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Paraphrasing and Misleading: Inguenues, Madonnas, Virgins and Whores

By Laura Vivanco on Saturday, 22 October, 2016

Sometimes, an author/critic can be quoted out of context so that it appears they're saying something they didn't mean. For example, if I summarised an argument I disagreed with and someone then quoted my summary and attributed it to me but didn't say that I was summarising arguments I disagreed with, they'd not be misquoting me, but they would be giving a misleading impression of my opinions.

Another possiblility is for someone to paraphrase an argument or statement in a way which significantly alters its meaning. Here's an example I've just come across from an article by Victoria Kennedy about Philippa Gregory's work of historical fiction, The Other Boleyn Girl, in which romance fiction in briefly discussed so that the conclusions drawn about it can be used to analyse Gregory's novel:

Regis notes that romance novels are defined by their happy endings (9) and their ingénue heroines (49). The virgin and the whore appear as standard archetypes in romance narratives, but, as Regis explains, the virginal ingénue is the usual heroine of a romance novel (49). This figure, according to Janice Radway, allows the “ideal romance” narrative to deal with female sexuality “by confining the expression of female desire within the limits of a permanent, loving relationship” (169). Indeed, the element of “love” is central to the ideal romance heroine. As Helen Hughes notes of the genre’s typical heroine, “a woman who wants love is a sympathetic figure” (112). The ingénue’s opposite – the whore, seductress, or fallen woman – is a figure that severs the link between love and sex and is consequently denied the happy ending of matrimonial bliss granted to the heroine at the conclusion of the narrative. (50-51, emphasis added)

It seems extremely odd that Kennedy would describe "ingénue heroines" as a defining feature of the romance novel given that that just before this passage Kennedy had listed the eight elements which Regis does describe as defining:

Regis outlines eight narrative elements that she says define the romance novel: a depiction of corruption within society that the romance will reform; the meeting of heroine and hero; their attraction; a barrier to their relationship; a symbolic or literal death; the overcoming of the barrier; the declaration of love; and the betrothal. (Kennedy, 50)

Clearly, ingénue heroines are not among the eight essential elements of a romance listed by Regis.

I think there is, moreover, a significant difference between the statement "the virginal ingénue is the usual heroine of a romance novel"(51, emphasis added) and what Regis actually wrote on page 49 of A Natural History of the Romance Novel, which is "the ingenue heroine [is] frequent in romance novels" (49). Admittedly neither "usual" and "frequent" are precise terms, but it seems to me that something might be frequent if, for example, it happens in one book in ten. If something is usual I'd expect it to happen in fifty percent or more cases.

Changing "frequent" to "usual" matters, then, and it makes a difference because it's a building-block in Kennedy's argument, which leads her to conclude that:

A great deal of the tension between feminism and the romance, I suggest, lies in the fact that the romance’s formulaic female archetypes represent precisely the static female identity positions that feminism has long fought to undermine: the madonna and the whore. (54)

It seems rather ironic to reduce romance heroines to just two archetypes while arguing, from a feminist perspective, that feminism "has long fought to undermine" "static female identity positions".

Regis, it should be noted, was taking a historical perspective on the romance and it's certainly true that, in the past, virgin heroines were probably the norm (i.e. more than 50% of heroines). Even then, though, you could find exceptions. Georgette Heyer's Babs, in An Infamous Army (1937), is a widow with a distinctly un-madonna-like reputation and history.

It should also be noted that the heroines of The Grand Sophy (1950), The Masqueraders (1928), and Venetia (1958), to give just three examples, though virgins, are hardly "ingénues": an "ingénue" is "An innocent or unsophisticated young woman" (Oxford Dictionaries) and Sophy, Prudence and Venetia are neither.

While it is true that virgin heroines are still "frequent" in romance novels they're far from ubiquitous and the impression I have is that, outside historical romance, inspirational romance and particular lines such as Harlequin Presents/Mills & Boon Modern they probably don't make up over 50% of heroines published in recent years. Even in the sample of early twenty-first century sheikh romances analysed by Amy Burge, "Of the fifty-seven sheikh novels published in the Modern Romance series, at least thirty-two feature virgin heroines" (89-90) and that's in a sub-genre within that line in which "virginity is a particularly prominent trope" (89).

Anyway, not having done a statistical analysis of heroines' levels of sexual experience and knowledge, I can't speak confidently about the precise percentages of recently-published romances which contain virgin heroines but (a) I don't think it's particularly helpful or accurate to assume that romance only depicts women as "madonnas" or "whores" and cannot conceive of a wider spectrum of sexual knowledge and experience among heroines, (b) I don't think it's accurate to imply that "madonnas" are "the usual" type of heroine in the romance novels currently being published and (c) I don't think it's possible to support such an argument on the basis of a paraphrasing of a passing comment by Pamela Regis.

 

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Burge, Amy. Representing Difference in the Medieval and Modern Orientalist Romance. Houndmills, Basingstoke: Palgrave Macmillan, 2016.

Regis, Pamela. A Natural History of the Romance Novel. Philadelphia: U. of Pennsylvania P, 2003.

Kennedy, Victoria. "Revisionary Historical Metatext or 'Good Mills and Boon'?: Gender, Genre, and Philippa Gregory's The Other Boleyn Girl." Pivot 5.1 (2016): 42-74.

Seeing Things as They Truly Are

By Laura Vivanco on Saturday, 15 October, 2016

On 6 October. as part of a symposium at the University of Melbourne on "The State of Play: Australian Popular Fiction in the Twenty-First Century" Rjurik Davidson, who "writes imaginative fiction, speculative fiction, science fiction, surrealism, magic realism and fantasy" apparently stated, I assume in the context of a discussion of detective fiction, that "To solve the crime is to reveal the world as it truly is, not as it appears".

This reminded me of a passage in C. S. Lewis's The Pilgrim's Regress in which the pilgrim meets Sigismund Enlightenment (clearly an allusion to Sigismund Freud) who attempts to show him that all his beliefs are nothing more than fantasies, "the pretence [...] put up to conceal your own lusts from yourself" (59). Mr Enlightenment then leaves the pilgim imprisoned in a place where he can be seen by "the Spirt of the Age" (60), whose "eyes had this property, that whatever they looked on became transparent"(60) and so, with the giant staring at them, when the pilgrim looks at one of the other people imprisoned with him he sees

the skull and through that the brains and the passages of the nose, and the larynx, and the saliva moving in the glands and the blood in the veins; and lower down the lungs panting like sponges, and the liver, and the intestines like a coil of snakes. And when he averted his eyes from her they fell on an old man, and this was worse for the old man had a cancer. (60-61)

What he sees is, indeed, a revelation of things as they are, but it is hardly the only or best way of seeing human beings: we are more than a collection of cells arranged into flesh, blood and bones.

I'm not sure what crime fiction suggests is "the world as it truly is" but romance, which is often accused of being escapist and unrealistic, probably offers a somewhat different vision of how the world "truly is". In Patricia Briggs' Alpha and Omega fantasy series with romantic elements, one of the characters pulls out a romance. Admittedly it is Sir Walter Scott's Ivanhoe, rather than a modern romance, but Briggs' is writing in a modern context, knowing that her readers will also associate the word "romance" with the modern genre:

'Romantic claptrap,' said Bran [...]. 'As well as historically full of holes'.

'Is there something wrong with that?' asked Asil. 'Romance is good for the soul. Heroic deeds, sacrifice, and hope.' He paused. 'The need for two dissimilar people to become one. [...]' (Fair Game 21)

and on the final page of a later book in the series Charles concludes:

"Love [...] is always a risk, isn't it? I've always thought that there were no certainties in life, but I was wrong. Love is a certainty. And love always gives more than it takes." (Dead Heat 324).

Are Charles and Asil seeing the world as it truly is? I think so, but then, I'm a romance reader.

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Briggs, Patricia. Fair Game. London: Orbit, 2012.

Briggs, Patricia. Dead Heat. London: Orbit, 2015.

Lewis, C. S. The Pilgrim's Regress. 1933. London: Geoffrey Bles, 1944.

