Archive for: February, 2011

Monday Stepback

Feb 28 2011 Published by under Monday Morning Stepback

The weekly news, opinion and personal updates post

Links of Interest

Sunita, who occasionally writes book reviews for Dear Author and has been reading romance and following Romanceland for a long time, has taken the blog plunge. Check out her latest, Accuracy, Authenticity and World-building in Historical Romance:

[O]nce again hope has triumphed over experience, and I have come up with a spectrum of historical accuracy/authenticity/conviction. It draws on the various smart things people said on twitter yesterday.

Category 1: Wallpaper historicals. These are books where the characters are basically modern, but they wear period clothing, live in period houses, and refer to period events.There is no real pretense, by authors or readers who like the books, that these books represent serious attempts to depict a particular historical era. Think of it as going to a historical theme party: everyone dresses up in the theme, but they talk in their normal accents and use contemporary vocabulary and wear Spanx under their costumes.

Check out the post for the other three categories.

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The Nebula Awards finalists were announced, and book bloggers everywhere rejoiced to see so many women finalists. The Book Smugglers are hosting a Nebula Readathon. Click the link for the schedule.

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An open letter to Mills&Boon by Kat of Book Thingo, Waiter, There’s a Vampire in My Book.

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Author KT Grant/blogger Katiebabs is asking Does there come a time when the author who still reviews should be muzzled? prompted in part by Hush, Hush author Becca Fitzpatrick’s “be nice” advice post at Goodreads. On a related note, Teddypig posted on a Goodreads author responding to a bad review.

The Goodreads thing is turning out to be pretty interesting. Unlike a reader blog, where an author may show up only to comment on a review of her book, never to return, Goodreads is very much an author community as well as a reader community. The fact that it is shared space probably makes it harder to resist responding to a negative review.

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Beginning tomorrow, as described by Fiction Vixen, the 1st Annual March Madness Blog Party, hosted by author Ashley March. Prizes for readers and aspiring historical romance authors, author interviews, and more.

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Ever wondered why UF heroines have missing families? At Ex Libris, author Carolyn Crane explains it all for you.

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As reported by Library Journal and blogged about in many places elsewhere,

HarperCollins has announced that new titles licensed from library ebook vendors will be able to circulate only 26 times before the license expires.

For librarians—many of whom are already frustrated with ebooks lending policies and user interface issues—further license restrictions seem to come at a particularly bad time, given strained budgets nationwide. It may also disproportionately affect libraries that set shorter loan periods for ebook circulation.

While HarperCollins is the first major publisher to amend the terms of loan for its titles, two other members of the publishing “big six”—Macmillan and Simon & Schuster—still do not allow ebooks to be circulated in libraries, much to the consternation of librarians.

Two librarians are calling for a boycott of HarperCollins. Click the link for a form letter you can send to protest their library e-loan policy.
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Former owner of All About Romance Laurie Gold has announced on her blog that she is returning to the internets by taking a “part time paid” blogging position.

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Bad Publicity boosts Book Sales according to new research by a couple of business professors (via the Literary Saloon):

According to GSB professor Baba Shiv, familiarity with a product plays a crucial role when a consumer makes decision.

“The more familiar something is, the bigger a chance it will be incorporated into the [customer’s] decision,” Shiv said.

The familiarity has an impact on all brands and products. Bad publicity, while damaging to well-known products, provides lesser-known products with more consumer exposure.

Of course, their study looked at the effect of reviews in the New York Times. I wonder if it’s applicable at all to blog reviews?

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From the Awl, 10 Neflix Instant play British costume dramas for folks jonesing for the next season of Downton Abbey. Now that Amazon Prime members get free download play, perhaps they’ll post an Amazon list

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Although the site itself is a bit too busy for me, making it not always easy to figure out where to put my eyeballs for new content, I continue to be impressed with the quality of the blog posts at Heroes&Heartbreakers. They are now hosting a contest to win an ereader of your choice.

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The most amusing post I read last week: Sarkosi Admits French language a hoax after Wikileaks expose.
(via Language Log):

During a speech given in received pronunciation, the French President came clean, stating that it all started off as a joke during William the Conquerer’s invasion to make the aggressors seem a bit more exotic.

Personal

My two week spring break begins today. I still have plenty of work to do, but it’s way less stressful without the actual teaching.

I know you have all been waiting with bated breath for this announcement, but I have finally decided what book to have my English professor friend read. You would think I was choosing my last meal! I veered completely away from Gothic romance (although I am grateful for that thread since I learned a lot of about the place of Gothic in the history of the romance genre, and got some great recs) and instead will lend her: Judith Ivory’s The Proposition. Also, When we chatted last week, I realized she had no idea what the difference is between single titles and category romance, nor that there are so many different category lines, so I think I will give her Sarah Mayberry’s Anything For You, just in case she has time to read two.

We are reading Janice Radway this week, so expect a post on that.

Otherwise, I have no idea what I will do on the blog this week.

HAPPY WEEK!

17 responses so far

Review: Again the Magic, by Lisa Kleypas

Feb 27 2011 Published by under Reviews

They had Snuggies in Regency England?

