Many people think romance novels are trashy, formulaic, and anti-feminist smut. In this passionate talk, Jessica Lyn Van Slooten challenges negative stereotypes about romance novels. She argues that many of today’s authors are modeling a more inclusive, equitable, and feminist world through romance novels.
Jonathan A. Allan's latest book will be published shortly (it's due on 15th November). Men, Masculinities and Popular Romanceseeks to open a lively and accessible discussion between critical studies of men and masculinities and popular romance studies, especially its continued interest in what Janice Radway has called "the purity of his maleness."
The guest of honor for the conference will be 2017 RWA Nora Roberts Lifetime Achievement Award Recipient Beverly Jenkins, who has published more than 30 novels and is well-known for the level of detailed research she puts into each of her books – making her the perfect guest for this conference. She will be speaking and signing books Saturday afternoon at the Wood County District Public Library.
In Heather’s first-year writing class, Love and American Culture, in the primary goal is to introduce students to academic writing and research. Part of this entails helping students experience the excitement of writing a research paper when the topic is new and the questions are motivated by genuine interest. Heather has been collaborating with Ann, a research librarian, to develop an assignment sequence around original research on romance authors’ public social networks. The project uses Social Feed Manager and textual analysis tools to give students the opportunity to shape their own research questions and study the Twitter feed of the romance author of their choice.
“Vintage” category romances – commercial romance novels published twenty years old and older – can provide a fascinating data set for “community inquiry” (CoI), and a novel way to introduce students of writing to textual analysis. In its third iteration, my Ithaca College course Reading Popular Romance, is a writing-intensive first-year seminar taught using a Community of Inquiry (CoI) approach to instruction.Where are all the Fun Books: Popular Romance and Science Fiction Novels in Academic Libraries
Academic libraries have an uneven record of collecting popular contemporary literature (genre fiction). Due to this unevenness, colleges and universities that offer courses about particular genres or collect works devoted to the study of genre fiction may not actually own the primary texts. This study examines the extent to which award-winning novels in two popular genres—romance and science fiction—are included in the libraries of 114 major research universities (the Association of Research Libraries) and 80 prominent liberal arts colleges (the Oberlin Group).
Popular romance is truly one of the few communities and forms of media where the male point of view is not catered to. While the romance genre is the most profitable and least respected literary genre, romance novels have nevertheless become a safe space to explore marginalized identities. Our study focuses on the representation of black masculinities in Brenda Jackson’s Westmoreland Series, published as category romances via Harlequin.Happily Ever After …. And After: time travel, history and romance in the novels of Susanna Kearsley
[...] place often plays a central role in romance fiction. A perfectly-decorated seaside cottage, like a gorgeous silk gown, can be materialistic wish fulfillment for a reader who has neither gown nor cottage. However, place can also be deeply emotional, creating and shaping the conditions for relationships. In this presentation, I will be exploring the intersection between romance, place, and history in three novels by Susanna Kearsley: The Winter Sea, The Rose Garden, and Mariana.
[...] Although they range across time, each of these novels is anchored by its setting, which plays a crucial role in the emotional development of the characters and their relationships. [...] I will argue that these novels provide a framework that can help us understand the simultaneous specificity of romance – a series of intimate moments between people – and our urge to view it as a timeless emotion.True Love and Real Terror: Romance and Horror in Megan Hart’s The Darkest Embrace and Reawakened Passions
The Darkest Embrace and Reawakened Passions are romances that take place alongside a horror plot. Using Pamela Regis’s outline of essential elements of the romance, I will chart how both novellas fit the formula of a romance novel in a relatively short amount of pages. I will also make comparisons between Hart’s work and other short works of contemporary horror fiction produced online. This paper will show that the romance genre can be combined with the horror genre in a way that satisfies the expectations and conventions of both romance and horror, all in a short fiction format for a online audience.Finding the Fairy Tale in Popular Romance
Some novels retell specific well-known fairy tales, like “Cinderella” and “Beauty and the Beast” [...], while others incorporate a variety of fairy tale motifs without retelling a specific tale type [...]. Fairy tale intertextual references appear in just about every romance novel sub-genre [...]. Despite the almost ubiquity of fairy tale intertexts in romance, there are few scholarly considerations of the relationship between these narrative forms. Part of the difficulty is the misalignment between fairy tale theories and methods and the form of the romance novel. Jennifer Crusie’s “This Is Not Your Mother’s Cinderella: The Romance Novel as Feminist Fairy Tale” demonstrates some of the difficulties encountered when applying fairy tale theory to romance novels. Disciplinary boundaries and lack of familiarity with discipline-specific research methodologies and tools is another research challenge. In this paper proposes using Michael Dylan Foster and Jeffrey Tolbert’s concept of “the folkloresque” as a way to interrogate the use of fairy tales within popular romance novels.
