The Duke Undone

Description

An artist stumbles upon a naked duke and an unlikely love story begins in this captivating Victorian historical romance.
 
When Royal Academy painting student Lucy Coover trips over a naked man passed out in an East End alley, she does the decent thing. She covers him up and fetches help. Trouble is, she can’t banish his muscular form from her dreams as easily. Compelled to capture every detail, she creates a stunning portrait but is forced to sell it when the rent comes due. What could be worse than surrendering the very picture of your desire? Meeting the man himself. 

Anthony Philby, Duke of Weston, is nobody’s muse. Upon discovering the scandalous likeness, he springs into action. His infamous family has been torn apart by shame and secrets, and he can’t afford more gossip. Even a whisper may jeopardize his inheritance and his chance at independence. His plan is simple: burn the painting, confront the artist. Or rather, it’s simple until he meets Lucy and decides to offer the bewitching young artist a devil’s bargain.  He’ll help save her foreclosed home, if she’ll help repair his family’s brutal legacy.

An irresistible passion ignites between them, but when danger strikes, Lucy and Anthony must risk everything… for a love that might destroy them both.“Lushly dark, riddled with secrets, and seductive….Lowell’s writing oozes a sense of place. [The] sense of authenticity never falters, making this the most Victorian of romance novels.”
—Entertainment Weekly

“I loved The Duke Undone and so will my readers!”
—Eloisa James, New York Times bestselling author of My Last Duchess
 
“A beautiful blend of seductive suspense and heart-tugging romance that I could not put down. Romance fans should make room for this author on their keeper shelves!”
—Lyssa Kay Adams, National bestselling author of Crazy, Stupid Bromance
 
“Joanna Lowell’s skillful storytelling and dazzling characters create one of the most exciting new voices in historical romance today.”
—Julia London, New York Times bestselling author of A Princess by Christmas
 
“A charming romance with an atypical heroine and a to-die-for (and hot!) hero in this unique tale of a duke and a struggling artist in Victorian London.”
—Jennifer Ashley, New York Times bestselling author of The Stolen Mackenzie Bride 

“I really loved this book—in fact, I couldn’t put it down. It’s a fabulous feast of a story that plunges you into the Victorian era with all its levels and complications — into the art world and among aristocrats and slum-dwellers. There’s tension, adventure, derring-do, a fight against corruption on several levels, a rich cast of characters and a hero and heroine to admire and cheer for. All in all, a rich and heartwarming historical romance. Highly recommended.”
—Anne Gracie, National bestselling author of Marry in Scarlet

“Lowell conjures vivid characters in this intelligent Victorian romance… provides plenty of atmospheric intrigue, deepened by Lowell’s willingness to engage with ideas of gender, class, and empire, and by the complexity of the characters.”
—Publishers Weekly

“It’s a lush, sensual and outstanding romance that makes the heart ache in the very best way.”
—BookPage (Starred Review)

“Impeccably researched, Lowell’s latest emphasizes justice. This love story tackles weighty issues but remains suspenseful and spellbinding.”
—Library Journal (Starred Review)

“Lowell’s prose is vivid and evocative, and issues such as class inequity, women’s rights, and alcohol addiction complement the intense on-page evolution of the love story…those looking for a happy-ever-after for complex and passionate characters will be very satisfied here. A new voice in historical romance that will keep readers riveted.”
—KirkusJoanna Lowell lives among the fig trees in North Carolina, where she teaches in the English department at Wake Forest University. When she’s not writing historical romance, she writes collections and novels as Joanna Ruocco. Those books include Dan, Another Governess / The Least Blacksmith, The Week, and Field Glass, co-authored with Joanna Howard.The Duke Undone by Joanna Lowell
Questions for Discussion

1. Lucy feels like an outsider at the Royal Academy for multiple reasons. In what contexts have you felt like an outsider and how did you react to the experience?

2. Lucy and Kate are working on behalf of equal education for women at the Academy Schools. Nonetheless, they’re critical of many of the female students. Are they reinscribing sexist assumptions even as they work for equality? How should we grapple with this kind of contradiction?

3. Why does Anthony have such a hard time freeing himself from Robert Yardley’s control? If Anthony hadn’t met Lucy, would he have let Yardley manipulate him into marrying Lavinia?

4. Like her mother before her, Effie is put in an asylum without her consent and under false pretenses. We can blame Robert Yardley’s machinations, but their confinement is made possible by the larger society, which links female sexuality to hysteria and considers women particularly vulnerable to psychological disorder. How is “madness” understood by the different characters? In what ways have attitudes toward mental health changed since the nineteenth century? In what ways haven’t they?

