Meet Kyle and Nate, our two chiseled star-crossed lovers. Ten years after a youthful romance blew up leaving Kyle in the closet and Nate in the klink, events reunite them on a film set in festive London. Kyle, richer than god and physically as beautiful as one, is perfectly happy to pick up where they left off -- just as long as it stays behind closed doors. Nate, from a different world but apparently the same cosmic gene pool, won't accept anything more than total flag-waving openness. Each man wrestles with the ghosts of their lost love alone -- while wrestling a lot with each other. Can they find a way to move beyond their pain and insecurities and forge a life together? More importantly, can they pause the bedroom athletics for long enough to talk about it?
Nate is by far the more sympathetic protagonist, having at least one discernible character flaw and something recognisable as a personality outside of the sack. Kyle is superficially dazzling but a rather wooden human, like a perfume advert personified. If there is more to him than a flawless physique and an enormous ...bank account, we never get to see it. This is a shame, because we're supposed to believe that Nate has been in love with him his whole adult life. I suspect the author was as dazzled by Kyle's beauty and wealth as we are supposed to be, and consequently forgot to worry about a personality. Maybe it's a case of playing to the audience but I had a strong sense throughout the book that Nate could have done a lot better.
If you can get past the inexplicably pretentious title, Came Upon a Midnight Clear is essentially about two hot guys getting it on. A lot. Sure, there's a back story, and a plot of sorts, but mostly there is two guys with nothing else to do at night but hump like angry bunnies. Life, for our protagonists, is what happens during those moments when you're too sore to go at it again. And it's good as far as that goes. But the thin plot and lack of characterisation make for rather joyless romance.