they had a very strong relationship to her.
JoAnn Ross’ Shelter Bay Series, the men (brothers) do have a strong relationship to their mother but the mother still plays a very small role in the book.
Elyswyth Thane’s Williamsburg Series, there are strong attachments to the mothers and the mother’s keep showing up in the succeeding books.
Carly Phillips had a series of books that featured 3 sons and a daughter, with a living supportive mother.
Very fascinating topic…..I think I’ll have to go look at what is on my bookshelves and see what else I come up with. See if I find any single books with strong mother/son relationships.
I just went and skimmed through all kinds of book lists and it is interesting how seldom the male lead has a supportive, living relationship with a mother in the books. I found plenty where they have aunts, grandmothers, godmothers, no mother.
When I can identify a supportive, living mother relationship, it tends to be in books that form a series.
Off the top of my head, the first series of books I can think of where mother’s of adult men play any significant part is Stephanie Lauren’s Cynster books. The mother’s do get involved to a certain extent but….
Next, Grace Burrowes Windham family books. The men have a positive relationship with their mother but still it is a minor note in the books.
Janet Chapman’s book Tempting the Highlander, the mother’s (actually his stepmother,) has a very strong connection to Robbie.
Linda Lael Miller – several of her books in the Montana Creed Series, their aunt brought them up and was their mother and they had a very strong relationship to her.
JoAnn Ross’ Shelter Bay Series, the men (brothers) do have a strong relationship to their mother but the mother still plays a very small role in the book.
Elyswyth Thane’s Williamsburg Series, there are strong attachments to the mothers and the mother’s keep showing up in the succeeding books.
Carly Phillips had a series of books that featured 3 sons and a daughter, with a living supportive mother.
Very fascinating topic…..I think I’ll have to go look at what is on my bookshelves and see what else I come up with. See if I find any single books with strong mother/son relationships.
I just went and skimmed through all kinds of book lists and it is interesting how seldom the male lead has a supportive, living relationship with a mother in the books. I found plenty where they have aunts, grandmothers, godmothers, no mother.
When I can identify a supportive, living mother relationship, it tends to be in books that form a series.
Off the top of my head, the first series of books I can think of where mother’s of adult men play any significant part is Stephanie Lauren’s Cynster books. The mother’s do get involved to a certain extent but….
Next, Grace Burrowes Windham family books. The men have a positive relationship with their mother but still it is a minor note in the books.
Janet Chapman’s book Tempting the Highlander, the mother’s (actually his stepmother,) has a very strong connection to Robbie.
Linda Lael Miller – several of her books in the Montana Creed Series, their aunt brought them up and was their mother and they had a very strong relationship to her.
JoAnn Ross’ Shelter Bay Series, the men (brothers) do have a strong relationship to their mother but the mother still plays a very small role in the book.
Elyswyth Thane’s Williamsburg Series, there are strong attachments to the mothers and the mother’s keep showing up in the succeeding books.
Carly Phillips had a series of books that featured 3 sons and a daughter, with a living supportive mother.
Very fascinating topic…..I think I’ll have to go look at what is on my bookshelves and see what else I come up with. See if I find any single books with strong mother/son relationships.
The 8 siblings, male and female alike, of Julia Quinn’s Bridgerton series all have a close relationship with their mother, Violet.
The 8 siblings, male and female alike, of Julia Quinn’s Bridgerton series all have a close relationship with their mother, Violet.
The 8 siblings, male and female alike, of Julia Quinn’s Bridgerton series all have a close relationship with their mother, Violet.
The 8 siblings, male and female alike, of Julia Quinn’s Bridgerton series all have a close relationship with their mother, Violet.
The 8 siblings, male and female alike, of Julia Quinn’s Bridgerton series all have a close relationship with their mother, Violet.
I think I’ve only had one strong mother and son relationship in my books — Bride by Mistake — and then, we don’t so much see the mother and hero interacting, as the mother fretting about the damage the war did to her beautiful, laughing boy — turning him into a grim shadow of himself.
And at the end, we see him through her eyes once more, and see the change in him.
As Mary Jo said, we often make our heroes or heroines orphans because we want them to be strong and independent– or at least, to be thrown on their own resources, and as you said, Jo, we don’t want a hero to appear a mama’s boy.
The other thing is, we don’t want the hero to be dependent on his father, and if we’re dealing with aristocratic heroes, the father is often killed off the enable the hero to be independent. A widowed mother, with whom a hero has a close relationship, could possibly make a difficult mother-in-law for a heroine. Of course it depends on the characters concerned, but still, it’s an interesting question.
I think I’ve only had one strong mother and son relationship in my books — Bride by Mistake — and then, we don’t so much see the mother and hero interacting, as the mother fretting about the damage the war did to her beautiful, laughing boy — turning him into a grim shadow of himself.
And at the end, we see him through her eyes once more, and see the change in him.
As Mary Jo said, we often make our heroes or heroines orphans because we want them to be strong and independent– or at least, to be thrown on their own resources, and as you said, Jo, we don’t want a hero to appear a mama’s boy.
The other thing is, we don’t want the hero to be dependent on his father, and if we’re dealing with aristocratic heroes, the father is often killed off the enable the hero to be independent. A widowed mother, with whom a hero has a close relationship, could possibly make a difficult mother-in-law for a heroine. Of course it depends on the characters concerned, but still, it’s an interesting question.
I think I’ve only had one strong mother and son relationship in my books — Bride by Mistake — and then, we don’t so much see the mother and hero interacting, as the mother fretting about the damage the war did to her beautiful, laughing boy — turning him into a grim shadow of himself.
And at the end, we see him through her eyes once more, and see the change in him.
As Mary Jo said, we often make our heroes or heroines orphans because we want them to be strong and independent– or at least, to be thrown on their own resources, and as you said, Jo, we don’t want a hero to appear a mama’s boy.
The other thing is, we don’t want the hero to be dependent on his father, and if we’re dealing with aristocratic heroes, the father is often killed off the enable the hero to be independent. A widowed mother, with whom a hero has a close relationship, could possibly make a difficult mother-in-law for a heroine. Of course it depends on the characters concerned, but still, it’s an interesting question.
I think I’ve only had one strong mother and son relationship in my books — Bride by Mistake — and then, we don’t so much see the mother and hero interacting, as the mother fretting about the damage the war did to her beautiful, laughing boy — turning him into a grim shadow of himself.
And at the end, we see him through her eyes once more, and see the change in him.
As Mary Jo said, we often make our heroes or heroines orphans because we want them to be strong and independent– or at least, to be thrown on their own resources, and as you said, Jo, we don’t want a hero to appear a mama’s boy.
