Kay Thorpe: Difference between revisions
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In Timber Boss (1978), there are references as to how Scottish settlers made the Canadian region of [[Nova Scotia]] their new home. Keith in Safari South (1976) appreciates the expansiveness of South Africa and the promising future the country offers him. |
In Timber Boss (1978), there are references as to how Scottish settlers made the Canadian region of [[Nova Scotia]] their new home. Keith in Safari South (1976) appreciates the expansiveness of South Africa and the promising future the country offers him. |
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The class |
The class division in British society provides the conflict for the love affair in Temporary Marriage (1981). Mention of public vs private schools, Manor born, Irish vs English blood, cockney vs upper-class accents that indicate subtelities in class background make their way into her stories from the very first The Last of the Mallorys (1968) to other stories down the years such as No Passing Fancy (1980), A Man of Means (1983), and Win or Lose (1986). |
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British engineers in remote locations such as in the deserts of [[Libya]] or in [[Tanzania]] are another scenery for her love stories such as in The Iron Man (1974), The Man from [[Tripoli]] (1979), and No Passing Fancy (1980). |
British engineers working in remote locations such as in the deserts of [[Libya]] or in [[Tanzania]] are another scenery for her love stories such as in The Iron Man (1974), The Man from [[Tripoli]] (1979), and No Passing Fancy (1980). |
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The Man at [[Kambala]] (1973) gives the reader a taste for African wilderness. In [[Safari]] South (1976), we are taken to the [[Kruger National Park]]. |
The Man at [[Kambala]] (1973) gives the reader a taste for African wilderness. In [[Safari]] South (1976), we are taken to the [[Kruger National Park]]. |
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Kay explores the sport of horse show jumping in Rising Star (1969), the [[circus]] world in Sawdust Season (1972), the internation game of [[snooker]] in Win or Lose (1986). |
Kay explores the sport of horse show jumping in Rising Star (1969), the [[circus]] world in Sawdust Season (1972), the internation game of [[snooker]] in Win or Lose (1986). |
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Kay Thorpe's [[thesis]] on male-female intimate [[relationship]], [[love]] and finally [[marriage]] comes across strongly in each of her novels. She |
Kay Thorpe's [[thesis]] on male-female intimate [[relationship]], [[love]] and finally [[marriage]] comes across strongly in each of her novels. She advances her belief that women are only happy with men to whom they can surrender. In Olive Island (1972) Nikos says that ‘you will never be happy’ if the man does not dominate you. When the girl tries to refute it by saying that British women are not as accomodating as Greek women, Nikos returns the volley telling her that if British women have a higher degree of resistance, then the men need to rise to her measures to achieve the dominance factor. Ramon says in Apple in Eden (1973) that a woman purposefully baits the man to see how far she can rile him all in an attempt to meet her match to whom she can surrender. Without the man in charge, woman cannot be [[happy]] is the definite conclusion. |
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In all other [[harlequin]] novels, the men must give into the emotional drives of women. But that doesn’t stand a chance with Kay. It is the women who must respond to the sexual drives of men, and be ‘ALL women’ as Nick puts it in Storm Passage (1977). This is what the older South African woman tells the younger British girl in Sawdust Season (1972) - that men are not the marrying type; that they only choose to do so ‘when they find a woman whom they can’t get out of their skin’. This is what is confirmed in Never Trust a Stranger (1983) whree Logan goes on about himself – you don’t bore me, you don’t fill the place with clutter - to which Gemma secrelty smiles thinking to herself that just give me time. |
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In Safari South (1976), the man is let down by her answer. They were talking about compatibility and her answer was that she has to like what he likes and vice verca. He counters that by saying - what about personal likings and individual freedom? In This Side of Paradise (1979, Ryan responds to the same query by saying if two people are of the same mind, then one becomes ‘superfluous’, the tentative answer to which is that ‘one can agree to disagree’. What is at stake here is sexual compatibilty. And men are the quickest to recognize the significance of this so to use it like a mantra that we are sexually compatible – that ‘is a basis from which we can build on’. But women don’t see this basic foundation of marriage and wants to be reassured with spoken words. In Storm Passage (1977), Nick says ‘you just don’t understand’ do you? |
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Surprisingly, since Kay’s men don’t put marriage in the front burner, once they do get married, it is for keeps, because if it was not for keeps, there is no other reason to get married. Once once married, they are steadfast in their commitment. No amount of tantrums from the woman can shake him out of his will to make the marriage work. But where does that leave the women? |
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The fact of the matter is that the women choose to stay with these men because they are in it hook, line and sinker. There is no pride left. They will take them at any price. This is diametrically opposite of what other stories tell you including [[Robyn Donald]] stories where the women hold out and do not capitulate until the men say the magic word that finally lets him in through her heart. |
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In Timber Boss (1978), and in Bitter Alliance (1978) when women finally say their piece, men just say something cryptic like ‘there is no going back’ and ‘don’t say anymore’. |
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She explores how men and women both can be detached from their own feelings; and the way sexual attraction, and the connection it creates alter both their perceptions of themselves, each other and the world around them. The lovers lack words to explain what is happening to them. [[Sex]] scenes, for example, different stages of lovemaking, chart the progress of desire from curiosity to intimacy and convey how sexual [[chemistry]] can turn into love. |
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Contrary to the norm, the women in Kay Thorpe's novels most readily admit to love. The men usually give confessions of love a brief consideration before taking sexual compatibility as the basis for marriage. For example, The Man from [[Tripoli]] (1979) and Time Out of Mind (1987). |
Contrary to the norm, the women in Kay Thorpe's novels most readily admit to love. The men usually give confessions of love a brief consideration before taking sexual compatibility as the basis for marriage. For example, The Man from [[Tripoli]] (1979) and Time Out of Mind (1987). |
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Revision as of 13:23, 13 July 2007
Kay Thorpe | |
|---|---|
| Born | DOB unknown England  |
| Pen name | Kay Thorpe |
| Occupation | Novelist |
| Nationality | British  |
| Period | 1968-Present |
| Genre | Romantic novel |
Kay Thorpe (b. England) is a popular British author of over 75 romance novels. She publised her novels in Mills & Boon since 1968.
