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Who said romance was dead?
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The Vineyards of Calanetti. Their specificity is astonishing - one series, Medical Romance, is peopled entirely with hunky doctors and pretty nurses, while Modern Romance is filled with an alternating catalogue of Greeks, Italians and Arab sheikhs. Nocturne, launching later this year, will focus on the improbably narrow niche of paranormal passions. Read one you enjoy and the colour of jacket will guide you to the others in the same series, sharing enough elements that you will never be disappointed. It is this repetition of both plot and characters that inspires criticism, but it is also what keeps readers reaching for the shelves or, in the case of subscribers, the letterbox.
Committed readers receive up to 70 books a month by post and such is their faith in the consistency of the brand that they simply take what's new rather than selecting individual titles. Fans have learnt that they can depend on them completely for the security of a happy ending. As one subscriber from Fort Worth, Texas, explained: You know everything will be all right and the man is not a swine.
This is the awesome power of the romance novel and the reason why the relentless attacks of literary snobs on both the prose and the frequent use of cliche is redundant. No one believes they're great literature, nor do they need to be. They're cherished for their simplicity. Sometimes, all we want is a break from wondering what's going to happen next. And in any case, the problems that I give the characters are familiar ones that can't be solved with money or power. In that sense, it's the same issues your plumber could have with his missus, but in a glamorous setting.
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Walker has been applying this formula since and in that time has sold more than 12 million copies of her books in 67 different countries. There are very few publishers that have such a strong female history. Even the heroines have traditionally been working women, not housewives.
Yes, it was a company started by men, but the women have sustained it'. Just as, in turn, it has sustained the women. As a company in which women have always been so important, strong and professional, there isn't one to match it. But feminist critics have long attacked the books, citing retrogressive plots, passive women and the reinforcement of the dominant male.
Yes, the men are strong, but my heroines give as good as they get. While the heroines have evolved since the early days, the heroes remain much as they were a century ago. Even later, when other aspects are influenced by feminism and the shifting attitudes outside the novel,' observes Joanna Bowring, 'the men are masterful and stern. This was expressed rather less subtly by Violet Winspear, a popular writer who caused a furore in when she declared that her male characters 'must frighten and fascinate.