N RECENT YEARS, SCHOLARS HAVE SHOWN INCREASING INTEREST IN the hero of the romance novel, especially in terms of research that draws upon critical studies of men and masculinities. Over the past few decades, the hero of the romance has been reimagined and represented in new and exciting ways. Yet, scholarship has chiefly focused on the "alpha" hero, whereas I wish to focus on the "sentimental hero," a hero who is more emotional in nature, perhaps more introspective. Pamela Regis writes, "if the alpha hero must be tamed, the sentimental hero is hurt and damaged in some way, often emotionally, and the heroine must heal him" (114). Thus, the romance novel challenges how men and masculinity are represented within the genre. Jayashree Kambl e, Sarah S. G. Frantz, Veronica Kitchen, Mar ıa del Mar P erez-Gil, and I have all recently studied the figure of the hero. These authors have studied a range of "types" of heroes, including the virgin hero (Allan, "Theorising" and "Theorising the Monstrous"), the military hero (Kambl e; Kitchen), the Arabic hero (Jarmakani; Teo), Spanish masculinity (P erez-Gil), and gay and queer heroes (Allan, Reading from Behind and Men, Masculinities, and Popular Romance; Herendeen; Ross), while Sarah S. G. Frantz has focused on shifts in the hero in the genre ("Expressing Herself" and "I've Tried My Entire Life"). While much has been written about the hero, there are still absences in the scholarly record when thinking about and through the figure of the hero. One gap in particular, namely, the figure of the widower, is a common enough figure in popular romance novels. 1 The "widower hero" has once before found his "happily ever