A Prince of a Man by Carter Christensen is the first in a series of four books called, "The London Boys." I've never read any of Christensen's books before, but have read an alarming amount of mm erotica, male/male erotica. Think romance, with men and men and the steamy kind of romance that they talk about in health class being thrown in there.
Firstly: When I say "steamy bits" I want to be perfectly clear here, I'm saying steamy bits, but what I mean is man-on-man sex. Don't go off and buy it then be surprised. It's not hinted at or off-camera. It's right there, on the page.
10,000 foot view of it? I enjoyed it. I liked the characters and the setting. I liked it in the way that if you removed the steamy bits and replaced them with "yada yada yada" I'd still have enjoyed it. The book's more than just sexy bits connected by a gossamer thread of story.
I said I liked the characters, and I did, I do. The thing is, I read it in bits, 10 minutes here or there on work breaks, etc. And sometimes I lost track of who was who. This may be my fault or it may be that they weren't quite distinct enough from each other on the page. There's no way for me to know. It wasn't problematic. Yes, I know the chapter headings would start with the character's name. I'd forget which one Harry was though. Some of that was it jumped around a lot, from England to America & Australia picking up a character, dropping one, and back to England with years between the bits... It wasn't confusing I think if I'd read it in bigger chunks. But when I put the book down and there were two people in the US and two people in Australia, then pick it up the day later, turn the page, and everybody's back in England and time has passed. I was... again, probably just me.
I had a thought while I was thinking about it today on the way to the post office. One of the characters I felt was well developed and talked about, sort of. I mean, they were fleshed-out supporting characters, but they were fleshed out well in two dimensions. They weren't as important as the mains, obviously, but they were more important than other supporting characters, and then they just vanished. I described them not as characters, but as cars, vehicles to get the main character from where he was to where he needed to be then the supporting character broke down, wait, now, mixed metaphor. The car broke down, the supporting character noped out of there and was just gone. We got invested, then POOF. Gone.
I said the the person in the car with me, "Either, he wrote himself into a corner and didn't know how to get out of it with them or they're going to show up again, but there's not enough book for them to show up again so maybe they're in the other books?"
I looked today before writing this, at the descriptions of the subsequent books and they are indeed the mains in the next books. Now it doesn't feel quite so weirdly ham-handed but still feels a little... jarring I think. If they'd faded into the background or we'd been a part of their leaving, or I dunno. It just felt super abrupt. One minute they're important and the next minute they're just gone.
Listen, if that's all I have to quibble about is the way a supporting character leaves the stage, then it's pretty good. I'm quite happy with the main characters and how they're written. I'm happy with the dialogue. I'm happy with the level of angst. I'm happy that SO far there hasn't been the trope of if they'd just TALK to each other they'd know instead of mind-reading and getting it wrong. Those angsty books bug me after a while. Sure, once in a while is fine, but we're the most connected we've ever been in the history of ever. The only reason someone doesn't know how someone feels or what they think is because they don't want to. It's so easy to just ASK now. You'd be amazed (maybe you wouldn't) how often the hand-wringing and "oh I just don't know what he thinks/wants/feels" turns up as the main driving force of a book. Lazy writing. So far I haven't seen it in here.
Would I suggest A Prince of a Man (The London Boys Book 1)? Definitely. I would also suggest reading it in bigger chunks than ten minutes at a time during breaks at work. It's not a one-room cozy mystery. The writer doesn't limit himself. He's got the whole world to draw on and he uses it. That's going to require we, the readers, not be lazy in our reading. We need to pay attention.