Again the Magic was published in 2004. It’s a prequel of sorts to Kleypas’s wildly popular Wallflower series, since the heroine’s older brother, Marcus Westcliff, is the hero of It Happened One Autumn. I’ve read a bunch of books by Kleypas (maybe 7 or 8), and I’ve enjoyed all of them, although, with the exception of The Devil in Winter, which had a very memorable deflowering scene, I find I have a hard time with recall after I’ve turned the last page.

The first chapter establishes that our teenage hero, McKenna, an orphaned stable boy, and heroine, Aline, eldest daughter of the Earl of Westcliff, are childhood friends who recently watched a Very Special episode of The Brady Bunch and concur with Greg and Marcia that:

Day by day, it’s hard to see the changes you’ve been through
A little bit of living, a little bit of growing all adds up to you
Every boy’s a man inside, a girl’s a woman too
And if you wanna reach your destiny, here’s what you’ve got to do

They are deeply in love and lust and soon enough — despite McKenna’s attempt to hold her off, an indication of his nascent wimpitude, which grows into full blown wimpitude later in the book –  get busy — but not to the point of defloweration — on the stream that runs behind Aline’s family’s Hampshire estate. Alas, Aline’s snooping little sister, much like Cindy Brady, is a tattletale, and Aline is forced to send McKenna off under the pretense that she has suddenly discovered that she is the daughter of an Earl and he is a stable boy. McKenna buys it (!), and leaves for (eventually) the Colonies, only to make his fortune and return — 12 years later — with revenge on his mind.

Aline, meanwhile, has burned both of her legs by reaching for one of McKenna’s letters in the kitchen. She is left with grotesque scarring, problems walking, and major case of Martyrdomitis. She will never love again, but finds, miraculously enough, a Gay BFF in neighbor Lord Sandridge.

When McKenna shows up (with his employer, Shaw, a drunk but rich American), we are given all the signals that he has transformed from a lovesick boy from the wrong side of the haystack into an Alpha Hero Bent on Sexy Revenge, but one look at Aline, and he’s pretty much putty in her hands again. Far from him seducing her into ruin and then breaking her heart, Aline manages to seduce him while simultaneously hiding her legs and keeping her dual secrets: why she sent him away and why she can’t take him back.

McKenna is a bit slow on the uptake with regard to both his own feelings for Aline and with regard to what Aline’s status as unmarried virgin might indicate. And why doesn’t Aline just tell him she’s been pining for him all this time? Her legs. She’s afraid he’ll marry her out of pity if he knows, and she hangs on to this pretty much to the bitter end, even after McKenna declares his love. Most readers find this scene annoying rather than tragically moving, for good reason. If Aline can’t trust McKenna this far, can she be said to know him or love him at all?

The secondary romance — really, almost a parallel one given the amount of space it takes in the book — is between Aline’s little sister Livia and McKenna’s jaded roguish employer Shaw. Fate has come back to bite Miss Tattletale on the butt, as her own scandal (she became pregnant by her fiance, but both he and the baby died) has made her a virtual recluse with no prospects for marriage. Shaw is always drunk — he even spikes his morning coffee with booze to calm the shakes — and bears emotional scars from a bad upbringing. This romance was fun to read, and ended on an optimistic but not unrealistic note.

I almost never notice anachronisms in romance. I tend not to care too much about how accurately the history is portrayed. And while it didn’t tank the book in this instance either, boy did I notice it. For example, Aline thinks, “It had been relentlessly instilled in her since the cradle that people did not venture out of their classes”, yet clearly that bit of socialization didn’t take, because her she is mooning over and hoping to marry the stable boy. Later, she thinks, “Aline knew exactly what was in store for her. She would have an intolerant aristocratic husband, who would use her to breed with children and turn a blind eye when she took a lover to amuse herself in his absence.” For a women who benefits tremendously from her social station, I need some explanation of how she comes to be so critical of her culture. She’s not especially astute or intelligent, and she’s certainly not politically minded, noting at one point that her weekly visit to the townspeople “was an obligation she did not always enjoy, for these visits took up a full day or more of the week.”

Marcus, her brother, feels the same way: “Despite a lifetime of social indoctrination, Marcus did not believe in aristocracy of any kind.” In his view, “Livia did nothing wrong” by becoming pregnant out of wedlock. And Shaw, the American, was “nothing like the American aristocrats that Marcus has encountered. In fact, Shaw seemed to enjoy making his New York family cringe with his cheerful references to his great-grandfather, a crude and outspoken seas merchant…” In this book, people who have “escaped” their socialization are the good guys, and people, like Aline’s father, or Shaw’s sisters, who haven’t, are the bad guys.

Aline and Livia are so free with the sex, and so unconcerned with breaking rules, that at times I imagined this was like MTV’s Real World with drawers and corsets. Livia makes out with Shaw at a party, she visits him in the guest house unchaperoned in her nightgown, in front of servants, she sneaks out of her house to go have sex with him in London, etc. etc. The adult Aline macks on McKenna (including a crotch grab) in a hallway off the kitchen, then goes to a village fair unchaperoned with McKenna and draws him into the woods where the leg-hiding tree sex occurs. The final straw was at the end, when McKenna and Aline are in bed after the HEA, at Shaw’s London townhome, and Shaw actually pops his head in the door and has a congratulatory chat with McKenna as Aline sleeps.

