Monday, March 30, 2015
Tuesday, March 24, 2015
Call for Papers: Popular Romance
2015 Midwest Popular Culture Association/American Culture Association Conference
Thursday-Sunday, October 1-4, 2015
Hilton Netherland Plaza
Deadline for submission: 30 April 2015.
Love and romance are pervasive elements in popular culture, showing up in film, television, fiction, manga, advertising, advice columns, pop songs, and more. We are interested in any and all topics about or related to popular romance and its representations in popular culture (fiction, stage, screen—large or small, commercial, advertising, music, song, dance, online, real life, etc.)
Topics can include, but are not limited to:
• critical approaches, such as readings informed by critical race theory, queer theory, postcolonial studies, or empirical science
• depictions in the media and popular culture (e.g., film, television, literature, comics)
• literature and fiction (genre romance, poetry, animé)
• types of relationships (marriage, gay and lesbian)
• historical practices and traditions of and in romance
• regional and geographic pressures and influences (southern, Caribbean)
• material culture (valentines, foods, fashions)
• folklore and mythologies
• jokes and humor
• romantic love in political discourse (capitalism)
• psychological approaches toward romantic attraction
• emotional and sexual desire
• subcultures: age (seniors, adolescents), multi-ethnic, inter-racial
• individual creative producers or texts of popular romance
• gender-bending and gender-crossing
Submit a one-page (200-250 words) proposal or abstract by 30 April 2015 to the Popular Romance area on the MPCA/ACA website. Please include name, affiliation, and e-mail address with your abstract. MPCA/ACA can provide an LCD projector for presentations, but it must be requested with your proposal. If necessary, indicate and submit potential scheduling conflicts along with your proposal. If you wish your presentation to be listed as MACA (rather than MPCA), please include this request with your proposal.
More conference information can be found at http://www.mpcaaca.org
For further inquiries or concerns, please contact Popular Romance Area Chair, Maryan Wherry, email@example.com
Friday, March 20, 2015
I have no idea how I missed reading this at the time it came out (though it's been listed on the Romance Wiki for some time) but I'm glad I came across it in the course of my current research because it's a fascinating essay which complements other romance scholars' work on disability, race and sexuality in romance fiction.
Zeiger argues that
The emergence of this subgenre reflects a shift in what is acceptable to say about breast cancer, and the novels contribute to breast cancer’s status as something to talk about rather than hide. [...] I am interested in the way romances record a transitional moment in lifting taboos on breast cancer as a topic of discussion. During the 1980s, virtually no mention of breast cancer, let alone women of color or lesbianism, occurred inside the mainstream discourse of romance. (108)She demonstrates that romance novels, so often scorned for their predictability and their supposed social conformity, do important cultural work in this area:
Given the futility, and worse, of so much public breast cancer discourse, it seems like a good idea to find as many supplementary sites of discourse as possible. Breast cancer romance takes a problematic genre and uses it to say some things that the culture does not always want to hear. Romance characters are allowed a leeway unknown in what critics have come to call “pink culture”; when despairing, bitter, or just angry, when wildly mourning their breasts, or when disappearing from society to nurse their wounds, they are treated with warm sympathy. This space for feeling has produced a new reading community and is at least one of the major ways that stereotypical romance has been and continues to be rewritten. Such innovations are not trivial or quietist. (109)Among the novels mentioned are:
Kathleen Eagle’s The Last Good Man (2000), Michelle Douglas’s The Man Who Saw Her Beauty (2012), Marilyn Pappano’s The Trouble with Josh (2003), and [Donna] Alward’s How a Cowboy Stole Her Heart ; the African American romances Crown and Glory (2011) by Denise Jeffries and No Regrets (2002) by Patricia Haley; and Susan Gabriel’s lesbian romance Seeking Sara Summers (2008). The ambiguous politics of these works evokes complex questions regarding the relation of breast cancer to sociocultural status, constructions of femininity, and popular literary representation. (111)
- Zeiger, Melissa F., 2013/14.
