The Marginalization of Romance Novels in Society and the Literary World
Romance novels have long been a fundamental part of the literary world, dating back to the 19th century. However, these novels have been labeled low-brow culture despite their popularity and impact on the publishing industry. This labeling stems from the patriarchal norms that dominate society today. The categorization portrays the gender biases that determine what is considered “serious literature.” The labeling does not reflect their content or popularity but rather the societal implication that what women read in literature is not legitimate. These novels talk about love, personal identity, and autonomy within relationships. This intersection between female discourse and societal norms causes a reevaluation of their place in the literary canon. In this paper, I aim to explore the contexts of romance novels, analyze their categorization within society and literature, and challenge the archaic patriarchal norms that shaped the perception of these novels.
The romance novels popular today came from 19th-century fiction. These novels centered around the lives and challenges of the female heroine. Examples of these works are Ann Radcliffe’s gothic novels and Jane Austen’s exploration of the necessity of marriage during her time. These novels set the genre’s foundation, portraying white women dealing with societal expectations in the pursuit of happiness. As society progressed, these portrayals did, too. In the 1950s and ’60s, narratives discussed protagonists pursuing careers and romance. These mirrored the evolution of women’s autonomy in society. As such, novels began to include explicit erotica marketed towards women, including subgenres that gained a wide readership. This transformation turned the romance novel into a thriving industry, with billions of dollars due to the reading of primarily women. Despite being associated with women and enduring the stigma of being labeled as low-brow literature, romance novels have proven resilient and influential worldwide. They provide insights into the changing dynamics of love, personal autonomy, and fulfillment. (Pagan, 1)
Janice Radway’s groundbreaking book, “Reading the Romance,” completely transformed the understanding of how readers connect with romance novels. By applying the Reader Response theory, Radway sheds light on readers’ role in interpreting texts. This is the theory that a book’s words do not solely determine the meaning of a story but are developed together through the interaction between the reader and the text. Through her research, Radway explored the reading habits of romance fans. She discovered that individuals bring their unique experiences, emotions, and expectations to their reading experience. These personal factors significantly influence how they perceive and engage with the narrative.
In another paper written by Radway, “Women Read the Romance: The Interaction of Text and Context”, she explores the interaction between person and text and how this impacts the public viewpoint of romance novels. “Because these interpreters do not take account of the actual, day-to-day context within which romance reading occurs, and because they ignore romance readers' own book choice and theories about why they read, they fail to detect the ways in which the activity may serve positive functions even as the novels celebrate patriarchal institutions. Consequently, they also fail to understand that some contemporary romances actually attempt to reconcile changing attitudes about gender behavior with more traditional sexual arrangements” (Radway, 5) She points out that the consistent misunderstanding and lack of attention to and about the life of women makes the publishing industry and the public disvalue the importance of these novels to so many people. She also points out the ever changing models of romance these novels portray, exploring past societal norms about sex and gender.
Applying the Reader Response theory to the romance genre brings forth societal implications. It proves that romance novels are just a form of entertainment but are consumed with critical thinking. Radway’s research highlights how readers actively engage with these stories, constructing their interpretations and finding fulfillment in them. According to this theory, the value of romance novels goes beyond their written words. It encompasses the empowering experiences they provide for readers.
Furthermore, the relationship between how readers interpret romance novels and the importance they assign to them is complicated. Although romance as a genre has often been marginalized in serious literature discussions, Reader Response theory argues that we should not dismiss its value so quickly. The personal connections that readers establish with narratives demonstrate the genre's ability to resonate emotionally with the reader, affirming its significance within the literature. Radway's research does not enhance the understanding of how romance readers experience these novels but advocates for reassessing their cultural and literary merit.
In his book "Let's Discuss Love: A Voyage to the Limits of Taste," Carl Wilson explores the idea of preferences and how cultural influences impact them. He questions the judgments that frequently disregard specific genres, like romance novels, due to preconceived ideas about what is considered "high" or "low" culture. The suggestion is that personal taste is not an indication of choices but is also molded by the social and cultural environment where people live.
There is significance in how we perceive romance novels and the effect of societal conditioning. Society has literary hierarchies: specific genres are naturally given more acclaim, and romance often faces stigma. Wilson’s analysis shows that this hierarchy does not necessarily reflect the quality of these genres but stems from societal attitudes and cultural status. Through his research on changing attitudes, Wilson shows that it is possible to challenge this societal programming and open up to different perspectives.