So, there are three issues I had with this book: (1) that McKenna so easily believes his best friend and lover — someone he has known all his life – has turned on a dime and rejected him, and continues to believe it well after he should really know better, (2) that Aline keeps not one but two big secrets from McKenna, waaaaaaaaay too long, and (3) the super modern feel of this “historical” romance.

Yet, despite these issues, I found — typical of me and this author –  Again the Magic very hard to put down, and I did enjoy it overall. I discovered I like revenge plots. The book also has the typical Kleypas heat and well written sex scenes. I enjoyed the interactions between all of the characters, the Westcliff siblings, for example, and Shaw and McKenna. And I very much enjoyed the secondary romance. This would not be my top choice for someone who wants to try Kleypas, but for someone working though her backlist, it is worth a read.

Word on the Web:

Book Binge, 4.25 out of 5
Mrs. Giggles, 68
The Romance Reader, 4 hearts
All About Romance, Liz Z, B+
Rosario’s Reading Journal, B
It’s Not Chick Porn, Dionne Galace, D

14 responses so far

Friday Five: 5 quotes from Loving with a Vengeance

Feb 25 2011 Published by under Friday Five, Genre musings

LWAV was published originally in 1982. I purchased the newest edition, which contains a new preface but is otherwise unchanged. This is a very slight book, both in page numbers (107) and in argument. All of the Harlequins Modleski quoted were published in 1976. A few examples:

I find it remarkable that the new preface spends so much time responding to the evolution of feminist cultural critique and almost none to changes in the romance genre. Anyway, here are the quotes:

1. A television commercial for Harlequin Romances shows a middle-aged woman lying on her bed holding a Harlequin novel and preparing to begin what she calls her “disappearing act.” I can’t think of a better phrase to describe at once both what is laudable and what is deplorable in the appeal of such fiction. … Indeed, as we shall see, the heroine of the novels can achieve happiness only by undergoing a complex process of self-subversion, during which she sacrifices her aggressive instincts, her “pride”, and – nearly – her life. And a close analysis of the dynamics of the reading process will show that the reader is encouraged to participate in and actively desire feminine self-betrayal. (p. 29)

2. The element of fantasy in romance lies less in the character traits of the hero than in the interpretation readers are led to make of his behavior. … Male brutality comes to be seen as a manifestation not of contempt but of love.

This is an important function of the formula. It is easy to assume, and most popular culture critics have assumed, a large degree of identification between reader and protagonist, but the matter is not so simple. Since the reader knows the formula, she is superior in wisdom to the heroine and thus detached from her. The reader, then, achieves a very close emotional identification  with the heroine partly because she is intellectually distanced from her and does not have to suffer the heroine’s confusion. (pp. 32-33)

3. A different view of “the grovel”:

A great deal of our satisfaction in reading these novels comes, I am convinced, from the elements of a revenge fantasy, form our conviction that the woman is bringing the man to his knees and that all the while he is being so hateful, he is internally grovelling, grovelling, grovelling) … (p. 37).

4. An explanation for romance readers’ “addiction”:

In both texts, the transformation of brutal (or, indeed, murderous) men into tender lovers, the insistent denial of the reality of male hostility toward women, point to ideological conflicts so profound that readers must constantly return to the same text (to texts which are virtually the same) in order to be reconvinced. (p. 104)

I find Modleski’s use of the term “our” in this chapter suspect and therefore extremely troubling in its implications for her analysis.

5. From the new preface, which defends her psychoanalytic approach against the new ethnography in pop cultural studies, this response to Janice Radway’s claim that she never contradicted her subjects’ interpretations in Reading the Romance:

One cannot quarrel with the notion that feminist critics ought not to engage in attacking or presuming to direct other women. But are there no limits to the actual support a feminist critic ought to extend to their struggles and their terms? to take an example, if romance writers and readers were to defend their genre … on the grounds of man’s natural superiority to women, should feminist critics simply go along with these “terms?” Do we not have an obligation as feminist critics to contest such notions? How can criticism call itself feminist if it is not first and foremost an engaged criticism?

Finally, something on which we agree. This is an important issue.

10 responses so far

Point/Counterpoint: Respect, Romance, and Academic Credentials

Feb 23 2011 Published by under Genre musings

A guest post by Janet (@Janetnorcal), an experienced romance reader very knowledgeable about Regency romance in particular, who posts often at Book Lovers Resource and Keira (@KeiraSoleore, whose avatar never ever fails to make me grin), an aspiring romance author who blogs at her own Cogitations and Meditations.

How the point-counterpoint blog got started: Janet Webb sent Keira Soleore a Twitter Direct Message:

Direct message from Janet Webb: Friday, February 11, 2011 5:50:00 PM

I know [..] doesn’t purport to speak for anyone but don’t you occasionally get tired of articles focusing on Ivy league/Rom writer? I do.