- "'Less Than Perfect': Negotiating Breast Cancer in Popular Romance Novels." Tulsa Studies In Women's Literature 32.2/33.1: 107-128. [Abstract]
Monday, March 02, 2015
Jodi McAlister is
very pleased to announce that Popular Romance Studies is a new area at the Popular Culture Association of Australia and New Zealand conference this year. I'm the Area Chair, and while the CFP has already closed, I've arranged an extension of a few weeks for romance scholars until April 15.
I'd love for the Romance area to make a really dynamic and fascinating debut, so I'd appreciate it if you could circulate this [...] CFP to anyone you think might be interested:
6th Annual International Conference
June 29-July 1, 2015
Massey University Campus
Wellington, New Zealand
Wellington, New Zealand
CALL FOR PAPERS
Popular Romance Deadline for abstracts: April 15, 2015
The Popular Culture Association of Australia and New Zealand (PopCAANZ) is devoted to the scholarly understanding of everyday cultures. It is concerned with the study of the social practices and the cultural meanings that are produced and are circulated through the processes and practices of everyday life. As a product of consumption, an intellectual object of inquiry, and as an integral component of the dynamic forces that shape societies.
We invite academics, professionals, cultural practitioners and those with a scholarly interest in popular culture, to send a 150 word abstract and 100 word bio to Jodi McAlister, Chair of Popular Romance for PopCAANZ: firstname.lastname@example.org
Tuesday, February 17, 2015
I was pleased to see that romance author Diane Gaston felt that Laurie Kahn's documentary is "the most respectful depiction of the romance genre that I’ve ever seen." The conference at the Library of Congress was clearly a very positive and thought-provoking experience for many attendees. Eric posted the following note to the Romance Scholar listserve:
At the recent Library of Congress symposium some questions came up about the history of African American popular romance fiction, and after the conference, Kathleen Gilles Seidel passed along a memory that Pam Regis thought worth getting out into the record: a “footnote,” as she called it, to the history that’s been discussed elsewhere.
During test marketing, the book tested horribly so Harlequin assumed that readers didn’t want books with black characters . . . as opposed to assuming that readers don’t want fake books with black characters. So the book was taken out of the first month (and my book was put in – which is why I remember this story so well as it worked out beautifully for me). It was published in 1983 as Harlequin American Romance #7 during the second month of the series. It did have very light-skinned African Americans on the cover, and it was the first series romance featuring African Americans released by Harlequin (and possibly any series publisher). But they didn’t put their best foot forward.
Personally, I suspect there was indeed a big problem with White "readers [who] didn’t want books with black characters" because, not much later, Harlequin published a romance by a Black author, with Black characters:
Sandra Kitt of New York had written her first Harlequin with black characters in 1984, but after Adam and Eva, "I couldn't get them to accept the other black novels. They said they didn't know anything about the market," she told the Boston Globe. In fact, Harlequin got scads of letters complaining about the book, including one from a Philadelphia woman who said, "Those people should have their own series." (Grescoe 279)Harlequin was a business and it sounds to me as though their market-research and consumer feedback was telling them loudly, and often in an explicitly racist manner, that romances featuring Black characters didn't appeal to their existing readers and therefore wouldn't sell well.
On the topic of romance as a business, Bobbi Dumas mentions at Kirkus that "Laurie Kahn [...] refers to it as 'a female-powered engine of commerce, a multi-billion dollar business and tech-savvy global sisterhood'" and Elisabeth Lane writes that
a common thread that struck me after watching the documentary film and after attending the conference the next day: the huge economic impact of the romance genre. As a romance reviewer, I typically think of romance in terms of its content: stories, characters, plots, themes. And sometimes in terms of sociological analyses of what we as a society say about the romance genre and what the romance genre says about us. But while I have always known intellectually that romance is a huge business (it’s a fact that gets repeated frequently by romance apologists), I hadn’t really considered its impact on individual women’s finances. During the film and the conference, the theme that romance is a genre “for women, by women, and about women” was repeated at least a half dozen times by various speakers. While in the spirit of inclusiveness, we know that’s not always the case, it is still very much true of the bulk of the romance industry. Not only is the romance industry in general for women, by women, and about women, it is also a business that accrues major economic benefit to women.You can read more of Lane's thoughts about "Financial Empowerment from Romance" here.
