Happily Ever After

The Romance Story in Popular Culture

Catherine M. Roach

• Publisher: Indiana University Press
• Year: 2016
• ISBN:
  9780253020529
• Topic: Literature
• Subtopic: Feminist Literary Criticism
• Index: Literature

"Find your one true love and live happily ever after." The trials of love and desire provide perennial story material, from the BiblicalSong of Songsto Disney's princesses, but perhaps most provocatively in the romance novel, a genre known for tales of fantasy and desire, sex and pleasure. Hailed on the one hand for its women-centered stories that can be sexually liberating, and criticized on the other for its emphasis on male/female coupling and mythical happy endings, romance fiction is a multi-million dollar publishing phenomenon, creating national and international societies of enthusiasts, practitioners, and scholars. Catherine M. Roach, alongside her romance-writer alter-ego, Catherine LaRoche, guides the reader deep into Romancelandia where the smart and the witty combine with the sexy and seductive to explore why this genre has such a grip on readers and what we can learn from the romance novel about the nature of happiness, love, sex, and desire in American popular culture.

1

Find Your One True Love

Book Lovers and the Romance Story

The romance narrative is a central storyline of human culture. Pushing the thesis further: The story of romance is the guiding text offered by contemporary American culture and the culture of the modern West on the subject of how women and men (should) relate. Find your one true love—Your One and Only—and live happily ever after. To the ancient and perennial question of how to define and live the good life, how to achieve happiness and fulfillment, American pop culture’s resounding answer is through the narrative of romance, sex, and love. According to Stephanie Coontz’s history of marriage, a “gigantic marital revolution had occurred in Western Europe and North America during the Enlightenment.” Prior to the late eighteenth century, notions of marriage tended to be pragmatically based on economic and political considerations of money, resources, power, and alliances. The sentimental and passionate love-based marriage stood in radical contrast to this older sense. Through the nineteenth and twentieth centuries, the romantic love match came to dominate as the ideal for marriage in Western culture. This romance narrative is now arguably the most powerful one at work in American culture. The core story about finding true love and happiness has come to have great resonance and pervasive influence, both in people’s lived experience and in the representations of love in the wider culture. Since its ascendance in the nineteenth century, romance may well be the prime cultural narrative of the modern Western world.¹

By calling the romance story a cultural narrative, I mean a guiding story that provides coherence and meaning in people’s lives. The truth value of this story lies in the extent to which it is held to be true by people who shape their lives around that story, whether consciously or unconsciously. In this sense, there is a mythic or religious nature to the romance narrative. It functions as a foundational or idealized story about the meaning and purpose of life—even when it fails to deliver on its promised happy ending and leads instead to heartbreak and tragedy. According to this story, despite the risks, love is what gives value and depth to life. Our purpose is to bond with a well-suited mate worthy of our love and to love and be loved by this mate within a circle of family and friends. Here, life is a high-stakes quest for the Holy Grail of One True Love. This search is driven by yearning and desire for the paradise of this romantic happily-ever-after. We chase romance, we structure our lives around it, we fashion much of our art and culture from it. The romance story is not only a narrative but becomes also, more disturbingly, an imperative. The happily-in-love, pair-bonded (generally, although increasingly not exclusively, heterosexual) couple is made into a near mandatory norm by the media and popular culture, as this romance story is endlessly taught and replayed in a multiplicity of cultural sites: Disney princess movies, the wedding industry, fairytales, Hollywood movies, pop music lyrics, advertising, the diamond jewelry industry, and more.

One of the most interesting cultural sites where romance is taught, retold, and—a crucial point—experimented with in new forms is in the literal “romance story” of mass-market genre fiction. There are obviously significant differences among the cultural sites listed above, as there are differences among the subgenres and storylines in romance publishing. Nonetheless, the basic plot of the romance narrative—find somebody to love, work through problems, be happy—holds true as a common storyline across all these categories and across all of the books, despite the variation. As such, likening these various cultural forms allows us to look at the phenomenon of the romance narrative as a whole. Moreover, when we focus in on genre romance fiction, we find a particularly rich cultural site to study the workings of the broader romance narrative.