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Direct message from Keira Soleore: Friday, February 11, 2011 5:55:09 PM

The reason so much media attention is on Ivy Leaguers is because everyone used to think romance writers & readers were losers…

…The fact that smart accomplished women are doing it gives it legitimacy. Akin to academic scholars lending it legitimacy.

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From: Janet Webb
Sent: Friday, February 11, 2011 6:22 PM
To: Keira Soleore
Subject: We should do a point/counterpoint blog on this …

Oh, I don’t believe that although I think that the ignorant outside world believes that. I think I must have missed all of the disdain — or ignored it. I started with Georgette Heyer, who was beloved by men and women alike: there was no embarrassment involved in loving her books. I don’t think that smart accomplished women writing romance gives it legitimacy, nor do I think that academic scholars writing about it lend it legitimacy. I think the worth of the books themselves gives it legitimacy. Like “Sunshine and Shadow” by Laura & Tom Curtis. I could name a million more. Don’t misunderstand me: I love smart books by anyone. And I love academic writing about the genre that interests me most — I just don’t think it makes it legitimate.

I totally understand journalists going for the obvious story — Ivy League prof writes Romance. But that’s because they aren’t prepared to dig a tad deeper …

Cheers!

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From: Keira Soleore
To: Janet Webb
Sent: Tue, February 15, 2011 1:17:55 PM
Subject: RE: We should do a point/counterpoint blog on this …

See, we’re romance readers. We don’t feel any disdain. But I have only to look at the wonderful people I know who are outside the romance reading community to know the disdain and disregard they hold for romance novels. They do believe, unfairly so and without direct actual knowledge, that those are dirty books with poor writing; in other words “salacious” is the only way to describe them. Those lurid covers do not help at all!!!!!!!!

So that’s been my experience with romance’s reputation. Almost everyone I speak to in Romancelandia says similar things. So, yes indeed, the perception of romance in the larger world is more like “nudge-nudge-wink-wink porn for women” written by chubby, plain, not-so-bright sex-starved women. Do I agree with this? A thousand times no. But non-romance readers do believe this. The books are not getting the respect they deserve all by themselves.

That is why highly educated, successful women writing romance are needed to make a huge impact on romance’s perception. There is no one, not a single person, who has done more in this fashion than Nora Roberts. She has educated the media and the reading public to some extent. Without Nora, we wouldn’t even be where we are today.

And we have leagues to go. You don’t have to convince me, nor I you. We already know and respect the genre. We want wider acceptance and respect. That is why folks like Eloisa James, Julia Quinn, Lauren Willig, Cara Elliott, etc. are so important. Similarly, college courses offered in Princeton and other universities on popular romance give it further legitimacy for the world at large.

“I totally understand journalists going for the obvious story — Ivy League prof writes Romance. But that’s because they aren’t prepared to dig a tad deeper … “
>> I’m not sure I understand. Dig deeper for what?

Keira

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From: Janet Webb
Sent: Tuesday, February 15, 2011 2:40 PM
To: Keira Soleore
Subject: Re: We should do a point/counterpoint blog on this …

I’ll have to think about what you’ve said. It’s hard for me not to think that courses about Romance are to Literature as Rocks for Jocks are to Geology (see what I mean — outside world looking in). You’ll never believe what my mum just said about Betty Neels. That she quite enjoyed it and that it would make good hospital reading. Do you think that was because of the lack of Brighton? I know she really didn’t like Mary Balogh — because as a devotee of Austen and Heyer, she just kept seeing the problems and inaccuracies.

And you see, I don’t think I agree that professors who teach on the subject of the genre and smart women writers are changing the face of the genre and how it’s regarded. Does romance command more respect today? Just a few months ago the NY Times wrote a very tongue-in-cheek article about e-books and romance. I wasn’t feeling the respect.

Nora Roberts has a high school education — she’s as smart as beans and a fantastic writer and it’s the force of her books that command respect. I wouldn’t think she would even want that mantle. To me she is a butt to the seat writer who has a few close female writer pals but who speaks to the world — like she actually sponsors a local baseball team! She’s not cliquey, she’s not gossipy, she’s not whingey, she’s straightforward and she’s absolutely never complains, never explains. I could not imagine her in a million years complaining to a magazine, online or paper, about a review that she was unhappy with. She is so different in the way she interacts with the world compared to almost every romance writer I know. Now maybe I don’t know enough romance writers — I can definitely think of a few that are following in Nora’s footsteps.

To be continued … let’s keep the conversation going!

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From: Keira Soleore
To: Janet Webb
Sent: Sun, February 20, 2011 3:07:47 PM
Subject: RE: We should do a point/counterpoint blog on this …

The publishing industry is doing nothing to get romance noticed. Now, while the comments are still snide, at least romance is getting media coverage. Quite a bit of it as compared with before, because romance has shown itself to be a publishing phenomenon and there’s so much online conversation happened about it. Before, it was discarded as frivolous and not worthy of any ink in the media.

Despite being a publishing phenomenon, that is not what will sustain the upward swing of interest and respect towards the genre. Remember people have to read the books in order to be able to possibly respect them. Articles by respected individuals, university courses, etc. are standard guidelines of legitimacy. Application of those to the genre is a way to raise its profile. (I really wish publishers would lose those covers.)