I argue that the common reception of the romance novel is yet another example of women’s emotional labor being regarded as frivolously sentimental when in actuality it is impactful social excavation. My project uses an analysis of emotional work to argue for the romance genre as a feminist project. Though the romance novel has been widely disputed as a viable feminist project, an in depth examination of the emotional labor of characters and writer has been widely overlooked in this argument. As example, I examine the romance novel Outlander, and the emotional labor performed by author Diana Gabaldon for the story’s heroine, Claire Randall.
In this presentation, an archivist discusses her outreach to romance writers to learn more about their research behaviors, particularly their interest in and use of archives for writing their works. The results of this outreach led to the presenter’s article “Romance Writers’ Use of Archives,” published in Archivaria in 2016. It also led the presenter to invite two romance authors, Piper Huguley and Jennifer McQuiston, to the Society of American Archivists 2016 annual meeting to participate in a panel discussion on the role of research in their work. The presenter will share data gathered as part of a survey of romance writers about their research and discuss how the conversation at the panel session provided insight on how archivists might better serve the romance community and why it would be beneficial to do so.
Romance writers do research—but what about romance readers? If they do, what does their “research” look like? In this talk, I will explore the kinds of learning that previous scholars have said (and, sometimes, worried) might be inspired by romance fiction, with an eye to how these relate to the teaching and learning at work in other popular genres. (Thomas Roberts’s argument that all popular fiction invites us to “Think With Tired Brains” about serious and interesting topics will be central to this discussion; his Aesthetics of Junk Fiction has been central to my romance pedagogy for the past four or five years.) I will then compare these critical accounts with the actual learning and research that my students and I engage in as we grapple with romance novels in English courses at DePaul: both multi-author / subgenre surveys and 10-week courses focused on individual texts. One of those narrowly-focused seminars, on Sherry Thomas’s My Beautiful Enemy, will be underway during the conference, and I will describe what we are doing in it and why. (A clue from the heroine’s quest for ancient treasure in that novel, “use heart in your search,” gives my talk its title.) Rather than ask what romance novels do or don’t teach readers in general, I want to detail about what a few individual novels invite us to go and learn, about how they extend those invitations, and about what we find when we take up their offers, whether in or out of school.History's Been Hijacked: How To Combat White Supremacy Through Popular Literature
At the 2017 rally in Charlottesville, white supremacists carried banners covered in medieval heraldry alongside their Confederate flags, laying claim to the Middle Ages as a white, Christian utopia. This whitewashing of history and construction of a “white race” began during the Age of Enlightenment, and continued through the 19th century – which just happens to be the most popular setting for Historical Romance.Romance Novels for Feminists: What Does That Mean?
Often seen as providing harmless escapism, the persistent fabrication of an all-white, all-Christian universe has resulted in an ignorance so extreme that many readers of Historical Romance reject the historical validity of non-white characters, or question the possibility that any non-white character could have a “happily ever after” in a white-dominated world. While this attitude has a dismaying effect on the genre, the wider implications of creating a popular fantasy world based on white supremacist ideology – and presenting is as actual history – are chilling.
For better or worse, our understanding of history largely comes from portrayals in pop culture, from Game of Thrones to Downton Abbey. Writers in the wildly popular genre of Romance have an opportunity to shape the perceptions of readers to more closely match the historical reality, and to prevent racially motivated hate groups from co-opting centuries of European history for their own purposes.