The other thing is, we don’t want the hero to be dependent on his father, and if we’re dealing with aristocratic heroes, the father is often killed off the enable the hero to be independent. A widowed mother, with whom a hero has a close relationship, could possibly make a difficult mother-in-law for a heroine. Of course it depends on the characters concerned, but still, it’s an interesting question.
I think I’ve only had one strong mother and son relationship in my books — Bride by Mistake — and then, we don’t so much see the mother and hero interacting, as the mother fretting about the damage the war did to her beautiful, laughing boy — turning him into a grim shadow of himself.
And at the end, we see him through her eyes once more, and see the change in him.
As Mary Jo said, we often make our heroes or heroines orphans because we want them to be strong and independent– or at least, to be thrown on their own resources, and as you said, Jo, we don’t want a hero to appear a mama’s boy.
The other thing is, we don’t want the hero to be dependent on his father, and if we’re dealing with aristocratic heroes, the father is often killed off the enable the hero to be independent. A widowed mother, with whom a hero has a close relationship, could possibly make a difficult mother-in-law for a heroine. Of course it depends on the characters concerned, but still, it’s an interesting question.
Neither of those mothers ia at all dominating. In False Colours the twins’ mother, the Countess of Denville, provided both with uncritical affection, as opposed to their father’s perceived coldness; they are both devoted to her.
Sylvester’s mother, the Duchess of Salford, is an invalid due to an arthritic illness, but she and her son are very close; he reports in to her and values her advice. Again, very close, no question of domineering.
To me these are “real” moms; in their own way they do support their sons, and they do not use them as chess pawns for some greater power goal of their own. They just want the best for their sons.
Neither of those mothers ia at all dominating. In False Colours the twins’ mother, the Countess of Denville, provided both with uncritical affection, as opposed to their father’s perceived coldness; they are both devoted to her.
Sylvester’s mother, the Duchess of Salford, is an invalid due to an arthritic illness, but she and her son are very close; he reports in to her and values her advice. Again, very close, no question of domineering.
To me these are “real” moms; in their own way they do support their sons, and they do not use them as chess pawns for some greater power goal of their own. They just want the best for their sons.
Neither of those mothers ia at all dominating. In False Colours the twins’ mother, the Countess of Denville, provided both with uncritical affection, as opposed to their father’s perceived coldness; they are both devoted to her.
Sylvester’s mother, the Duchess of Salford, is an invalid due to an arthritic illness, but she and her son are very close; he reports in to her and values her advice. Again, very close, no question of domineering.
To me these are “real” moms; in their own way they do support their sons, and they do not use them as chess pawns for some greater power goal of their own. They just want the best for their sons.
Neither of those mothers ia at all dominating. In False Colours the twins’ mother, the Countess of Denville, provided both with uncritical affection, as opposed to their father’s perceived coldness; they are both devoted to her.
Sylvester’s mother, the Duchess of Salford, is an invalid due to an arthritic illness, but she and her son are very close; he reports in to her and values her advice. Again, very close, no question of domineering.
To me these are “real” moms; in their own way they do support their sons, and they do not use them as chess pawns for some greater power goal of their own. They just want the best for their sons.
Neither of those mothers ia at all dominating. In False Colours the twins’ mother, the Countess of Denville, provided both with uncritical affection, as opposed to their father’s perceived coldness; they are both devoted to her.
Sylvester’s mother, the Duchess of Salford, is an invalid due to an arthritic illness, but she and her son are very close; he reports in to her and values her advice. Again, very close, no question of domineering.
To me these are “real” moms; in their own way they do support their sons, and they do not use them as chess pawns for some greater power goal of their own. They just want the best for their sons.
Has anyone mentioned Julia Quinn’s Bridgerton series? All the children have a good, loving relationship with their mother. She’s shown as wise and genuinely concerned for her children’s welfare.
Has anyone mentioned Julia Quinn’s Bridgerton series? All the children have a good, loving relationship with their mother. She’s shown as wise and genuinely concerned for her children’s welfare.
Has anyone mentioned Julia Quinn’s Bridgerton series? All the children have a good, loving relationship with their mother. She’s shown as wise and genuinely concerned for her children’s welfare.
Has anyone mentioned Julia Quinn’s Bridgerton series? All the children have a good, loving relationship with their mother. She’s shown as wise and genuinely concerned for her children’s welfare.
Has anyone mentioned Julia Quinn’s Bridgerton series? All the children have a good, loving relationship with their mother. She’s shown as wise and genuinely concerned for her children’s welfare.
After looking at everything on my Keepers Shelves, I came up with 2 more series and 2 individual books.
Linda Howard’s series about the MacKenzie’s series – Mary is a very strong, supportive mother. In Hope Ramsey’s Last Chance series, Ruby Rhodes is a VERY strong and supportive mother. Both of these mother’s are still married.
The 2 individual books are both by D.E. Stevenson – The Blue Sapphire and Kate Hardy. Both mother’s play an important role and give great advice as needed. One mother is married, the other widowed.
After looking at everything on my Keepers Shelves, I came up with 2 more series and 2 individual books.
Linda Howard’s series about the MacKenzie’s series – Mary is a very strong, supportive mother. In Hope Ramsey’s Last Chance series, Ruby Rhodes is a VERY strong and supportive mother. Both of these mother’s are still married.
The 2 individual books are both by D.E. Stevenson – The Blue Sapphire and Kate Hardy. Both mother’s play an important role and give great advice as needed. One mother is married, the other widowed.
After looking at everything on my Keepers Shelves, I came up with 2 more series and 2 individual books.
Linda Howard’s series about the MacKenzie’s series – Mary is a very strong, supportive mother. In Hope Ramsey’s Last Chance series, Ruby Rhodes is a VERY strong and supportive mother. Both of these mother’s are still married.
The 2 individual books are both by D.E. Stevenson – The Blue Sapphire and Kate Hardy. Both mother’s play an important role and give great advice as needed. One mother is married, the other widowed.
After looking at everything on my Keepers Shelves, I came up with 2 more series and 2 individual books.
Linda Howard’s series about the MacKenzie’s series – Mary is a very strong, supportive mother. In Hope Ramsey’s Last Chance series, Ruby Rhodes is a VERY strong and supportive mother. Both of these mother’s are still married.
The 2 individual books are both by D.E. Stevenson – The Blue Sapphire and Kate Hardy. Both mother’s play an important role and give great advice as needed. One mother is married, the other widowed.
After looking at everything on my Keepers Shelves, I came up with 2 more series and 2 individual books.
Linda Howard’s series about the MacKenzie’s series – Mary is a very strong, supportive mother. In Hope Ramsey’s Last Chance series, Ruby Rhodes is a VERY strong and supportive mother. Both of these mother’s are still married.