To Sheffield, With Love

By Laura Vivanco on Sunday, 18 September, 2016

The three-person Team @MillsandBoon was joined by Team Romance Scholar to take part in a panel discussion about romance organised by the University of Sheffield's Festival of the Mind. The event was recorded and the plan seemed to be to put up a podcast of the discussion so if that happens I'll mention it on the blog. In the meantime, I'll just write up a few comments focussed on the academic side of the panel discussions. Here's how we were described on the Festival's website:

On Saturday 17 September from 1-2pm there will be a panel discussion (see below), followed by the lecture at 2pm.

About the panel discussion

Can anyone write a romantic novel? What are editors looking for in their next romance? How do the authors come up with their ideas? And is it all just escapism, or is there literary value to be found in these texts?

Our panel of experts will answer your burning questions about Mills & Boon romantic novels.

The panel:

  • Flo Nicoll, Senior Editor for Mills & Boon
  • Susan Stephens and Heidi Rice, popular authors for Mills & Boon
  • Dr Laura Vivanco, whose academic text For Love and Money, published in 2011, explored the literary art of Mills & Boon romantic novels
  • Dr Amy Burge, whose recent monograph Representing Difference in the Medieval and Modern Orientalist Romance (Palgrave Macmillan, 2016) analysed race, religion, multiculturalism and gender in romance
  • Fiona Martinez, Sheffield Hallam University’s Vice-Chancellor Scholarship PhD candidate, whose own research explores the romance genre as a feminist endeavour.

Leading the discussion and then giving the lecture on Mills & Boon romance was Val Derbyshire (you can read about some of her M&B research here and here).

Team Romance Scholar fielded a number of questions.

As part of a discussion about heroes, Amy was able to give extremely detailed feedback on the numbers of sheikh heroes in Mills & Boon novels. Anyone wanting more information about that can read Amy's book on Representing Difference in the Medieval and Modern Orientalist Romance. There have also been a lot of Mediterranean heroes (Greek, Italian and Spanish mainly) and Flo Nichols suggested that although in recent years authors had been drawn to experiment with Russian heroes (presumably because of Russian oligarchs buying up UK football clubs etc) they've not been as popular as hoped with readers.

In response to a question about diversity, Amy suggested that although the Cinderella archetype may mean there are a fair number of heroines of working-class origin, there is less balance with regards to ethnicity/race. Flo argued that the company's output is diverse but also suggested that readers' responses have a big impact on Harlequin Mills & Boon's attempts at ethnic/racial diversification beyond sheikhs etc because they pay a lot of attention to sales figures when deciding what works and what doesn't. That said, Flo also felt that the submissions they receive have not varied very much, perhaps because aspiring authors write what they think HM&B want (based on what has already been published). She seemed interested in receiving submissions with heroes and heroines from a wider range of ethnicities/races.

I responded to a question about changes in the novels over time but I'm not the best at remembering dates so I'm afraid I might have been out by a decade or so when making some of my comments. Anyone wanting to know more about the history of Mills & Boon should read jay Dixon and Joseph McAleer's books on the topic but I'll quote a little bit of what they have to say here.

Mills & Boon began as a general publisher but from the 1930s "until the mid-1950s, general books were dropped and the firm concentrated on romance fiction" (Dixon 17):

The 1930s witnessed a major shift in the firm's direction which reflected changes in the marketplace. As library sales increased between the wars, fiction displaced the educational and general lists. At the same time, Mills and Boon specialized in its most successful type of novel, the romance. (McAleer "Scenes" 267)

However, McAleer also observes that:

it is difficult to speak of a specific Mills & Boon editorial policy before the Second World War. The reason is obvious: Charles Boon [...] was still a general publisher at heart. The 1930s was still a time of experimentation, and novels were novels in their own right. Boon did not impose many restrictions on his authors. (Passion's Fortune 145)

Nonetheless, it was "During this decade [that] the characteristics of the archetypal Mills & Boon heroine and hero began to fall into place" (McAleer Passion's Fortune 150).

In the 1940s Mills & Boon "added a strong dose of patriotism and social commentary. John Boon believed that Mills & Boon has not been given sufficient credit for maintaining morale with its novels during the war" (McAleer Passion's Fortune 171-72). I've quoted some of McAleer's thoughts on Mills & Boon and the NHS here and he also mentioned that:

when [Joyce] Dingwell's The Girl From Snowy River (1959) was published, a tale of an English woman emigrating to Australia, Boon sent a copy to the Hon. A. R. Downer, MP (then Australian Minister of Immigration), at Australia House, with the message, 'We feel it is good propaganda for immigration.' (Passion's Fortune 103).

Given that the panel was in Sheffield, it might be worth mentioning here that I contributed a few early Mills & Boon novels to Sheffield Hallam University's Readerships and literary cultures collection (1900-1950),  "a collection of books which reflects the wide range of literary tastes during the period 1900-1950". I think the M&Bs are only a very small proportion of the collection, which "consists of over 1200 novels, most in early editions, by 240 different authors" (Middlebrow Network) and I'm not sure how representative their Mills & Boons holdings are. Certainly, the ones I sent them were acquired on the non-academic criterion of whether they could be acquired cheaply on Ebay. As Amy has discovered, though, even the libraries which might be expected to hold a complete list of all the Mills & Boons ever published (such as the British Library and the National Library of Scotland) have lacunae.

When asked whether the status of romance is likely to improve, Flo suggested that (a) it ought to if people paid attention to the sales figures and (b) that the situation is somewhat better in the US. I suggested that perhaps the emergence of the field of popular romance studies would also help improve the genre's reputation. In the study of popular culture more generally, academics working on crime/detective fiction and science fiction have been able to ameliorate the status of those genres so I'm hopeful that academic study of popular romance will be able to demonstrate that romance novels reward analysis in a variety of ways and do deserve to be treated with respect.

As Fiona pointed out, the lack of respect for romance has seeped into the study of authors in other genres too, making assessement of their oeuvres less than complete. She's studying a range of prize-winning authors including Jeanette Winterson and has found that the romantic elements of their novels have been neglected by literary critics. She, however, is focussing on those elements and her work will therefore demonstrate that romance and its conventions can be found well beyond the covers of novels marketed as "romance". This may, perhaps, help reduce the stigma attached to works which are marketed that way.

Fiona has now written a post of her own about the event.

I'm hoping the booklet which gives a full outline of Val's talk might also be put online but perhaps it won't due to copyright restrictions because it includes a lot of images of Mills & Boon covers. As I said, though, the Festival organisers did promise they'd be making some material available online so when they do, I'll post about it. Here's a glimpse of one page via a tweet from Amy:

 

 

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Dixon, jay. The Romance Fiction of Mills & Boon 1909-1990s. London: UCL Press, 1999.

McAleer, Joseph. Passion's Fortune: The Story of Mills & Boon. Oxford: Oxford UP, 1999.

McAleer, Joseph. “Scenes from Love and Marriage: Mills and Boon and the Popular Publishing Industry in Britain, 1908-1950.” Twentieth Century British History 1.3 (1990): 264-288.

An Unusual Use for a Romance

By Laura Vivanco on Friday, 29 July, 2016

I just happened to come across this abstract (from the Formulaic Language Research Network's 2016 conference) and thought it was an interesting way to use a bit of Georgette Heyer, whose use of obscure slang can, perhaps, be rather off-putting to some readers.

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Alison Wray (Cardiff University)

Getting a shoehorn in: how we work out the meaning of unknown formulaic expressions

‘Took it off of a fat old gager a couple o’ years back,’ he explained, with engaging frankness. ‘Prigged his tattler, too, but I sold that. I’m a great one for a pinch o’ merry-go-up, and this little box just happened to take my fancy, and I’ve kept it. I daresay I’d get a double finnup for it, too,’ he added, sighing over his own prodigality. ‘It’s worth more, but when it comes to tipping over the dibs there ain’t a lock as isn’t a hob-grubber.’ (The Toll-gate, Georgette Heyer, 1954).