How do online spaces allow feminist romance readers to define and negotiate feminism for themselves? How do these readers define which romance novels are feminist, and which are not? In this case study, I will look at the popular romance review blog, Romance Novels for Feminists (RNFF). In 2009, Jackie C. Horne, a romance novelist, former children’s book editor, and literary scholar, established RNFF to review and comment on romance novels in all subgenres. RNFF does not explicitly state criteria for book selection, only stating that it “strives to review only books that in its opinion espouse and/or encourage feminist value.” RNFF’s reviews of feminist romance novels are based on a no-grading system intended to open up conversations about feminism and fiction. The reviews on RNFF allow for dialogue amongst readers, responding to both the books themselves and to Horne’s reading of them. This paper will explore the traits that Horne homes in on for her selection of “feminist romance” criteria as well as the traits that blog responders find most important. I will focus particularly on claims of sexist and feminist contradictions in these reviews. Moments of agreement and disagreement between reviewer and responders suggest romance readers are using online spaces such as RNFF to determine what feminism means to them as well as to form and articulate opinions on what does and does not count as feminist in the genre.Romance Vs. Realism: How Critical Battles over Postwar Teen Romance Novels Led to the Emergence of Canonical Young Adult Literature
In 1942, Maureen Daly published Seventeenth Summer, the wellspring text for a new genre of American romance novels aimed at a freshly-minted teenage reading audience. Called the “junior novels,” this genre was comprised of romance novels—often series texts— that focused on a girl’s first love experience. Although they quickly became the main stock of emerging teen library sections, the scholarship surrounding them became a site of contention, polarized into two opposing—and gendered—camps: (female) librarians, and (male) academics housed in English and English Education departments.
This paper uses the lens of Pierre Bourdieu’s theories of cultural production to examine not the junior novels themselves, but their reception by critics—a reception based on early Cold War values regarding what constituted “good” literature for girl readers (and, as a corollary, what constituted “good girls”). Thus, although librarian critics valued these romance novels for their use in girls’ socialization, most post-secondary academic critics opposed them, placing value on their view of literary quality. This use versus quality dichotomy, moreover, masked an underlying—and gendered—struggle over defining “realism” as specifically antithetical to “romance.”
An examination of the junior novel critics’ scholarship thus demonstrates a hidden, historical battle regarding who had the right—and ability—to define what constituted “value” in literature for girls, and illustrates how American postwar teen romance novels led to the creation and sanctioning of canonical young adult literature.
The romance genre emerged as a counterpublic; a way for women to write books about women for women. Originally, the romance genre was not viewed as gender specific; but after World War II, and the return of men from the battlefields, women went back to their traditional roles, i.e. at home with their families. Romance novels have become a way to place female protagonists at the center of a story. Heroines across the genre are justified in their wants and desires, placing emphasis on the female experience and viewpoint. Today, romance readers face stigmatization due to their literary interests. Rather than celebrate a genre by women for women, readers and writers face marginalization. Avid readers of the romance genre find their voices in the online sphere; for instance, posting reviews or blog articles anonymously. On one hand, the online sphere should be commended for its ability to foster freedom of expression. Yet, on the other hand, it should be noted that the stigma surrounding the romance genre creates the need for ongoing anonymity. While readers are able to vocalize their thoughts, they may only feel comfortable doing so in an anonymous setting, unintentionally fostering the ongoing stigma of romance. The growth, accessibility, and affordability of e-books has also created a method for combating the genre’s stigma. Readers can make their literary purchases in the privacy of their own homes and privately read books on their electronic devices without preying eyes on recognizable romance book covers. The digital landscape is redefining romance and how readers discus the genre.An Articulation of Modern Indian Values in the Romance of Sandhya Sridhar
In 2009, avid romance reader Sandhya Sridhar quit her job at a newspaper in Chennai, India, and started her own company, Pageturn Publisher, which included the Red Romance Series, to publish English-language novels that she billed as “full blooded desi romance.” She sensed a need for romance novels more relatable to Indian readers than the imported Mills and Boons she grew up with. I argue elsewhere that desi romance can be considered a subgenre of romance, with the novels marked as Indian in a variety of ways that include language, content, and cultural values. Sridhar has written three books in the series, two in its first year (2010) and one in 2012. In this paper, I argue that Sridhar’s books have functioned as yardsticks for other authors and model the goals of this new subgenre. Through close readings of Heartbeats, Endless Time, and 31 Somnath Street, I address questions about family involvement in romance, acceptable erotic language, issues of consent, and an articulation of modern Indian values regarding sex and marriage. These values include respect for elders’ input, the inherent desirability of marriage and children, the prioritizing of the family over the individual, the importance of consent when it comes to intimate relationships, respect for all women, and women’s control over their own bodies and sexuality. These values reflect to readers Red’s ideas about of identity, self-realization, and romance in a post-colonial world.