In his defense of literature, Wilson avoids the idea of subjectivity. He acknowledges the appeal and worth that sentimental works can possess for their audience despite the labels critics often attach to them. His work encourages reevaluating how taste is shaped and expressed, advocating for an understanding of literary value beyond the conventional biases. This holds relevance within the romance genre, which, despite its popularity, continues to struggle against the implications of preferences and its standing within the literary world.
Harold Bloom's viewpoint on the Western Literary Canon is based on an admiration for the significance of literature. He advocated for "art for art's sake," opposing the use of literature for politics or manipulation. According to Bloom, the Western Canon should consist of works that exemplify craftsmanship, evaluated based on aesthetic accomplishments rather than conformity to social or political norms and ideologies.
The discussion surrounding the definition of “quality” literature is central to Bloom’s argument. He suggests that the Western Canon goes beyond encompassing historically significant works; instead, it represents a compilation of literature deemed exceptional by a select group. This skewed perspective often results in entire genres being excluded from the canon, works that stray from the cultural norm. He comments on the impact of the social class on the canon. “All canons, including our currently fashionable counter-canons, are elitist, and as no secular canon is ever closed, what is now acclaimed as ‘opening up the canon’ is a strictly redundant operation.” (Bloom, 14) All creations of canons are founded by the elite, for the elite. Where does this leave romance novels? They are made for and marketed towards women, while also not being a part of the literary canon.
Romantic novels have often been disvalued or go unrecognized. Despite their appeal and the literary craft involved in their creation, they are frequently disregarded by critics who adhere to Bloom's standards. Bloom emphasizes merit rather than cultural or societal influence, leaving little room for predictable or commercially driven genres. Consequently, romance novels, focusing on connection and entertainment value, typically do not align with Bloom's perception of the canon. He tends to prioritize work that he deems demanding.
Laura J. Miller's book, Reluctant Capitalists: Bookselling and the Culture of Consumption, analyzes the publishing world, explicitly exploring its connection to capitalism. Through her examination, she shows how market dynamics impact the creation and availability of works, including romance novels. Economic factors play a role in shaping how both publishers and the general public receive romance novels. In some cases, publishers prioritize profit over embracing literary voices. This commercial focus can result in a standardization of content and the perpetuation of profitable genres.
Even though they have many readers to generate revenue, romantic novels must be exceptionally valued by both the publishing industry and the general public. This lack of appreciation comes from the genre's connection to women, who are not the primary authors but also make up a significant portion of its readership. Many consider romance novels more formulaic than other forms of literature. However, it cannot be denied that these novels hold an influence capitalistically, as they capture a significant share of the book market and have a dedicated group of readers who will always purchase literature.
The impact of factors on the production and distribution of romance novels can also be seen in how publishers respond to what readers want. The romance genre has been at the forefront of publishing trends, such as eBooks and audiobooks, which provide convenience for its audience. Publishers have adjusted to these trends to stay competitive, showing how the genre drives innovation in the industry. However, there are differing opinions about the reputation of this genre, which reflects the relationship between value and capitalist influences in the literary world. (Miller, 35)
The norms on the reception and classification of romance novels influence the perception of this genre. Throughout history, these norms have shaped how romance novels are valued and critiqued, leading to their persecution within the hierarchy. This is shown in how romance is disregarded as a genre worthy of serious consideration instead of being viewed as catering solely to women's fantasies. They are not, however, being recognized for their intricate storytelling or the exploration of human relationships.
The feminist analysis of romance literature has developed over the years, starting with criticisms of how the genre perpetuated gender roles and portrayed women as passive characters needing to be saved. However, modern feminist perspectives acknowledge that romance novels can challenge these norms and empower women. Today, these novels often showcase independent protagonists who assert control over their lives socially and sexuality. This change in content again reflects the values of feminism and the changing dynamics of society.
Despite progress, there is still a conflict between the romance genre and feminist beliefs. While romance novels offer women a platform to delve into their desires and fantasies, challenging patriarchal limitations, they may also reinforce negative stereotypes and normalize unhealthy power imbalances. This contradiction highlights the nature of classifying romance novels and emphasizes the importance of comprehending their role in literature and feminist discussions.
There is an obvious relationship between the value of romance novels, societal expectations, and cultural biases. Critically analyzing from different perspectives suggests that labeling romance novels in culture stems from influences embedded in our society. By examining the context of romance literature, we can observe its evolution and how the narrative focus has shifted to broaden its appeal. Distinguished scholars such as Janice Radway have presented counterarguments against the genre's criticism, highlighting the reader's personal choices and how the genre celebrates freedom and happiness for women. This idea is often persecuted in society.