Romance fiction is America’s bestselling genre. According to industry research compiled by the professional trade organization Romance Writers of America (RWA), romance novels constitute the largest segment of fiction publishing and of the consumer book market. Romance fiction had a readership of almost 75 million Americans in 2008, including 29 percent of all Americans over the age of thirteen.² That’s about the age when I got hooked on the books. As a girl, I’d been an avid reader (British pony stories, Nancy Drew, the Chronicles of Narnia). By the time I hit my teens, I added the classics and my mother’s romance collection. Among romance’s various subgenres, I read single-title historical romance, as those big medieval and nineteenth-century romances—misunderstood privateers! hot-blooded Highland lairds! rakish English dukes!—best provided for me that rush of fantasy pleasure and the escapist feeling of otherness that I sought in my reading experience. The romance novels were a treat, a reward to be savored. When I finished my school exams or handed in a research essay, I allowed myself to read one novel. I chose my book with care, buying it or trading with a girlfriend or snagging one of my mom’s from the giant stack teetering beside her bed. I looked for poignant stories with strong heroines who overcame long odds to win happiness and a man. I wanted the book to make me cry and then to sigh as I closed the back cover. I chose a day when my schedule was clear. I’d get up for breakfast but go back to bed to read. It took me about eight hours to finish the book cover to cover, an entire day lying in bed immersed in the story from lovers’ first meeting to happily ever after. If anybody tried to enter my room, I’d yell at them. Sometimes, I’d put a sign on my door, “Reading—do not interrupt!” I didn’t want to come out of the story or have anything loosen the book’s emotional grip on me.

This massively popular genre now racks up over a billion dollars in annual US publisher revenue. It accounts for half of all mass-market paperbacks sold. The vast majority of these books are bought by women; the gender breakdown ranges from 84 to 91 percent women buyers, with men accounting for 9 to 16 percent of sales. Globally, 200 million novels by Harlequin/Mills & Boon (publishers of romances in series formats) are sold every year, and romances are translated into over ninety languages worldwide. These stories have ancient literary roots. Although the current form of woman-oriented genre romance fiction dates from the appearance of 1970s bestsellers such as Kathleen Woodiwiss’s The Flame and the Flower (whose bold and bodacious narrative thrilled me as a teenager), we can trace a much longer lineage for such stories. A lot depends on definition. If by romance novel one means an Anglo-authored, love-based courtship plot resolving to a happy marriage, then the literary ancestry traces back through highlights such as the Harlequin/Mills & Boon publishing empire, the Regency-set novels of Georgette Heyer, and the nineteenth-century masterworks of Jane Austen to Samuel Richardson’s 1740 bestseller Pamela. If one adopts a broader definition that encompasses stories about the trials and tribulations of romantic love and erotic desire, then the earlier and wider context can include the seventeenth- and eighteenth-century British amatory fiction of bestselling writers Aphra Behn and Eliza Haywood, Shakespearean comedy, the poetry of the medieval troubadours, the earliest extant European novel Callirhoe (named after its beautiful heroine) by the Greek first-century CE author Chariton of Aphrodisias, and the unapologetically erotic love poetry of the biblical Song of Songs.

What fascinates me is how, even with the possibility of new and more open twenty-first-century norms for gender equality and sexual experimentation, the romance narrative continues to thrive. The power of the story does not die. In fact, romance sales show new dominance in the market. The number of titles released increased from 5,184 in 2003 to 10,497 in 2007. With the meteoric rise of self-publishing and e-books soon after that date, the number of new titles published yearly further exploded and became harder to pin down. In print format only, 9,513 romance books came out in 2013. E-books added thousands more to that count as, according to book data sources Bowker and BookStats, romance has emerged as the most popular category in self-published books, and e-books now account for 49 percent of the romance market.³