5. Anthony behaves self-destructively, at least in part, because of various traumas, including his family losses and his experiences in the army. What are some of the signs that he has begun to heal? Is there a particular moment you think marks a shift for him?

6. Do you feel any sympathy for Robert Yardley? What about for Lavinia? What do you think will happen to her as a result of her father’s disgrace?

7. What are the challenges to Lucy and Anthony’s happily ever after? What one piece of advice would you give each of them at their wedding?

8. If an artist were going to immortalize you in a portrait, what pose would you strike? How would you want to be depicted? Describe your portrait! Where would it hang?

PROLOGUE

London
October 1881
 
As Lucy Coover turned into the narrow alley, her eye caught the patch of early morning sky peeping out between the tenements. Violet, paling to softest blue. The silver moon still floating above a single rosy cloud. Her fellow students at the Painting School would never believe the slums of Shoreditch could offer such beauty. But how to capture that quality of light? She held up two fingers and focused on the span between. Still gazing upward, she took another step.

Something beneath her foot crunched.

Not mud, not refuse.

Dear God. There was a hand beneath her boot. The hand attached to a wrist, and the wrist to a forearm, the forearm to an elbow, the elbow to an upper arm, shoulder, neck, head.

She had trod on a corpse.

Lucy sprang back. The feel of fingers grinding beneath her heel made her stomach plunge. But the corpse didn’t stir.

Well, a corpse wouldn’t.

There he lay, stretched before her. She felt her heart pounding in her ears. She could hear the street sounds and see, between the bowing walls, a sliver of morning life. Omnibuses and donkey carts rolled along, hemmed in by the throngs. Every morning, Lucy hurried past crumbling tenements, crossed through grim, teeming courtyards, and squeezed through this passageway, a shortcut to High Street, where she caught the omnibus to the Royal Academy of Arts. She’d stepped on her share of rotten onions and, once, a rag that squeaked and discharged a rat.

This was something new.

She steeled herself for another glance. Ah. Poor soul, he’d been deprived of life and—she swallowed—every last stitch of clothing. Shoreditch teemed with street toughs, notorious for theft and murder. Knocked him on the head, perhaps, stripped him of coin, cloth, and shoe leather. Dumped him in the passage to rot. Her skin prickled as it turned to gooseflesh. She whirled around, but no one loomed behind her. This had to be the loneliest alley in all of London. She turned back slowly.

How strange, this feeling that she and the corpse occupied their own little world, a quiet pocket in the clamorous city. The busy street was so close, but the passersby kept their eyes down or fixed straight ahead. For help she would need to send up a cry.

Murder!

And yet…her gaze dropped again. The corpse was beginning to strike her as remarkably vital. Surely, murder most foul never left the skin with such a ruddy glow. Or the limbs arranged with such casual, insouciant grace. The morning was uncommonly fine, and the moon still floated directly overhead. Was it her whimsy or did it lend an odd, silvered clarity to the light?

It felt wrong to stare. But she was, after all, trained to stare. She lowered her bag to the ground. She drew her brown together and gave the corpse a long and steady look.

One arm was bent behind his head. The other arm was flung across the broad expanse of his chest. A chest that was, almost imperceptibly, rising and falling.

He lived.

There was just enough room for her to edge around him. She circled by inches, breath catching as she took in every detail. From head to toe, he was, in a word, magnificent. A figure of geometric perfection. He could easily stand among the statues she’d sketched in the Antique School. Except he wasn’t marble. Wasn’t nearly so smooth, so rounded. Any bust of Achilles would look well with that straight nose and strong chin, those full but starkly shaped lips. But no sculptor would dare carve that jawline. It was too square, too harsh, contours darkened with stubble. The maleness overpowered and was completely wrong for classical forms. Old gods and warriors wore thick, curled beards as profuse as a maiden’s locks. The young ones showed sloped cheeks that flirted with girlishness.

This man was not girlish. No. Not that. She noted the bulge of biceps in his bent arm. The width of the forearm. She moved her eyes over his torso, the masses of muscle well-defined, dusted with more of that utterly unclassical hair, then traced the diagonal lines that ran down from his hip bones.

She looked away, then back at the black curls at the base of that V of muscle. Here, then, was another deviation from the classical precedent.

Canvases and statues had led her to expect something slightly more…cherubic from that part of the anatomy. Obviously, artists upheld a long tradition of minimizing male genitals for the sake of composition. Or decency. Or…Did this particular man exhibit some quirk of proportion?