The 2 individual books are both by D.E. Stevenson – The Blue Sapphire and Kate Hardy. Both mother’s play an important role and give great advice as needed. One mother is married, the other widowed.
I’ve just finished Sherry Thomas’ Fithugh series. The Duke of Lexington (hero of Beguiling the Beauty) has, from the age of four, had a very close relationship with his step mother (who is the heroine of Claiming the Duchess). The relationship plays a part in both stories.
In Beauty, the Duke deliberately witholds information (about the shortcomings of his relationship with the heroine) from his step mother, because he doesn’t want to disappoint her.
I’ve just finished Sherry Thomas’ Fithugh series. The Duke of Lexington (hero of Beguiling the Beauty) has, from the age of four, had a very close relationship with his step mother (who is the heroine of Claiming the Duchess). The relationship plays a part in both stories.
In Beauty, the Duke deliberately witholds information (about the shortcomings of his relationship with the heroine) from his step mother, because he doesn’t want to disappoint her.
I’ve just finished Sherry Thomas’ Fithugh series. The Duke of Lexington (hero of Beguiling the Beauty) has, from the age of four, had a very close relationship with his step mother (who is the heroine of Claiming the Duchess). The relationship plays a part in both stories.
In Beauty, the Duke deliberately witholds information (about the shortcomings of his relationship with the heroine) from his step mother, because he doesn’t want to disappoint her.
I’ve just finished Sherry Thomas’ Fithugh series. The Duke of Lexington (hero of Beguiling the Beauty) has, from the age of four, had a very close relationship with his step mother (who is the heroine of Claiming the Duchess). The relationship plays a part in both stories.
In Beauty, the Duke deliberately witholds information (about the shortcomings of his relationship with the heroine) from his step mother, because he doesn’t want to disappoint her.
I’ve just finished Sherry Thomas’ Fithugh series. The Duke of Lexington (hero of Beguiling the Beauty) has, from the age of four, had a very close relationship with his step mother (who is the heroine of Claiming the Duchess). The relationship plays a part in both stories.
In Beauty, the Duke deliberately witholds information (about the shortcomings of his relationship with the heroine) from his step mother, because he doesn’t want to disappoint her.
I would add Peter Wimsey as a hero who has a strong relationship with his mother. She is really the only family member who understands him. But, as a grown man, he doesn’t live in her pocket, not does she try to interfere with the way he lives his life.
I would add Peter Wimsey as a hero who has a strong relationship with his mother. She is really the only family member who understands him. But, as a grown man, he doesn’t live in her pocket, not does she try to interfere with the way he lives his life.
I would add Peter Wimsey as a hero who has a strong relationship with his mother. She is really the only family member who understands him. But, as a grown man, he doesn’t live in her pocket, not does she try to interfere with the way he lives his life.
I would add Peter Wimsey as a hero who has a strong relationship with his mother. She is really the only family member who understands him. But, as a grown man, he doesn’t live in her pocket, not does she try to interfere with the way he lives his life.
I would add Peter Wimsey as a hero who has a strong relationship with his mother. She is really the only family member who understands him. But, as a grown man, he doesn’t live in her pocket, not does she try to interfere with the way he lives his life.
I second the Heyer, Sayers, Laurens, LL Howard, and Quinn recommendations — although I didn’t come up with them on my own.
As to why the relationship may be missing from fictions. So many romance stories are about the healing power of love. The hero (and/or the heroine) has fractured home relationships and has been damaged by these. The point of the romance is to heal that damage. An obvious cause of damage would be the demon mother!
Several people have mentioned surrogate mothers. I believe they should count. And we have a wonderful surrogate mother in Mary Jo’s Lost Lord series— The founder of their school. She plays a walk-on role, but she is always there in the background. The boys (now grown men) turn to her for help, for healing, and so on. She’s the mother they never had. Also in that series, the Lost Lord from India — he had a good mother-son relationship until he was ripped away from his mother and was told she was dead. When they reunite he regains the good relationship. Again, this isn’t a strong plot line, but is it there, and it is a huge part of his personality.
(It’s early on a ill-health morning; usually I check my sources, but that is beyond me today. If I’ve mixed up some facts here, I apologize in advance, I mean no dishonor; I’m merely trying to communicate through a fog.)
I second the Heyer, Sayers, Laurens, LL Howard, and Quinn recommendations — although I didn’t come up with them on my own.
As to why the relationship may be missing from fictions. So many romance stories are about the healing power of love. The hero (and/or the heroine) has fractured home relationships and has been damaged by these. The point of the romance is to heal that damage. An obvious cause of damage would be the demon mother!
Several people have mentioned surrogate mothers. I believe they should count. And we have a wonderful surrogate mother in Mary Jo’s Lost Lord series— The founder of their school. She plays a walk-on role, but she is always there in the background. The boys (now grown men) turn to her for help, for healing, and so on. She’s the mother they never had. Also in that series, the Lost Lord from India — he had a good mother-son relationship until he was ripped away from his mother and was told she was dead. When they reunite he regains the good relationship. Again, this isn’t a strong plot line, but is it there, and it is a huge part of his personality.
(It’s early on a ill-health morning; usually I check my sources, but that is beyond me today. If I’ve mixed up some facts here, I apologize in advance, I mean no dishonor; I’m merely trying to communicate through a fog.)
I second the Heyer, Sayers, Laurens, LL Howard, and Quinn recommendations — although I didn’t come up with them on my own.
As to why the relationship may be missing from fictions. So many romance stories are about the healing power of love. The hero (and/or the heroine) has fractured home relationships and has been damaged by these. The point of the romance is to heal that damage. An obvious cause of damage would be the demon mother!
Several people have mentioned surrogate mothers. I believe they should count. And we have a wonderful surrogate mother in Mary Jo’s Lost Lord series— The founder of their school. She plays a walk-on role, but she is always there in the background. The boys (now grown men) turn to her for help, for healing, and so on. She’s the mother they never had. Also in that series, the Lost Lord from India — he had a good mother-son relationship until he was ripped away from his mother and was told she was dead. When they reunite he regains the good relationship. Again, this isn’t a strong plot line, but is it there, and it is a huge part of his personality.
(It’s early on a ill-health morning; usually I check my sources, but that is beyond me today. If I’ve mixed up some facts here, I apologize in advance, I mean no dishonor; I’m merely trying to communicate through a fog.)
I second the Heyer, Sayers, Laurens, LL Howard, and Quinn recommendations — although I didn’t come up with them on my own.
As to why the relationship may be missing from fictions. So many romance stories are about the healing power of love. The hero (and/or the heroine) has fractured home relationships and has been damaged by these. The point of the romance is to heal that damage. An obvious cause of damage would be the demon mother!