Popular Literature is treated like that by the Literature Department. All genre literature is looked down upon. But the more university students clamor for those classes and the more teachers offer them, the more accepted the genre becomes. Like pop culture was accepted, so will romance.

Nora is all you’ve said and more. She took on the mantle of becoming the voice of romance for many years. Now that there are the Smart Bitches and many other bloggers, she’s stepped back from it all. Still when important stuff comes up, she’s there commenting, writing memos, being interviewed, etc.

Janet, who do you think is following in Nora’s footsteps?

Keira

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Ok, folks, can you answer Keira’s question? Any thoughts?

43 responses so far

Monday Stepback: Why Read?, Verbing, Straw Feminism, and Getting Yelled At

Feb 21 2011 Published by under Monday Morning Stepback

The weekly links, opinion and personal updates post

Links of Interest

From the Guardian Books Blog, When Authors Met Book Bloggers for Lunch, interesting and balanced:

This is a great strength that literary bloggers have. They do not have to write for a mass audience, their excesses are not necessarily reined in by an editor, and so they are free to produce indecent, funny, inappropriate, uplifting, provocative, controversial or unconventional reviews, just as they are free to produce reviews that are vicious. I defend their right to be vicious and I don’t take it personally anymore, because I see literary viciousness as a dark art that sometimes needs writers as its canvas. I do worry about some of the writers who are just starting out, though. Some of the more casual meanness that happens online might be avoided if the reviewer imagined the author reading their piece, or if they envisaged a day where they had to meet face-to-face in a room.

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From today’s New York Times, Blogs Wane as the Young Drift to Sites like Twitter:

The effect is seen on the companies providing the blogging platforms. Blogger, owned by Google, had fewer unique visitors in the United States in December than it had a year earlier — a 2 percent decline, to 58.6 million — although globally, Blogger’s unique visitors rose 9 percent, to 323 million.

LiveJournal, another blogging service, has decided to emphasize communities. Connecting people who share an interest in celebrity gossip, for instance, provides the social interaction that “classic” blogging lacks, said Sue Rosenstock, a spokeswoman for LiveJournal, which is owned by SUP, a Russian online media company. “Blogging can be a very lonely occupation; you write out into the abyss,” she said.

But some blogging services like Tumblr and WordPress seem to have avoided any decline. Toni Schneider, chief executive of Automattic, the company that commercializes the WordPress blogging software, explains that WordPress is mostly for serious bloggers, not the younger novices who are defecting to social networking.

In any case, he said bloggers often use Facebook and Twitter to promote their blog posts to a wider audience. Rather than being competitors, he said, they are complementary.

“There is a lot of fragmentation,” Mr. Schneider said. “But at this point, anyone who is taking blogging seriously — they’re using several mediums to get a large amount of their traffic.”

I think this last point is very true.

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Rebecca at Dirty Sexy Books is celebrating her second anniversary with an interesting post full of lessons learned.

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At All About Romance, Dabney Grinnan is Flying the Romance Flag With Pride, an innocuous celebration of the genre … until something strange happens in the comments, now numbering 39. I may have made a snarky “contribution” myself.

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Once again my US Senator has a very bad idea. On the Kill Switch bill (via Books Inq).

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Monsters and Humans: Where to Draw the Line in Fiction, a guest post at Midnight Moon Cafe by Roxanne Rhoads.

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Is It Ok To Call Someone Else Nuts? at Udo Schuklenk’s Ethx Blog. I have purged words like “retarded” and, less successfully, “lame” from my vocabulary, but “nuts” is one I am on the fence about.

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Folks participating in a February 11 romance panel at a Sydney library have produced a transcript and a post from the moderator. Check them out for answers to questions like “How has romance changed since the 1980s?” and “Has the stigma against the romance genre diminished?”

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Let’s Say Goodbye to the Straw Feminist, by Cordelia Fine, in response to UVa psychologist Jonathan Haidt’s views on bias in science, as reported in the New York Times recently:

What about claims of sex differences in the brain, sometimes speculatively linked to aptitude in science and maths? Small sample sizes, noisy data, publication bias, and teething problems with statistical analysis techniques leave this literature littered with spurious findings of sex differences. So where does the disagreement lie between the neuroscientist or commentator who reports a sex difference in the brain, and the critic of that empirical claim? Does the former have a far more optimistic view of the study’s reliability? Or is she less concerned about the social fall-out should her claim about the difference between the male and the female brain turn out to be wrong?

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Is the Kindle increasing piracy, or is author Dave Carnoy thinking data is the plural of anecdote? (at CNET, vie @jafurtado)

A lot of people think moving away from paper is a good thing. Maybe it is. But what should also be alarming to publishers is that the number of people pirating books is growing along with the number of titles that are available for download. As I’ve written in the past, the rise of the iPad has spurred some of the pirating, but now the huge success of the Kindle is also leading to increased pirating. Yes some companies, such as Attributor, have done some studies about the issue, and seen increases. But for my evidence one only need glance at Pirate Bay and see what people are downloading and how many of them are doing it.