Although the image of an Asian/Asian-American woman has been a hypersexualized one, the Asian/Asian-American man has been a desexualized figure in American history. In contrast to Black or Latinx men, Asian/Asian American men have been represented as asexual or gay. They are the Other who does not pose a sexual threat to the white man because they lack sexual power or prowess. These stereotypes have created an imbalance in what minimal representations exist for Asian/Asian Americans in American culture, including romance novels. As a result, there are often more representations of Asian/Asian American women in interracial relationships with white men than there are of strictly Asian/Asian American couples. My presentation focuses on the history behind the sexless Asian/Asian American man stereotype and how trends in American popular culture towards Asian/Asian American men may be changing perspectives of them, which may be impacting the romance industry and could also be impacted by the romance industry. I will provide examples of how author ethnicities and audience reaction to Asian/Asian American men may be catapulting Asian/Asian American men to lead roles in romance novels for the American market. These Asian/Asian American leading men present a new option for masculinity, where sexual attractiveness and ability are not reliant on the abuse of the power dynamic between men and women because there are comparable oppressions (interracial coupling between a white woman and an Asian/Asian American man) or whiteness is decentralized (Asian/Asian American couple or an Asian/Asian American man with a woman of color).
When the first novel in the international bestselling Outlander series debuted in 1991, it was marketed as a quintessential historical romance - complete with a highly stylized cover - and shelved in the romance genre sections of bookstores and libraries. Cementing its status as a romance novel, Outlander won the Romance Writers of America's RITA Award for Best Romance of 1991. Yet, even though author Diana Gabaldon courted romance fans and accepted the community’s awards, she also insisted that her novels were not just romance novels and struggled for years to have her books moved into general fiction sections and to be recognized as more than just a romance writer.Paranormal Romance: A History
This in-depth critical analysis of Gabaldon’s body of work examines her uneasy position within the romance genre and the tensions among her critics and fans who seek to define her as a romance writer or establish her as a general fiction writer. This presentation will discuss a textual analysis of the Outlander books and the television adaptation of the series, as well as a critical analysis of online fan communities and media critics who review the books and television series. In this research, I position myself as both a feminist media scholar who studies and teaches scholarship on romance novels and as a long-term fan of Gabaldon’s work who is deeply familiar with the Outlander fan community.
Paranormal Romance was a term coined in the 1990’s, but during that decade, this subgenre was very marginal. The genre, which was all but disappearing by the year 2000 started to take off at the beginning of the 21st Century. September 11th triggered a new interest in romances with paranormal elements that allowed both writers and readers to delve on issues too painful or controversial to confront directly at the time. In the early years after the attack there was a preponderance of novels portraying the shock of discovering magical (and menacing) elements irrupting in our everyday reality. Later on series tended to develop fictional worlds in which the paranormal elements were a given, abandoning the discovery narratives. They either reflect a dystopian reality, or the realistic world becomes a backdrop for the action, but not an essential element of it. Over time, the superficially apolitical nature of the paranormal romance has been eroded with more openly ideological discourses emerging often. This evolution parallels the trajectory of other non-romance genres, especially urban fantasy. This paper will offer an overview of the history of the genre, emphasizing the connections between romance, culture, and history. While romance as a reflection of the changing gender roles of women over time has been frequently observed by critics, there is a scarcity of a more systematic evaluation of romance as a dynamic genre intimately connected with its historical moment. This paper will challenge this perspective offering a new reading of this subgenre.Christian Romance Novels through the Eyes of West African Women
The romance novel has been a source of ridicule and criticism ever since its inception and most especially due to its consumption by women. Scholars such as Tania Modleski and Janice Radway arguing that it actually empowers women of which African women are included. However, there exists little or no scholarship on African Romance novels or even Romance novels based on Africa. My paper, therefore, seeks to address the scarcity of African romance novels which special attention to West African women. It is interesting to find out that mostly Christian authors have been able to combine these two powerful themes into a novel that entertain while evangelizing to people. The West African woman like every other in the Western world enjoy romance novels, however, there exist very literature on African Romance novels. My paper seeks to determine if the few African romance novels are written and published by African press follow the romance formula and most importantly, do these books be used by feminists to empower more women or are these novels in tune with the African cultures and religious beliefs that endorses patriarchal rule. My paper will use the use the novel of Unoma Nwankwor’s “An Unexpected Blessing” and Lynn Neal’s “Romancing God” since the novel falls under Christian romance and African women are noted to be religious; thus shedding more light on the relevance of this little-recognized issue.Fantasies of Masculinity in Male/Male Popular Romance
