New Publications and an Exhibition: Gender and Agression, Publishing and More

Lots of open access articles!

Golubov, Nattie (2023). "Female Warriors, Social Injustice and the Transformational Force of Anger in Jaye Wells' Sabina Kane Series." Esferas Literarias 6: 21-37.

Larson, Christine, and Ashley Carter (2023). "Love is love: Reverse isomorphism and the rise of LGBTQ+ romance publishing." New Media & Society.

Markasović, Valentina (2023). "Challenging Gender Stereotypes in Holly Black’s The Folk of the Air Trilogy." Breaking Stereotypes in American Popular Culture: Proceedings of the 10th Annual Conference of the Croatian Association for American Studies: 41-56. 

Miclea, Adelina (2023). "Colleen Hoover’s Formulas for Best-Sellers as Seen in Reminders of Him and It Ends with Us." Romanian Journal of English Studies 20.1:72-79.

Mulvey, Alexandra Hazel (2023). Gender and Sex Stereotypes in Sports Romance Fiction. Masters thesis, Macquarie University. [The link is to a pdf.]

Pierini, Francesca (2023). "Towards a Regime of Authenticity: Reading A Room with a View through the Lens of Contemporary Romance Scholarship." LEA - Lingue E Letterature D'Oriente E D'Occidente 12: 217-228.

And quite a bit less accessible, but no doubt still of interest to readers of this blog:

"Covering Romance", an exhibition and sale of romance novel cover art by John Ennis, will be taking place in Yardley, Pennsylvania, at the AOY Art Center Gallery from February 10th (Opening Reception), with viewing open to the public on 11, 16, 17, 18 February (12-5pm). More details about the party for the opening can be found here: https://www.aoyarts.org/event-5484048

 

Famous Literary Predecessors of the Modern Romance Novel

My New Year's resolution was to read and blog about some of the predecessors of the modern romance novels published today.* I also qualified this by adding that I'd only blog about some of the less well-known novels. That's because some of these predecessors are among the most famous novels written, and (a) you can read about them in great detail elsewhere and (b) anything I could write here would look a bit feeble in comparison with the volumes of literary criticism on them that already exist. I will, though, mention some of the famous literary predecessors of the modern romance very briefly. I'm sticking to novels which are romance according to the RWA definition, i.e. novels that have 'a central love story and an emotionally satisfying and optimistic ending'. For reasons of space, if a particular author has written more than one romance I'll usually just list one of them.

• 1740, Richardson, Samuel, Pamela: or, Virtue Rewarded. This is Richardson's 'most widely read work. At once profoundly influential, yet heavily and publicly vilified, the novel's publication marked the beginning of one of the most astounding moments in literary history and laid the foundation for Richardson's status as one of the founding fathers of the modern novel.' (Batchelor 2002). Regis dedicates a chapter to it (2003: 63-74). You can read a brief description of the novel here, and see illustrations from five eighteenth-century editions here.

• 1778, Burney, Frances, Evelina: Or, The History of a Young Lady's Entrance into the World . This was 'a critical success, receiving praise from respected individuals, including the statesman Edmund Burke, and literary critic Dr. Johnson. It was admired for its comic view of wealthy English society, and for its realistic portrayal of working class London dialects' (Wikipedia). It was initially published anonymously, which led 'leading London society to speculate on the identity of the writer, who was universally assumed to be a man', though Burney's identity was later revealed and 'She was taken up by literary and high society and became the first woman to make writing novels respectable' (The Burney Society). Another aspect of Evelina which was of great significance for future women writers was that 'The "comedy of manners" genre in which she worked paved the way for Jane Austen, Maria Edgeworth, and other 19th-century writers' (The Burney Society).
  

• 1813, Austen, Jane, Pride and Prejudice. Sarah's already claimed Austen as a romance author, and this novel is so well-known and well-loved that it hardly seems to require any further description from me, but if you'd like the Spark Notes, they're here, and, as they say, 'Pride and Prejudice contains one of the most cherished love stories in English literature: the courtship between Darcy and Elizabeth'. Colin Firth's portrayal of Darcy in the 1995 BBC adaptation is extremely popular. The link to the text of the novel will take you to the Republic of Pemberley site, where you can find a wealth of information about Austen, her novels and her times. You can also see Regis (2003: 75-84), and the chapter's titled 'The Best Romance Novel Ever Written', which makes Pam's feelings on this novel extremely clear! My favourite Austen is Persuasion, but I know I'm in the minority on this.

• 1847, Brontë, Charlotte, Jane Eyre. If you haven't read it, and want a quick synopsis, there's one here, or you can look at the Spark Notes. The Victorian Web has plenty of very short articles on many aspects of the novel, including its political and social context, treatment of gender issues, and imagery/symbolism. See also Regis (2003: 85-91).

