Reading While Black

The more I read about awesome organizations like WisCon and the Carl Brandon Society, or blogs like FeministSF, and awards like the Tiptree, I wonder why the romance genre, this genre that is purported to be “for women, by women,” shies away from in-depth discussion and deconstruction of the romance novel and the society that influences it. Here we have two forums for discussion between readers and authors (RT and RWA), and instead of utilizing it to the fullest, the emphasis seems to be on how to write sex scenes (rather than how to use sex as a piece characterization), creating “yummy” heroes (instead of creating unique male leads that don’t feel like a repeat of one another from book to book), and other topics that serve to increase the formulaic texture of the romance novel.

A part of me believes that feminist critique and organizations within the sf/f genre exist because women are marginalized within that genre; the romance genre is dominated by women, there is a subconscious attitude that there is nothing to fight (that opens a whole ‘nother can of worms) and that the genre is feminist because it supposedly frees sexual shackles and gives women a safe place to explore their fantasies.

Okay, a valid assertion. However, it never ceases to amaze me that many within the genre want respect, yet the moment a conversation veers towards critical discussion, the tone heats (I call it the “hater” syndrome wherein opinions are invalidated and misconstrued as someone tearing the other down; having a personal opinion is not applicable) and ye olde arguement: “It’s just a romance novel/entertainment/fantasy, it isn’t literature.”

The latter part always shocks me. Isn’t a bound work of writing literature? And on that note, weren’t a significant portion of works we consider to be “classic literature” originally popular/pulp/penny-dreadful/written for money? Not to mention that viewing the romance genre and “classic literature” as sitting on opposite ends of the literary spectrum is an insult to one’s intelligence–and isn’t very feminist at all. It seems sort of on par with the RT convention turning into bachelorette party disguised as a romance genre meet-and-greet to lessen the stigmas placed on both female sexuality and the image of the average romance reader being a middle-aged, sexually-deprived housewife.

When people do engage in critique of the romance genre, they are accused of “ripping the romance industry a new one” [1]–also an insult to women. It implies that women are sensitive creatures who need a “positive,” “nurturing,” and “sweet” atmosphere to produce their wonderful works. This leads me to assume that many view critiquing the genre, or gasp, reviewing a book with no holds barred as somehow “masculine,” therefore unwelcome within the genre. Really doesn’t leave room for the multifaceted being that is woman (and in fact, just human), and really buys into the myth that being “opinionated” equals being like a “man.”

Because of this, I feel “women’s issues” are handled with kid gloves by the romance industry. We’ll get the occasional debate on forced seduction/rape in romance, but the discussion hardly ever evolves into the issues of rape and female sexuality, instead turning into a slugfest over defending individual “fantasies.” Don’t get me started on the topic of fetishism within the romance genre. (another “fantasy”). Certainly tastes are subjective, but discussion should not be about likes and dislikes, nor “right” vs “wrong.”One wouldn’t read a “classic” without analysis of the author, the background and the history behind the novel. Why isn’t a romance novel allotted that same respect?

Perhaps the romance genre needs to be seasoned, the way sf/f and mystery was–perhaps within twenty or so years, we’ll be ready to view the genre objectively and honestly.

But that feels like a cop-out, doesn’t it?

YouTube APIA Month Tribute: “Asians Rock: What’s Your Story?”

Asia Society YouTube Page
[Source]

ONE MAN

A Chinese monk striding down the aisle was the first shock at countess-to-be Evelyn Stanton’s wedding. To watch him dispatch three groomsmen, unarmed, and to learn that he was white and the long-lost heir to the Earldom of Warhaven, was the second. He would be her husband?

ONE MISSION

After the slaughter of his family in far-off China, Jacob Cato found sanctuary. In a Xi Lin temple he learned to be strong, but now he had a grander goal: to reclaim his English heritage and the woman he’d left behind.