These romance titles spread across a variety of subgenres both traditional and new. Contemporary-set romances remain popular, as well as romantic suspense and the historical romances that I grew up reading. A setting in nineteenth-century England continues to predominate for the historicals, with Scottish settings that allow for covers of bare-chested and muscled Highland lairds also popular. (Sometimes the giant sword clasped upright in the hero’s hand is not just a sword.) But the genre has developed in many ways over the thirty-five years I’ve been following it. New romance subgenres have popped up such as gay and lesbian, urban fantasy, science fiction, erotic, paranormal (I read a shape-shifter ménage story about three wolf-humans the other day), and inspirational romance (stories with a religious context, typically conservative Christian, and what some cheekily call a ménage à trois with God, although theoretically an inspirational romance could be Buddhist or Zoroastrian).

In academia, the study of romance is also thriving. Scholars have been writing a lot about love recently, in its broadest strokes, with a new field of “love studies” emerging. Examples include philosopher Simon May’s Love: A History (2011), sociologist Eva Illouz’s Why Love Hurts (2012), and professor of English Susan Ostrov Weisser’s The Glass Slipper: Women and Love Stories (2013), to name just a few. Within the last decade the field of popular romance studies has vigorously taken off. In 2004, Romance Writers of America launched its annual Academic Grant competition to fund research on the romance genre. In 2009, the field gained a crucial scholarly apparatus with the establishment of the International Association for the Study of Popular Romance and the Journal of Popular Romance Studies. Thanks to a grant from the foundation of top-selling author Nora Roberts, in 2011 Maryland’s McDaniel College created the Nora Roberts Center for American Romance in support of library collection, teaching, and scholarship in the field. The US Library of Congress and its Center for the Book hosted a 2015 public outreach conference on “Romance Fiction in the Digital Age” at which award-winning filmmaker Laurie Kahn previewed her new documentary about the global romance community, Love between the Covers. Academics, generally working from the discipline of English literature, have produced field-defining monographs and anthologies: Pamela Regis’s 2003 A Natural History of the Romance Novel, Lisa Fletcher’s 2008 Historical Romance Fiction, Sarah S. G. Frantz and Eric Murphy Selinger’s 2012 New Approaches to Popular Romance Fiction (which includes a useful history of the development of the field), and Jayashree Kamble’s 2014 Making Meaning in Popular Romance Fiction, among others.

Amid this interest in thinking about love and romance, I aim to engage the question a little differently. My goal is to broaden both the angle of study and the audience reached by writing a different style of book: wide-ranging instead of based in one academic discipline; written not only for a scholarly audience but for a general readership who wants to think about the role of the romance story in society; not an outsider study but a personal interpretation of the romance offered by a reader and a new author of the genre. Accordingly, I work from an interdisciplinary humanities background of cultural studies, religious studies, gender studies, sex-positive feminism, and more. I bend and blend the genre of academic writing with the genre of popular fiction, as I write analytically about the romance story while at the same time learning how to write romance fiction in a self-reflexive experiment that allows these two genres of writing to inform each other. I intend by this project to bridge boundaries between academics and the general public who read romance novels in such happy numbers. My lessons in fiction-writing carry over into the style of this book, which I am writing as accessibly as possible for a broad audience. I use a first-person voice throughout, include a lot of stories, and deliberately minimize the traditional academic apparatus of notes, analysis of theory, and discussion of prior scholarly literature. With the books sexier and more diverse than ever, with more empowered and kick-ass heroines, an accessible bridge from academia to the public seems crucial so that scholars can contribute to the important public conversation that the genre prompts.

In this book, then, I seek to understand my fascination with romance novels by understanding how the romance narrative functions and how it is currently changing. The book’s big-picture context is romance as a cultural story about the key role that erotic partner love plays in granting happiness, wholeness, and healing. Romance is a powerful and perennial theme in cultural representations both high- and middlebrow. It is a force that structures people’s lives and shapes their relationships. While keeping in mind this backdrop, I give shape and focus to my inquiry by centering it on the literal romance story of popular genre fiction. I place romance fiction in the broader cultural context of the romance narrative in order to ask questions about meaning, fantasy, fear, and desire in how stories of love play out in pop culture. Unlike some lines of previous academic inquiry into romance fiction, my goal has little to do with either critique or defense of the genre, nor do I aim for close literary reading of individual authors or texts. Like Tania Modleski did in her Loving with a Vengeance: Mass-Produced Fantasies for Women, I seek to read romance fiction “symptomatically,” not intending by this metaphor for the genre to be taken as illness or pathology but simply as an incredibly rich cultural site that yields much insight into changing norms for gender roles, sexuality, partnership, and romance.⁴ Romance novels, in short, let us think about how we think about love.