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Reading is Overrated by Rick Gekoski at the Guardian, a post probably more interesting for the way it rides the line between satire and seriousness (or is it the line between brilliant and bad writing?) and for the comments than for the words it contains:

And then we have this, from Somerset Maugham: “To acquire the habit of reading is to construct for yourself a refuge from almost all of the miseries of life.” Well, almost all? I wonder which miseries reading is a refuge from, and which not? And if it is such an escape, are we not likely to doubt that what we were protected from was not a misery, but an inconvenience or an occasional source of bad temper? I suspect that a good definition of “misery” might well be “pain so acute that even reading will not assuage it”. I’d be surprised if reading provided a “refuge” from the pains of toothache, colic, or childbirth, the deaths of loved ones, the decline into dementia, the experience of war, famine, or grinding poverty, or the relegation of Coventry City FC.

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Do You Verb? by Stefanie at So Many Books:

the penchant in English to turn, usually nouns but sometimes other words too, into verbs. The grammatical term for it is “denominalisation” but I like “verbing” better, it is much more fitting, don’t you think?

Sometimes verbing make me nuts, but usually in my professional life. So, for example, when people say they “consented” a patient. What the hell does that mean?!

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If you were as disappointed as I was in the 20-years-late-to-the-party New Yorker Paul Haggis Scientology piece, read this excellent article at the Awl on The Early Heroes of Scientology Reporting.

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As a bioethicist, I am always interested in the lines between (often overlapping really) mental disorder and moral failings. This Time Magazine article on Sex Addiction is actually pretty interesting in that regard:

The American Psychiatric Association (APA) is debating whether sex addiction should be added to its Diagnostic and Statistical Manual of Mental Disorders. The addition of what the APA is calling “hypersexual disorder” would legitimize sex addiction in a way that was unthinkable just a few years ago, when Bill Clinton’s philandering was regarded as a moral failing or a joke — but not, in the main, as an illness.

APA recognition of sex addiction would create huge revenue streams in the mental-health business. Some wives who know their husbands are porn enthusiasts would force them into treatment. Some husbands who have serial affairs would start to think of themselves not as rakes but as patients.

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If you are interested in roundups of what happened at last week’s Tools of Change conference, check out these posts by Jane Litte, Sarah Wendell, and Ron Hogan. I was pretty wowed that Margaret Atwood commented — although not with super humility, unless I read it wrong — on the Smart Bitches post:

I was the Good Fairy who sprinkled you with snark dust, which you have to admit has served you well; and I have been following the fortunes of the Daughters of Pride and Prejudice (Harlequins) and the Daughters of Wuthering Heights (rippers with cloaks) and the Daughters of Aurora Leigh (a wounded man is more controllable) off and on ever since. In Lady Oracle, the secret life of the hapless protagonist is as a romance writer…
I will send you my shortie, “Women’s Novels,” if you like. (Inspired by my sister-in- law asking me why I didn’t write them, or at least something with white sharks in it.) Or you can find it in the (cough, ahem) book, Good Bones and Simple Murders… if, that is, you can find the book…

And have also been puzzling over this comment by Edward Champion:

The problem with conferences like Tools of Change is that they are often run by people who are socially clueless and extraordinarily rigid in their thinking. Real world pragmatism is going to be what separates the successful bookstores from the Black Books types that vanish in the next year.

… The collision of commerce-driven, socially clueless geeks with booksellers who comprehend social intricacies can often lead to regrettable results. And I suspect that the solution will probably involve a new panel called Humanity 1.0: Rediscovering Vital Social Values Practiced by 90% of the Human Population (Who Also Don’t Own E-Readers).

*****

Funny of the week: At Risky Regencies, author Janet Mullany on a Quick Writers Guide Through History. (via @keirasoleore)

Personal:

I gave a talk very early this morning at the hospital as per usual. This time, we were going over cases (rather than doing theory, for example, or policy). One fictional case had to do with a 4 year old who had to have surgery to remove baby teeth. Her parents gave her sugary drinks and failed to encourage good eating habits. After the surgery, when they saw how many teeth had been pulled, the parents were angry. In the PACU, the nurse anesthetist is confronted by them. How should s/he respond?

I’m not going to go into the details of how I would work through this case with the group, because I wanted to mention one physician in the room who was increasingly agitated as I went through the details of the (fictional, but all too common) scenario. He raised his hand right away and tried to derail the conversation in favor of a discussion of patient rights versus patient responsibilities. He was angry — very angry — that I failed to take into account that the whole problem began with bad parenting. He interrupted my talk several times, along the same lines. When I suggested that clinicians try to figure out why the parents were angry, he accused me of being “too touchy feely” and “ridiculous”, noting that his job was to bring the patient safely through the surgery, and that’s it. When I tried to find common ground (a usually foolproof mediation tactic, as in “we both agree clinicians should not get enmeshed in patient emotions”) he threw my handout on the floor, grabbed his bag and stormed from the room in the middle of the session.