Anne Bornschein, meanwhile, spent some time mulling over comments made by "William Reddy, Professor of History and Cultural Anthropology at Duke, who asserted that contrary to popular belief, modern romance novels do not represent archetypal models of love." She concludes that
although the definition of romantic love that guides popular romance fiction today is not transhistorical, the premodern Western literary tradition has a lot to offer scholars and readers of popular romance in terms of productive lenses through which to view current literary trends.And the rest of her thoughts on the topic can be found here.
Here are some areas of correspondence between the premodern and the (post)modern that readily come to mind:
- alternative models of love, in particular possible slippage from the homosocial bond (i.e., bromance) to the homosexual, including iconic male couples such as Roland and Olivier, or Lancelot and Galehaut, as antecedents to today’s m/m romance
- narratives foregrounding cross-dressing, role reversal, and gender performativity in texts such as Aucassin et Nicolette and Le Roman de Silence
- Marie de France’s Lais such as Yonec and Bisclavret as medieval forebears to the were- and shapeshifter trends in romance, and more broadly, the medieval Otherworld’s link to fantasy-inflected love stories
- authorship and readerly community in the Middle Ages: Arthuriana as a medieval form of fanfic in which vast networks of writers contributed translations, reworkings, alternate continuities, continuations, prequels, and paratexts
- hagiography (saints’ lives) as a parallel genre associated with discourses of passion (both physical and spiritual), sacrifice, and bodily suffering, with particular emphasis on metaphor
Grescoe, Paul. The Merchants of Venus: Inside Harlequin and the Empire of Romance. Vancouver: Raincoast, 1996.
Sunday, February 15, 2015
Last week the Library of Congress hosted a day-long conference on romance fiction (and related topics) in the digital age. Along with Len Barot, Beverly Jenkins, Nicole Peeler, and Susan Ostrov Weisser--see above, in the photo by Margaret Locke--I was was on the first panel, which was supposed to focus on the question "What Belongs in the Romance Canon?" A number of other ancillary questions were posed by the moderator, Pamela Regis, including how broadly defined "romance" and its canon should be.
Each of us on the panel got to make a three-minute opening statement, and I spent a sleepless night trying to decide what I ought to say in my slot, what I should save for the Q and A to follow, and so on. In the end, here's what I wrote out and said:
The last thing that popular romance needs is a man in a suit explaining--mansplaining--what belongs in the romance canon.
I can tell you who's been on my romance syllabi. As your program notes, I've taught upwards of thirty courses exclusively devoted to the genre at DePaul, from historical surveys to thematic courses to ten-week seminars on individual romance novels. But every book and author I've taught is there because of the expertise and enthusiasm of some blogger, reviewer, scholars, reader, librarian, or author who loved that book, put that book on a list, or put that book in my hand, saying "this is awesome, this was influential, this would teach really well; I don't get to teach this class, and you do, so put this in it."
It's worth nothing, I think, that so far every one of those bloggers, reviewers, scholars, readers, authors, and librarians has been a woman.
Now, I don't always end up teaching the particular novel they suggest. Sarah Frantz Lyons has been after me for years to teach It Had to Be You by Susan Elizabeth Phillips, and my wife loves Match Me if you Can, but Natural Born Charmer is my jam: it teaches perfectly, for me.