In her book, Hard-Core Romance: Fifty Shades of Grey, Best-Sellers, and Society, Eva Illouz asks: “why is traditional masculinity pleasurable in fantasy?” (58) To answer this question, I focus on the rise of the male/male popular romance novel, and think through why these novels are pleasurable. To these ends, I draw on Lucy Neville’s work on gay pornography, which she argues “subverts the patriarchal order by challenging masculinist values, providing a protected space for non-conformist, non-reproductive, non-familiar sexuality, and encourages many sex-positive values” (204). While this may be true of gay pornography, can we say the same is true of the male/male popular romance? Does the male/male popular romance novel really subvert the “patriarchal order”? Does it provide a space that “encourages many sex-positive values”? As such, this paper attends to a close reading of texts alongside theoretical work coming out of queer theory and the critical study of men and masculinities. Ultimately, I argue that the male/male popular romance novel remains an important site of analysis for studies of masculinity, but that, at bottom, we are still left with “traditional masculinity” as noted by Illouz, and, in many ways, the “profoundly bourgeois" (207) values central to the romance narrative that Pamela Regis noted in A Natural History of the Romance Novel. As such, I argue that these novels are not as subversive as we might hope for.Queer Evolution: A Biocultural Investigation of Gay Romance Fiction
Literary Darwinism and biocultural theories of literature have seemingly ignored queer identities in their studies of literature, film, and popular culture. This study attempts to begin the integration of biocultural theories and queer theories by analyzing a collection of stories from Japanese BL (boys love), bara manga, and Western romance novels. These three unique genres are selected to give attention to narratives written by both straight and gay writers. The implications of generic format and the identities of the writers will be discussed as well. By comparing and contrasting these genres, this study seeks to establish the biocultural implications homosexual identities function within these texts. Specific attention will be paid to homosexual courtship and evolutionary theories of homosexuality, and how these texts conform to or deny specific theories. In addition to the traditional biocultural theories, attention will be given to the specific Japanese understandings of homosexuality and same-sex relationships and the country’s history of homosexuality and homosexual identities. In doing so, this study hopes to begin understanding queer identities within a Literary Darwinist framework, for just as fiction has be used to explore philosophy, so to can fiction be used to explore evolutionary psychology.
The character of the ‘nerd’ has been prevalent in popular culture, usually represented as a man whose intelligence and lack of social skills keep him from achieving his ultimate desire: obtaining an attractive girlfriend. Since the early 21st century, the concept of the nerd has expanded to discussions of toxic masculinity and entitlement, often seen in such arenas as the culture of the tech industry and the Gamer Gate phenomenon. My paper addresses the central question of how the modern romance genre includes these character archetypes and incorporates them into the romance genre. Specifically, in my paper, I will use the scholarship of Carol Thurston, Jennifer Crusie-Smith, Lynn Coddington, and representations of masculinity to analyze the nerd character in the contemporary romance novels Romancing the Nerd by Leah Rae Miller (2016) and Nerd in Shining Armor by Vicki Lewis Thompson (2003). I will use these case studies to illustrate how a feminist reading of romance novels interprets and redefines the highly gendered concept of the nerd, how the genre provides a space for character transformation, how these texts redefine the concept of the ‘nerd’ in terms of the self, and to examine how the nerd character is a product of gender performance.The conference continues on Saturday!
Brandon University professor Jonathan A. Allan (Canada Research Chair in Queer Theory) is looking for proposals on men / masculinities in popular romance fiction for the 2018 American Men’s Studies Association conference, which will be held March 22-25 in Minneapolis, MN. The deadline in the CFP is October 15, 2017.
Jonathan was one of the guest editors of the Journal of Popular Romance Studies special issue on Queer/ing Popular Romance, and he is currently at work on a book called Men, Masculinities, and Popular Romance (Routledge).
There’s a lot of work to be done on this topic, not least because the romance archive includes masculinities that range from the hyper-hegemonic to the quietly or radically disruptive, and the Call for Papers makes it clear that the conference is open to an equally wide range of topics. Their bullet point list includes:
- Queering masculinities, sexualities, bodies
- Transgender studies and men’s studies
- Men and/or masculinities in BDSM and leather cultures
- Masculinities and sexualities (i.e. heterosexual, gay, bisexual, pansexual, etc.)
- Effeminophobia in/and theories of masculinity
- Fantasies and desires in/through bodies and masculinities
- The material, phenomenological, and real body
- Pharmaceutical and medical interventions on the body
- Masculinities without men, men without masculinities
- Men, bodies, and digital technologies
- Aging, youth, and sexualities across the life-span
If you’re interested in pursuing this, please get in touch with Jonathan, or with me (Eric Selinger, IASPR president) before the October 15 deadline.