This is the kind of exchange I have very frequently in my work at the hospital. I don’t get called in unless there is a “situation”, so emotions are always running high. People — nurses, doctors, social workers, patients and families — care very much about their work or their loved ones, and they also, being human, care about themselves. It matters a lot to me to be an agent of good, as far as I can (often, not very far), in this setting, and I will persevere even with people who don’t respect me, don’t like me, argue in bad faith, lie to themselves and to others, and are generally very difficult to deal with. I can’t let that exchange go by the wayside: I will work on it, through intermediaries if necessary, even if it is upsetting or frustrating.

But here, in Romanceland, I’m not going to do it. Here, for me, the bar is set much much lower for “not worth my time”. I’m sure in some cases, online meaningful discussions with people who seem “impossible” can yield important interpersonal breakthroughs, but in most cases, I doubt I can do it. More importantly — most importantly — I don’t have the energy. I just can’t. For me, in my life, disputes like the one this morning are much more important to face and resolve than disputes on a thread in Romanceland. I do not have loads of energy, so if I use up a lot of emotional energy in Romanceland, I know I won’t have enough for the other work that I have decided is more important for me, let alone for my family and friends, who are the most important of all. So — and I am responding to some emails here, which I’ll keep private — if I am not as involved in flamewars, or don’t get into it with commenters here, or just bow out of discussions or threads, or ignore some people on twitter, even though I may follow them, this is why.

The kids are off this week. And the spouse and I are … not. A lot of juggling. I hope to review Again the Magic by Lisa Kleypas later this week.

HAPPY WEEK!

26 responses so far

Seeing is Believing: The Heroine’s Journey

Feb 19 2011 Published by under Heroes and Heartbreakers

My first post at Heroes and Heartbreakers is up.  Hope you’ll take a look!

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Friday Five

Feb 18 2011 Published by under Friday Five

My this ‘n that post was such fun last week, that I’m going to see if I can make a regular — although shorter — habit of it.

Here are 5 things I’m thinking about this Friday:

1. Romance reviews as a genre

In my narrative medicine class we’ve been reading through Tod Chambers’ The Fiction of Bioethics. Chambers demonstrates that the clinical ethics case — which is basically the tool of my trade — is a specific genre with its own features (filter, reportability, closure, characters, chronotrope, and gender). I’ve been writing and teaching ethics cases for a decade now without ever thinking much about them as genre, and I found Chambers’ analysis very illuminating.

I wonder what the features are of online romance reviews as a genre? I’m not talking about what the reviews should be like, but about what they are like. I bet it wouldn’t be too hard to come up with a list. It would likely include a plot summary, description of conflict, intertextuality to situate the book in relation to the genre, subjective declarations to situate the reviewer in relation to the book, heat level, a certain length (between 300 and 3000 words, for example), etc. That would be an interesting project for someone!

2. The boys are very into their reading. My 9 year old, while working his way through the Harry Potter series, has read another Doug TenNapel comic book, Iron West, and all three Amulet books, which his older brother promptly grabbed and read. My 11 year old is obsessed with The Edge Chronicles, and I’ve just picked up a copy of Howl’s Moving Castle based on this review at The Book Smugglers.

We’ll see if they can be cajoled into a blog post!

3. I’ve been thinking about simple ways to increase this blog’s numbers, and realized that most of the things I’ve tried over the past two years, like BlogCatalog, haven’t worked very well. But there is one thing I wanted to mention, which is this site. Bloggers have to put their own blogs up there, so any blog you see was posted by the blog owner. It’s an easy process. I wouldn’t rely too much on the specific numbers they post (although mine are pretty accurate), but I will say that I get visits from people coming from that site many times a day.

Of course, the more of you who put your blogs up there the lower my ranking will go. D’oh!! Anyway, if you have any suggestions for getting your blog out there to new readers, let me know. Nathan Bransford asked recently “Have blogs peaked?” , and the hundreds of replies are pretty interesting reading.

4. My first post is going up tomorrow at Heroes and Heartbreakers. It’s about nonverbal signaling of the hero’s feelings. I’ll provide a link tomorrow. That’s the only one I have written, so my resolution for this weekend is to write at least two more.

One of those posts is going to be about the pleasure in the kind of imagining we do when we read fiction. Recent work in the philosophy of psychology suggests that it’s just the supposing things are different than they are which is pleasurable in reading fiction, regardless of whether something tragic or happy or sexy or sad is portrayed in the book. Perhaps more interestingly from the point of view of a certain dichotomy we are familiar with in romance circles, recent research suggests that our engagement with fiction is much more subtle than the language of “identification” versus “nonidentification.” Specifically, our imagining when we read can be engaging and strong and emotional while being impersonal. We do not have to place ourselves in the spatio-temporal framework of the narrated events of the novel to get lost in a book. I don’t think I’ll get into all that for H&H, but it’s interesting stuff (read Harris, P. L. (2000). The work of the imagination. Malden, MA: Blackwell. for more.)

5. I downgraded my Audible membership and still can’t seem to keep up. I spent my 5 credits this week, on the new Susan Elizabeth Phillips, Call Me Irresistible, Darynda Jones’ First Grave on the Right, Darkfever, Married By Morning by Lisa Kleypas and To Beguile a Beast by Elizabeth Hoyt.  I’m about 25% into the last, and it’s so compelling that I am tempted to run upstairs and get the paper copy I bought at RomCon and just read the damn thing — much faster.

