strange and random happenstance: Widow

A Bride's Story, Vol. 15 by Kaoru Mori
Published by: Yen Press
Publication Date: December 16th, 2025
Format: Hardcover, 224 Pages
Rating: ★★★★★
To Buy

Henry Smith's time in Asia has come to an end, or so his family has decreed. He has been captivated by his study of the Silk Road and the people he has met along the way. But his family are worried about him, his sporadic correspondence might be to blame, and they have "requested" that he return home. His family friend in Ankara, Mr. Hawkins, has been asked to intercede on their behalf as he himself is leaving the conflicted region. The fact that Henry is still alive is a bit of a shock to Mr. Hawkins, but nothing to the shock he will receive. Henry had wished to retrace his steps and say a fond farewell to all those he had met along the way, to try to capture them forever in his mind and on film with a camera he was able to acquire. This would have been a long, parlous, and probably impossible journey with the movement of Russian troops, but Henry has an additional hitch. Awhile back he met a young widow, Talas. They had fallen in love but her duty to her mother-in-law made her say goodbye to the scholarly Englishman. Yet her love for him endured and she has followed him to Ankara. Mr. Smith now intends to take her on this journey as his wife. Not just through their abbreviated sojourn among his past acquaintances, but all the way back to England. Mr. Hawkins begs him to reconsider but Henry's mind is made up. Eventually Henry, Talas, and her beloved horse Chubar, make their way to the Port of Bombay. There they book passage back to England. But Henry's homecoming is anything but welcoming. His mother won't even meet Talas and will do anything to stop them from actually marrying. The scandal would ruin them. Or so she claims. Thankfully Mr. Hawkins comes to the rescue. His family have a disused hunter lodge that Henry and Talas can live while things settle down at home. Henry will work on assembling his copious notes for publication while Talas will keep sheep. English sheep might look different, but a sheep is a sheep and she knows what she's doing. She's a practical woman. She's even considering putting Chubar out to stud. Yet Henry is her opposite, a true dreamer. Which is why he decides that if he presents Talas and his marriage as a fait accompli his family will accept her. They set out for Scotland with his brother and Mr. Hawkins as co-conspirators. But will their plan work? Only time will tell.

I first discovered Kaoru Mori back in 2010 through her manga series Emma. I was so desperate to read this story that was out of print stateside that I ordered the first volume from England. Thankfully the proceeding six volumes were available through my local library. Though, if you are a fan of this manga about a Victorian maid finding love, you will perhaps notice that my library didn't have the final three volumes and I had to wait until they were rereleased in an omnibus format to finally read the ending. And that didn't happen until seven years later. All this is to say that when a Kaoru Mori book comes out you buy it. You do whatever you can to buy that book because before you know it you won't be able to get your hands on it ever again. Yes, I'm looking at you Shirley. You're the holy grail. When A Bride's Story first started getting released in English in 2011 we were spoiled in that twice we got two volumes in a single year. Now it's a volume about every other year. Not that I'm complaining. Kaoru Mori's art is so intricate and amazing, down to the finest detail of fabric or bread, that I can't believe she can even keep to a biannual schedule. From the day I picked up this series I have been captivated but this "slice-of-life tale that is at once wholly exotic, yet familiar." The stories of each and every character have captivated me. They are my friends. We readers have journeyed with Mr. Smith along the silk road and met nomadic tribesmen, overstimulated twins, skilled hunters, sister wives, and blunt bread makers. When he started to head towards Ankara in Vol. 10 it was wistful. Because as readers it felt that once his journey came to an end the series would come to an end. And as he traveled with Talas to Port Bombay it felt like a farewell tour. We weren't just saying goodbye to these characters but this way of life that Russia would soon destroy. Yet this volume showed how this story could continue outside of Asia. We see Talas and Henry struggling and succeeding to make a life. It's a different, solitary kind of life, but I can't help feeling that as long as they have each other they will survive and thrive. Though what touched me most was the quiet moments. Kaoru Mori always has these vignettes that don't tie into the rest of the story but show a moment in time in these characters' lives. Here it was how Chubar was struggling on the sea voyage and how the ship's cat came to befriend and therefore calm him. It was this moment of two animals living symbiotically that brought a smile to my face on the darkest of nights. This series just keeps me in it's thrall. The black and white line work, the characters, their stories, I never want it to end. I can't wait for Vol. 16, but it will be at least two years. Perhaps I should reread it all again? Or maybe reread Emma... You can never have enough Kaoru Mori in your life.

Posted by Miss Eliza at 12:00 AM 0 comments

Labels: A Bride's Story, A Bride's Story Vol. 15, Asia, Chubar, Emma, England, Horse, Kaoru Mori, Library, Manga, Marriage, Mr. Henry Smith, Russia, Ship's Cat, Shirley, Silk Road, Talas, Top Ten, Turkey, Widow

And Only to Deceive by Tasha Alexander
Published by: Harper
Publication Date: 2005
Format: Paperback, 321 Pages
Rating: ★★★★★
To Buy

Lady Emily is the widow of the Viscount Philip of Ashton, the husband everyone wanted. It was a very convenient marriage all around. Emily needed to get away from her domineering mother and Philip had the credentials to appease said mother and viewed Emily as the apex of beauty, his Kallista. So he asked for Emily's hand and was accepted and promptly went off to Africa and died, leaving her comfortable and independent. Who could ask for anything more? But now Emily is ready to shed her mourning after two long years sequestered away from society. What little society she has been allowed consists of her best friend Ivy, or friends of her husband, like Colin Hargreaves, or her mother. Who is trying to convince her that she should marry. AGAIN! Didn't the marriage to Philip count? Sure he died and they had no children, but the statues she attained should be enough to keep her mother at bay for at least one lifetime. Being a widow is liberating! Why would Emily give that up to be the property of another man she barely knows?

