Reviewed by Toni Sands
The Point catapults us into Hugh’s dark world. He’s a tormented soul, prey to his own carnal desires. Solitude-seeking Elizabeth, a hospital doctor, hardly seems the type of female who’d bond with a vampire. But she arrives on his land, delicately picking her way through the tall grass, until she wrenches an ankle. Then it’s a bit like Jane Eyre’s first meeting with Mr Rochester but this time with the woman needing help. And help is what Elizabeth receives although she doesn’t twig that her rescuer has more than a little of the night about him.
Hugh’s speech is an endearingly strange mix of contemporary and stilted, perfect for a guy well into his second century. And I’m not talking cricket scores here. His clothes intrigue Elizabeth but she assumes he’s either eccentric or dressed to party. She’s in shock and juggling concern for her personal safety whilst acknowledging the powerful attraction between herself and her mysterious rescuer.
Sexual tension’s far harder to achieve than the committing of the act to the page. The scene where Hugh helps Elizabeth strip off her wet clothing resonates like the slow plucking of guitar strings. The unlikely couple conduct her undressing almost as if they’re partners in some courtship rite. Dressing her in a Victorian gown is a deft touch and triggers the unleashing of her sexuality.
After she returns to work her suspicions are aroused when a young woman’s admitted for treatment. Elizabeth’s civilised world collides with Hugh’s sinister domain when she follows a lead and confronts him. Lush descriptions of blood dripping, juices flowing and good intentions dissolving inhabit The Point. It’s not just a vampire story. It’s a story of lust and love. And that, my friend, is too potent a combination to resist.Visit Toni’s Website