Several people have mentioned surrogate mothers. I believe they should count. And we have a wonderful surrogate mother in Mary Jo’s Lost Lord series— The founder of their school. She plays a walk-on role, but she is always there in the background. The boys (now grown men) turn to her for help, for healing, and so on. She’s the mother they never had. Also in that series, the Lost Lord from India — he had a good mother-son relationship until he was ripped away from his mother and was told she was dead. When they reunite he regains the good relationship. Again, this isn’t a strong plot line, but is it there, and it is a huge part of his personality.
(It’s early on a ill-health morning; usually I check my sources, but that is beyond me today. If I’ve mixed up some facts here, I apologize in advance, I mean no dishonor; I’m merely trying to communicate through a fog.)
I second the Heyer, Sayers, Laurens, LL Howard, and Quinn recommendations — although I didn’t come up with them on my own.
As to why the relationship may be missing from fictions. So many romance stories are about the healing power of love. The hero (and/or the heroine) has fractured home relationships and has been damaged by these. The point of the romance is to heal that damage. An obvious cause of damage would be the demon mother!
Several people have mentioned surrogate mothers. I believe they should count. And we have a wonderful surrogate mother in Mary Jo’s Lost Lord series— The founder of their school. She plays a walk-on role, but she is always there in the background. The boys (now grown men) turn to her for help, for healing, and so on. She’s the mother they never had. Also in that series, the Lost Lord from India — he had a good mother-son relationship until he was ripped away from his mother and was told she was dead. When they reunite he regains the good relationship. Again, this isn’t a strong plot line, but is it there, and it is a huge part of his personality.
(It’s early on a ill-health morning; usually I check my sources, but that is beyond me today. If I’ve mixed up some facts here, I apologize in advance, I mean no dishonor; I’m merely trying to communicate through a fog.)
Thanks for that, Lillian. A substitute mother, at least.
Thanks for that, Lillian. A substitute mother, at least.
Thanks for that, Lillian. A substitute mother, at least.
Thanks for that, Lillian. A substitute mother, at least.
Thanks for that, Lillian. A substitute mother, at least.
I haven’t read that, Kari, and I must.
I haven’t read that, Kari, and I must.
I haven’t read that, Kari, and I must.
I haven’t read that, Kari, and I must.
I haven’t read that, Kari, and I must.
Mary Jo, I’m not totally convinced by the lack of pages. Our heroes usually have some secondary bonds, but they’re often brothers or boyhood friends. Do they take over from a bond to the mother? Not in the case of the Jerseymen. I think it could be squeezed in.
Interesting point about independence. I’m not sure that’s important to me in my writing. Is it an American thing? Honest question. I remember a Regency source in which independence was equated with lack of people to depend on, and a sad thing. Interesting things, words.
Mary Jo, I’m not totally convinced by the lack of pages. Our heroes usually have some secondary bonds, but they’re often brothers or boyhood friends. Do they take over from a bond to the mother? Not in the case of the Jerseymen. I think it could be squeezed in.
Interesting point about independence. I’m not sure that’s important to me in my writing. Is it an American thing? Honest question. I remember a Regency source in which independence was equated with lack of people to depend on, and a sad thing. Interesting things, words.
Mary Jo, I’m not totally convinced by the lack of pages. Our heroes usually have some secondary bonds, but they’re often brothers or boyhood friends. Do they take over from a bond to the mother? Not in the case of the Jerseymen. I think it could be squeezed in.
Interesting point about independence. I’m not sure that’s important to me in my writing. Is it an American thing? Honest question. I remember a Regency source in which independence was equated with lack of people to depend on, and a sad thing. Interesting things, words.
Mary Jo, I’m not totally convinced by the lack of pages. Our heroes usually have some secondary bonds, but they’re often brothers or boyhood friends. Do they take over from a bond to the mother? Not in the case of the Jerseymen. I think it could be squeezed in.
Interesting point about independence. I’m not sure that’s important to me in my writing. Is it an American thing? Honest question. I remember a Regency source in which independence was equated with lack of people to depend on, and a sad thing. Interesting things, words.
Mary Jo, I’m not totally convinced by the lack of pages. Our heroes usually have some secondary bonds, but they’re often brothers or boyhood friends. Do they take over from a bond to the mother? Not in the case of the Jerseymen. I think it could be squeezed in.
Interesting point about independence. I’m not sure that’s important to me in my writing. Is it an American thing? Honest question. I remember a Regency source in which independence was equated with lack of people to depend on, and a sad thing. Interesting things, words.
Sue, these are all very good points, especially the healing power of love. You’re also dead on about my Lost Lords series: Lady Agnes is the mother they all desperately needed, and they still look to her strength and guidance. Adam, the Lost Lord from India, was torn screaming from his mother’s arms when he was ten, so I HAD to give her back to him. His mother, Lakshmi, is also the one who backs her daughter when Kiri feels she needs to undertake a dangerous mission.
I’m sorry you’re not feeling, and I hope you soon feel better. But you did a good job even without checking sources!
Sue, these are all very good points, especially the healing power of love. You’re also dead on about my Lost Lords series: Lady Agnes is the mother they all desperately needed, and they still look to her strength and guidance. Adam, the Lost Lord from India, was torn screaming from his mother’s arms when he was ten, so I HAD to give her back to him. His mother, Lakshmi, is also the one who backs her daughter when Kiri feels she needs to undertake a dangerous mission.
I’m sorry you’re not feeling, and I hope you soon feel better. But you did a good job even without checking sources!
Sue, these are all very good points, especially the healing power of love. You’re also dead on about my Lost Lords series: Lady Agnes is the mother they all desperately needed, and they still look to her strength and guidance. Adam, the Lost Lord from India, was torn screaming from his mother’s arms when he was ten, so I HAD to give her back to him. His mother, Lakshmi, is also the one who backs her daughter when Kiri feels she needs to undertake a dangerous mission.
I’m sorry you’re not feeling, and I hope you soon feel better. But you did a good job even without checking sources!
Sue, these are all very good points, especially the healing power of love. You’re also dead on about my Lost Lords series: Lady Agnes is the mother they all desperately needed, and they still look to her strength and guidance. Adam, the Lost Lord from India, was torn screaming from his mother’s arms when he was ten, so I HAD to give her back to him. His mother, Lakshmi, is also the one who backs her daughter when Kiri feels she needs to undertake a dangerous mission.
I’m sorry you’re not feeling, and I hope you soon feel better. But you did a good job even without checking sources!
Sue, these are all very good points, especially the healing power of love. You’re also dead on about my Lost Lords series: Lady Agnes is the mother they all desperately needed, and they still look to her strength and guidance. Adam, the Lost Lord from India, was torn screaming from his mother’s arms when he was ten, so I HAD to give her back to him. His mother, Lakshmi, is also the one who backs her daughter when Kiri feels she needs to undertake a dangerous mission.
