![]() ![]() Yet problematic tropes remain in the genre. And, as is par for the course in most romance novels, these women seek out sexual pleasure and they enjoy sex. ![]() They negotiate long-term committed relationships with men who treat them as equals. These authors, Horne says, "take feminist ideas that were once novel, provocative, on the very edge of inconceivable for granted, as givens." In Alice Clayton's Wallbanger and Lauren Dane's Lush, both heroines are adamant that their careers not suffer in order to make a relationship work. Horne, a writer, independent scholar, and author of the site Romance Novels for Feminists, says that the women who now write romance novels grew up enjoying the benefits of the feminist movement. Despite a major shift in the genre in the late 1980s and early 1990s that saw the near-disappearance of rape and the emergence of much stronger, more modern heroines, the idea remains that feminists and romance readers exist on opposite ends of the spectrum. As feminists were fighting patriarchy, romance novels were propping it up. The rapist-turned-true-love hero was a standard character.īodice-rippers and their contemporary counterparts were popular during the 1970s, occupying the same cultural space as the feminist movement but seeming to represent its polar opposite. ![]() "Bodice-rippers," the most famous term associated with the romance genre are, according to the book Beyond Heaving Bosoms: ""typically set in the past, and the hero is a great deal older, more brutal, and more rapetastic than the heroine." The heroines were young, virginal women whose purity was of paramount importance to their worth. In A Lady Awakened, the heroine uses the hero for sex (Bantam) ![]()
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