The structured aspects of romance novels, often considered controversial, have been acknowledged as part of the genre's satisfying storytelling style. This recognition upholds the value of romance novels even though they have achieved commercial success in the billion-dollar industry. However, a perception about these novels persists due to a need for more informed criticism and positive academic studies. Feminist critique has evolved. Now, it recognizes the potential for empowerment within the genre and its ongoing struggle against limitations. (Cameron, 14)
My research has emphasized the importance of giving visibility and acknowledgment to romance novels in the fiction market. I advocate for a change in perspective that recognizes their legitimacy and value. It is crucial to consider perspectives and base critiques on actual evidence rather than unfounded biases. As the genre continues to embrace diversity and challenge norms, it becomes essential for discussions surrounding romance novels to be more nuanced and reflective of their impact and significance.
There is a shame placed by society on anything women enjoy, labeling every activity frivolous. Women are critiqued about everything they do, including what they read. The most formative novels in my life have been about romance; the intricacies of human relationships and the pitfalls of it all. Romance novels encourage the readers to be emotional and introspective, traits that are not highly praised by highbrow culture. Yet, many pieces of literature included in the literary canon include themes that romance novels explore as well. The discrimination against these books is due to the patriarchal nature of everything in society, including publishing. Women are shamed for reading these books while they are also providing the publishing industry with millions of sales. Yet, I still have faith that the trend will turn, as personally I’ve seen the growth in popularity of romance novels including extensive marketing and genre bookstores like The Ripped Bodice in Brooklyn. When Jane Austen released her novels about womanhood and romance, she was rebuffed from the classics. However, today she is revered as one of the most influential writers in history.
Works Cited
Bloom, Harold. The Western Canon. Riverhead Books, 1 Sept. 1995.
Cameron, L. The Romance Publishing Industry and Its Reputation. Pub Res Q 36, 1–16 (2020). https://doi.org/10.1007/s12109-019-09703-2
Pagan, Amanda. “A Brief History of the Romance Novel.” The New York Public Library, 15 Feb. 2019, www.nypl.org/blog/2019/02/15/brief-history-romance-novel-recommendations.
Radway, Janice A. Reading the Romance : Women, Patriarchy, and Popular Literature. Chapel Hill ; London, The University of North Carolina Press, Cop, 2006.
Radway, Janice A. “Women Read the Romance: The Interaction of Text and Context.” Feminist Studies, vol. 9, no. 1, 1983, pp. 53–78. JSTOR, https://doi.org/10.2307/3177683. Accessed 15 Dec. 2023.
Wilson, Carl. Let’s Talk about Love : Why Other People Have Such Bad Taste. New York, London, 2014.
The Lackluster Adaptation of Agatha Christie’s “The Blue Geranium”
In 1932, Agatha Christie wrote a series of short stories, The Thirteen Problems, introducing her female sleuth, Miss Marple. Twelve of the stories occur over two dinner parties, and the final story solidifies Miss Marple as a crime investigator in Scotland Yard’s Sir Henry’s eyes. In 2005, Britain’s ITV created “Marple,” a television series exploring many of the famous Marple stories Christie wrote. During the series's fifth season, episode three portrayed “The Blue Geranium.” The adaptation kept the general idea of the story but added new characters and a subplot that was not in the text. The ITV episode focuses more heavily on the romantic and religious aspects of the story, which were only briefly mentioned in Christie's writing. While the short story “The Blue Geranium” is an analytical tale about the psychology of crimes committed by caretakers, the adaptation undercuts this theme by focusing primarily on the romantic themes.
Through the storytelling of Mr. and Mrs. Bantry, the dinner guests learn about the mysterious death of Mrs. Pritchard, an invalid. Warnings from a mysterious fortune teller, named Madame Zarinda, terrorize Mrs. Prichard about the presence of blue flowers in connection with her untimely death. Over many months, blue primroses, blue hollyhocks, and blue geraniums appear before a full moon, fulfilling Zarinda's prophecies. Mrs. Prichard was thought to be frightened so intensely that she passed away. Notable characters in connection are Mr. Pritchard, her suffering husband, and Nurse Copling, the wife's Nurse and culprit of her death. Throughout the conversation at the dinner party, Miss Marple concluded that the Nurse probably disguised herself as the fortune teller to terrorize Mrs. Pritchard out of jealousy due to the Nurse's feelings for Mr. Pritchard. Marple theorizes that Copling switched her patient's smelling salts with cyanide and used litmus paper to contrive the "warnings" on the floral wallpaper. The short story explores themes of revenge, lies, and the lack of trust between a nurse and a patient and between a husband and wife. Miss Marple can take seemingly inexplicable events and extrapolate the human motivations behind the action. Although the story appears supernatural initially, Marple's analysis of the crime unravels the mystery.