I’m sorry you’re not feeling, and I hope you soon feel better. But you did a good job even without checking sources!
Interesting list, Vicki. Thanks!
Interesting list, Vicki. Thanks!
Interesting list, Vicki. Thanks!
Interesting list, Vicki. Thanks!
Interesting list, Vicki. Thanks!
Yes, I think that’s a good example, Susan.
Yes, I think that’s a good example, Susan.
Yes, I think that’s a good example, Susan.
Yes, I think that’s a good example, Susan.
Yes, I think that’s a good example, Susan.
As I said to Mary Jo, Anne, this independence thing is interesting. I suggested it might be an American thing. Perhaps a colonial one? Does strength require independence, or as in the old Roman story, are we stronge when tightly bound together?
We do kill off most of the heroes’ father in order to give them titles. Terrible gene pool!
As for mothers-in-law, isn’t love potentially infinite? Does it have to be either/or? As you say, depends on the characters.
As I said to Mary Jo, Anne, this independence thing is interesting. I suggested it might be an American thing. Perhaps a colonial one? Does strength require independence, or as in the old Roman story, are we stronge when tightly bound together?
We do kill off most of the heroes’ father in order to give them titles. Terrible gene pool!
As for mothers-in-law, isn’t love potentially infinite? Does it have to be either/or? As you say, depends on the characters.
As I said to Mary Jo, Anne, this independence thing is interesting. I suggested it might be an American thing. Perhaps a colonial one? Does strength require independence, or as in the old Roman story, are we stronge when tightly bound together?
We do kill off most of the heroes’ father in order to give them titles. Terrible gene pool!
As for mothers-in-law, isn’t love potentially infinite? Does it have to be either/or? As you say, depends on the characters.
As I said to Mary Jo, Anne, this independence thing is interesting. I suggested it might be an American thing. Perhaps a colonial one? Does strength require independence, or as in the old Roman story, are we stronge when tightly bound together?
We do kill off most of the heroes’ father in order to give them titles. Terrible gene pool!
As for mothers-in-law, isn’t love potentially infinite? Does it have to be either/or? As you say, depends on the characters.
As I said to Mary Jo, Anne, this independence thing is interesting. I suggested it might be an American thing. Perhaps a colonial one? Does strength require independence, or as in the old Roman story, are we stronge when tightly bound together?
We do kill off most of the heroes’ father in order to give them titles. Terrible gene pool!
As for mothers-in-law, isn’t love potentially infinite? Does it have to be either/or? As you say, depends on the characters.
Yes, above, Tempest. It’s a good example. She came top in my historical fiction poll on Facebook for Mother’s Day.
Yes, above, Tempest. It’s a good example. She came top in my historical fiction poll on Facebook for Mother’s Day.
Yes, above, Tempest. It’s a good example. She came top in my historical fiction poll on Facebook for Mother’s Day.
Yes, above, Tempest. It’s a good example. She came top in my historical fiction poll on Facebook for Mother’s Day.
Yes, above, Tempest. It’s a good example. She came top in my historical fiction poll on Facebook for Mother’s Day.
Thanks, Shannon. That sounds like a good one.
Thanks, Shannon. That sounds like a good one.
Thanks, Shannon. That sounds like a good one.
Thanks, Shannon. That sounds like a good one.
Thanks, Shannon. That sounds like a good one.
Ah, interesting, Kathy. Especially as many think that Wimsey was a bit of the inspiration for Lymond.
Ah, interesting, Kathy. Especially as many think that Wimsey was a bit of the inspiration for Lymond.
Ah, interesting, Kathy. Especially as many think that Wimsey was a bit of the inspiration for Lymond.
Ah, interesting, Kathy. Especially as many think that Wimsey was a bit of the inspiration for Lymond.
Ah, interesting, Kathy. Especially as many think that Wimsey was a bit of the inspiration for Lymond.
Good reminder, Sue, of Mary Jo’s Lost Lords.
Good reminder, Sue, of Mary Jo’s Lost Lords.
Good reminder, Sue, of Mary Jo’s Lost Lords.
Good reminder, Sue, of Mary Jo’s Lost Lords.
Good reminder, Sue, of Mary Jo’s Lost Lords.
Going back to an old school classic, the hero of The Windflower has an affectionate relationship with his widowed mother, who takes Devon’s new bride and her aunt under her wing.
Going back to an old school classic, the hero of The Windflower has an affectionate relationship with his widowed mother, who takes Devon’s new bride and her aunt under her wing.
Going back to an old school classic, the hero of The Windflower has an affectionate relationship with his widowed mother, who takes Devon’s new bride and her aunt under her wing.
Going back to an old school classic, the hero of The Windflower has an affectionate relationship with his widowed mother, who takes Devon’s new bride and her aunt under her wing.
Going back to an old school classic, the hero of The Windflower has an affectionate relationship with his widowed mother, who takes Devon’s new bride and her aunt under her wing.
I wonder if the lack of stories featuring strong mother-son bonds can be traced to the idea (seen in advertisements and jokes) that if a man is close to his mother, he’s a “Mama’s boy,” and, thus, weak. Certainly not a quality of a strong hero. That’s a shame, too, because a close relationship with his mother could be perceived as a strength in a man, giving a clue to his future wife about how he will treat her.
I wonder if the lack of stories featuring strong mother-son bonds can be traced to the idea (seen in advertisements and jokes) that if a man is close to his mother, he’s a “Mama’s boy,” and, thus, weak. Certainly not a quality of a strong hero. That’s a shame, too, because a close relationship with his mother could be perceived as a strength in a man, giving a clue to his future wife about how he will treat her.
I wonder if the lack of stories featuring strong mother-son bonds can be traced to the idea (seen in advertisements and jokes) that if a man is close to his mother, he’s a “Mama’s boy,” and, thus, weak. Certainly not a quality of a strong hero. That’s a shame, too, because a close relationship with his mother could be perceived as a strength in a man, giving a clue to his future wife about how he will treat her.
I wonder if the lack of stories featuring strong mother-son bonds can be traced to the idea (seen in advertisements and jokes) that if a man is close to his mother, he’s a “Mama’s boy,” and, thus, weak. Certainly not a quality of a strong hero. That’s a shame, too, because a close relationship with his mother could be perceived as a strength in a man, giving a clue to his future wife about how he will treat her.
I wonder if the lack of stories featuring strong mother-son bonds can be traced to the idea (seen in advertisements and jokes) that if a man is close to his mother, he’s a “Mama’s boy,” and, thus, weak. Certainly not a quality of a strong hero. That’s a shame, too, because a close relationship with his mother could be perceived as a strength in a man, giving a clue to his future wife about how he will treat her.
Everyone has mentioned the ones I thought of that fit into this discussion.