ONE DESTINY

Revenge. It poisoned everything he’d learned, everything he’d done, and yet every fiber of Jacob burned for it—just as he burned for the beautiful but very English Evelyn. Long ago, the conspiracy to kill his family had stranded him, lost Jacob in the exotic East and made him unrecognizable to his countrymen…and women. He had not forgotten that past. It was to make peace that he had returned. The manner was yet to be decided.

Here are a few posts about the conference!

Slam Jam: Evening One - Seressia Glass

Write Black:
Romance Slam Jam: Celeste O. Norfleet, Lisa G. Riley
Romance Slam Jam: Swagalicious
Romance Slam Jam: Keynote Luncheon/Speech
Romance Slam Jam: Author Beverly Jenkins talks about conference
Romance Slam Jam: Day Two

Black Authors Network
Part 1
Part 2
Part 3
Part 4

OMG! Beverly Jenkins has a pirate romance in the works?! Publish now!

Hopefully, there is more to come!

A recent article in the WSJ narrarated the journalist’s experience at Duke University, one of the many campuses across America where Senator Barack Obama garners an unprecedented amount of support (70% to Senator Clinton’s 30%) that crosses the lines of color, gender and class. “But after classes — and after the occasional Obama rally — most black and white students on college campuses go their separate ways, living in separate dormitories, joining separate fraternities and sororities and attending separate parties.”

Voting for Obama is an easier choice, a student interviewed said:

“When you’re actually trying to change your behavior, you are putting more on the line compared to voting in the privacy of the booth,” he says. “There are millions and millions of people voting for Obama. In no way are you sticking your neck out.”

I was struck by this article because it rather reminds me of the clash that occurs when the topic of racism and segregation in the publishing industry–the romance genre in particular–is raised. Everyone is whipped in a lather, and the trite phrases: “I don’t see color,” “I have friends/lovers/relatives of all different races,” or the doozy: “I just want a good book” are trotted out, despite evidence to the contrary. For a brief moment in the discussion, everyone is on the same page, patting their backs over having raised awareness of the situation and for their perceived tolerance and love for diversity.

Then along comes the “I shouldn’t be forced to read black romance novels” battle-cry, which signifies righteous anger against attempts to make one feel “guilty” (definition: “Responsible for a dishonest act“). The tide turns and suddenly, the participants trot out any variation of the “Author X writes minority characters and is successful” argument. As though ugh, it is your fault you’re not as successful as Author X, stop trying to pin the “blame” on me. The conversation generally dissipates by then, hackles raised and nostrils flaring, the haves pitting on the side against the have-nots. Then it withers away and a lot of folks feel the last sentiment is justified and go back to ignoring the issue.

And this has happened um…how many times? With the same non-result? Yeah…insanity (definition: “extreme folly; senselessness; foolhardiness.”).

The romance genre closes ranks when outsiders sneer at it and it is ignored by the mainstream, yet within, a group is marginalized and ignored. [x]

And dare I even go as far to wonder why sexuality trumps race within the genre? Very interesting how readers and writers will fight tooth and nail against anything regarding non-vanilla types of sexuality as abhorrent, yet crickets chirp when the lack of color (and even non-WASPs)–and no, those fetishized and offensive “savage Indian” romances, billionaire shiekhs, and Greek tycoons don’t count–is questioned. Or a more realistic scenario: no one even questions the “whiteness” of the genre.

I can go to bat with the best of them. If you were a frequent visitor to AAR, you’d see that 99% of my 500+ posts are just about books and reading, so I can never be accused of failing to put my “race” aside to discuss my enjoyment of the romance genre. But I do however, feel obligated to be conscientious about the dynamics that are in play within this stratified society.

One can say that the online romance community makes up a small percentage of the general romance reading public and has no effect on buzz, but the presence of a review quote from Dear Author (a site but two years old!) on the cover of Meljean Brook’s upcoming novel tells otherwise. If this online community possesses readers who delve deeper than sighing over cover models and gobbling romances indiscriminately, readers who are on the cutting-edge of the genre, why is this issue, a powerful issue, deemed out of our hands?