“The modern romance genre is more diverse and inclusive than it has ever been, and we can only continue to improve.”
Romance is optimistic purely because it believes unwaveringly in the possibility of growth, change, happiness, and pleasure—often in the face of poverty, illness, trauma, hate, or mainstream values. Mr. Darcy does wrong and owns up to it. Lucy Honeychurch realizes her desires are valid. Anne Shirley gets over herself. “Without change, you don’t have a romance novel,” says bestselling author Sarah MacLean.
Pride, prejudice, madding crowds, or simply the wreckage of a first marriage washing up on the Cornish coast: All of these can be overcome in hope of a better future with one’s partner of choice. Choice gives the fantasy its power. In her, librarian Amanda Pagan notes that Jane Austen and Charlotte Brontë “introduced female characters who were ultimately rewarded with successful marriages for expressing their individuality or their own desires.
“We read books so we won’t cry,” is how one reader explained it to researcher Janice Radway in her 1984 book,. In the four decades since, Radway’s research has become required reading for cultural studies scholars, paving the way for all manner of “fandom studies.” Without her, there is no Henry Jenkins or, and quite possibly no Marvel Studios.
“What [these] women are looking for in their search for the perfect romantic fantasy is a man who is capable of the same attentive observation and intuitive ‘understanding’ that they believe women regularly accord to men,” Radway wrote. “In addition, without its happy ending, the romance could not hold out the utopian promise that male-female relations can be managed successfully.”has expanded since 1984.
These books feature subplots involving STEM, scripted reality shows, hockey, cupcakes, cowboys, race cars—the genre has more niches than Meta has micro-targets.
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