The following is a bit off topic with the absence of a mother figure: In the Harry Potter series, the character of Voldemort has been discussed on podcasts saying that if his mother had not died during his birth, he would have known the great love she had for him and his father, and he would not have become Voldemort and as vicious as he behaved.
He would still be angry at the way his father treated his mother, but it was pointed out that she might have been able to influence that anger, and he might have been prevailed upon not to kill his father and the wife and children he had after throwing his mother out.
Of course, the story would not have been as spectacular if she had lived.
Everyone has mentioned the ones I thought of that fit into this discussion.
The following is a bit off topic with the absence of a mother figure: In the Harry Potter series, the character of Voldemort has been discussed on podcasts saying that if his mother had not died during his birth, he would have known the great love she had for him and his father, and he would not have become Voldemort and as vicious as he behaved.
He would still be angry at the way his father treated his mother, but it was pointed out that she might have been able to influence that anger, and he might have been prevailed upon not to kill his father and the wife and children he had after throwing his mother out.
Of course, the story would not have been as spectacular if she had lived.
Everyone has mentioned the ones I thought of that fit into this discussion.
The following is a bit off topic with the absence of a mother figure: In the Harry Potter series, the character of Voldemort has been discussed on podcasts saying that if his mother had not died during his birth, he would have known the great love she had for him and his father, and he would not have become Voldemort and as vicious as he behaved.
He would still be angry at the way his father treated his mother, but it was pointed out that she might have been able to influence that anger, and he might have been prevailed upon not to kill his father and the wife and children he had after throwing his mother out.
Of course, the story would not have been as spectacular if she had lived.
Everyone has mentioned the ones I thought of that fit into this discussion.
The following is a bit off topic with the absence of a mother figure: In the Harry Potter series, the character of Voldemort has been discussed on podcasts saying that if his mother had not died during his birth, he would have known the great love she had for him and his father, and he would not have become Voldemort and as vicious as he behaved.
He would still be angry at the way his father treated his mother, but it was pointed out that she might have been able to influence that anger, and he might have been prevailed upon not to kill his father and the wife and children he had after throwing his mother out.
Of course, the story would not have been as spectacular if she had lived.
Everyone has mentioned the ones I thought of that fit into this discussion.
The following is a bit off topic with the absence of a mother figure: In the Harry Potter series, the character of Voldemort has been discussed on podcasts saying that if his mother had not died during his birth, he would have known the great love she had for him and his father, and he would not have become Voldemort and as vicious as he behaved.
He would still be angry at the way his father treated his mother, but it was pointed out that she might have been able to influence that anger, and he might have been prevailed upon not to kill his father and the wife and children he had after throwing his mother out.
Of course, the story would not have been as spectacular if she had lived.
Even though this has been mentioned previously, Grace Burrowes’ Windhams are a beautiful family with an incredible Duchess who mothered and fostered even her Duke’s illegimate children. I thought she played a significant role in all of the stories. A marvelous character to have been developed.
Then there are the Bridgerton’s. The widowed mother, Viola, was in all the stories and obviously supported her children, even in the end, denied herself a second marriage because of them.
Even though this has been mentioned previously, Grace Burrowes’ Windhams are a beautiful family with an incredible Duchess who mothered and fostered even her Duke’s illegimate children. I thought she played a significant role in all of the stories. A marvelous character to have been developed.
Then there are the Bridgerton’s. The widowed mother, Viola, was in all the stories and obviously supported her children, even in the end, denied herself a second marriage because of them.
Even though this has been mentioned previously, Grace Burrowes’ Windhams are a beautiful family with an incredible Duchess who mothered and fostered even her Duke’s illegimate children. I thought she played a significant role in all of the stories. A marvelous character to have been developed.
Then there are the Bridgerton’s. The widowed mother, Viola, was in all the stories and obviously supported her children, even in the end, denied herself a second marriage because of them.
Even though this has been mentioned previously, Grace Burrowes’ Windhams are a beautiful family with an incredible Duchess who mothered and fostered even her Duke’s illegimate children. I thought she played a significant role in all of the stories. A marvelous character to have been developed.
Then there are the Bridgerton’s. The widowed mother, Viola, was in all the stories and obviously supported her children, even in the end, denied herself a second marriage because of them.
Even though this has been mentioned previously, Grace Burrowes’ Windhams are a beautiful family with an incredible Duchess who mothered and fostered even her Duke’s illegimate children. I thought she played a significant role in all of the stories. A marvelous character to have been developed.
Then there are the Bridgerton’s. The widowed mother, Viola, was in all the stories and obviously supported her children, even in the end, denied herself a second marriage because of them.
This was really a tough exercise. I never realized how few healthy mother-son relationships there were in romance, and how many dead and missing mothers. The Bridgerton series is a great example. I thought of “The Vagabond Duchess” by Claire Thornton, where the hero’s mother plays a supportive role in the plot by taking the heroine under her wing, but I really had to dig deep to come up with that one. As far as real life stories, there’s “The Color of Water” which is James McBride’s tribute to his mother and a lovely book.
This was really a tough exercise. I never realized how few healthy mother-son relationships there were in romance, and how many dead and missing mothers. The Bridgerton series is a great example. I thought of “The Vagabond Duchess” by Claire Thornton, where the hero’s mother plays a supportive role in the plot by taking the heroine under her wing, but I really had to dig deep to come up with that one. As far as real life stories, there’s “The Color of Water” which is James McBride’s tribute to his mother and a lovely book.
This was really a tough exercise. I never realized how few healthy mother-son relationships there were in romance, and how many dead and missing mothers. The Bridgerton series is a great example. I thought of “The Vagabond Duchess” by Claire Thornton, where the hero’s mother plays a supportive role in the plot by taking the heroine under her wing, but I really had to dig deep to come up with that one. As far as real life stories, there’s “The Color of Water” which is James McBride’s tribute to his mother and a lovely book.
This was really a tough exercise. I never realized how few healthy mother-son relationships there were in romance, and how many dead and missing mothers. The Bridgerton series is a great example. I thought of “The Vagabond Duchess” by Claire Thornton, where the hero’s mother plays a supportive role in the plot by taking the heroine under her wing, but I really had to dig deep to come up with that one. As far as real life stories, there’s “The Color of Water” which is James McBride’s tribute to his mother and a lovely book.
This was really a tough exercise. I never realized how few healthy mother-son relationships there were in romance, and how many dead and missing mothers. The Bridgerton series is a great example. I thought of “The Vagabond Duchess” by Claire Thornton, where the hero’s mother plays a supportive role in the plot by taking the heroine under her wing, but I really had to dig deep to come up with that one. As far as real life stories, there’s “The Color of Water” which is James McBride’s tribute to his mother and a lovely book.