I hear the wine has been uncorked, so I’m off. Have a great weekend!

26 responses so far

The heroine is 16. The hero is 30. Got a problem with that?

Feb 16 2011 Published by under Reviews

Forbidden Affections is a novella by Jo Beverley that has been published in a couple of different anthologies, including A Spring Bouquet (Zebra, 1996). I read the Kindle version, reissued by Zebra (Feb 2011)  in the anthology An Invitation to Sin.

I’ve been looking for a romance that would make a good companion to Eliza Parsons’ The Mysterious Warning for a panel I’m on this spring and @JanetNorCal, a big JoBev fan, suggested this one, since it has Gothic overtones. Beverley is a solid read for me, and this novella — once I rewrote bits of it in my head  — is no exception.

Anna Featherstone, age 16, relocates from Derbyshire with her family to a London townhome for the season, so her 19 year old sister Maria can make her debut. Anna is thrilled to discover that her new bedroom is an exact replica of the bedroom prison of her favorite heroine, Dulcinea, from the “revolting novel” Forbidden Affections by Mrs, Jamison. The elaborate bed is carved with “grinning skeletons and contorted gargoyles”, the wallpaper design includes coffins, and there are skull shaped ivory knobs on the armoire. Even better, Anna discovers a secret passage by the fireplace that takes her next door, to the home of the Earl of Carne.

It turns out the bedroom once belonged to Mrs. Jamison — really the very married Lady Delabury — who was found dead in the Earl of Carne’s bed some eight years prior. While the Earl was not in residence at the time of the death, his heir Lord Manderville was. Manderville, who eventually became the Earl of Carne, went abroad, under a cloud of suspicion, never to be seen or heard from again.

Naturally, Carne does return, and he and Anna have a midnight encounter in his library as she snoops for reading material and more information about the suicide of her favorite author. Carne, drunk and tired from his travels, mistakes Anna for a servant, and they have the kind of interaction that was not very enjoyable to read. Whenever you have a hero saying things like “I’m no rapist…” you know you’re in trouble:

He eyed her over the rim of the glass, studying her dispassionately from tousled head to naked toes. “Very Pretty. How old are you.”

“But sixteen, milord.”

“There’s no use putting on that servant’s burr again, sweetheart. Sixteen’s a good age.” He drained the glass and placed it on a table by his elbow. “Come here.”

<snip>

He raised his brows. “I could threaten to dismiss you tomorrow. Yet why do I feel that wouldn’t sway you? So, I’ll make another threat. If you don’t come here and be kissed, my sweet mysterious Maggie, I’ll come to you and do much worse. And you have my word on that, too.”

After a moment, he added, “that trembling innocence, the hands over the mouth, the eyes wide with panic, will not sway me. It’s actually quite arousing, you know.

“You’re as tasty as a rosy apple, sweetheart. I think I’ll call you Pippin.”

At that use of her father’s pet name, it was as if he were here, witness to her shame.

Luckily, Anna escapes with her virtue intact, but she does have to brain him with his own brandy glass.

Eventually the Earl figures out she’s a gentlewoman, living next door, and he contrives to get an invitation to her home (she’s not “out”, so meet-ups are not easy to arrange.).  She’s attracted to him, and he to her, although he tries to tamp it down in the interest of protecting her virtue. They develop a friendship over their mutual interest in working out the mystery of the secret passageway and Lady Delabury’s death, in which, of course, he played absolutely no part. Recognizing that Anna is too young for him, the Earl lets her go back to Derbyshire, having shared only a kiss. But in the end, he comes to her and proposes.

Anna, with her curly dark hair, round body, and ruddy looks, is contrasted sharply in the text with her willowy blond sister and mother. Anna is practical, steady, enterprising, and mature for her years, while they are vapors-prone and obsessed with fashion and society. Anna often refers critically to the heroines in her favorite novels, and her complaints are so similar to those that can be found even this week on any romance message board, that this novella almost serves as a meta text:

One of the things about the book that irritated Anna was that Dulcinea’s escape from his wicked plans was not of her own doing. Anna could think of any number of ways the silly creature could have escaped but of course Dulcinea had waited for the handsome Roland to find the secret door and rescue her.

Later, on the same subject:

[The book] is a little like Scherazade, my lord, except that Dulcinea does nothing to change her fate. She just faints and weeps.

Or how about the Earl’s mother’s critique of the novels Ann loves:

“She has often declared that they turn young ladies into weaklings, inclined to faint at the slightest thing. I will delight in telling her how wrong she is.”

I loved the plot of this book, and think it would have made an excellent novel, with an older heroine and a hero who was more fleshed out. But I could not get over the heroine’s youth. I wondered what would draw a man who had lived life to the fullest in London and then traveled for nearly a decade to such a young girl from the country. Thankfully, there were no sex scenes, but I did wonder, also, what would motivate an author in 1996 to write a 16 year old heroine and a 30 year old hero, given the obvious squick factor. Sixteen was not the usual age for betrothal, as Anna’s own family and her suitor make clear in the text.

I really enjoyed the interweaving of the “horrid novels” and the Gothic elements, but as a romance, this one didn’t work for me.

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