When we first encounter a new expression, how do we work out what it means? Although there has been research into how L2 learners approach unknown formulaic expressions, it has been difficult to make direct comparisons with what native speakers do, because of the ceiling effect that would arise in giving them ecologically valid expressions in their L1 – in other words, if an expression is formulaic in the L1, they will tend to know it already. In this talk, I describe an experiment (co-researched with Huw Bell and Katie Jones) that was able to present both L1 and L2 speakers with genuine, contextualised, formulaic expressions of English that were not known to either group. They were historical phrases researched and used by the British novelist Georgette Heyer in her works set in the Georgian and Regency periods (c.1800-1837). Through a think-aloud approach, participants gave commentaries on what they thought the expressions meant, and why. The results showed some important differences between the approach taken by L1 and L2 speakers, and suggest that increased knowledge of, and/or confidence with, an L2 enables a learner to get increasingly closer to behaving like an L1 speaker when encountering new expressions.

Frye on the Symbolism of the Virgin Heroine

By Laura Vivanco on Friday, 1 July, 2016

In The Secular Scripture Northrop Frye takes a look at romance in its broadest definition and observes that there is a lot of emphasis on the heroines' virginity.

One can, of course, understand an emphasis on virgniity in romance on social grounds. In the social conditions assumed, virginity is to a woman what honor is to a man, the symbol of the fact that she is not a slave. Behind all the "fate worse than death" situations that romance delights in, there runs the sense that a woman deprived of her virgniity, by any means except a marriage she has at least consented to, is, to put it vulgarly, in an impossible bargaining position. But the social reasons for the emphasis on virginity, however obvious, are still not enough for understanding the structure of romance. (73)

Deep within the stock convention of virgin-baiting is a vision of human integrity imprisoned in a world it is in but not of, often forced by weakness into all kinds of ruses and stratagems, yet always managing to avoid the one fate which really is worse than death, the annihilation of one's identity. [...] If we want an image [...] for this kind of integrity, there is an exquisite one in Sidney's Arcadia, where the heroine wears a diamond set in a black horn, with the motto attached "yet still myself." (86)

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Frye, Northrop. The Secular Scripture: A Study of the Structure of Romance. Cambridge, Massachussets: Harvard UP, 1976.

Part III - Representations of Romantic Relationships and the Romance Genre in Contemporary Women's Writing (Sheffield, 11 June 2016)

By Laura Vivanco on Sunday, 12 June, 2016

Continued from Part I and Part II. In this post I've written up my notes and comments on the final papers:

Fiona Martinez, Sheffield Hallam University - The Romance Genre & Feminism: Friends or Foes?

Lucy Sheerman, Independent Researcher - Charlotte Brontë and Contemporary Representations of Romance Fiction

Deborah Madden, University of Sheffield - Rewriting Romance in 1930s Spain and Portugal: Rebellious Heroines of Federica Montseny and Maria Lamas

Martina Vitackova, University of Pretoria - The Sexual Turn in Post-Apartheid Women's Writing in Afrikaans

 

Fiona Martinez, Sheffield Hallam University - The Romance Genre & Feminism: Friends or Foes?

Fiona's research focuses on:

the use of romance and the romance genre within contemporary women's literature, and the extent to which its creation of authentic relationships is a feminist endeavour. Combining Jean-Paul Sartre's interest in existential authenticity and his views on the need for authenticity within relationships I will be examining the work of Margaret Atwood, Ali Smith, Zadie Smith and Jeanette Winterson and considering the ways in which they have created representations of 'authentic love' within their literature through the re-writing of the romance genre.With Sartre’s theory, and belief that authenticity within a romantic relationship was possible, I will consider the extent to which contemporary women writers mirror this belief within their literature. I will aim to use this research to question borders between high and low culture through an exploration of the practice of romance writing by contemporary women writers and a consideration of whether the current boundaries are typical of, and help define,a contemporary female aesthetic which re-writes the romance.

 

In this paper Fiona outlined the relationships depicted in Zadie Smith's NW and Jeanette Winterson's Gut Symmetries. Fiona contrasted the same-sex relationship between women with the heterosexual ones and also looked at the pressure on women within a heterosexual relationship to have children. Fiona suggested these novels question aspects of compulsory heterosexuality and therefore differ from/re-write the romance.

I haven't read either of these novels but I wonder if they're maybe closer to some genre romances than others. For example, in Karin Kallmaker's genre romance In Every Port, one of the heroines is involved in a heterosexual relationship when she first meets the other heroine and so there is some discussion/contrasting of lesbian and heterosexual relationships. I'm not sure whether Jane Rule would have classified her Desert of the Heart as a romance but it can certainly be considered one and in it:

Evelyn thought marriage was a way to make herself a real woman, but she was unable to have children and is not sure whether she ever really loved her husband. It is her connection with Ann, finally, that puts her in touch with her femininity and all that it encompasses: "She was finding, in the miracle of her particular fall, that she was, by nature, a woman. And what a lovely thing it was to be, a woman."(After Ellen)

Some romances nowadays depict polyamorous relationships between more than two people. So there may be elements of the two novels Fiona analysed which are, in fact, present in romance novels. Maybe romance has been re-writing itself?

Lucy Sheerman, Independent Researcher - Charlotte Brontë and Contemporary Representations of Romance Fiction

Lucy is a "Writer, gripped by the legacy of the Apollo moon landings and currently at work on a fan fiction project". Her Rarefied (falling without landing) was written

in response to the documentary Apollo Wives, a series of interviews with the wives of the Apollo astronauts. They talked about the experience of being plunged into the media spotlight while their husbands were on the Apollo programme and how they formed strong bonds with each other while living in close proximity on a military housing base.
 
Structurally I have been using fairly strict constraints to number of lines and number of beats in a line, but these are significantly longer than the palette I used to work with. I find that it has been very liberating to lengthen my lines and it has felt like reintroducing oxygen into the writing to a degree. The ability to let the writing breathe and allow a vestige of narrative provided an entry point into the work which however I felt I could still control. Some of my earlier work had got so sparse that it was almost visual. This shift meant the text became more expansive, capable of including narrative, memory and speech in quite a different way. (Peony Moon)

Lucy's approach to the texts discussed in her paper (Jane Eyre, Daphne du Maurier's Rebecca and Fifty Shades of Grey) similarly mixed the visual and textual. In Jane Eyre fire represents passion out of control. In Brontë's own life, the passionate romances she'd read and enjoyed in the Ladies Journal were burned by her father because he disapproved of their content. In other circumstances he feared fire and therefore kept the parsonage interior rather austere so that it would be less of a fire risk. Nonetheless, her brother, Branwell, set his curtains on fire while drunk. These events may have affected Charlotte's depiction of the destruction of Thornfield Hall by Mr Rochester's wife, who has been hidden in the upper level of the house.

In Rebecca, it is again the influence of the displaced wife which causes the fire that destroys the hero's home and Lucy also noticed the way in which the narrator of Rebecca had earlier burned some text written by Rebecca.

Lucy was intrigued by the similarities between this burning, the burning of the Ladies Journal and contemporary burnings of copies of Fifty Shades of Grey.

Burning of texts/books naturally led us to discuss censorship and I was reminded of Lady Chatterley's Lover,

one the most banned books in history. Infamous for its explicit descriptions of sex and other vulgarities, it was only published openly in the United Kingdom in 1960. The book focused on the illicit affair between an upper class woman and her lower class gamekeeper, and it was received with outrage and intrigue, resulting in numerous abridged versions being published throughout the 1920's, 1930's, and 1940's. [...]

First printings were bound with brown boards with an insignia of a phoenix gracing its front cover. The phoenix has remained a potent symbol for the book, in large part because of the book's victory in the infamous British Obscenity Trial in 1960. (Biblio)

The phoenix, of course, rises from the ashes and it's been suggested that some of the fire in Jane Eyre could be read similarly as a similarly purifying/productive force:

The image of fire might symbolize signifying first sinfulness, then rebirth. Since the passionate love that Rochester and Jane first held was sinful, it was accompanied by images of fire and burning--possibly a portrait of Hell. After Jane leaves Thornfield, and her "burning" desires for Rochester are somewhat subdued, the next and final image of fire occurs. In the fire that destroyed Thornfield, Rochester proved his worthiness to Jane by attempting to save Bertha from the blaze. A feat that indicated that he had tempered his "burning" passions regarding Jane and Bertha and atoned for the wrongs that he had perpetrated on the women in his life. Shortly thereafter, Jane and Rochester reunited and each proved to be reborn. (Vaughon)

Deborah Madden, University of Sheffield - Rewriting Romance in 1930s Spain and Portugal: Rebellious Heroines of Federica Montseny and Maria Lamas

Deborah's "doctoral research seeks to identify left-of-centre Spanish and Portuguese women writers from the early decades of the twentieth century whose works have been excluded from the literary canon. By focusing on novels by politically progressive women in early twentieth-century Iberia, the thesis aims to examine how a selection of female authors used literature as a means of political expression, while uncovering the shared experiences of Iberian women."