Biography
Kay Thorpe was born in England. After leaving school, she tried a variety of jobs, including dental nursing and a spell in the Women's Royal Airforce.
In 1960, Kay was married to Tony, and four years later they had a son. Now, she and her husband live on the outskirts of Chesterfield in Derbyshire with a cat called Mad Max.
Her very first completed manuscript accepted — The Last of the Mallorys, was published in 1968. Since then she has written over 70 books.
Book Notes
Kay Thorpe's stories are based mainly on three locations, namely England, Canada and Africa. There are also stories based in Spain, Greek Islands, Carribean Islands and the South Pacific Islands.
Her main characters always stand by their British heritage. As a result, stories set outside of England, have an underlying subplot that explore how a new comer from Britain can come to accept making a home for herself with one of the long time British descendents settled in Canada or South Africa.
In Timber Boss (1978), there are references as to how Scottish settlers made the Canadian region of Nova Scotia their new home. Keith in Safari South (1976) appreciates the expansiveness of South Africa and the promising future the country offers him.
The class division in British society provides the conflict for the love affair in Temporary Marriage (1981). Mention of public vs private schools, Manor born, Irish vs English blood, cockney vs upper-class accents that indicate subtelities in class background make their way into her stories from the very first The Last of the Mallorys (1968) to other stories down the years such as No Passing Fancy (1980), A Man of Means (1983), and Win or Lose (1986).
British engineers working in remote locations such as in the deserts of Libya or in Tanzania are another scenery for her love stories such as in The Iron Man (1974), The Man from Tripoli (1979), and No Passing Fancy (1980).
The Man at Kambala (1973) gives the reader a taste for African wilderness. In Safari South (1976), we are taken to the Kruger National Park.
Theater is a backdrop Kay Thorpe takes up in several of her novels over two decades. For example, Curtain Call (1971), Never Trust a Stranger (1983) and Land of Illusion (1988). In Never Trust a Stranger (1983), it is Logan's use of the word 'role' that clues in would-be actress Gemma to who he is, a theater producer.
Kay explores the sport of horse show jumping in Rising Star (1969), the circus world in Sawdust Season (1972), the internation game of snooker in Win or Lose (1986).
Kay Thorpe's thesis on male-female intimate relationship, love and finally marriage comes across strongly in each of her novels. She advances her belief that women are only happy with men to whom they can surrender. In Olive Island (1972) Nikos says that ‘you will never be happy’ if the man does not dominate you. When the girl tries to refute it by saying that British women are not as accomodating as Greek women, Nikos returns the volley telling her that if British women have a higher degree of resistance, then the men need to rise to her measures to achieve the dominance factor. Ramon says in Apple in Eden (1973) that a woman purposefully baits the man to see how far she can rile him all in an attempt to meet her match to whom she can surrender. Without the man in charge, woman cannot be happy is the definite conclusion.
In all other harlequin novels, the men must give into the emotional drives of women. But that doesn’t stand a chance with Kay. It is the women who must respond to the sexual drives of men, and be ‘ALL women’ as Nick puts it in Storm Passage (1977). This is what the older South African woman tells the younger British girl in Sawdust Season (1972) - that men are not the marrying type; that they only choose to do so ‘when they find a woman whom they can’t get out of their skin’. This is what is confirmed in Never Trust a Stranger (1983) whree Logan goes on about himself – you don’t bore me, you don’t fill the place with clutter - to which Gemma secrelty smiles thinking to herself that just give me time.
In Safari South (1976), the man is let down by her answer. They were talking about compatibility and her answer was that she has to like what he likes and vice verca. He counters that by saying - what about personal likings and individual freedom? In This Side of Paradise (1979, Ryan responds to the same query by saying if two people are of the same mind, then one becomes ‘superfluous’, the tentative answer to which is that ‘one can agree to disagree’. What is at stake here is sexual compatibilty. And men are the quickest to recognize the significance of this so to use it like a mantra that we are sexually compatible – that ‘is a basis from which we can build on’. But women don’t see this basic foundation of marriage and wants to be reassured with spoken words. In Storm Passage (1977), Nick says ‘you just don’t understand’ do you?