This leads me to a second point about the romance canon, one made last spring by a young Australian scholar, Jodi McAlister. In the romance world, Jodi wrote in a blog post called "Boom Goes the Canon," there are certainly iconic books, authors, publishing lines, but they don't function the way a traditional literary canon does--to establish authority, to separate wheat from chaff, sheep from goats, the gospel of the lord from Bible fan-fic. Romance readers, she writes, are quite comfortable with the ideas of subjective pleasure and continent value. What works for me won't work for you; what works for me might work for some reason other than "objective artistic merit" or some other demonstrable reason for canonicity.
There are, we might say, many fish in the sea, or a lid for every pot: a lesson from within the novels that romance readers seem able to map onto the literary field of the novels themselves.
The romance community is quite comfortable with what Barbara Herrnstein Smith once called "Contingencies of Value." And as a scholar, my inclination is less to weigh in on what belongs in the romance canon, or what the boundaries of that canon should be, then to try to learn what the romance world can teach me about why we ask those questions, and about what's at stake in how we answer them.In the Q & A that followed, I mentioned Noah Berlatsky's canon piece in Salon and Wendy the SuperLibrarian's response (and the comments from her readers that followed). But I wanted to take the opportunity of the 3-minute formal address to do something Sunita mentioned in a comment last spring when that whole canon business was getting talked about: that is, to draw my audience's attention to the women whose expertise I've relied on all these years, rather than pretending to an expertise of my own. (I do have some expertise of my own, I hope, but it's not about what's in or should be in the romance canon!) Jodi's piece has been on my mind for nearly a year, and that seemed like the one to flag most immediately--and I figured I would have plenty of chances to plump for particular novels, etc., as soon as the discussion started.
Friday, February 13, 2015
Eric's promised to post some comments/reflections on the recent conference held at the Library of Congress but in the meantime Margaret Locke's report can be found here and Kiersten Hallie Krum's collection of [all the?] tweets sent from the conference is here. [Edited to add: Jessica Matthews has just tweeted a link to an article about the conference, in the Washington Post. A shorter collection of tweets, featuring pretty much only those sent by Smart Bitch Sarah can be found here.]
Jayashree Kamble has an article in Oklahoma Humanities (the magazine of the Oklahoma Humanities Council): "What's Love Got to Do with It? - In Romance Novels, Everything!" Other articles in the same issue which may be of interest are:
Fount of the Heart -- The Edna Crockett Valentines
The art and heart of exchanging valentines.
By Nancy Rosin
Matchmaking: The Second-Oldest Profession
A centuries-old tradition.
By Meghan Laslocky
The Movie Lover's Guide to Kissing
Tips and clips for reel romance.
By Mary Brodnax
"Pointed Boots Are Just Bad News"
Love lessons from contemporary female poets.
By Jessica Glover
Last, but not least, at the Journal of Popular Romance Studies Lisa Fletcher is
seeking new submissions for the section focused on any aspect of the teaching and learning of popular romance studies. My editorial in issue 3.2 of the journal, “The Scholarship of Teaching and Learning Popular Romance Studies: What is it, and why does it matter,” introduces the section as a “trading zone” for the open exchange of ideas, research findings, and tools for enriching the experience of teachers and, most importantly, students in courses which examine the meaning and significance of romantic love in global popular culture. JPRS offers the only peer-reviewed forum devoted to the teaching and learning of popular culture: please feel welcome to email me with suggestions for, or questions about, the section [...].