That context was dominated by military upheaval. In Spain a Republican government was overthrown after a Civil War which ended with the triumph of the fascists, under General Franco (in power from 1939-1975). Similarly in Portugal

the 28 May 1926 coup d'état, sometimes called 28 May Revolution or, during the period of the authoritarian Estado Novo (English: New State), the National Revolution (Portuguese: Revolução Nacional), was a military coup that put an end to the unstable Portuguese First Republic and initiated the Ditadura Nacional (National Dictatorship), later refashioned into the Estado Novo, an authoritarian dictatorship that would last until the Carnation Revolution in 1974. (Wikipedia)

Federica Montseny

was born in Madrid, Spain, on 12th February, 1905. Her parents were the co-editors of the anarchists journal, La Revista Blanca (1898-1905). In 1912 the family returned to Catalonia and farmed land just outside Barcelona. Later they established a company that specialized in publishing libertarian literature.

Montseny joined the anarchist labour union, National Confederation of Trabajo (CNT). As well as working in the family publishing business she contributed articles to anarchist journals such as Solidaridad Obrera, Tierra y Libertad and Nueva Senda. In her writings Montseny called for women's emancipation in Spain. [...]

In November 1936 Francisco Largo Caballero appointed Montseny as Minister of Health. In doing so, she became the first woman in Spanish history to be a cabinet minister. Over the next few months Montseny accomplished a series of reforms that included the introduction of sex education, family planning and the legalization of abortion. (Spartacus)

Heroínas, the novel by Montseny which Deborah discussed, was published around 1936, is set during a revolution and involves a heroine who has two suitors. The first is a socialist who proposes to marriage to the heroine in the event that they win the revolution because he believes she would be an asset to him in his political career. She turns him down and is rather more attracted to an anarchist who seems to embody the romantic ideal but is, however, already involved with another woman and is therefore also deemed unsuitable. Both men are executed but the heroine survives and continues the fight. [Quite a lot of pages of the novel have been put online here by Margaret Killjoy who found it at International Institute of Social History, which "is the world’s largest repository of anarchist history. Of particular note to me, it houses almost-complete collections of La Novela Ideal and La Novela Libre". Unfortunately Margaret "can’t really read enough Spanish to understand these things. So please, anyone with interest in this stuff, let me know. If the stories are good, I’d be happy to make them available in zine format. And if anyone is feeling really inspired, I’d be happy to print English translations as well." (details here)]

Maria Lamas's novel Para Além do Amor (1935) features a heroine who is unhappily trapped in a loveless marriage to a rich industrialist. She takes a lover who encourages her to work to improve the lives of the workers by setting up medical facilities for them etc. He has the opportunity to move abroad and wants them to go together but she rejects him, saying that she stays in Portugal not out of fear, or even from love for her children, but because she must continue her work.

These aren't the happy endings one would expect in a romance novel. I wondered if they could, perhaps, be thought of as romances in which the ideal partner is not another human being but a cause. Perhaps that's a bit of a stretch.

Martina Vitackova, University of Pretoria - The Sexual Turn in Post-Apartheid Women's Writing in Afrikaans

Martina's paper and current research was prompted by an article which stated that Afrikaans women's romantic fiction features active female sexual characters. While Martina thinks this is true of some women's writing in Afrikaans (for example an autobiographical account by a sex worker), she does not believe it is true of the works of a highly acclaimed author (and academic) whose novels sounded to me like "inspirational" (Christian) romance albeit with mild depictions of sexual activity. These Afrikaans heroines do have pre-marital sex and have even had previous sexual partners before they meet their heroes. However, the sexual passages in the novels are not very explicit, give the heroines rather passive roles in love-making and suggest that true sexual fullfilment can only be found with the right partner (i.e. the man the heroine will marry).

Perhaps these novels are aimed at a different audience from the readers of the far more explicit Afrikaans women's fiction?

It was noted that the "elephant in the room" in these novels is the whiteness of almost all the characters (and certainly all the protagonists). Despite this, these novels are apparently read in townships and that's also despite the existence of English-language romance novels about Black protagonists. I took a look at the covers of the novels written by the members of the Romance Writers Association of South Africa and they mostly seemed to feature White protagonists too, unlike the romances published by Nollybooks and Kwela Press (which are discussed in this article by the BBC and also this academic one).

Part II - Representations of Romantic Relationships and the Romance Genre in Contemporary Women's Writing (Sheffield, 11 June 2016)

By Laura Vivanco on Sunday, 12 June, 2016

Continued from Part I. In this post I'm summarising the following 3 papers:

Dr. Amy Burge, University of Edinburgh - Beyond the Alpha: Sex, Masculinity and the Exotic in twenty-first century Harlequin Mills & Boon romance.

Val Derbyshire, University of Sheffield - "In these modern times": Reading Harlequin Mills & Boon Romantic Novels as Signs of the Times

Alicia Williams, Independent Researcher - Busting the Mills & Boon Myth: Category Romance as an Instrument for Change

 

Dr. Amy Burge, University of Edinburgh - Beyond the Alpha: Sex, Masculinity and the Exotic in twenty-first century Harlequin Mills & Boon romance.

 

Amy's the Book Review editor of the Journal of Popular Romance Studies and her Representing Difference in the Medieval and Modern Orientalist Romance was recently published by Palgrave Macmillan.

A few days before the conference Amy gave a few teasers for her paper on Twitter:

 

As these suggest, Amy's been doing quantitative research on a huge corpus of romances. I'm not sure quite how many romances it was, but it looked to be in the hundreds, at least, given that Amy was looking at 10 or more years' worth of novels in a line which publishes around 8 books every month. In the course of the research for her recent book Amy collected a lot of data on the Harlequin Presents/Mills & Boon Modern/Sexy line's heroes. In this paper she revealed some of the findings which didn't make it into her book.

This "line" of romances promises readers "glamorous international settings" and Mills & Boon say that "Our heroes are 100% alpha but that doesn't mean they're perfect. Sheikh, Greek, Russian, Italian, English, American...wherever he's from, it's certain that he turns the heads of every woman he passes!"

Clearly the line provides a rich source of primary material relating to masculinity, race and ethnicity because the heroes embody hegemonic masculinity i.e. the current most honoured way of being a man. This masculinity is both performative (it is shown in what the heroes do) and normative (in that it sets a standard by which other men can be judged). Hegemonic masculinity is an idealised version of masculinity and it's hierarchical because it marginalises some masculinities while elevating others.

In this context, it's interesting to note that although, as Edward Said observed, Western orientalism associated oriental masculinity with feminine penetrability, the Harlequin Mills & Boon sheikh exhibits hegemonic masculinity.

Given that the majority of the authors in this line are from the UK, North America or Australasia and the line promises exotic, international settings, it's perhaps not surprising that 61% of the heroes in the corpus are not from those countries.

Italian heroes appear to the most popular, followed by Greeks, sheikhs, Spanish, Latin American, Mediterranean (either unspecified or invented countries) and Russians. The popularity of certain nationalities has fluctuated, however. For example, in more recent years Spaniards have declined in popularity while Latin Americans have increased in number. Russian heroes emerged in 2008. There were, however, no African or East Asian heroes at all.

The titles of these novels also reveal interesting trends. They usually reflect aspects of the hero's cultural identity (mainly his nationality) and profession (if you can call being a prince of a billionaire a "profession"). Interestingly, while it is common for it to be signalled in the title when a hero is a sheikh, this is not so likely to happen for Russians. Russians (and Latin Americans) are more likely to be described as ruthless, dark or devilish in the titles while the words "Greek" and "tycoon" are often found together.

Within the covers of the novels sheikhs are often described using metaphors and similies relating to the desert and dangerous desert creatures such as birds of prey and big cats. Harems are often mentioned in order to establish the hero's cultural tradition of masculine sexual dominance. In a nod to the feminine connotations of the orient, the authors may mention the hero's "robes" but immediately assert that they increase, or at least do nothing to minimise, his powerful masculinity.