“The Blue Geranium” is a story that cleverly juxtaposes the tropes of the supernatural genre with Miss Marple’s rational observations. Through Marple’s insights and knowledge about human nature, especially those of the working class, she pieces together that this mystery is an act of revenge from a nurse against a demanding patient. The short story subtly explores the darker themes of resentment between caregivers and patients, suggesting that the most malicious crimes can be disguised as paranormal. Miss Marple’s worldliness, even having rarely left her village, cuts through the eeriness of the supernatural to reveal something even more sinister: the darkness of human nature. The story operates in two ways: firstly, it lures the reader in with a ghost story, and secondly, it reveals the truth that is even more chilling because it is the work of a human being, not a supernatural one. The story highlights Miss Marple’s power of observation and Agatha Christie's interest in exploring the dark corners of human behavior through Marples’s perspective. This story's intricacy shows how even the most inexplicable crimes may be rationally solved by observing the psychology of human behavior.
An adaptation is a complex process that involves taking an existing work, like a novel or a short story, and reimagining it in a new medium. There are many approaches to adaptation, ranging from being extremely faithful to the text to simply using the source text as a loose inspiration. Translating prose into visual media is a challenging task sometimes criticized by fans of the source text. However, adaptation is an integral part of literature, often reinterpreting or reformatting narratives from history to portray the changing ideals of society.
The focus on wasps is a consistent theme in both the adaptation and the text. On page 153 of “The Blue Geranium,” Marple shares with her party…”I have got wasps on the brain. Poor things, destroyed in their thousands – and usually on such a beautiful summer’s day. But I remember thinking, when I saw the gardener shaking up the cyanide of potassium in a bottle with water, how like smelling-salts it looked. And if it were put in a smelling-salt bottle and substituted for the real one – well, the poor lady was in the habit of using her smelling-salts.” Indeed, in the adaptation, Marple is struck with the realization when watching the gardener mix cyanide, but only after she accuses Mrs. Pritchard’s husband of the crime. This is not in character with the Marple reader’s meet in the short story collection. In the text, she rarely speaks up unless she knows, with certainty, who the culprit is. The ITV version of Marple is much more nosey, seeking out answers instead of extrapolating from the evidence presented.
The culprit of the crime is the same in both iterations. However, the relationship between patient and Nurse was explored significantly less in the adaptation. In Marple, Mrs. Pritchard’s extended family and her Nurse are fed up with her, and she is painted as a paranoid and callous woman. Although she is being poisoned by a new character, her poor sister. Miss Marple theorizes that her illness is due to a need for attention from her philandering husband, a theme that was not explored in the text. Mr. Pritchard is revealed to have had many affairs, yet he is still painted in a sympathetic light. The episode ends with his reunification with Hazel Instow, the adapted character of Jean Instow who is briefly mentioned in the short story. While Miss Marple, on paper, seemed concerned that the couple would never trust each other again, this reasoning seems to be the sole impetus behind her actions in the adaptation, which undercuts the overall theme of the solution to the murder in the text.
In addition to the new romances created for Mr. Pritchard, there is also an additional character of the town Preacher, which brings Marple to town in the adaptation, in contrast to the story mentioned at a dinner party in the text. The Preacher is very devout and resents Mrs. Pritchard for her ungodliness. The theme of the dilapidated church represents how un-pious Mrs. Pritchard’s beliefs in the supernatural were. Her philandering husband’s happy ending further proves this indication that her death was deserving. There is a mention of a separate case, which is declared a suicide by Marple. This distracted Mrs. Pritchard’s death plot and came together haphazardly in the end.
The adaptation of “The Blue Geranium” focused more on romance and religion than the compelling relationship between nurse and patient, which was the main focus in the text. The addition of multiple characters and additional plotlines muddled the story. It portrayed Miss Marple as an old woman who is more focused on unrequited love than justice, which is not in the characterization of the literary version of Miss Jane Marple. Fans of the ITV show revered this episode for its watchability, yet the adaptation does not stick close to the story written by Agatha Christie.
Works Cited
Christie, Agatha . The Thirteen Problems. Harper Collins Publisher London, 1932.
“The Blue Geranium” Marple created by Stewart Harcourt and Agatha Christie, season five, episode three, ITV Studios, June 2010.