I am interested in theoretical and empirical contributions from all relevant disciplines, as well as interdisciplinary approaches. Possible topics may include, but are not limited to:• Key issues in the teaching and learning of popular romance studies• The research / teaching nexus and popular romance• Curriculum design for teaching popular romance• Practical case studies of teaching key texts and/or topics• Assessment models for teaching popular romance• Teaching and learning popular romance in the digital age• Student responses to studying representations of romantic love• Popular romance fans as teachers and students• Postgraduate students and popular romance studiesArticles submitted should be no longer than 10,000 words. Submissions should be Microsoft Word documents, with citations in MLA format. Do not include your name or the name of any co-authors in the submitted manuscript, since the piece will be sent out for blind peer review. In your cover-letter email, please provide your complete contact information (address, phone number, e-mail address) and a 150-200-word abstract of the submission. You are welcome to suggest appropriate peer reviewers. For further information about the submission process consult the journal (http://jprstudies.org/
Saturday, February 07, 2015
CFPs: Romance after 9/11, A zine for lovers of romance fiction, Pop Culture in Asia/Australia/Oceania,
Call for Papers--Special Session Proposal for the MLA Convention in Austin, Texas
Warrior and Lover: The New Face of Romance After 9/11
Nearly fourteen years after 9/11, there is little doubt that the significance of this event goes well beyond its impact on global politics and has influenced cultural production across genres and in a range of contexts. The romance novel is no exception. From the rise of the paranormal, to the new proliferation of sheik novels, to the resurgence of the warrior hero and heroine, the ever-changing landscape of the romance novel reveals a mostly feminine space in which the challenges of the post-9/11 era manifest themselves in both predictable and surprising ways.
This panel seeks papers that explore the production of romance novels after 9/11 and the resulting variations in the genre brought about by this event.
Call for submissions: A zine for lovers of romance fiction
We’re calling for submissions for the first issue of an annual romance fanzine with an as yet undetermined title. [...] People who love romance fiction are invited to submit stuff for inclusion in the zine. We’ll consider any creative work, including: essays (min 250 words); academic findings (written in plain speak); illustrations; personal reflections; photographs; poetry; scanned artwork; original short stories; excerpts of books in progress; and fun, provocative or satirical remixes. [...]
Our aim is to have the zine ready in time for the Australian Romance Readers Conference in March. This is a super tight deadline, so we need your submissions by Saturday, February 7.
More details here.
Call for Contributors: Encyclopedia of Pop Culture in Asia and Australia/Oceania
Entry essays can vary in length, approximately 1000-2000 words and should include a short list of recommended further reading. Entries should be clear, concise, objective, informative, and not heavily footnoted.
The editors welcome and invite contributors to suggest topics that they would like to write on, for consideration and possible inclusion in this volume. We are not limiting our reach and are interested in generating country-specific ideas. [...] We cordially invite interested contributors to help us build the best possible topic list by making suggestions. A list of chosen topics in need of contributors is available on request. All contributors automatically get contributing author credit and free digital access to this encyclopedia. Editors can provide individual invitation letters to contributors upon request. If you are interested in contributing, please email the following information: full name, title, institutional affiliation, best mailing address, email, CV, and suggested entry or entries to both: email@example.com and firstname.lastname@example.org
More details here.
Monday, January 26, 2015
A number of the literary themes and preoccupations of nineteenth-century Australian society and literature loom large in today ’s rural romances. The most significant of these shared concerns is with the idea of an Australian female type. Australian rural romances work to produce an image of a “typically” (and yet ideal) Australian heroine: hardworking, committed to community, resourceful and, when required, assertive, including sexually. Journalists point to the “ feisty ” and “ strong ” qualities of rural heroines. (9)That might be called an observation on the gender politics of these novels. In addition, their
post-colonial context both informs and influences some of the recurring and dominant motifs of Australian rural romance. These include the idea of rural land as just inheritance, a site of belonging and home, and, importantly, a space for autochthonic place of return. The drama of the homecoming (or making) of the heroine and the coming together of the romantic protagonists, in other words, takes place against the background of larger, unresolved dramas of history still being played out in Australia.
Landscape in colonised countries is never innocent. It is discursive as well as material space, criss-crossed with competing claims of indigeneity and contested assertions of ownership. To write about land in such countries is to enter culturally loaded debates surrounding the questions of who owns territory, who can claim a belonging to it and how land should be used. (10)------
- Mirmohamadi, Kylie, 2015.
- "Love on the Land: Australian Rural Romance in Place." English Studies. Published online 19 Jan. 2015. Abstract
Wednesday, January 14, 2015
The program for the "What is Love? Romance Fiction in the Digital Age" is now available and places are free. This conference will be held at the Library of Congress, Washington DC, on the 10th-11th of February.