The intersection of popular romance studies and men’s / masculinity studies is a very promising development in our field. There is work, wild work, to be done!
seeks to open a discussion between critical studies of men and masculinities and popular romance studies. The phrase “purity of his maleness” is taken from Janice Radway’s groundbreaking study of the popular romance novel, and from this vantage, the article considers how critical studies of men and masculinities might think about, respond to, and engage popular romance novels and scholarship.
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has been named one of “Sixteen for ’16” to watch for this spring by a prominent Canadian literary critic.
Allan’s book, “Reading from Behind: A Cultural History of the Anus,” is a study of the anus, the ass, the rear in literary and cultural theory. Taking the anus beyond the butt of jokes, Allan examines why people squirm when it is mentioned, since we all have one and use it every day.
“It was 2014 that was called ‘the year of the booty,’ and 2015 was called ‘a banner year for the male butt,’ but it is both desirable and yet shameful, pejorative,” said Allan, the Canada Research Chair in Queer Theory and an Assistant Professor in Gender and Women’s Studies as well as English and Creative Writing at BU. “We all have one, and it seemed an interesting topic to study.” (press release)Jonathan tells me there's a "chapter in the book on male/male romance". It'll become available in March.
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The heroine, who is generally unaware of the extent of her GHH’s [Glittery HooHa's] power over the MW [hero's Mighty Wang], may initially fear the “magic spell” cast by the MW. Such fears are not unfounded. In Barbara Samuel’s The Love Talker, in which the hero is quite literally a magical being, we are given a description of the full extent of the damage a MW can cause to women whose GHHs are not glittery enough to tame it:Today I came across an essay by Alyssa Rosenberg at Think Progress which reminded me of this model of male sexuality:
The Love Talker is a fixture of Irish faery lore, a seductive and dangerous being indeed, a conscienceless faery who ravishes the senses of unsuspecting women and leaves them to pine away to their deaths. In all the poems and stories, he is the King of Rakes, a libertine of unholy power. (195)This reflects the way in which male sexuality is culturally constructed as an active, unemotional, possibly dangerous part of masculine behaviour.
In a (not surprisingly) depressing post railing against equal marriage rights over at National Review, Maggie Gallagher, the founder of the misleadingly-named Institute for Marriage and Public Policy, quotes an anti-equality speaker who argues that “Only one creature has been known to calm men down into faithful and stable relationships since the dawn of time — a woman.” What makes that attitude so sad is the low estimation in which it holds men, an attitude reflected in the hysterically angry reaction to the idea that men can play a role in stopping sexual assault. To different degrees on the same spectrum, these views both agree that men are not particularly in control of themselves, and that if they are to be tamed into monogamy and consensual sex, women will have to do a sometimes enormous amount of work, at great expense to their own expectations and personal liberties, to bring about those outcomes.She goes on to suggest that the emotional work required of heroines in romantic comedies is even greater.
These views are very sad, but part of what’s depressing about them is that they aren’t necessarily exceptionally marginal. The idea that it takes a woman to tame a man is at the core of an enormous amount of popular culture—particularly culture aimed at women.
One of the most prevalent arenas for the idea that men need to be tamed by good women, and one of the places where that trope has evolved most, is in romance novels. As I wrote at Slate last week, that genre’s evolved from its earlier reliance on character arcs in which the heroine would be seduced, ravished, or outright raped [...] to one in which the rakish hero [...] meets the woman who makes him realize that monogamy isn’t just socially acceptable—it will make him happier than he’s previously been tomcatting around. These men in contemporary romance novels are rarely as repulsive as their earlier counterparts [...]. But there’s still an air of condescension operating there: it seems to have never occurred to any of these otherwise smart, handsome, and professionally adept men that their own behavior might be causing their unhappiness. And often, rather than being truly responsible for their romantic and sexual choices, romance novel heroes are broken in a certain way that can only be fixed by the ministration of heroines whose value was previously overlooked: often they had cruel or absent parents, particularly fathers, who damaged their ability to connect, and rather than seeking out therapy or staring their own deficiencies straight in the face, its up to women to give them the love they were previously denied.
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Column One
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Column Two
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What does it mean to a woman to feel – to want keenly to feel – what the male character feels as she reads?
