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• W292204732 abstract "Many years ago, when I was still in graduate school, I had an argument with a fellow graduate student, an African American woman, who said that she wanted to start a series for black novels, in the manner of the Harlequin series. She said she thought she'd make lots of money because black people were hungry for romance. I told her that she would be making a big mistake: the genre, I told her, was an essentially white form, based on the European chivalric tradition: the leading man as a sort of knight, a powerful person who woos and wins his lady, a virginal or naive younger woman. I had the childhood memory of my older sister and her friend attempting to write a Caribbean version of a Mills & Boon-the British equivalent of the Harlequin-and dissolving into giggles at descriptions of the hero and heroine, their Afros commingling in the moonlight (it was the 1970s after all). There it was: black people weren't a romantic subject. The categories of the Leading Man and the Lady were defined by categories associated with European ideals of manliness and womanliness. The genre wasn't ours. So: fast forward to the present, when African American-oriented series such as Arabesque and the Caribbean Caresses series, marketed by Mills & Boon, are doing a robust business among African American and Caribbean women. Obviously, I was right: the genre is not black! Not only these novels, but black romantic films, romantic comedies, in particular, are turning out to be our preferred mode of cinema, to judge from the overwhelming number churned out both on the big screen and straight-to-video releases exhaustively aired on the Black Stars cable channel. Far from rejecting the genre, it seems that African Americans have an insatiable desire for the romance. And given the huge popularity of African American literature and popular film in the Caribbean, this appears to be true for the Afro-Caribbean community as well. In this essay I seek to account for the rise of the black and its appeal beyond the obvious appeal of escapism and eroticism. The genre of the romance, as well as the trope of the romance, is my focus here, because romantic, erotic love has been fraught with social implications for black literature of almost every kind, from serious antiracism novels to frothy Hollywood screenplays, from femaleauthored fiction to male. Moreover, a number of early Caribbean romances turn out to have been authored by black men, further complicating our view of who writes, and who reads, the black romance. My use of romance here is in its broadest possible meaning. I do not mean to conflate obviously different contexts, such as the dramatic novel (that only uses the romantic subplot to further the larger plot) with the more classic genre, for instance; or nineteenth-century novels with twenty-first-century mass-market productions; or African American historical contexts with Caribbean ones. But I do mean to bring them into productive conversation with each other by suggesting that the comparisons can be as relevant as the differences when it comes to the question of the representation of the erotic and the romantic in black diaspora fiction. First, the black romance, in and of itself, is not new. As I discuss later, the genre is among the earliest forms of fiction in both African American and Caribbean literature. Further, over a decade ago African American feminist scholars Claudia Tate and Ann duCille broke new ground when they attempted to rehabilitate the African American by arguing for its political relevance and relationship to the supposedly more authentic fiction that critics focused on as the progenitors of modern African American literature. In Domestic Allegories of Political Desire, Tate makes the crucial point that the social ambition evinced in the nineteenth-century domestic, female-oriented novels was really a form of political desire. …" @default.
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• W292204732 date "2007-04-01" @default.
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• W292204732 title "The Black Romance" @default.
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