After a few recent forays into contemporary romance, Joanna Chambers returns to historicals and to the city of Edinburgh for her latest novel, Gentleman Wolf, the first in her Capital Wolves Duet. As the title suggests, this is a story with a touch of the paranormal, although the paranormal elements are fairly low-key, so if you’re looking for a full-blown shifter story, it might not be the book for you. I should also point out that there is no HEA – or even HFN – in this book, but the second part of the duet (Master Wolf) is due to be published in early 2020, so there’s not too long to wait for the conclusion to the story.
When readers first meet Lindsay Somerville, he’s an abject slave; imprisoned, debased and badly used by a master he has no power to disobey and unable to end his suffering by seeking his own death. A former soldier in the Covenanter army, Lindsay was captured and brought before Duncan MacCormaic who, in a cruel act of frustration and warped revenge, turned Lindsay into a two-natured creature, a man with a powerful beast inside him that the moon could draw out. Chained and forced to wear a silver collar that prevents his inner wolf from ever finding its way out, Lindsay knows that nothing awaits him but further pain and degradation – until something he’d never dared hope for happens and he’s rescued by a couple he can immediately identify as wolves from their scent. They take Lindsay to Europe, and although time and distance lessen the unwanted bond between him and his ‘maker’, MacCormaic continues to make attempts to recapture him.
Over a century later finds Lindsay living contentedly in Paris with his rescuers, Francis Neville and his dear friend Marguerite. It’s been a decade since Duncan last tried to find him, but Marguerite has news that chills Lindsay to the bone; Duncan is on his way to Paris and is expected to arrive in a matter of weeks. To make sure Lindsay is well away by then, she asks him to undertake some business for her in Edinburgh, namely to meet with collector Hector Cruickshank and negotiate the purchase of a series of documents known as the Naismith Papers, a set of notes and papers pertaining to a number of witch trials that had taken place throughout Scotland some two hundred years earlier.
So Lindsay returns to Edinburgh, surprised to find the place still feels and smells like home after an absence of more than a hundred years, but also keen to complete his task and return to Paris once it’s safe for him to do so. He arrives at the appointed time for his meeting with Cruickshank only to find another gentleman also waiting – and is completely unprepared for the coup de foudre that strikes him at sight of that other man, who introduces himself as Drew Nicol, the architect who has designed a house for Cruickshank in the rapidly growing New Town area of Edinburgh.
Lindsay is utterly smitten with the handsome but somewhat dour Mr. Nicol and decides to amuse himself a little by attempting to draw the man out. At this stage, even he doesn’t quite understand what amounts to a near compulsion to find ways to spend time in Drew’s company, and his initial attempts to do so come off as just a bit selfish, as Drew is clearly uncomfortable with Lindsay’s amorous overtures. I admit I was reminded a little of the pairing of the hardworking, closeted lawyer David Lauriston with the worldly, pleasure-seeking aristocrat Murdo Balfour employed to such good effect in Ms. Chambers’ earlier Enlightenment trilogy, although here, the PoV character is the hedonistic Lindsay rather than the quieter and obviously unhappy Drew.
Just as Lindsay is strongly drawn to Drew, so the reverse is true, no matter how torn Drew is over his attraction to a man, let alone one so obviously not of his world and who has already made clear his intention to leave the city in a few short weeks. The author develops their relationship beautifully as Drew hesitantly allows himself to acknowledge his wants and needs and to act on them, imbuing their interactions with a palpable longing and sensuality that considerably heightens the poignancy of the book’s ending.
The secondary cast isn’t large, but Francis, Marguerite and Wynne, Lindsay’s devoted manservant, are all well-defined and have important roles to play within the story; and as always, the author’s descriptions of the Edinburgh of the time bring the place so wonderfully to life in all its ugliness and splendour that it’s like another character in the book.
An air of foreboding permeates the entire novel and only increases when Lindsay finally meets the shifty Cruickshank, who is clearly up to no good. The pacing is fairly leisurely on the whole, but it never drags as we build towards a shocking climax that leaves Drew and Lindsay at odds despite the nature of the bond that’s already developed between them.
Gentleman Wolf is a highly entertaining and engrossing read and one I can recommend wholeheartedly. The writing is beautifully atmospheric, the characterisation is excellent, the story is most intriguing and the ending is equal parts frustrating and heart-breaking. I’m really looking forward to learning how everything plays out in Master Wolf when it’s released in January.