The main event on the 10th is a screening of a "documentary film that takes its viewers into the multi-billion dollar romance fiction business and the remarkable worldwide community of women who create, consume, and love romance novels." You can book your place here.
Click here to book your place at the "international, multimedia conference of authors, scholars, publishers, and the public at the Library of Congress on February 11, 2015, hosted by the Center for the Book in the Library of Congress, in cooperation with corporate and foundation supporters and the Popular Romance Project."
Tuesday, February 10, 2015
The Library of Congress, Jefferson Building
Sneak Preview Screening of Love Between the Covers
The Library of Congress, Jefferson Building
Sneak Preview Screening of Love Between the Covers
6:30 Welcome; Coolidge Auditorium, Ground Floor
6:45 Love Between the Covers
8:20 Q&A with producer/director Laurie Kahn, editor William A. Anderson, and featured authors Beverly Jenkins, Len Barot/Radclyffe, Mary Bly/Eloisa James, and Joanne Lockyer
Wednesday, February 11, 2015
The Library of Congress, Madison Building, 6th floor
What Is Love? Romance Fiction in the Digital Age
John Y. Cole, Director of the Center for the Book in the Library of Congress; Co-organizer of "What is Love?"
Laurie Kahn, Project Director, Popular Romance Project; Producer/Director of "Love Between the Covers"
Pamela Regis, Professor of English, McDaniel College; President of the International Association for the Study of Popular Romance; Co-organizer of "What Is Love?"
9:10-10:30 Panel 1: What Belongs in the Romance Canon? Why?
• Pamela Regis (moderator), Professor of English, McDaniel College; President of the International Association for the Study of Popular Romance
• Len Barot/Radclyffe Founder/CEO, Bold Strokes Books; Romance Author
• Beverly Jenkins, Romance Author
• Nicole Peeler, Associate Professor of English, Seton Hill University; Romance Author
• Eric Murphy Selinger, Professor of English, DePaul University; Executive Editor, Journal of Popular Romance Studies
• Susan Ostrov Weisser, Professor of English, Adelphi University
Questions to Consider
Why does romance fiction resonate globally? How many archetypal love stories are there? Who are romance novels speaking to? Should there be a romance canon? Should there be different romance canons for the sub-genres within romance? Should the canon(s) include romance novels written in non-Anglo cultures? And how far back should the canon go? What is included and excluded from this genre? How does the perception of romance fiction compare with the perception of fantasy, sci-fi and mystery? Why?
10:45-3:30 Drop-in Interactive Rooms, concurrent with Panels 2 and 3
• Write a romance novel scene.
• Explore the Popular Romance Project website: PopularRomanceProject.org.
• See the film: "Love Between the Covers."
• Suggest a Popular Romance Library Program for the American Library Association.
• Browse publishers' exhibits.
10:45-12:15 Panel 2: What do Science and History Reveal about Love?
• William Gleason (moderator), Professor of English, Princeton University
• Stephanie Coontz, Professor of History, Evergreen State College
• Eli Finkel, Professor, Department of Psychology and the Kellogg School of Management, Northwestern University
• Darlene Clark Hine, Professor of History, Northwestern University
• William M. Reddy, Professor of Cultural Anthropology, Duke University
• Ronald Walters, Professor of History, The Johns Hopkins University
Questions to Consider
What do scientists know about physical attraction, lust, and love? What have historians discovered about the ideas of love in different times and cultures? When, why, and where did domestic partnerships shift from being primarily about dynastic relationships between families—often including economic benefit—to being about individual choice based on ideas of love? Is love a feminine topic? What kinds of love do we see depicted in romance novels and do we use these depictions to shape our own lives? How does knowing the history and science of love change our sense of what love is now? Is love being transformed in our digital age?