Surprisingly, since Kay’s men don’t put marriage in the front burner, once they do get married, it is for keeps, because if it was not for keeps, there is no other reason to get married. Once once married, they are steadfast in their commitment. No amount of tantrums from the woman can shake him out of his will to make the marriage work. But where does that leave the women?
The fact of the matter is that the women choose to stay with these men because they are in it hook, line and sinker. There is no pride left. They will take them at any price. This is diametrically opposite of what other stories tell you including Robyn Donald stories where the women hold out and do not capitulate until the men say the magic word that finally lets him in through her heart.
In Timber Boss (1978), and in Bitter Alliance (1978) when women finally say their piece, men just say something cryptic like ‘there is no going back’ and ‘don’t say anymore’.
She explores how men and women both can be detached from their own feelings; and the way sexual attraction, and the connection it creates alter both their perceptions of themselves, each other and the world around them. The lovers lack words to explain what is happening to them. Sex scenes, for example, different stages of lovemaking, chart the progress of desire from curiosity to intimacy and convey how sexual chemistry can turn into love.
Contrary to the norm, the women in Kay Thorpe's novels most readily admit to love. The men usually give confessions of love a brief consideration before taking sexual compatibility as the basis for marriage. For example, The Man from Tripoli (1979) and Time Out of Mind (1987).
Bibliography
Single Novels
- The Last of the Mallorys (1968)
- Devon Interlude (1968)
- Opportune Marriage (1969)
- Rising Star (1969)
- Curtain Call (1971)
- Not Wanted on Voyage (1972)
- Sawdust Season (1972)
- Man in a Box (1972)
- Olive Island (1972)
- Remember This Stranger (1973)
- Apple in Eden (1973)
- Man at Kambala (1973)
- Iron Man (1974)
- The Shifting Sands (1975)
- Sugar Cane Harvest (1975)
- Royal Affair (1976)
- Caribbean Encounter (1976)
- Safari South (1976)
- River Lord (1977)
- Storm Passage (1977)
- Lord of La Pampa (1977)
- Timber Boss (1978)
- Wilderness Trail (1978)
- Full Circle (1978)
- Bitter Alliance (1978)
- Man from Tripoli (1979)
- This Side of Paradise (1979)
- Dividing Line (1979)
- Chance Meeting (1980)
- No Passing Fancy (1980)
- Copper Lake (1981)
- Floodtide (1981)
- Temporary Marriage (1981)
- New Owner (1982)
- Man of Means (1982)
- The Land of the Incas (1983)
- Never Trust a Stranger (1983)
- Master of Morley (1983)
- The Inheritance (1984)
- No Gentle Persuasion (1985)
- Double Deception (1985)
- No Gentleman Persuasion (1985)
- South Seas Affair (1985)
- Dangerous Moonlight (1985)
- Win or Lose (1986)
- Jungle Island (1986)
- Time Out of Mind (1987)
- Land of Illusion (1988)
- Tokyo Tryst (1988)
- Skin Deep (1989)
- Steel Tiger (1989)
- Intimate Deception (1990)
- Against All Odds (1990)
- Night of Error (1990)
- Trouble on Tour (1991)
- Wild Streak (1991)
- Lasting Legacy (1991)
- The Alpha Man (1992)
- Past All Reason (1992)
- Left in Trust (1992)
- The Spanish Connection (1993)
- Worlds Apart (1994)
- Trial in the Sun (1994)
- The Wedding Deception (1995)
- The Rancher's Mistress (1997)
- All Male (1997)
- Contract Wife (1998)
- The Thirty-Day Seduction (1998)
- Virgin Mistress (1999)
- A Mistress Worth Marrying (2000)
- Bride on Demand (2000)
- The Italian Match (2001)
- Mistress to a Bachelor (2002)
- A Reckless Attraction (2002)
- Mother and Mistress (2003)
- The South American's Wife (2004)
- The Billion-Dollar Bride (2004)
- Bought by a Billionaire (2005)
Omnibus In Collaboration
- Wayaway / The Way Through the Valley / Not Wanted on Voyage (1977) (with Dorothy Cork and Jean S. MacLeod)
- Stranger in the Glen / The Man At Kambala / Lord of the Sierras (1978) (with Flora Kidd and Anne Weale)
- Dolphin Bay / Festival Summer / Safari South (1981) (with Gloria Bevan and Charlotte Lamb)
- The Shifting Sands / Portrait of Jaime / Touched by Fire (1982) (with Jane Donnelly and Margaret Way)
- Villa Faustino / Girl At Dane's Dyke / Sugar Cane Harvest (1982) (with Katrina Britt and Margaret Rome)
- Rising River / Tree of Promise / The River Lord (1985) (with Linden Grierson and Juliet Shore)
- Latin Lovers (2006) (with Anne Mather and Michelle Reid)
- The Innocence Collection (2007) (with Penny Jordan and Carole Mortimer)