I think that, as she identifies with a hero, a woman can become what she takes joy in, can realize the maleness in herself, can experience the sensation of living inside a body suffused with masculine power and grace [...], can explore anger and ruthlessness and passion and pride and honor and gentleness and vulnerability [...]. In short, she can be a man. (37)Kinsale believes that what many readers “savor [...] is the freedom to expand into all the aspects, feminine and masculine, of their own being” (40). In “The Androgynous Writer: Another View of Point of View,” Linda Barlow, who is
not ashamed to admit that I’ve always been one of those die-hard fans of the old-fashioned, hard-edged romances which feature a feisty heroine who falls into love and conflict with a dangerous hero with sardonic eyebrows and a cruel but sensual mouth. (45)argues that this type of romance hero is actually “a significant aspect of feminine consciousness itself” (46) and she adds that he provides female readers with
the means of facing and accepting the angry, aggressive, sexually charged components of our personality that we have been taught to associate with masculinity. From childhood, males have more outlets for their aggressions – sports, horseplay, roughhousing, the rite of passage schoolyard fight and resultant black eye that parents (especially fathers) seem willing to tolerate. They also have more outlets for their sexuality, the expression of which is not only tolerated but encouraged. Females, on the other hand, are instructed from childhood to control, repress, or even split off their aggressive and erotic drives. (49-50)In other words, he embodies the traits in column one. If Kinsale and Barlow are right, then while romances which pair ultra-feminine (albeit feisty) heroines with ultra-masculine heroes ostensibly endorse gender stereotypes, they simultaneously allow readers to experience a fuller range of emotions and behaviours than they are permitted by gender stereotypes.
in disguise. They’re disguised as a man. I once noticed that in slash there are so many references to these characters’ penises that it’s like a little label that says “Hello, I am” and the name. [...] I think it’s something like this. As I said, the characters are not exactly male. They’re disguises of some sort, kind of like “I have the proper genitals so I am male, please remember that.” (Francis and Piepmeier)Could it perhaps be that some "androgynous" authors and readers feel that the anatomy of trans* protagonists would not serve so well as a disguise for female authors and readers? In addition could the "abhorrence of what's called 'girly bits' or 'girl parts', or 'vay jay'" (Voinov) in m/m romance and a marked preference for cis-male protagonists, stem from the cultural associations of different types of genitalia? Braun and Wilkinson "posit that experiences of the biological body are constructed by social/cultural/historical context and that interpretations of bodies need to be considered within context" (18). Part of that context is that
The vagina is often represented as part of the female body that is shameful, unclean, disgusting. [...] Women 'are brought up in a society which tells us that our bodies smell' (Smith, 1987, p. 21). Genital slang often invokes smell (e.g. stench trench) (Braun & Kitzinger, 1999a; Mills, 1991); to be called a 'smelly cunt' is a horrible insult (Smith, 1987). Laws (1987, p. 13) noted that 'many women hate their discharges, and find them very smelly and unpleasant . . . These attitudes come from our culture’s making out that women’s bodies are dirty, mysterious, oozing strange fluids - different from men’s, therefore wrong.’ (21-22)In contrast, as Kyra Kramer and I have noted,
while “generally ethnographers have concluded that few men actually equate their manhood with their genitalia, nonetheless many studies indicate that they are a favorite point of reference” (Gutmann 396). Regardless of the cause of the conflation,
The penis is what men have and women do not; the phallus is the attribute of power which neither men nor women have. But as long as the attribute of power is a phallus which refers to and can be confused […] with a penis, this confusion will support a structure in which it seems reasonable that men have power and women do not. (Gallop 97)
How old were most daughters of the peerage (the most common heroines in our books) when they married for the first time? Stone’s chart shows that during the first part of the era, the median age was ~20-22. Post 1750 (correlating with the passage of Hardwicke’s Marriage Act; Coincidence?), that age jumps up to ~23-24. So, the most common age for the daughter of a peer to marry was not when she was in her teens, but when she was in her early 20s, and an unmarried twenty-five year old would not really be much of an outlier.She also discusses accurate ages for heroes at marriage elsewhere in her post.