Her suppressed giggle emerged as a snort. It didn’t matter, of course, the man’s particular quirks, but that he had them at all. That he was particular. Not an abstraction, a mathematical proposition in stone. Those cold, white statues she studied had taught her a little about flesh, the tones and textures, the play of shadow and light, hard and soft. All those hours in the studios of Burlington House trying to work out how the sinews of the human form wrapped the armature of the bones…

She almost clapped her hands. She felt flushed, wild. Here it was, the whole mystery of creation. No wonder women were denied access to life classes, banned from drawing semidraped and undraped figures. It wasn’t because the sight was corrupting. It was because the sight was illuminating.

She leaned closer and caught a whiff of him, caustic enough to cut through the alley’s fug of mud and mildew. She wrinkled her nose.

Spirits were emanating from his very pores. He wasn’t dead; he was dead drunk. Drank himself witless, and some of the local lads had played him for the fool he was. They could have left his drawers, for God’s love.

She dropped down into a crouch, dust and straw puffing up around her. She knew it was madness to sit on her heels beside a naked stranger, a sot, full as a tick on forty-rod gin. Drunkards didn’t often emerge from sleep in the sweetest of moods.
This one was strong. His body showed strength in every line. He might leap up without warning, swinging his fists in a rage.

Her reflexes, though, were lightning quick. She could dodge a groggy blow.

“Hullo.” She cleared her throat, sidled closer. “Sir.”

She only meant to rouse him. She wasn’t trying to memorize the balance of his features, the shape of his mouth, the sharp peaks of his upper lip. But somehow time was passing. She could hear the factory whistles sounding and her eyes were still wandering, sliding down to his chest and arms. She’d have to run from the omnibus to make her morning lesson.

She rose, crept out onto the street. On the corner, a red-faced bobby was blowing his whistle. She’d bet her right eye the police would give the man a sniff, heave him up on the wagon, and dump him in a jail. The thought disturbed her. She turned away. There, a ragpicker, painfully young, all but hidden by the bag on his back.

She gave him a smile. “What’s your biggest piece of sacking?” The boy sized her up as he dug out a filthy rectangle of cloth. Bigger than a fig leaf, but not by much.

“A shilling,” he pronounced.

She sighed. “Never mind.” She’d sacrifice her shawl. She slipped back into the alley and covered the man’s lower body with odd reluctance. It wasn’t the shawl she regretted. It was losing the sight of him.

Back on the street, she found the boy waiting, more of his wares displayed for her on the pavement.

“There’s a man sleeping in that alleyway,” she said. “I’ll give you a tanner to stand right there and keep an eye on him. If he starts to go clue, call a bobby.”

The boy snatched the coin and grinned. He was missing both his front teeth. Probably he wouldn’t even wait for her to climb into the omnibus before he trundled off, taking the shawl with him.

“Don’t go too near,” she added. “He eats little boys.”

And he might, for all she knew. The man had certainly done nothing to deserve her sacrificing a shawl and spending sixpence. And, at this rate, missing her morning lesson.

Nonetheless, she felt protective of him.

She had to force herself to walk away.

On her way home, she took the same shortcut and hardly knew if she was happy or sad that the man was gone.

Later that evening, she found herself hunched over her sketchbook, staring at the blank page. When she shut her eyes, she could see him perfectly, see his contours and the dynamic tension latent in his resting muscles.

She inched her fingers up the pencil, hesitated. The man was someone’s son. Brother. Husband. She had no right to reproduce his likeness at a whim.

But the image was there, on the insides of her eyelids.

The seeing was a king of feeling. She was feeling her way toward something extraordinary. She could capture it, his beauty. The heat of his slumberous, living flesh.

All alone in her little room, her great-aunt Marian asleep downstairs in the dress shop, and just overhead, hidden by the slant of the roof and by the clouds, the moon, a secret accomplice, she could put down a line, and then another, and another.

The image was there, with her in the darkness. Not that man’s body anymore, but her own vision. Hers.

She blinked her eyes open.

She pressed her pencil lead to the page.

US

Additional information

Dimensions	0.9900 × 5.4700 × 8.2000 in
Imprint	Berkley
ISBN-13	09780593198285
ISBN-10	059319828X
Author	Joanna Lowell
Audience	General / adult
BISAC	FIC014000, FIC027050
Subjects	historical books, gifts for her, FIC027050, fiction books, romance novels, historical romance books, historical fiction books, victorian romance, victorian romance books, romance novel, regency romance, regency romance books, british gifts, new book releases, romance series, paperback romance, historical romance paperback books, romantic novel, women's fiction, historical, romance, love, fiction, romance books, romantic, novels, FIC014000, london, love story, historical fiction, Duke, victorian, historical romance, womens fiction, regency
Format	General Trade