The number of heroes from India is very small (only 3 novels) so it is more difficult to generalise about them. Susanna Carr's Secrets of a Bollywood Marriage (2014) and one of the other novels were both described by readers as having less alpha/dominant heroes than usual in this line.

We speculated about reasons for the trends in particular nationalities' popularity, including 9/11 and economic crises. This led well into the topic of the next paper.

Val Derbyshire, University of Sheffield - "In these modern times": Reading Harlequin Mills & Boon Romantic Novels as Signs of the Times

Even though her "doctoral research concerns a highly respected eighteenth-century poet and novelist, Charlotte Turner Smith (1749-1806)" Val has argued at a "conference, hosted by the University of Cambridge ‘CRASSH’ (Centre for Research in the Arts, Social Sciences and Humanities) [...] entitled Art/Money/Crisis" that romance author Penny "Jordan’s novels illustrate her understanding of the sense of powerlessness losing financial independence has and how it affects her characters/ordinary people in society" (see the blog post here).

Today Val looked at a range of novels by Penny Jordan and then at Roberta Leigh's Man Without a Heart. demonstrating that Mills & Boon romances could be used by researchers as social barometers which offer information about the times in which they were written and reflect the concerns of ordinary women, offering insight into fashion, fears of financial crises, terrorism, and industrial relations. Man Without a Heart, for example, features a secondary character (the heroine's uncle) who is a trade unionist and the novel highlights the divide between London's social elites and the working classes.

More about Val's history of romance reading, and details of Penny Jordan's role as social barometer can be found here.

Although it's still relatively unusual for romances to be read and used in this way, Val and a handful of other researchers have demonstrated that romances can be fruitful primary sources for historians and others investigating social history. I've summarised Professor Tom Baum's romance-based research into representations of the airline industry here and Joseph McAleer has argued that "the new 'Doctor-Nurse' novels first published by Mills & Boon in the 1950s [...] reinforced a positive view of the NHS among middle- and working-class readers".

Alicia Williams, Independent Researcher - Busting the Mills & Boon Myth: Category Romance as an Instrument for Change

Ali describes herself as a "Freelance editor, journalist and academic. Specialisms include #IntersectionalRomances, #StrongRomanceHeroines and #AdaptationandAppropriation". She's an editor of the Pink Heart Society blog, where Harlequin Mills & Boon authors from a wide range of lines post about their books, inspirations and work-lives. That puts her in contact with a lot of authors and when she asked some of them what they thought about social issues in romance almost all of them said that romance could deal with them and one even stated that it was irresponsible for authors not to address them.

Perhaps as a result, Ali works on the assumption that "the death of the author" has been much exaggerated and in her research into the social issues addressed in Harlequin Mills & Boon romances she's very interested in authorial intent, as often revealed in "Dear Reader" letters which appear before the title page. She believes it's a powerful experience for readers to be addressed directly by authors, as Tara Tylor Quinn does in Husband by Choice and Once a Family.

Romance authors approach social issues with the guarantee of a happy ending providing a safety net which reassures readers that the issues can be dealt with and the obstacles to happiness overcome. Tara Taylor Quinn, who has herself experienced domestic violence, does so in her Where Secrets are Safe series, set in a woman's shelter called The Lemonade Stand. In one novel it is revealed that the hero has been a victim of domestic abuse at the hands of his now ex-wife. In another an abused secondary character is helped by the protagonists.

Ali has now begun The CatRom Project as an online "exploration of the way in which category romances address and engage with social issues." [Edited to add: Ali's now put the whole of her paper online at the CatRom Project.]

Part I - Representations of Romantic Relationships and the Romance Genre in Contemporary Women's Writing (Sheffield, 11 June 2016)

By Laura Vivanco on Sunday, 12 June, 2016

 

Yesterday I went to a one-day conference/symposium on Representations of Romantic Relationships and the Romance Genre in Contemporary Women’s Writing. There were 5 papers which focussed on romance novels, one on Fifty Shades (I think there have been debates over how to classify that, though it could be considered erotic romance), and various papers which looked at links between romance and other forms of women’s writing.

I’m going to write up my thoughts about each of the papers here but these are very much my thoughts on the papers, rather than an accurate description of each of the papers themselves. That’s mostly because it’s difficult to write fast enough to take accurate, detailed notes which won’t misrepresent the finer points of someone’s argument but also because (a) I’m not sure how much information all the participants want to have shared online about their work and (b) I’m a bit single-mindedly focussed on romance, so even when a paper is primarily about books which are not genre romances my brain will tend to zoom in on the bits of the paper which relate to romance scholarship (as opposed, for example, to scholarship on feminism, capitalism etc).

The first three papers were:

Fran Tomlin, University of Edinburgh - “True Romantic Art”: Love and the Quest in the novels of A. L. Kennedy

Elizabeth Dimmock, University of Lincoln - Fifty Shades of Grey and Late Capitalism

Veera Mäkelä, Independent Researcher (previously studying at the University of Helsinki) - Acting for Herself, by Herself: Learning, Regaining, and Employing Female Agency in Mary Balogh's Dark Angel, Lord Carew's Bride and The Famous Heroine.

In my second post I write about:

Dr. Amy Burge, University of Edinburgh - Beyond the Alpha: Sex, Masculinity and the Exotic in twenty-first century Harlequin Mills & Boon romance.

Val Derbyshire, University of Sheffield - "In these modern times": Reading Harlequin Mills & Boon Romantic Novels as Signs of the Times

Alicia Williams, Independent Researcher - Busting the Mills & Boon Myth: Category Romance as an Instrument for Change

In the final post I attempt to summarise papers by:

Fiona Martinez, Sheffield Hallam University - The Romance Genre & Feminism: Friends or Foes?

Lucy Sheerman, Independent Researcher - Charlotte Brontë and Contemporary Representations of Romance Fiction

Deborah Madden, University of Sheffield - Rewriting Romance in 1930s Spain and Portugal: Rebellious Heroines of Federica Montseny and Maria Lamas

Martina Vitackova, University of Pretoria - The Sexual Turn in Post-Apartheid Women's Writing in Afrikaans

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Fran Tomlin, University of Edinburgh - “True Romantic Art”: Love and the Quest in the novels of A. L. Kennedy

 

Fran is working towards her PhD, on the topic of "A.L. Kennedy and the Quest for Happy Ever After": "Fran’s thesis focuses on the work of contemporary Scottish writer A.L.Kennedy, examining issues of gender, love and sex in her work, and how these issues relate to the notion of Romance as it appears in British Literature as a whole."

Although Kennedy does not identify herself as a romance writer, the paratext of her books does tend to mention their romantic elements and she has said "I believe in God, I believe in love - they probably make very little sense without meaning much the same thing" (Mitchell 123).

Although Kennedy's characterisations seem very realistic, Fran quoted Robert Louis Stevenson's observation that "True romantic art [...] makes a romance of all things. It reaches into the highest abstraction of the ideal; it does not refuse the most pedestrian realism" (Stevenson, qtd. in Norquay, 60). [As I discussed in For Love and Money, there's nothing preventing romance novels from being written in the low mimetic mode so "realism" doesn't disqualify a novel from being considered a romance. It should be noted, though, that when Robert Louis Stevenson wrote about romance in 1882, he wasn't thinking about the modern romance genre.]

Fran said that Kennedy's novels are structured in such a way that the reader wants there to be a happy ending but although the possibility of one exists at the close of the novels, they haven't got there. [A lack of an HEA doesn't automatically disqualify a novel from being a romance, though, given that the RWA merely require a romance to have "An Emotionally Satisfying and Optimistic Ending". It would seem, though, that the endings aren't "emotionally satisfying" to Fran because an optimistic potential isn't enough for her, but that could be a matter of personal taste rather than a clear indication that the books aren't romances.]

Overall, the paper raised questions about the definition of a "romance novel". Amy Burge, for example, suggested one could think of romance as a strategy and/or a structure (which might fit with Fran's use of the term "quest" in the title of her paper) and I think referred to Gillian Beer's The Romance.