soliciting previously unpublished articles or essays for an edited collection on the topic of representations of speech and language disorders in literature, film, and popular culture. At present, there is a growing interest in the field of Medical Humanities regarding the portrayal of conditions like stuttering, aphasia, mutism, etc. Recent works like The King's Speech, Rocket Science, and Diving Bell and the Butterfly also speak to the growing concern in contemporary popular culture over the status of the Self in relation to language loss and language breakdown. Since speech pathologies are neither illnesses nor outwardly visible disabilties, critical studies of their representation have tended to occupy a liminal position in relation to other discourses in fields like literary theory, medical humanities, disability studies, etc. One of the primary aims of this collection is to address that marginalization, to position a cultural criticism of speech pathology as a subfield in its own right, by combining previous criticism with original work in order to bring this subject into greater prominence.More details can be found here. I immediately thought of Laura Kinsale's Flowers from the Storm:
The working title of the collection is Talking Normal: Speech Disorders in Literature, Film, and Culture. The goal of this collection is to approach the issue of disordered or 'non-standard' speech from as many critical lenses as possible. So cultural studies, historicist, theoretical, sociolinguistic, formalist approaches etc. are all equally welcome. [...] Authors should submit an abstract of 300 - 600 words, along with a CV providing full contact information, by May 1st 2011.
The odd tidbit of original inspiration for Flowers came from a great-aunt of mine. When I was fairly young—7 or 8?—she suffered a stroke and lost the ability to speak. My grandmother, her sister, brought her to live at home for the next ten years. She would come up behind us kids and grab our hair or our arm, pinch so hard that it hurt, and say “No, no, no, no!” I thought she was nuts. Forgive me, I was young and afraid of her. My grandmother always insisted that she could understand what was said to her, and stood by her to the end.I know Barbara Cartland's heroines often pause ... when speaking, but ... I don't think those pauses were intended to be read as representations of a speech disorder. Can you think of any romances other than Flowers from the Storm which depict "disordered or 'non-standard' speech"?
Many years later, many—out of nowhere, the thought came to me that my grandmother had been right. That my great-aunt had been trapped behind a wall. It was a stunning realization.
I spent a fascinating period researching brain damage while writing Flowers from the Storm. Yes, for all those who’ve guessed or wondered, Christian suffered a cerebral hemorrhage. A one-time bleeding in the brain caused by a malformed blood vessel. He never had another one, I promise. I deliberately made him left-handed because left-handers have an atypical layout of speech centers in the brain, and often recover better from aphasic injuries.
And here's another recent call for papers.This one made me think a bit about time-travel and historical romances:Philament, the peer-reviewed online journal of the arts and culture affiliated with the University of Sydney, invites postgraduate students and early-careers scholars to submit academic papers and creative works for our next issue upon the theme of Time. [...] Submissions close April 30, 2011, although late submissions may be considered.More details can be found here and the submissions guidelines are here. Please note that
Our definition of postgraduate extends to include recent graduates who have obtained their doctorate less than five years ago, and who are yet to secure permanent academic employment.I recently read Susan Stephens' Ruthless Boss, Dream Baby , a contribution to a Harlequin/Mills & Boon mini-series titled
MEN WITHOUT MERCYApparently the idea for the mini-series was inspired by the television programme Life on Mars:
Arrogant and proud, unashamedly male!
Modern Romance with a retro twist ...
Step back in time to when men were men - and women knew just how to tame them!
For those unfamiliar with the show, in a nutshell a 21st century policeman is transported back in time to 1970s Britain, where he meets DCI Gene Hunt – a completely unreconstructed alpha male from days of yore! In the second series, Ashes to Ashes, the action moved to the 1980s, when a 21st century female is thrown back to meet the uncompromising Gene Hunt, and gradually tension of a different kind started to simmer, and this got us thinking…I'm pondering the implications of the phrase "when men were men" and wondering if this combination of a modern heroine and a setting in which men can be men, is one of the appeals of "wallpaper historicals." Vacuous Minx recently described these as
What would happen if a 21st century Presents heroine came face-to-face with a completely unreconstructed Presents alpha hero from the past?
And that is how Men Without Mercy was conceived! Yes, we would need to include a little, (dare we say) time travel to make it possible, but as long as the story, relationship and passion was pure Presents – why not?
books where the characters are basically modern, but they wear period clothing, live in period houses, and refer to period events.There is no real pretense, by authors or readers who like the books, that these books represent serious attempts to depict a particular historical era. Think of it as going to a historical theme party: everyone dresses up in the theme, but they talk in their normal accents and use contemporary vocabulary and wear Spanx under their costumes.In wallpaper historicals do the heroes seem as modern as the heroines, or are they the embodiment of what some modern women believe men were like in the days "when men were men"?