Emily's removal from society has made her realize she can do whatever she wants under the guise of trauma. She can sit in her husband's study and drink port and learn Greek and go to the museum and forge a life for herself that doesn't require a man! Yet she finds, to her astonishment, that her husband was really a fascinating man. A true scholar with a mind teaming with knowledge and a love of art. A man who truly loved her and whom she just thought of as a way out of an intolerable situation. He loved her, yet she didn't love him... then. Following in his steps, learning about his interests and passions, she slowly starts to fall for her dead husband. If only her husband where still alive, think of the conversations they could have because of the new learned woman she has become thanks to the position he gave her. But if, by some miracle, he did return, would he approve of the woman she's become? Would she be willing to accept his flaws, even if they are illegal? But most importantly, how would he view her bevy of suitors?

With Emily and Philip you have a truly interesting love story. Not the typical boy meets girl and then after some problems, they live happily ever after with Emily's mom being a good foil during their courtship. Here we have boy meets girl, they marry, girl loses boy and years later falls in love with who she thinks he might have been. We get to experience all the joys and sorrows of two people falling in love, but simultaneously know that it is doomed. Philip was in love with a woman he put on a pedestal and literally made his goddess, Kallista, and Emily fell in love with a past that never was. Yet Tasha strings us along, making us see the romantic what ifs without initially focusing on what the truth of their relationship would have been given societal constraints. Leading you on, building this epic and tragic love story that you are so completely committed to you totally ignore the fact that it would never work. I was hoping against hope that by some miracle Philip would be alive and that these two crazy kids would make their relationship work.

But the realist in me knew it wasn't to be, and the doubt even seeps into the cracks Emily has been ignoring. The fact that her husband might have been morally dubious is just a catalyst for her to actually look at the reality of her situation. Philip never knew Emily. He saw her as this beautiful creature, renaming her Kallista to be his romantic ideal. He loved the idea of her, much like he loved his art. She's a statue of loveliness to him. But could he love this statue if it came to life? After his death she changed, she became self-reliant, knowledgeable, all the things Victorian women weren't supposed to be. I don't think Philip would be able to rectify his image of her with the learned woman she has become, much less Emily being able to rectify the scholar of her imagination with the big game hunter he was. If he had never gone and died in Africa he'd expect Emily to be a typical Victorian wife. Seen, not heard. Beautiful and his most prized possession. Because two people can easily be desperately in love with each other when they have no idea who the other person is.

While much of the book deals with the heartbreak of falling for someone after they're gone, there is other, more familiar DNA that Tasha mines for Emily's other suitors. I can not but agree with the spot on quote on the back of my paperback edition that says "[h]ad Jane Austen written The Da Vinci Code, she may well have come up with this elegant novel." It's not just the secrets of antiquities that bring to mind Dan Brown's bestseller, or the effortless writing reminiscent of Austen that makes it feel like this book sprang fully formed from Tasha's head like Athena did from Zeus's, but Philip's two friends who are vying for Emily's heart. Or at least her hand. On the one hand we have Colin Hargreaves, with the wavy hair and stoic demeanor of a 1996 Colin Firth, he's a bit of a mystery, but Philip trusted him and therefore Emily does, to an extent. On the other hand we have Andrew Palmer, a delightful conversationalist, a bit of a gossip, and a total flirt, but such a hansom flirt. Yes folks, it's the Pride and Prejudice of it all with Colin being our Darcy and Andrew being our Wickham.

And much like Austen's classic, "[o]ne has got all the goodness, and the other all the appearance of it.'' There's a reason Austen tropes work, they are classic. Which is why there are countless retellings and reimaginings, but Tasha does all those read-a-likes one better, because this love triangle isn't the crux of the book. She takes one of the most famous plots ever written and makes it a subplot. She's not out to rewrite Pride and Prejudice, she's out to write her own story, create her own legacy. This book is about lost love, art theft, forgeries, antiquities, education, societal constraints, with a little Jane Austen thrown in. This is why I'm almost of the mind to just delete this paragraphs I've just labored over because while there is this kernel of Austen by just saying that people are going to have certain expectations. They're going to think it's Victorian Bridget Jones or some such nonsense that is in no way what this book is. This is the problem of being a reviewer, you can see what it's like but also what it is on it's own and my purpose in writing this review is not only to discuss my feelings of what I've read but to get you to pick up this book. PICK IT UP! Just go in without preconceptions.

Because this book literally has so much fun twisting and turning what you'd expect from this time period. While Tasha has today's sensibilities she clearly states in her afterward that she wrote it from the point of view of Victorian society, and then as a reader you take great joy as she finds all the loopholes and makes something that is both of it's time and of our time. What I took great glee in was all the art in the book, from classic Greek statuary and vases to the Impressionists working in Paris while Emily was there. While today we view the Impressionists as the greatest artists of that time, at the time they were frowned upon. I felt like for once all those art history classes I took were paying off! But more than that it's the counterpoint of a woman's life proscribed by Victorian mourning with that of the artistic scene in Paris at the end of the 1800s. Constriction versus liberation. Which is very much a theme throughout the book. While Emily is under so many strictures, at the same time she is given a liberty by her status that would never have been conferred on her had Philip survived. Being a widow of means is literally the only way women could have freedom in the Victorian era. To see Emily embrace all that that means is the greatest of joys. It makes you realize how much better we have it and that we need to embrace all that we have because we could have it far worse.