I deliberately write as if my audience knows and reads romance novels. I realize—indeed, I hope—that my assumption is not always true. I hope that some of you who are now reading this book don’t know much at all about these novels or, even better, that you have a passive prejudice or an active disdain for the genre. Maybe you’ve flipped through a paperback romance at some point. Maybe you once found a Harlequin in your grandmother’s basement and read it down there in the dark. Maybe you—along with about a billion other people—saw a copy of Fifty Shades of Grey in the summer of 2012 and read the juicy bits. But you wouldn’t call yourself a romance reader. Nevertheless, for the purposes of this book, I am making you—all of you, anyone now reading these pages—into honorary romance readers.

I make this move because I want to swing discussion about popular romance in a different direction. Janice A. Radway’s seminal 1984 study of the genre in Reading the Romance is powerful in all sorts of ways and important in that her methodology of reader-response criticism aimed to take romance readers and their interpretation of texts seriously (in her case, the community of romance-reading ladies from the pseudonymous town of Smithton). Nevertheless, the book and its author approached the genre as an outsider. Although Radway brings her academic readers into the circle of romance fans, these readers of her text are kept separate and held at bay outside that romance community by the scholarly conventions of objectivity and distance. I am up to something different: I’m taking us in. All the way, and all of us—whether, like me, you’ve read romance since puberty as a lifelong fan or whether you swear to God you’ve never picked up one of those books in your life and never will.

I do this to make a point: You—we—already are astute and well-informed readers of the romance story. You know the story inside out. Even if you don’t read actual romance novels as I do, you sop up this storyline through your daily doses of pop culture and have done so since you were a child. Whenever I tell people that I’m looking at the narrative “Find your one true love and live happily ever after,” everyone nods their head in familiarity. Everyone. It’s the soup we swim in. So when I say we in this text, I refer to this community of romance story insiders of which I am making you, dear reader, an honorary member for the duration of your time with my book. We here also refers to the creators and consumers of contemporary popular culture in the United States, with its diaspora of near global reach and its Anglosphere pop culture siblings in Canada, the United Kingdom, Ireland, Australia, New Zealand, and wherever else the romance story plays out in similar if not identical ways.⁵

With the project thus defined, I launched my study by talking to everyone I could about the romance story: students, family, friends, and colleagues both academic and romance-writerly. I startled acquaintances with my eager question: “Do you read romance novels?” (“Yes,” answered one fellow carpool mom cautiously, “if I’m allowed to say that.”) I set up a romance lending library in my office. My younger son decorated a poster in magic markers that we hung outside my door for borrowers to write down comments about the novels they’ve checked out. The poster filled up as all sorts of people stopped by: lots of students, a professor from another department, a book-buyer, a custodial staffer who smiled at me and said, “You be the one with the books” (she became my most frequent borrower). I incorporated a unit on romance fiction into my annual “Gender, Sexuality, and Popular Culture” undergraduate seminar. In this class, students choose romances from a big box that I carry to class and write reader responses about the books. I workshopped chapters from my research with the students. We did cut-up exercises with the novels to create alternative storylines and published our results in a campus magazine. We wrote a collaborative online branching romance story with scenes ranging from romantic suspense and comedy to the spiciest of erotica. I engaged in four years of participatory ethnographic research within communities of romance authors and readers in the United States, based around Romance Writers of America.⁶ I wrote, and eventually published, two romance novels myself. In the project’s last year, a Fulbright sabbatical grant sent me to the Centre for Interdisciplinary Gender Studies at the University of Leeds in the UK. There...