Surely a man with a loving relationship with his mother wouldn’t go around seducing females at the first or second meeting , or wagering that he could take her virtue within a certain number of days, or in other ways treat ladies as though they were commodities. I think a man with a loving relationship with his mother would be less likely to be a rake.
I have never read Dunnet but have read the Quinn and Lauren books and, of course, The Lost Lords.
Many authors find that making the hero an orphan or with a distant mother focuses the story on hero and heroine.
She is to fulfill his every emotional need, though he might be allowed to have a fondness for his horse, dog, a friend, and any child of a previous relationship.
Surely a man with a loving relationship with his mother wouldn’t go around seducing females at the first or second meeting , or wagering that he could take her virtue within a certain number of days, or in other ways treat ladies as though they were commodities. I think a man with a loving relationship with his mother would be less likely to be a rake.
I have never read Dunnet but have read the Quinn and Lauren books and, of course, The Lost Lords.
Many authors find that making the hero an orphan or with a distant mother focuses the story on hero and heroine.
She is to fulfill his every emotional need, though he might be allowed to have a fondness for his horse, dog, a friend, and any child of a previous relationship.
Surely a man with a loving relationship with his mother wouldn’t go around seducing females at the first or second meeting , or wagering that he could take her virtue within a certain number of days, or in other ways treat ladies as though they were commodities. I think a man with a loving relationship with his mother would be less likely to be a rake.
I have never read Dunnet but have read the Quinn and Lauren books and, of course, The Lost Lords.
Many authors find that making the hero an orphan or with a distant mother focuses the story on hero and heroine.
She is to fulfill his every emotional need, though he might be allowed to have a fondness for his horse, dog, a friend, and any child of a previous relationship.
Surely a man with a loving relationship with his mother wouldn’t go around seducing females at the first or second meeting , or wagering that he could take her virtue within a certain number of days, or in other ways treat ladies as though they were commodities. I think a man with a loving relationship with his mother would be less likely to be a rake.
I have never read Dunnet but have read the Quinn and Lauren books and, of course, The Lost Lords.
Many authors find that making the hero an orphan or with a distant mother focuses the story on hero and heroine.
She is to fulfill his every emotional need, though he might be allowed to have a fondness for his horse, dog, a friend, and any child of a previous relationship.
Surely a man with a loving relationship with his mother wouldn’t go around seducing females at the first or second meeting , or wagering that he could take her virtue within a certain number of days, or in other ways treat ladies as though they were commodities. I think a man with a loving relationship with his mother would be less likely to be a rake.
I have never read Dunnet but have read the Quinn and Lauren books and, of course, The Lost Lords.
Many authors find that making the hero an orphan or with a distant mother focuses the story on hero and heroine.
She is to fulfill his every emotional need, though he might be allowed to have a fondness for his horse, dog, a friend, and any child of a previous relationship.
Also worth checking out are Alexandra Hawkins’ Sunrise with a Notorious Lord, Katharine Ashe’s Captured By a Rogue Lord and Sabrina Jeffries’ ‘Twas the Night After Christmas, which mostly centers on a mother-son relationship that needs to be mended. Another good series would be Lynsay Sands’ Argeneau Novels, provided you like vampires.
Also worth checking out are Alexandra Hawkins’ Sunrise with a Notorious Lord, Katharine Ashe’s Captured By a Rogue Lord and Sabrina Jeffries’ ‘Twas the Night After Christmas, which mostly centers on a mother-son relationship that needs to be mended. Another good series would be Lynsay Sands’ Argeneau Novels, provided you like vampires.
Also worth checking out are Alexandra Hawkins’ Sunrise with a Notorious Lord, Katharine Ashe’s Captured By a Rogue Lord and Sabrina Jeffries’ ‘Twas the Night After Christmas, which mostly centers on a mother-son relationship that needs to be mended. Another good series would be Lynsay Sands’ Argeneau Novels, provided you like vampires.
Also worth checking out are Alexandra Hawkins’ Sunrise with a Notorious Lord, Katharine Ashe’s Captured By a Rogue Lord and Sabrina Jeffries’ ‘Twas the Night After Christmas, which mostly centers on a mother-son relationship that needs to be mended. Another good series would be Lynsay Sands’ Argeneau Novels, provided you like vampires.
Also worth checking out are Alexandra Hawkins’ Sunrise with a Notorious Lord, Katharine Ashe’s Captured By a Rogue Lord and Sabrina Jeffries’ ‘Twas the Night After Christmas, which mostly centers on a mother-son relationship that needs to be mended. Another good series would be Lynsay Sands’ Argeneau Novels, provided you like vampires.
http://www.npr.org/2014/12/27/371710986/all-the-writers-you-love-probably-love-dorothy-dunnett
The above article about Dorothy Dunnett’s influence on many well known and loved authors prompted me to pick up the first Lymond book and begin reading it. It’s very interesting that I had never heard of her before, yet enjoy several authors from this list.
I second the titles that several people have already mentioned, once I read their comments…especially the Wyndham family in the books by Grace Burrowes. I actually thought about MJP’s Lost Lords series but realized she, Lady Agnes wasn’t an actual mother, but a real motherly influence of course. Great series. I haven’t come up with any on my own.
It occurs to me that all the romance I read takes place in England, within a very defined time period. Like others have stated, heirs are under their father’s influence to learn to take over the estate from an early age, generally. But also most of the heroes are of a certain class (with some notable self-made men,) and they all spent their time with nurses, governesses and then tutors from a young age, then sent away to school. How was an adult man supposed to maintain a close relationship with his mother at such an emotional distance? The years when mothers in much more contemporary times would continue a role of nurturing into a much older age by comparison, a boy was thrust into the company of other boys and male teachers, and it’s sink or swim. Get tough or die. That ‘background’ shows up a lot in the story of many a Hero we’re familiar with.
Thanks to the other comments for my ever growing wish list.
http://www.npr.org/2014/12/27/371710986/all-the-writers-you-love-probably-love-dorothy-dunnett
The above article about Dorothy Dunnett’s influence on many well known and loved authors prompted me to pick up the first Lymond book and begin reading it. It’s very interesting that I had never heard of her before, yet enjoy several authors from this list.
I second the titles that several people have already mentioned, once I read their comments…especially the Wyndham family in the books by Grace Burrowes. I actually thought about MJP’s Lost Lords series but realized she, Lady Agnes wasn’t an actual mother, but a real motherly influence of course. Great series. I haven’t come up with any on my own.