Elizabeth Dimmock, University of Lincoln - Fifty Shades of Grey and Late Capitalism

Bakhtin suggested that traditionally the carnival is a one-off (though recurring) way in which the status quo can be temporarily transgressed. It's a safety valve which ultimately functions to support dominant structures and relegitimate it. In modern, neo-liberal capitalist society, the carnivalesque has been individualised and commercialised, to similar effect:

In the Fifty Shades trilogy, although the BDSM appears transgressive, the series does end with the protagonists in a fairly traditional (married, heteronormative, with children) relationship.

Fifty Shades is set in the US but the author is British and in the UK BDSM has perhaps traditionally been associated with the ruling elite. More recently there was the 2008 court case involving Max Mosley and just this year there were revelations concerning the Conservative minister John Whittingdale MP, though

According to the former editor of the Erotic Review, Rowan Pelling, Britain is "still known abroad as the 'nation of floggers'".

"A lot of it has to do with the way we have historically treated children," says Ms Pelling, "sending them away to boarding school from an early age. (BBC)

It wasn't working-class children who were sent to boarding schools. And the Marquis de Sade was an aristocrat, of course. So perhaps that would suggest that BDSM has traditionally been a carnival for the elites.

It also occurs to me that female submission is actually fairly traditional (and perhaps therefore not so very transgressive) in the romance genre. It's not always been made explicit, and certainly wouldn't have been expressed as BDSM, but dominant heroes who give heroines "punishing kisses" or more were extremely common at one time. It also fits with traditional gender roles within marriage, in which the wife was expected to love, honour and obey. One romance which made me think more about the extent to which female (but definitely not male) submission has been accepted within the genre was Jill Christian's The Tender Bond (1961). It's a vintage romance in which Martin, a man who is ultimately not chosen as the hero, quite clearly has submissive tendencies and the heroine observes that

He did not stir her to tingling excitement as Dominic did. Dominic roused in her the instinct to surrender, to give herself body and soul into the hands of a lord and master. He would dominate her, and there would always be a certain awe in her love, a desire for meek obedience. She would never, never win the upper hand with him.
Martin would never seek to dominate her.

Martin is eventually paired up with a woman who states that she's:

not an ordinary woman. I'll never be a little, adoring wife. [...] At my wedding there'll be no such words as 'obey.' In the old days, I could have been a queen." She smiled as if seeing a picture of herself, a cruelly satisfied expression that reminded Pamela of a fed tiger in a zoo. "I should glory in possessing and ruling Martin, and he'd glory in obeying."
Pamela shuddered. "It's horrible, like the spider and the fly."
"A lot of insects eat their husbands. I don't find that disgusting. I find it interesting. [...]"

[More details about that book can be found in this post I wrote in 2008.] In that context, a female dominant/male submissive romance would presumably have a lot more subversive potential than one like Fifty Shades.

Veera Mäkelä, Independent Researcher (previously studying at the University of Helsinki) - Acting for Herself, by Herself: Learning, Regaining, and Employing Female Agency in Mary Balogh's Dark Angel, Lord Carew's Bride and The Famous Heroine.

Veera's paper is the heroine-focussed counterpart of the paper she gave to the 2015 PCA/ACA conference:

Alpha, Beta, and the Ambiguous Omega: The Diversity of Heroes 

The heroes examined in this paper exemplify how a successful romance hero is a discussion on the pressures society puts on men and breaks reigning stereotypes. The romance genre almost demands that male protagonists show softness in order to be worthy of the heroine, which renders the stereotypical notion of the brutish Alpha antiquated. It is therefore necessary to update the vocabulary used to describe heroes and to examine the issues they represent in today’s romance writing.

Romance heroes have developed rapidly with the genre. The rapist Alpha is seen to a far lesser extent than it previously was, and the Beta hero’s soft personality is viewed as distinctly positive. However, although the surface division between Alpha and Beta types remain, any closer scrutiny reveals that the modern hero is in fact more a blend of the hard and soft traits than weighed in favour of one or the other.

This paper discusses the diversity and ambiguity this blending causes in romance heroes, using as examples the heroes of Mary Balogh’s novels Dark Angel, Lord Carew’s Bride and The Famous Heroine. The discussion takes into account the criticism of the romance hero, both past and present, and shows the change in basic terminology used to describe these male protagonists, which on close reading of Balogh’s novels proves to be useful as a basic tool regarding reader preferences and the hero’s function in the novel but inadequate in truly describing the wide range of male personalities found in the genre.

Returning to the same three (linked) novels by Mary Balogh, Veera turned her attention to their heroines.

The heroine of Dark Angel initially conforms to gender norms and attempts to please the men in her life but eventually she gains agency in her relationship with the hero.

The heroine of Lord Carew's Bride has internalised oppression by men and so cannot act without reference to the man who left her disillusioned. Eventually she does succeed in throwing off her victim status and physically fights back against her oppressor.

The heroine of The Famous Heroine is of a lower social class than the other two heroines so her concern is with pleasing society rather than individual men. It seems she attempts to fill the traditional womanly roles of mother, wife and homemaker (I think Veera was referring here to the romance heroine as described in Kay Mussell's Fantasy and Reconciliation) but does so in ways which burst out of the traditional limits.

Veera's analysis raised a number of questions: to what extent does the series shows a progressive change in heroines? If it does, does this reflect changes in the genre as a whole? Is it better to want to please individual men or patriarchal society? To what extent is "society" depicted as patriarchal in these novels given the power of the patronesses of Almack's? And to what extent are romance authors like those patronesses as they decide what constitutes appropriate behaviour in a heroine?

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Mitchell, Kaye. A. L. Kennedy. Houndmills, Basingstoke: Palgrave Macmillan, 2008.

Stevenson, Robert Louis. "A Gossip on Romance". R. L. Stevenson on Fiction: An Anthology of Literary and Critical Essays. Ed. Glenda Norquay. Edinburgh: Edinburgh University Press, 1999. 51-64.

Love: A Risk Assessment

By Laura Vivanco on Wednesday, 8 June, 2016

I've been reading Catherine Roach's Happily Ever After: The Romance Story in Popular Culture, in which she proposes that one of "essential elements of the romantic love story" (21) is that

Romance involves risk. Love doesn't always work out. In fact, it may fail spectacularly. The story of romance novels, which are technically romantic comedies in that they end happily, can all too easily turn into the failure of love in romantic tragedies such as the iconic Romeo and Juliet. This knowledge haunts romance stories as a shadow text, often present within the story as the path avoided: The book opens with a bad boyfriend whom the reader knows is on his way out. A previous generation's failed romance is redeemed through the current characters. [...] Readers feel this risk in the main story itself, which in "real life" would be unlikely to work out but which within the fantasy space of the romance always, miraculously, does: The heroine sleeps with the hero while he's still the emotionally closed-off cowboy or the philandering rake, but instead of the obvious scenario wherein he leaves her heartbroken, her act of giving herself to him opens his heart. (24)

I can't argue with the assertion that "Love doesn't always work out". Whether that makes love feel like a big "risk", though, is another matter. I can think of plenty of things I, personally, would think of as being a lot riskier. In romance, however, quite a lot of characters are happy to do things which I'd categorise as higher risk but are nontheless wary of falling in love: presumably they assess love as something which is much more likely to cause them pain.

Roach suggests that love is risky because it

is never a simple joy or pleasure, if for no other reason than the sure and stern knowledge of the beloved's eventual death. In every moment of love is this proleptic experience of loss, making all deeply felt love poignant and tragic. Such is one cost of love. (128)

The alternative, though, is presumably either to only love things which can't die (i.e. durable material objects) or not to love at all (which has its own costs). Presumably the extent of the risk of loving mortal beings varies according to how much one dwells on the "sure and stern knowledge" and how deeply (and perhaps to some extent how exclusively) one loves.

Another factor in the risk assessment is the nature of the lover. As Roach has suggested, romance as a genre is full of examples of people who are a bad risk and if "what love is really about [is...] accepting people for what they are, and forgiving even the worst in them" (Arbor 191) then it's bound to be riskier if the person one's accepting and forgiving is prone to doing hurtful things.

