The other day while idly browsing the ever-changing array of titles on ‘special’ at Kobo, I happened across Laura Kinsale’s Flowers from the Storm for only $1.99. Not long ago, the same thing happened with Loretta Chase’s Lord of Scoundrels. What serendipity — two of my favorite romances! The alacrity with which I snapped up both titles (hooray – no more waiting for library copies) was a reminder of how much has changed for me since my first forays into reading romance.
I’ve written here before about my early adventures in reading romance novels. One thing I’ve learned since that first post is how annoying such pieces about “discovering” that romance fiction is not trash are to long-time romance readers, and fair enough: what other genre, after all, prompts confessional conversion narratives of this kind, as if elaborate excuses and self-justifications are needed for enjoying them? Of course, there is something unique about the disdain in which romance fiction is held, as my own experience since then has frequently reminded me, but I get, now, why this oft-told tale gets old — and it’s not (or not exactly) what I wanted to write about this time. Instead, I want to have a go at answering the more specific question Jackie Horne (of the blog Romance Novels for Feminists) asked in a comment on my review of Mary Balogh’s Only Beloved. “I remember reading your initial rather negative thoughts on LORD OF SCOUNDRELS,” she wrote; “what made you change your mind about it?”
I suppose the answer is a subset of the larger “learning to love romance” narrative, but I’ve been thinking that it’s also about reading more generally. I often remark in my classes that we need to learn how to read particular kinds of texts well, whether they are Shakespearean sonnets or Victorian multiplot novels. Whether we manage to do so depends on both our willingness (something the coercive aspects of literature classes takes care of, more or less, but which outside of that context is usually up to us) and on our ability — on our access to information about and models of better reading, including the conventions and tropes and forms that provide the internal logic and the governing standards for the genre. Our success also depends on the expectations we bring with us, and whether we can revise or even discard them if we realize they don’t fit the reading at hand. And it also depends on our motivation: sometimes it just won’t seem worth it, and really, most of the time there’s nothing wrong with that.
I have read some things badly that I know I could learn to read better — Ford Madox Ford’s The Good Soldier, for instance, or more recently, To the Lighthouse. One of these I don’t expect to try again, though I might surprise myself; the other I hope to grow into. There are some books I haven’t even tried because I imagine (wrongly, perhaps) that I would be unable to read them well without a lot of support — Joyce’s Ulysses, for instance. There are whole genres I haven’t learned to read yet: science fiction, for example, which I would like to read some day, and horror, which I am entirely unmotivated to explore. These are just personal decisions, not absolute judgments of any kind; they are based on my own inclinations, taste, and priorities. It’s not always up to me, and when I have to figure out how to read something well, for professional or reviewing purposes, I pretty much buckle down and get it done — or at least I figure out a way to read it that makes sense to me.
For me, romance is an interesting in-between case. I had no external obligation to get anywhere with it. But my curiosity was roused by following discussions about it among other readers who clearly enjoyed it and found interesting things to say about it. I think what stood out the most is how often they talked about reading romance in terms of pleasure — which is not to say the conversations didn’t get critical, or didn’t address complicated topics. But it seemed like for a lot of people reading romance (and talking about it together) was really fun, and that was enticing. Given that my early experiments in the genre were not very successful, I might not have tried again, FOMO notwithstanding, if it weren’t for those other readers both challenging and encouraging me — and finding, before I’d soured on the project, some romances that were easy for me to like. That line crossed, I pretty rapidly got better at reading in the genre. This is not to say I have any special insights about it: just that I have acquired a reasonable working awareness of important conventions and styles. Because I’ve also now done some reading about romance, and have followed and even contributed to a lot of informal and formal discussions about it, I also have a decent, if still somewhat superficial, understanding of the history of and cross-currents within the genre. I don’t like every romance novel I try any more than I like every mystery novel I pick up, but in both cases I feel equipped to read them, if that makes sense.
Getting back to Lord of Scoundrels, the problem I had with it at first is that I thought it was ridiculous: melodramatic, overwritten, heavy-handed. I still think it is some of these things, some of the time — but I experience them quite differently: as playful, as tongue-in-cheek, as intertextual, as sexy. Now I enjoy the novel’s wit in a way I couldn’t before, because then I was too distracted by my initial negative reactions; now I appreciate its strong-minded heroine, not just on her own merits but because I have met more of her literary sisters. I can’t remember exactly the sequence that brought me back to Lord of Scoundrels in a more receptive frame of mind: my 2012 progress report notes that “I have yet to read a ‘historical’ that I really like” and mentions Heyer’s Sylvester in particular as a failure — and Sylvester, too, is now a favorite, though not nearly as much as Venetia or Devil’s Cub. (Jessica and Mary Challoner would get along just fine: they could compare notes on the beneficial effects of shooting alpha males in the shoulder — a link between the novels that I’m sure Chase makes quite deliberately.)
It turns out that my answer to Jackie’s question can’t be very specific after all. All I know for sure is that once I mocked Lord of Scoundrels, while now I thoroughly enjoy it. Somehow, in the intervening years, I learned how to read it…and next term I hope to teach 90 first-year students how to read it (and enjoy it) too!