It occurs to me that all the romance I read takes place in England, within a very defined time period. Like others have stated, heirs are under their father’s influence to learn to take over the estate from an early age, generally. But also most of the heroes are of a certain class (with some notable self-made men,) and they all spent their time with nurses, governesses and then tutors from a young age, then sent away to school. How was an adult man supposed to maintain a close relationship with his mother at such an emotional distance? The years when mothers in much more contemporary times would continue a role of nurturing into a much older age by comparison, a boy was thrust into the company of other boys and male teachers, and it’s sink or swim. Get tough or die. That ‘background’ shows up a lot in the story of many a Hero we’re familiar with.
Thanks to the other comments for my ever growing wish list.
http://www.npr.org/2014/12/27/371710986/all-the-writers-you-love-probably-love-dorothy-dunnett
The above article about Dorothy Dunnett’s influence on many well known and loved authors prompted me to pick up the first Lymond book and begin reading it. It’s very interesting that I had never heard of her before, yet enjoy several authors from this list.
I second the titles that several people have already mentioned, once I read their comments…especially the Wyndham family in the books by Grace Burrowes. I actually thought about MJP’s Lost Lords series but realized she, Lady Agnes wasn’t an actual mother, but a real motherly influence of course. Great series. I haven’t come up with any on my own.
It occurs to me that all the romance I read takes place in England, within a very defined time period. Like others have stated, heirs are under their father’s influence to learn to take over the estate from an early age, generally. But also most of the heroes are of a certain class (with some notable self-made men,) and they all spent their time with nurses, governesses and then tutors from a young age, then sent away to school. How was an adult man supposed to maintain a close relationship with his mother at such an emotional distance? The years when mothers in much more contemporary times would continue a role of nurturing into a much older age by comparison, a boy was thrust into the company of other boys and male teachers, and it’s sink or swim. Get tough or die. That ‘background’ shows up a lot in the story of many a Hero we’re familiar with.
Thanks to the other comments for my ever growing wish list.
http://www.npr.org/2014/12/27/371710986/all-the-writers-you-love-probably-love-dorothy-dunnett
The above article about Dorothy Dunnett’s influence on many well known and loved authors prompted me to pick up the first Lymond book and begin reading it. It’s very interesting that I had never heard of her before, yet enjoy several authors from this list.
I second the titles that several people have already mentioned, once I read their comments…especially the Wyndham family in the books by Grace Burrowes. I actually thought about MJP’s Lost Lords series but realized she, Lady Agnes wasn’t an actual mother, but a real motherly influence of course. Great series. I haven’t come up with any on my own.
It occurs to me that all the romance I read takes place in England, within a very defined time period. Like others have stated, heirs are under their father’s influence to learn to take over the estate from an early age, generally. But also most of the heroes are of a certain class (with some notable self-made men,) and they all spent their time with nurses, governesses and then tutors from a young age, then sent away to school. How was an adult man supposed to maintain a close relationship with his mother at such an emotional distance? The years when mothers in much more contemporary times would continue a role of nurturing into a much older age by comparison, a boy was thrust into the company of other boys and male teachers, and it’s sink or swim. Get tough or die. That ‘background’ shows up a lot in the story of many a Hero we’re familiar with.
Thanks to the other comments for my ever growing wish list.
http://www.npr.org/2014/12/27/371710986/all-the-writers-you-love-probably-love-dorothy-dunnett
The above article about Dorothy Dunnett’s influence on many well known and loved authors prompted me to pick up the first Lymond book and begin reading it. It’s very interesting that I had never heard of her before, yet enjoy several authors from this list.
I second the titles that several people have already mentioned, once I read their comments…especially the Wyndham family in the books by Grace Burrowes. I actually thought about MJP’s Lost Lords series but realized she, Lady Agnes wasn’t an actual mother, but a real motherly influence of course. Great series. I haven’t come up with any on my own.
It occurs to me that all the romance I read takes place in England, within a very defined time period. Like others have stated, heirs are under their father’s influence to learn to take over the estate from an early age, generally. But also most of the heroes are of a certain class (with some notable self-made men,) and they all spent their time with nurses, governesses and then tutors from a young age, then sent away to school. How was an adult man supposed to maintain a close relationship with his mother at such an emotional distance? The years when mothers in much more contemporary times would continue a role of nurturing into a much older age by comparison, a boy was thrust into the company of other boys and male teachers, and it’s sink or swim. Get tough or die. That ‘background’ shows up a lot in the story of many a Hero we’re familiar with.
Thanks to the other comments for my ever growing wish list.
The Windhams were the example I was going to raise so I agree with your assessment. Often the bond between the Duchess and her sons revolves around managing the Duke, but she also provides them support as they inevitably botch matters with their lady loves.
The Windhams were the example I was going to raise so I agree with your assessment. Often the bond between the Duchess and her sons revolves around managing the Duke, but she also provides them support as they inevitably botch matters with their lady loves.
The Windhams were the example I was going to raise so I agree with your assessment. Often the bond between the Duchess and her sons revolves around managing the Duke, but she also provides them support as they inevitably botch matters with their lady loves.
The Windhams were the example I was going to raise so I agree with your assessment. Often the bond between the Duchess and her sons revolves around managing the Duke, but she also provides them support as they inevitably botch matters with their lady loves.
The Windhams were the example I was going to raise so I agree with your assessment. Often the bond between the Duchess and her sons revolves around managing the Duke, but she also provides them support as they inevitably botch matters with their lady loves.
I’m catching up on my posts. I always read Word Wenches, but not always on time. My next book, Lady Beresford’s Lover, has a strong bond between my hero and his mother.
In Georgette Heyer’s Devil’s Cub, there is also a strong mother-son relationship. I can’t think of any others at the moment.
I love Dorothy Dunnett!
I’m catching up on my posts. I always read Word Wenches, but not always on time. My next book, Lady Beresford’s Lover, has a strong bond between my hero and his mother.
In Georgette Heyer’s Devil’s Cub, there is also a strong mother-son relationship. I can’t think of any others at the moment.
I love Dorothy Dunnett!
I’m catching up on my posts. I always read Word Wenches, but not always on time. My next book, Lady Beresford’s Lover, has a strong bond between my hero and his mother.
In Georgette Heyer’s Devil’s Cub, there is also a strong mother-son relationship. I can’t think of any others at the moment.
I love Dorothy Dunnett!
I’m catching up on my posts. I always read Word Wenches, but not always on time. My next book, Lady Beresford’s Lover, has a strong bond between my hero and his mother.
In Georgette Heyer’s Devil’s Cub, there is also a strong mother-son relationship. I can’t think of any others at the moment.
I love Dorothy Dunnett!
I’m catching up on my posts. I always read Word Wenches, but not always on time. My next book, Lady Beresford’s Lover, has a strong bond between my hero and his mother.
In Georgette Heyer’s Devil’s Cub, there is also a strong mother-son relationship. I can’t think of any others at the moment.
I love Dorothy Dunnett!