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Still mourning her mother's death, Kimberly Richards is incensed by the determination of her father, the Earl of Amburough, to marry her off as quickly as possible—just to please the jealous lover he plans to wed. And since Kimberly harbors a deep-seated dislike of gold-diggers and the whole distasteful state of affairs, the feisty young heiress already despises the 'worthy suitor' she encounters at Sherring Cross Estate: Lachlan MacGregor, the dashing, newly impoverished Laird of Clan MacGregor. A tryst with the handsome, haughty Lachlan seems dubious at best—especially since the rogue has designs on the married Duchess of Wrothston. But strange turns and outrageous circumstances promise to lead a woefully mismatched pair to a wildly unexpected destination—where a hard, resisting heart can open to the true glories of love. Historically inaccurate and confusing. A dull, unrealistic story with one dimensional characters First, the historical inaccuracies.

I'm not usually an 'accuracy Nazi'. It is fiction, after all, and is meant to entertain. However, when the author presents things that are so conflicting in time and place that you can't even figure out what decade the story is supposed to be taking place in, it's pretty bad. At one point, the hero's family mentions investigating the 'California gold rush' as a way to raise money. So, we're led to believe this must be taking place in the 1850s, right? And yet, the descriptions of the clothing and the fact that all the characters travel by coach (no trains mentioned) means it can't possibly be the 1850s. AND THEN the author uses as a major plot point the Scottish tradition of 'reaving' (which she spelled incorrectly anyway.

It should be 'reiving'),which is basically organized stealing from the English. The fall last days of gaia walkthrough. This behavior was basically a thing of the past as early as the mid 1700s.

So, it's either 1850, 1805 (according to the clothes) or 1690? A high school kid with a history text book could have done a better job writing a story. Second, the one dimensional characters. The hero is madly in love with a married woman and views the heroine as an irritating termagant (Yes, dear author, we realize you own a thesaurus.

Nag and Shrew also work). Then, for no real logical reason at all, he is suddenly interested in the heroine. Then, just a few skips later, madly in love with her. What the hell happened? Nothing, that's what.

It's an empty turn of sentiment that leads us to believe that the author is either lazy or she meant to write a character who was really that flighty. The heroine follows the tired old plot device of not believing she is lovable because she's not a drop dead beauty. She continues to doubt the hero loves her and concocts in her mind ever more ridiculous explanations for all the kind, lovable behavior he shows toward her. This line is acceptable if the hero really is being round-about or if he's emotionally distant and doesn't show his feelings. Here we have a hot-blooded Scotsman who does nothing BUT show feelings, explicitly, and yet she still doubts.