A Natural History of the Romance Novel

Pamela Regis argues that such critical studies fail to take into consideration the personal choice of readers, offer any true definition of the romance novel, or discuss the nature and scope of the genre. Presenting the counterclaim that the romance novel does not enslave women but, on the contrary, is about celebrating freedom and joy, Regis offers a definition that provides critics with an expanded vocabulary for discussing a genre that is both classic and contemporary, sexy and entertaining.

Taking the stance that the popular romance novel is a work of literature with a brilliant pedigree, Regis asserts that it is also a very old, stable form. She traces the literary history of the romance novel from canonical works such as Richardson's Pamela through Austen's Pride and Prejudice, Brontë's Jane Eyre, and E. M. Hull's The Sheik, and then turns to more contemporary works such as the novels of Georgette Heyer, Mary Stewart, Janet Dailey, Jayne Ann Krentz, and Nora Roberts.

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2 of 3 people found the following review helpful:

Circular reasoning, 2007-12-10
Pamela Regis' book, A Natural History of the Romance Novel, is a remarkable example of circular reasoning in literary analysis. She sets up a very specific definition of the concept "romance novel" -- namely "a work of prose fiction that tells the story of the courtship and betrothal of one or more heroines."

In Chapter 4, The Definition Expanded, she then narrows this definition by defining eight aspects which she perceives as necessary to the form: Society Defined, The Meeting, The Barrier, The Attraction, The Declaration, Point of Ritual Death, The Recognition, and The Betrothal.

It should be noted that in this context, she presumes that the "betrothal" will occur between the hero and heroine, thus eliminating from the "romance novel" category an immensely popular work such as Anthony Hope's 1895 The Prisoner of Zenda, which followed the trope of love between hero and heroine sacrificed to the more imperative needs of honor and duty.

Given these tight limits on what the author is willing to consider to be a "romance novel," she focuses on tracing the form from Joseph Richardson's 18th century epistolary blockbuster, Pamela, through Jane Austen, Charlotte Bronte, and other selected 19th century authors, picking up Georgette Heyer in the first half of the 20th century, and continuing through Janet Dailey, Jayne Ann Krentz, and Nora Roberts.

From the perspective of the historian rather than the literary critic, the major deficiency of the book lies in its lack of attention to authors who, in their own time, were blockbuster bestsellers. While she explains why Daphne du Maurier's Rebecca and Margaret Mitchell's Gone with the Wind do not meet the criteria she has adopted for being "romance novels" (Chapter 5, The Genre's Limits), she still ignores completely quite a number of writers who were, in their own day, multi-title blockbusters in the romance field, such as George Barr McCutcheon, although devoting a full chapter to his contemporary E.M. Forster's 1908 A Room with a view.

A better title than "Natural History" of the romance novel would have been "Literary Analysis" of the romance novel.


1 of 4 people found the following review helpful:

It didn't add much...., 2007-06-04
As a long-time fan of this genre, I expected more from this book. However, it was too academic, spent too long on only a few authors and didn't add anything to my understanding. The author spent quite a bit of time reviewing plot details and I admit that I enjoyed her analysis of Nora Roberts and Jayne Krentz books that I had read, but there was too much detail and repetition.
There must be better books out there....and I'd love to read any suggestions.


6 of 8 people found the following review helpful:

No pride, no prejudice, 2003-09-19
A landmark. Professor Regis has finished the job Jane Tompkins began with _Sensational Designs_ and Janice Radway continued in _Reading the Romance_. Couldn't be an easier read, balanced but sympathetic, and interesting even if you haven't read the book she's discussing. Not the last word by any means, but there'll be no getting the genie back into the bottle now.

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