Roach distinguishes between what happens in healthy relationships and what happens when

Love can and does go dreadfully wrong. Dates turn into rape. Domestic partner abuse batters and kills people [...]. The romance novel rake, in reality, rarely reforms [...]. The cruel truth is, love can break your heart; shred your self-esteem; ruin your finances; leave you with unwanted pregnancy, disease, and social shame; get you killed by a stalker who won't let go. [...] These [...] tragic stories of love [...] are [...] love as the practice of bondage, or, more precisely, what I propose to call love as bad bondage. Such love can entail bondage to an unworthy partner, bondage within cycles of abuse, and bondage to low self-esteem such that one feels undeserving of anything better in one's love life. (127)

In contrast, Roach suggests,

As a true love, I must be willing to act, in an extension of self, in ways that are caring, affectionate, and respectful, in order to nurture my beloved's growth. Such true love also implies that, as I nurture my beloved's growth, I nurture my own as well. We cannot, do not, love another truly if we abandon the duty to love ourselves and to act in our own best interests. True love, in other words, does not make one into a martyr or a doormat. [...] And yet it's not so simple, because true love, or good love, entails its own type of bondage as well.  [...] This bondage or binding involves a restriction of freedom that is key to popular culture's vision of romantic love. To love is to forsake all others, to cleave to a one and only, to tie the knot. (127-28)

Or as one romance hero puts it:

'Love is when you can't live without someone - when everything seems dull and empty because they're not there - when you think of them the moment you wake and they're there in your thoughts as you fall asleep - they fill your dreams [...] But true love is more than that [...]. True love isn't selfish or possessive - it values the other person's feelings more than your own. When you told me about Simon I was furious, I hated the way he had behaved - the selfish, obsessive sort of love that had trapped you - blackmailed you emotionally when you couldn't love him back. If you really love someone you want what's best for them - even if that means letting them go, leaving them free to be with someone else. (Walker 275-76)

That's very noble, but it does sound potentially rather painful if the love is one-sided yet still binding.

So can a risk assessment help us avoid love altogether, or might it only assist us in directing our feelings towards a less-risky love-object? Love itself may be inescapable, if the extremely rational hero of Karen Lord's The Best of All Possible Worlds is correct in thinking that love, although

it comes attended by various physical reactions which manifest as emotions, [...] is one of the drives.'

'Oh,' I said. 'Like hunger, or wanting to procreate, or the desire to protect one's offspring.'

'Yes. I have identified you as the most appropriate mate, probably through an unconscious assessment of pheromones, mental capacity and, of course, social compatibility.'

'So you're saying you like how I smell, you like how I think and you like to hang out with me?' I was amused, but genuinely warmed at such a unique declaration of love. [...]

He drew me into his arms and into his mind. He saw how I valued his selflessness and trusted his integrity, even when he exasperated me by being inflexible. I showed him my admiration for his physical strength, intelligence and psionic abilities, and the gentleness that complemented all those qualities. I even allowed him to see that I had found him physically attractive from the moment we first met.

'So,' he said lightly, and I knew he was teasing me because he was somewhat shaken. 'You believe that I possess certain characteristics which you would like to be passed on, via genetic transfer and mentoring, to your children.'

I began to laugh. (Karen Lord, The Best of All Possible Worlds, 311-312)

------

Arbor, Jane. 1970. The Feathered Shaft in The Second Anthology of 3 Harlequin Romances by Jane Arbor. Don Mills, Ontario: Harlequin, 1977. 6-203.

Lord, Karen. The Best of All Possible Worlds. London: Jo Fletcher, 2013.

Roach, Catherine M. Happily Ever After: The Romance Story in Popular Culture. Bloomington: Indiana University Press, 2016.

Walker, Kate. Calypso's Enchantment. Richmond, Surrey: Mills & Boon, 1994.

 

The heart with the handcuffs came from Flickr and was created by Jason Clapp. It was made "available for download under a Creative Commons license."

"Volunteers" vs. "Activists" in the Romance Community

By Laura Vivanco on Tuesday, 5 April, 2016

I've been thinking that some of the observations in Nina Eliasoph's Avoiding Politics: How Americans Produce Apathy in Everyday Life (1998) might be applicable to the romance-reading and romance-writing community, particularly in the US context given that Eliasoph's research was carried out there.

Eliasoph "participated in a wide range of civic groups - volunteer, recreational, and activist groups" (8). She looks at how US citizens discuss (or don't discuss) problems/politics in these groups and she found differences between the "volunteers", the "activists" and the people in the "recreational" groups [she also met some people who fell into the "cynical" category i.e. they were politically aware, critiqued the status quo vigorously but didn't follow this up by becoming activists]. It felt to me as though this might have some relevance to how some people behave in the romance community too, and it might explain some apparent friction between the "if you can't say anything nice, don't say anything at all" people and those who want to discuss problems such as the lack of diversity in 'mainstream' romance publishing, "white-washed" covers and the segregation of African-American romances.

Empowerment through solving small problems

In the "volunteer high school parents' groups", Eliasoph found that members

ignored the political problems that they inevitably encountered in the course of their work - the race riots, caved-in classroom ceilings and flooded classroom floors at the high school, for example. By tuning into their political manners, I realized that volunteers assumed that volunteer groups exist to show that regular citizens really can make a difference, and that talking about these problems would sink the buoyant feeling of empowerment. (21)

Although their lack of political discussion may seem apolitical, Eliasoph suggests it's based on their ideas about what it's possible to achieve and what, therefore, should be focussed on in order to make citizens feel better about their communities:

Volunteers were poised to combat the specter of futility and to convince all newcomers that "You really can make a difference!" and that "Everyone has something to offer," as they often put it. They hoped to communicate that message through the very act of volunteering; and tried not to pay attention to problems that might undermine that message of hope. So, they tried hard not to care about issues that would require too much talking to solve, and tried to shrink their concerns into tasks that they could define as unpolitical, unconnected to the wider world. These citizens thought they could inspire feelings of empowerment within that small circle of concern; and they implicitly believed that helping people feel empowered was, in itself, doing something good for the community. (23)

It struck me that when, in romance, a problem is encountered, this is generally the sort of outcome depicted: the protagonists will find that the problem (a child who needs special medical treatment, an abandoned child, a teen who needs to be turned away from making bad choices) is one not too large for them to solve.

Eliasoph writes that "In trying so hard to maintain their "can-do" spirit, their optimism and hope, volunteers assumed that they had to hush any discussion of political problems" (26). There's certainly an immediate emotional pay-off to be gained from this kind of attitude but perhaps it's easier to maintain for people with a certain degree of privilege i.e. for whom the 'big problems' make less of a difference on a daily basis. That's not to say that they're people with huge amounts of power, just that they're people who

could have thought that they were powerless and been angry about that, but since they wanted to think that they live in a democracy where citizens like themselves have power to work on issues that are "close to home," they assumed that their powerlessness was their own fault. They could have tried to "save face" and blame someone else for their powerlessness, but they preferred to think it was their own fault than to think that there was something deeply wrong with the world. (75)

There will, however, be people whose circumstances are such that they can't really avoid thinking there's "something deeply wrong with the world". And therefore I wonder if there might be more openness to less neat endings in non 'mainstream' romances, depicting (and probably whose intended readership is among) people from communities which are less privileged [at least in certain important respects, because intersectionality means that someone might be privileged in some contexts/areas and not in others]. For example, in the African-American historical romance and the lesbian romance whose community scenes I examined in Pursuing Happiness, I found that in both cases the novels explicitly showed the problems to be ones which could not be shrunk into "tasks that they could define as unpolitical, unconnected to the wider world". [I don't, however, want to imply that all AA or LGBT+ romances are focused on political issues, because there are plenty which aren't.]

Show, don't tell

A common piece of advice given to authors is to "show, don't tell". The idea is that this gets the reader more involved, and I think there are therefore parallels here with the  thinking of Eliasoph's volunteer citizens:

Volunteers said that meetings were a waste of time compared with the groups' real work. Compared to the activist groups, the striking feature of volunteers was just how little time they spent in group contexts. Though volunteers attended many meetings every week, each was very to-the-point, short, and task-oriented. When I said that I was studying "community life - what gets people involved in groups and how to get more people involved," many proudly recounted a long, long list of their volunteer activities, amazing me with how many evenings a week they devoted to volunteering. None mentioned why they were involved. Their point was that activity itself was a matter-of-fact way of demonstrating commitment.