  When Jane Eyre was published in 1847, it became a bestseller. The reviews were on the whole favorable. There was much speculation about whether the writer was a man or a woman [...]. When it became known that a woman had written such a passionate novel and seemed so knowing sexually, the reviews became more negative. [...] The reviewer for the Rambler expressed a criticism that was made against all the Bronte novels--coarseness. The reference to "grosser and more animal passions" is a roundabout way of saying "sex." (Melani 2005)

• 1847, Brontë, Anne, Agnes Grey. There's a synopsis here, where the observation is made that

  Anne's first novel resembles in its calm naturalism nothing so much as one of the later Austen novels, with the vital difference that her heroine is a working woman. It deserves, far more than Jane Eyre, the description 'governess novel', because Agnes's experience is far more typical, and the predicament of the occupation is analysed much more closely. (Brontë Parsonage Museum and Brontë Society).

  Agnes Grey isn't as famous as Jane Eyre, but personally I prefer both it and Anne's The Tenant of Wildfell Hall, which 'A number of contemporary critics have recognized [...] as a landmark feminist text' (Downey, 2000) to the other Brontë novels. Whatever the reason, I can manage perfectly well without the brooding Mr Rochester (and particularly without the horrible Heathcliff).

• 1854, Gaskell, Elizabeth Cleghorn, North and South. There's a synopsis here. Unlike the Brontës, Gaskell shows us the industrial activity which contributed so greatly to the Victorian economy.

The novel is famous as an "industrial novel" that engages [with] class struggle and suffering in newly industrialized Victorian cities like Manchester (or, as Gaskell calls it, Milton) and as an important female bildungsroman or coming-of-age novel. Margaret's public intervention in the strike ranks among the most exciting moments in Victorian literature. (Literature, Arts and Medicine Database)

• 1861, Trollope, Anthony, Framley Parsonage. There's a synopsis here and it was with this novel that 'Anthony Trollope enjoyed his first popular success. It is the fourth of Trollope's Chronicles of Barsetshire - a set of six novels that share a fictional geography, interlaced characters, and a thematic preoccupation with the church in a Cathedral town' (Regis 2003: 93). Although a 'thematic preoccupation with the church' might sound a little dull, it really isn't. This is a church rife with the equivalent of modern office politics, and for those of you who like series of romances which follow a group of characters, Trollope's Chronicles of Barsetshire provide an example of rich and complex world-building. His other series, the Palliser novels, again involve politics, though this time the plots 'usually involve English politics in varying degrees, specifically in and around Parliament' (Wikipedia). Trollope was an extremely prolific author, and this may well have been a trait he learned from his mother:

  Fanny Trollope [...] had been writing, industriously, a record of her crazy trip to America. She called it: Domestic Manners of the Americans. It was published, and quickly became a bestseller. [...] It gave Anthony an insight into how a professional writer should write. From his mother's example (she was constantly writing for many years, although she never quite achieved the same degree of success), he learned the habit of sheer hard work. (The Trollope Society)
  

  One might make comparisons with Nora Roberts' work habits, but unfortunately for Trollope, 'After his death Trollope's literary reputation sank low, and he was regarded as something of a journeyman of letters. This arose partly from the revelation in his Autobiography that he treated literature as a trade and wrote by the clock' (The Victorian Web). It rose again, however, as the mass of writing about his work testifies, and he still has plenty of enthusiastic fans in the UK, US and elsewhere.

• 1872, Hardy, Thomas, Under the Greenwood Tree. I know this isn't the most famous of Hardy's works, but it seems only right to include Hardy who is, as the Penguin Reader Factsheet acknowledges, 'one of the greatest novelists of the nineteenth century' and 'This charming, timeless story of rural life gave Hardy his first real taste of fame and success'. Or, as one reader candidly describes it,

  it's a book with about the least plot you will ever find in a novel. It's also on the short side. Unusually for Hardy's novels. it has a happy ending - however Far from the Madding Crowd, the next one he wrote, does too - it was only as Hardy's reputation grew that he could afford to upset his public at the end of every book.

  I was amused to note that one of the minor characters, whom some consider a witch, is called Mrs Endorfield.
  

• 1908, Forster, E. M, Room with a View. As Regis observes, 'E. M. Forster may have ended this novel happily, but he was by no means sanguine about happy endings in general' (2003: 99). It's fame is probably due at least in part to the award-winning 1986 Merchant Ivory film. The Spark Notes are here.

Can you think of any others? I thought of including George Eliot's Daniel Deronda, but although it has a love story and a happy ending, I'm not sure whether the love story between Daniel and Mirah is 'central'. I also considered Dickens' Great Expectations, but again, I wasn't sure if Pip and Estella's relationship is really 'central'. And how about D. H. Lawrence's Lady Chatterley's Lover? It certainly has a central love relationship and the ending, if not happy, seems relatively optimistic. What do you think?

Even incomplete as it is, what this list suggests to me is that (a) as we've discussed previously, men can write romance/romantic novels and (b) that the so-called 'constraints' of writing within the romance genre (which basically amount to the need to end a love-story happily) in no way preclude the creation of a work of literary merit.

