‘Fifty Shades’ author E.L. James, shown signing autographs, has earned a fortune from her romance novels.
Few of them are getting rich off their books but the genre is making them more money than it used to.
Emma Thompson as Elinor Dashwood in the 1995 film of Sense and Sensibility: a competent moral agent drawing only on her intelligence and experience.
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This year is the bicentenary of Jane Austen's death and her celebrity continues to grow. But relegating Austen's work to plots about 'whether the heroine gets her man' belittles her achievement.
Sexuality presents us with personal and private concerns that are also very political.
Perhaps we can think of the love letter and other gestures of romantic love as forms or techniques that mediate the violence of time, dispossession and exclusion.
For all its millions of female readers, romance fiction has been dismissed as sappy, trashy and dangerous to read.
Can a gender studies academic also write Mills and Boon novels? And can purple prose be as empowering as a pink pussy hat? The answer is yes, and yes again.
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Despite the escapist nature of these romance novels, there is a considerable amount of realism contained within their pages.
Anita Heiss’ latest work presents unsettling questions for the non-aboriginal reader.
A young Aboriginal woman falls in love with an escaped Japanese POW in 1944. Anita Heiss' new book entwines romance with questions of enmity and friendship: who is fighting whom?
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A relationship expert recommends her favourite romantic fiction – and it doesn't have to be all princes and fairytales.
Crimson Peak reminds us that gothic romance is the originator of modern horror: gothic and romance are inextricably related.
How do men feel about the way they are depicted on the covers of romance novels?
Buttons open to the waist, skin gleaming with sweat, hair tousled, intriguing flashes of curves … men on the covers of classic romance novels, or “bodice rippers”, are objectified in many of the same ways…