What was missing was respect for discussion itself, willingness to debate about troubling issues that might not be resolved immediately; willingness to risk discouragement. (28)

One of the features of much of romance (with the clear exception of inspirational romance, in which the issue of being "unequally yoked" does come up) is the way in which the believability of the happy future for the central relationship is often established by focusing on issues of practical compatibility (showing compatibility in the bedroom, for example) rather than by showing the protagonists discussing their political views, views on childcare, spending money etc.

There might also be reasons for a lack of discussion which are mentioned by Eliasoph in the context of her "recreational" groups made up of "private people; they believed that what really matters is what is "inside"; that the tender, flickering 'real self' can almost never be expressed in words" (86):

For private people, talk did not legitimately matter. Betsy sounded as if she felt unreasonable to want to know more about the potential boyfriend than "what she could see"; she wanted to be content with what she already knew about his most basic humanness. [...] women often noted that their boyfriends or husbands hardly ever talked, but could "go on a two-hour drive and not say a word except 'You hungry?' and 'Let's stop.'" Women's tentative remarks about their silent husbands and boyfriends were not quite complaints, though, because the women were not sure whether they were justified in complaining about the silence [...]. Women wanted to feel happy just to be in their husbands' or boyfriends' company, side by side in the truck. They did not want to want anything more, since the official belief about talk was that it is cheap. Expecting conversation was not considered legitimate. And so there was very little of it. What group conversation there was, was relentlessly unserious. (97)

There's usually a bit more talk than "You hungry?" and "Let's stop" in a romance, but then, even the "private" people talked in their most romantic moments:

Talking as an activity in itself was a special event. "Staying up till two talking" was one sure sign of love; it happened only at the moment lovers were falling in love, not after and not before. Since talk itself was such a potent sign, reports of these intimate moments focused on the fact that the new lovers talked, not on the content of the conversation. After this proud moment of intense talk, if it happened, there was little to say. (94)

For people from this background, perhaps reading a romance is akin to experiencing this moment of "falling in love" and the happy ending is welcome at the point when the lovers declare themselves because "after this proud moment of intense talk" there would be "little to say". The lack of political content in a romance would not be an issue at all because it would be expected that the book/report on "intimate moments" would focus "on the fact that the new lovers talked, not on the content of the conversation".

Politics spoils the mood

When protagonists do express their views explicitly on certain issues, readers often state that they find this "preachy" and that it spoils their enjoyment of the story. This might be because they, like the "private people" felt that

Trying to speak seriously was called "getting on a high horse"; that is, pedantically reciting facts and opinions in a monologue. People [...], women especially - who did this violated the rule of enforced joking [the "private people", when they did talk in groups, tended to joke about, often on the topic of sexuality, so perhaps a bit like some of the conversations in the romance community about male cover models]. (111)

Alternatively, when people attempt to discourage 'strident' discussions about political issues around romance publishing it may be because, as with Eliasoph's volunteers,

To talk about racism would have meant changing their political etiquette, to stop trying so hard to keep up that can-do spirit and let some frightening uncertainty in. Actively ignoring such tensions was considered a positive good, a moral act. Better would be to work on projects that illustrate how easy, effective, and enjoyable involvement is; then, they believed, everyone will get involved and race problems will dissolve in the busy harmony.

Their efforts at ignoring race were also part of their general effort to avoid snobbery; to be welcoming and encouraging meant treating everyone as an equal, not as a member of a category. When I asked on the questionnaire what race they were, many responded as Sherry did: "it doesn't matter what race you are. Anyway, it shouldn't." Having to talk about something, in fact, would be a sign that there is a problem: if things are going smoothly, regular people should not have to sit down and talk. (31, emphasis added)

I wonder if that's one reason why protagonists in 'mainstream' romances might be unlikely to discuss things: it would imply there were problems, or at least potential problems in the relationship. By contrast, in inspirationals, where the intended readers share a belief that people will always sin (i.e. things are always on the verge of not going smoothly), protagonists may be much more likely to sit down and pray.

As far as the romance community, rather than romance protagonists are concerned, it may be worth noting Eliasoph's observation that the volunteers' tactic of:

Avoiding discouragement and snobbishness [...] had costs, among which probably was the community's ability to deal with race problems. Many parents of color came to one or two meetings and then never returned. I spoke to one who had come only once; she had concluded that the Parent League was "a bunch of white people who weren't interested in race." (31)

Tone Judgments and Politeness

"Whining" and "moaning" are very subjective to define, as is "rudeness". For Eliasoph's US volunteers it seemed to be accepted that

talking about problems without immediately offering a solution is just complaining. [...] What was most taboo was speaking about problems in terms of justice - publicly minded speech that was considered wrong, but addressing the same problem in a piecemeal way was considered all right. (33-4)

In addition,

"Requesting" was okay, but holding companies accountable was not. Asking politely was okay, quietly negotiating behind-the-scenes was acceptable; but raising a matter of principle and trying to discuss it publicly was considered unseemly [...] volunteers assumed that talking would not itself produce knowledge or power. [...] Volunteers were not unconcerned or unaware or lacking in the "inner values and beliefs" that feed political concern. [...] Most volunteers were privately obsessed with political worries, but simply assumed that they could not do anything about them, and that volunteer groups were the wrong contexts for discussing them. Combating futility meant, above all, combating the feeling of futility, and especially, combating the expression of such feelings aloud in volunteer group meetings, where such feelings could be most destructive. (34-5)

The RWA: From "Volunteers" to "Activists"?

It's interesting to see the Romance Writers of America's recent posts which suggest that they're moving from a "volunteer" frame of mind to one more akin to that of the "activists". In particular, a post from 4 April 2016 about a historical issue shows that the current board are interested in making explicit their political stance and aren't backing away from conflict in the way that the board did at the time of the event in question:

At the November 2015 Board of Directors meeting, one of the issues discussed was an RWA survey conducted in 2005. Though this occurred eleven years ago, the ill effects of that survey still linger for many members. The survey was included in the Romance Writers Report and asked RWA members to vote on whether romance should be redefined as being between one man and one woman. The survey responses were never acted upon, and RWA’s definition of romance was not changed.

The survey, however, sparked a discussion that compelled our LGBT+ members to justify their existence to others and to participate in debates about their humanity and their capacity to love. This incident was a low point from which RWA’s reputation has never recovered. The organization later reaffirmed RWA’s commitment to making sure that “any definition of romance should be broad and inclusive.” This statement, however, did not make it clear that, in issuing the survey, RWA failed its members, its genre and its mission. We want to make that clear now.

We apologize for letting our members down and for failing to treat all our members with the respect they deserve.

RWA is committed to creating an inclusive, respectful environment where all career-focused romance writers can advance their professional interests, regardless of the happily ever afters they create and celebrate. (RWA)

This comes after their 17 March 2016 release in which they stated that:

In fulfilling its mission to advocate for romance authors, Romance Writers of America would like to update the membership about an ongoing matter of concern.

During the Spotlight on Pocket at the 2015 RWA Conference, an attendee asked Executive Editor Lauren McKenna, “Are you working at all on diversifying your author list?” When McKenna requested clarification, the attendee observed that it seemed most of Pocket’s authors were white. [...]

Pocket’s Spotlight statement was insulting and unacceptable. The response was insufficient. RWA continues to press Pocket for a clear statement on its acquisition policies. RWA is committed to ensuring that all industry professionals participating in our programs embrace and comply with our Code of Ethics. (RWA)

In turn, that follows a post from 5 February 2016 in which the RWA board outlined practical measures they were going to take to improve the experiences of members from a variety of minority groups and also made the more general political statement that:

Unfortunately, the romance industry has a long way to go. At the Pocket spotlight at last year's conference, attendees were told that books written by or featuring African Americans would be referred to another imprint. At several publishing houses, black authors who have submitted books with white characters have had those books slotted into "African American" lines, and African American authors have also had their romances shelved in the "African American" section, even if the characters are not African American. Both practices diminish potential markets for books based on the author’s race.

Discrimination impedes the functioning of the romance market and sends the message to the world that romance is behind the times. Readers of romance should see that romance stories speak to a wide spectrum of experiences and concerns. All romance authors should see RWA as the place to build their careers. (RWA)

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Eliasoph, Nina. Avoiding Politics: How Americans Produce Apathy in Everyday Life. Cambridge: Cambridge University Press, 1998.