Marketing women’s fantasies
Eleanor Ty | February 8, 2016Eleanor Ty is a professor in Wilfrid Laurier University's English and film studies department. Ty offers Research Matters her take on Jane Austen and the endurance of romance literature, particularly romances that reach back in time. In “The 39 Steps to Being A Gentleman,” Rupert Uloth includes the following: #30 Has read Pride and Prejudice. However tongue-in-cheek the list is (ex. # 34. Sandals? No. Never), that Austen’s novel is the only book mentioned suggests its importance in our cultural repertoire. Scholars have written many critical interpretations of Austen’s novels, but in popular culture, she is best known for romance and love. Helen Fielding’s Bridget Jones’ Diary, about a thirty something single woman living in London looking for Mr. Right, is based on Austen’s Pride and Prejudice. Costume dramas of Pride and Prejudice, most recently the BBC TV series by Andrew Davies featuring Colin Firth (1995) and Joe Wright’s 2005 film with Keira Knightley emphasize falling in love rather than politics, philosophy, or morals. Austen would have been disturbed to find that Pride and Prejudice (1813) has become the prototype for today’s mass marketed romances, but the novel does highlight two of the most often used tropes of contemporary romances: the Cinderella rags-to-riches story, and the taming of the beast by a beautiful woman. While women have made great strides in the last 200 years, it's fascinating how our fantasies have not. Judging by the sales of adult romances, which in 2013 had an annual total sales value of $1.08 billion, love, the search for true love and reading about love are alive and selling very well. In 2014, romance novels constituted 13 per cent of the share of adult fiction in hard and paper books, but a whopping 39 per cent of ebooks. The formula has changed and yet not changed since the days of the queen of Regency Romance, Georgette Heyer. Heyer’s romances, inspired by Austen, featured protagonists from the upper class: men were strong, authoritative, powerful and older than the young, beautiful, and innocent heroines. The romances attempted to give historically accurate depictions of the period’s social activities, such as dinners, plays, assemblies, carriage rides, fencing, hunting, riding, and boxing. Often, they featured marriages of convenience and mistaken identities, but tended to be comedies of manners. Changing time and place Today’s historical romances are still set in England before the 1950s, but also in the Medieval period, in colonial American, the American West, and in Scotland. Settings, clothes, weapons, cooking and travelling methods are historical, but attitudes tend to be contemporary. As publishers realize readers' changing preferences, historical romances have become more explicitly sexual, and reflect more independent and strong-willed heroines, albeit anachronistically. Love and ultimately heterosexual marriage are still the end goals, but the verbal and physical interaction between the couple, and the means to get to the happily-ever-after end distinguish one romance and one author from another. One way present-day authors rewrite the stereotype of the helpless heroine is by making them proficient at wielding weapons. K.J. Jackson’s Stone Devil Duke begins with the heroine disguised as a hack coach driver who coerces the hero into helping her shoot and kill four thugs. In Glynnis Campbell’s Captive Heart, a warrior maid who is trained as a swordswoman kidnaps a lord in order to prevent her sister’s unwanted marriage. Both of these women are initially not interested in courtship and marriage but rather wish to protect their family or clan. Other authors deal with contemporary women’s issues such as the after effects of violence and rape. Claire Delacroix’s Frost Maiden’s Kiss features a pregnant heroine who has been raped by an army of mercenaries in Medieval Scotland while Barbara Ankrum’s hero in Holt’s Gamble rescues the heroine from an abusive relationship with her saloon master in 19th century colonial America. In both these romances, the handsome hero has to care for a psychologically-wounded woman, reversing the nurse romances of the 1960s and 70s. A favourite plotline of historical romance today is the time travelling story popularized by Diana Gabaldon’s Outlander, about a nurse from the Second World War who is mysteriously transported to the Highlands of 1743. How she and her Scottish husband fight the ruling English soldiers at Culloden has been adapted into a TV series nominated for a Golden Globe recently. Similarly, Tanya Anne Crosby’s heroine who is studying Archeology and Anthropology is searching for the Stone of Destiny and instead finds herself falling for a half-naked Pict in the 9th century. These time travelling women happily forego flushed toilets and penicillin to live with their Medieval or 18th century kilted heroes. Ah, true love!