----

• Regis, Pamela, 2003. A Natural History of the Romance Novel (Philadelphia: University of Pennsylvania Press).

* I'm taking the term 'today' somewhat loosely, to mean 'anytime in the past few decades'. Having been a medievalist, a decade or two seems like a short space of time to me. I'm sure geologists would consider a decade the equivalent of a mere blinking of an eye.

Musings on Reviews and Establishing a Canon of Romances

I've just been looking at a couple of reviews of a book I wrote. It was a non-fiction, academic book, and the reviewers are academics. Nonetheless I was reminded of the questions Sarah raised in her blog entry about 'the ultimate romance novel' and the various controversies there have been about romance reviews, with some romance authors questioning the abilities and qualifications of readers who write reviews.

What the reviews of my book demonstrated to me was that even if a book is reviewed by the author's peers, all with a similar level of expertise and similar areas of interest, there will nonetheless be widely divergent views. As I read both the positive and the less positive reviews it became clear that each reviewer was looking for something different. Some mentioned critical frameworks I should have used or texts I should have discussed in more detail and each was obviously relating my book to their own particular, very specific areas of interest. For example, despite the fact that these reviewers are all Hispanomedievalists, some are historians while others are more interested in the literature of the period. Whatever their overall opinions, though, because my book was non-fiction, and included plenty of references to other works, and quotations from the relevant literature, even the reviewers who were least positive about it acknowledged that it would be a useful book.

So how does this relate to romance? Well, my experience suggests that everyone comes to a book (whether fiction or non-fiction) with certain expectations they want it to fulfill, or certain topics they would like it to touch on. Some readers and reviewers have a preference for particular sub-genres of romance, some have particular storylines which they love (or loathe). What one reader may find innovative and interesting, another may consider a disgusting breach of the conventions of romance. What one reader thinks is 'hot' or an interesting challenge to convention (e.g. the non-virginal heroine who doesn't need to be sexually 'awakened' by the hero), another may find morally reprehensible. A book considered exquisitely humorous by one reader may well appear mere slapstick to another, and what one person may consider delicious irony or sarcasm may come across as dry or irritating to another. When we pick up a book, we bring with us our own experiences and expectations, as well as our mood at the time of reading, and the mental comparisons we'll make with other romances (which will be dependent on how many other romances we've read, and which ones they are). Each of us, regardless of qualifications, will have a very individual response to each book. That's not to say that all readers and reviewers wouldn't be able to agree on something; they'd probably all be able to establish the basic outline of the story. Good reviews will provide both an objective description (of things such as the characters names, occupations, and how they meet) and a subjective opinion. The reviewer may even state why a particular work did or did not fit with her personal preferences . The reviewer who does this is acknowledging that not all readers of the review will agree with her opinion. She knows that once one goes beyond the basic facts of the story, interpretations and opinions will differ.

To take the example of D. H. Lawrence's Lady Chatterley's Lover, it's fairly easy to establish the basic outline of the story but overall opinion on the book varied widely:

When it was published in Britain in 1960, the trial of the publishers, Penguin Books, under the Obscene Publications Act 1959 was a major public event and a test of the new obscenity law. The 1959 Act, introduced by Roy Jenkins, had made it possible for publishers to escape conviction if they could show that a work was of literary merit. [...] Various academic critics, including E. M. Forster, Helen Gardner and Raymond Williams, were called as witnesses, and the verdict, delivered on November 2, 1960, was not guilty. [...] The prosecution was ridiculed for being out of touch with changing social norms when the chief prosecutor, Mervyn Griffith-Jones, asked if it was the kind of book 'you would wish your wife or servants to read'.

This particular difference opinion concerned the sexual content and similar arguments continue in the romance reading and writing community about what constitutes 'obscenity'. While many authors and readers remain opposed to explict sexual content, there are others who consider the open depiction of sexuality and sexual acts to be a freeing, even a feminist act:

My sex scenes--and my romance novels--are about determined women who go after what they need and get it, which is why I think they're a feminist act. Naomi Wolf once said that men called women who liked sex “sluts,” but that was okay because “we need sluts for the revolution.” That's what I'm doing, that's my mission in life, I'm writing sluts for the revolution. I'm very proud. (Jennifer Crusie)

It's not just this sort of issue which causes controversy - 'literary merit' is also difficult to define. Some people automatically assume that a genre novel cannot have literary merit, but even among readers who do not make this assumption there may be differences of opinion because:

It has long been noted that the concept of "literary merit" is practically impossible to define, and it is hard to see how such an ideas can be used with any precision or consistency by policy makers, magistrates or judges. A common response to this criticism is that, while the process of establishing literary merit is difficult, fraught with dangers, and often subjective, it is the only method currently available to separate work that has significant cultural value from work that is ephemeral and essentially worthless. (Wikipedia)

By engaging with romance from an appreciative academic perspective, we are beginning the process of establishing the literary merit of some modern romances, which may ultimately lead to the creation of a romance canon.