The Inheritance

by Rochelle Alers

Overview

“A novel that resembles female bonding romance series like The Bride Quartet by Nora Roberts. . . . Capitalizing on its assets: the sensuous Big Easy setting and the rarely encountered middle age romance.” 
—Kirkus Reviews
 
Corporate attorney Hannah DuPont-Lowell always pictured herself returning to New Orleans to retire—just not yet. But after her Manhattan company abruptly lays off its staff, there’s no better place to figure out a next move than the porch of her plantation-style home, nestled in the stunning Garden District . . .
 
The DuPont House has been in Hannah’s family for two centuries. With eighteen rooms and two guesthouses, it’s far more home than widowed Hannah needs. Still, it could make a wonderful inn, especially if she can convince her friends and former coworkers Tonya, Jasmine, and Nydia to join in the venture. But in the meantime, Hannah has a high school reunion to attend . . .
 
College Professor St. John McNair, Hannah’s one-time classmate, is still the finest guy in any room. Between Hannah’s willowy, blonde beauty, and his uncanny resemblance to Marvin Gaye, they make a striking pair. And gradually, their rekindled friendship moves toward romance. Still, Hannah is too bruised by her late husband’s infidelities to trust a man again. But her friends’ arrival and encouragement just might show her a path through uncertainty—straight to a vibrant, joyful new life . . .
 
 “The ambiance and flavor of New Orleans are on full display.” 
—RT Book Reviews, 4 Stars

Product Details

ISBN-13:	9781496707307
Publisher:	Kensington
Publication date:	02/28/2017
Series:	Innkeepers Series , #1
Pages:	304
Product dimensions:	5.50(w) x 8.20(h) x 1.00(d)

About the Author

Rochelle Alers, the bestselling author of over eighty novels with nearly two million copies in print, has been hailed by readers and booksellers alike as one of today’s most prolific and popular African American authors of romance and women’s fiction. She is the recipient of numerous awards, including the Emma Award, the Vivian Stephens Award for Excellence in Romance Writing, the RT Career Achievement Award and the Zora Neale Hurston Literary Award. She is a member of Zeta Phi Beta Sorority, Inc., Iota Theta Zeta chapter and her interests include gourmet cooking and traveling. A full-time writer, Ms. Alers lives in a charming hamlet on Long Island and can be found online at RochelleAlers.org.

Editorial Reviews

02/06/2017
This uninspired romance, the introduction to Alers’s Innkeepers series, lacks the sizzle and excitement promised by its present-day New Orleans setting. Attorney Hannah DuPont-Lowell returns to New Orleans to attend her 40th high school reunion. She’s just been laid off and decides to stay in New Orleans and turn her family’s home into an inn. She and professor St. John McNair were close in high school. Now both released (one by widowhood, one by divorce) from what had been unhappy marriages, neither is looking for anything serious, so they agree to see each other while he’s on break for the summer. Alers (Cavanaugh Island) sets up an interesting interracial relationship between white Hannah and African-American St. John, but then relentlessly justifies it (though it needs no justification) by emphasizing that one of Hannah’s ancestors married a Haitian woman and some of St. John’s ancestors were white. No one actually objects to Hannah and St. John’s union, so the constant harping on decades-past transgression is pointless and disruptive, especially when Alers drops it into the middle of the first love scene. Hannah also rails against racism to a degree that interrupts the story and rings false for her character. Hannah’s spirited friends revitalize a tale that would otherwise read more like a curmudgeonly history lesson with a touch of romance. (Mar.)

Publishers Weekly

02/15/2017
When her high-powered job falls victim to a corporate merger, widowed attorney Hannah DuPont-Lowell leaves Manhattan and heads home to New Orleans to do what she'd always planned: turn her family's 18-room mansion in the Garden District into an inn. The idea gets a boost when three of her "downsized" New York colleagues come to visit and agree to think about becoming part of her new venture. Her return also coincides with her 40th high school reunion, where she reconnects in a big way with her former lab partner now history professor, St. John (pronounced Sin-jun) McNair. Rich in the history of New Orleans and Creole culture (information on the gens de couleur libres—free people of color—is especially pertinent), this story puts the multicultural landscape in perspective and describes a vibrant community. VERDICT Mature, realistic protagonists, a plethora of family and friends, and a well-researched and thoughtful story that skillfully straddles the line between romance and women's fiction beautifully sets the stage for this fascinating series to come. Alers (Cherry Lane) lives on New York's Long Island.

Library Journal

2017-01-23
High school acquaintances reconnect at a 40th-year reunion and get a chance at a late-in-life love in vibrant New Orleans.Hannah DuPont-Lowell and St. John McNair knew each other as teenagers, before they graduated and lost touch. Now Hannah, a lawyer, is back in the Crescent City where St. John is a professor, and their chemistry is explosive. Widowed after a troubled marriage, Hannah is wary about men, especially as she is trying to start an inn at her ancestral plantation home after being let go from her New York job. St. John's divorce has left him gun-shy of romance, but he can't stay away from his former study partner. Despite creating an intriguing setup for a mature romance between an African-American Renaissance-man hero and a post-menopausal blonde Southern belle descended from a family of free people of color, Alers (Cherry Lane, 2015, etc.) is uneven in her execution. Topics and actions switch without warning, characters go from discussing solemn memories or beliefs to mundane details with no change in tone, and there are unnecessary references to quotidian tasks. The attention to the racial history of the locale is a strength, particularly Hannah and St. John's conversations about the practice of plaçage (when wealthy white men essentially bought young women of color as mistresses). But this thematic plus is undermined by the work's structural unevenness as well as a recurring hint of misogyny toward women who serve as a foil to the heroine. The last is an especially regrettable tactic in a novel that resembles female-bonding romance series like the Bride Quartet by Nora Roberts. With more telling than showing, the novel falls short of realizing its potential and capitalizing on its assets: the sensuous Big Easy setting and the rarely encountered middle-age romance.

Kirkus Reviews