12:15-1:30 Lunch Break
1:45-3:15 Panel 3: Community and the Romance Genre
• Mary Bly/Eloisa James (moderator), Professor of English, Fordham University, Romance Author
• Kim Castillo, Author's Assistant, Eloisa James, Inc.
• Robyn Carr, Romance Author
• Brenda Jackson, Romance Author
• Anne Jamison, Professor of English, University of Utah
• Allison Kelley, Executive Director, Romance Writers of America
• Sarah Wendell, Romance Blogger, Smart Bitches, Trashy Books
Questions to Consider
Is the romance community like other fan communities? Are there actually many romance communities – and do they communicate with one another? Why do romance fans love their books so much? How are romance communities different in different parts of the world? Are the values of romance novels lived out in the romance community? How are books changing due to a more interactive reader community? Why have so many best-selling romance authors come from reader communities? What can we learn from the magnitude of the romance community about the world we live in? What can we learn about community building from romance writers and readers?
3:30-5:00 Panel 4: Trending Now: Where is Romance Fiction Heading in the Digital Age?
• Sarah Frantz Lyons (moderator), Editorial Director, Riptide Publishing; Founder of the International Association for the Study of Popular Romance
• Jon Fine, Former Director of Author and Publisher Relations, Amazon.com
• Liliana Hart, Romance Author
• Angela James, Editorial Director, Carina Press/Harlequin
• Tara McPherson, Associate Professor of Critical Studies, University of Southern California
• Dominique Raccah, Founder/CEO, Sourcebooks
• Claire Zion, Vice President and Editorial Director, New American Library
Questions to Consider
During this last panel of the day, we will reflect on the current tsunami of change in publishing—from traditional publishing to the explosive phenomena of ebooks and self-publication. How well is the romance industry, and the romance community writ large, poised to ride this digital wave? Where are we? Where are things heading? Together we will ponder the future of romance fiction.
Tuesday, December 30, 2014
I hadn't realized things had gone this far. A bill was introduced in Congress last summer to strip NEH funding from the Popular Romance Project, and also prohibit funds from the NEH for "any similar project relating to love and romance."
The bill did not pass, but it clearly sent shivers up the collective spine of the NEH, and as the Romance Novels for Feminists blog reported last week, "NEH funding for the PRP web site has been put on hold." (If you were wondering why the site went on hiatus a few months ago--well, now you know.)
I've been waiting for the right moment to propose an NEH summer seminar or institute for faculty about popular romance fiction, but politically speaking, that moment may have passed. A pity. As a scholarly adviser to the Project, I've always thought--and continue to think--that this is one of those rare projects that brings top notch humanities scholarship to bear on a topic of broad and democratic interest.
I hope the pendulum swings back someday; in the meantime, the documentary film that Laurie Kahn has made looks to be very interesting, and the loss of website funding won't stop the film from getting done and out to the public. More about the film, the funding fracas, and the upcoming popular romance symposium at the Library of Congress, at the new, separate "Love Between the Covers" website.
Saturday, December 13, 2014
If you haven't already seen it, you might like to take a look at Jo Beverley's interview with "Dr. Catherine Roach [...] Professor of Gender and Cultural Studies at the University of Alabama." They discuss feminism, defining features of the romance genre, historical romance and more.
Here's an excerpt:
Catherine, your next point is "Romance entails faith in love as a positive force for the good in many people's lives. In this sense, love functions as religion." I'll confess that I'm not comfortable with the word '"religion." Could it be stated as hope?You can read the rest over at The Word Wenches blog.
Catherine: Yes, you could rephrase to say that romantic love offers hope. My point is that the romance story believes there is an answer to existential problems of loneliness and suffering and that the answer is love. Romance is a hopeful and optimistic form of fiction that stakes its claim on the belief that the world is a good place. Despite all of life’s injustice, both love and love stories make the world a better place. The genre is life affirming.
I see. Yes, there is a necessary belief, and I have it. It's one reason I write romance.
(Reader -- are you a believer? Is it part of why you love to read romance?)