Paranormal romance is a world in which human women and girls are entranced and overcome by the charms of supernatural, inhuman men. Vampires, werewolves, faeries, demons, and others populate the romantic field for the women of these novels, and seldom does it flow the other way with a human man and a supernatural woman.
The story of a supernatural woman romancing mortal men, as told by male writers portraying women as the other is a venerable and often retold one. But the idea that a woman is othered by men, that she is some sort of strange and unknowable creature tells women that men must be so very different from them, and therefore as hard for them to understand. Therefore, since the beginning of women's writings, women have portrayed men as the strange unknowable.
But is this the only reason the female protagonist of a paranormal romance rarely begins as a supernatural creature? Romance writers presumably expect women and girl readers to identify with the female protagonist, so it must be her male love interest (m/m and f/f romance having different dynamics all together) who is inhuman and serves to introduce her into the magical world he inhabits, a world the reader gets to visit until the story is over, so it's very useful to have an othered male.
One of the largest subsets of paranormal romance is Young Adult or Teen paranormal romance, where entering a supernatural world serves as an obvious metaphor for the first steps into the dating world. Dating is so confusing, so overwhelming, that most of us on some level wish we had a guide. Along with introducing her to the supernatural world, the supernatural boyfriend in a paranormal romance serves as that guide, taking away insecurity, potential pain, and the fear of making a mistake. The fact that if he is a vampire, faerie, demon, angel, etc. he is likely to be much much much older than the heroine (though still appealingly young and sexy) makes for a fairly dubious cultural narrative of an older man who guides and protects a young girl.
It has been discussed elsewhere that fathers and father figures in paranormal romances and urban fantasies tend to be very very good fathers, and mothers are in some way either neglectful or monstrous. The only woman a heroine can rely on is herself. How does this play into the idea of the othered male? Is the genre also othering women from it's female readers, proclaiming them each exceptional women, far above other women, and therefore worthy of their own magical boyfriend?
Written for
bittercon the online convention for those of us who can't make it to any other kind, on a topic stolen from a panel at the 2011 Readercon.
The story of a supernatural woman romancing mortal men, as told by male writers portraying women as the other is a venerable and often retold one. But the idea that a woman is othered by men, that she is some sort of strange and unknowable creature tells women that men must be so very different from them, and therefore as hard for them to understand. Therefore, since the beginning of women's writings, women have portrayed men as the strange unknowable.
But is this the only reason the female protagonist of a paranormal romance rarely begins as a supernatural creature? Romance writers presumably expect women and girl readers to identify with the female protagonist, so it must be her male love interest (m/m and f/f romance having different dynamics all together) who is inhuman and serves to introduce her into the magical world he inhabits, a world the reader gets to visit until the story is over, so it's very useful to have an othered male.
One of the largest subsets of paranormal romance is Young Adult or Teen paranormal romance, where entering a supernatural world serves as an obvious metaphor for the first steps into the dating world. Dating is so confusing, so overwhelming, that most of us on some level wish we had a guide. Along with introducing her to the supernatural world, the supernatural boyfriend in a paranormal romance serves as that guide, taking away insecurity, potential pain, and the fear of making a mistake. The fact that if he is a vampire, faerie, demon, angel, etc. he is likely to be much much much older than the heroine (though still appealingly young and sexy) makes for a fairly dubious cultural narrative of an older man who guides and protects a young girl.
It has been discussed elsewhere that fathers and father figures in paranormal romances and urban fantasies tend to be very very good fathers, and mothers are in some way either neglectful or monstrous. The only woman a heroine can rely on is herself. How does this play into the idea of the othered male? Is the genre also othering women from it's female readers, proclaiming them each exceptional women, far above other women, and therefore worthy of their own magical boyfriend?
Written for
no subject
Date: 2011-07-21 01:05 pm (UTC)There's an unhealthy meme that hasn't left real life, which is that no woman has ever succeeded without a male mentor - however far she gets, she only gets there by the grace of a man (and with the unspoken threat that if she gets too uppity, he can take her powers away again.)
The mentors in these stories always seem to want to bind the young women to them - teaching her to find her wings and her own path in life doesn't appear to be an option.
no subject
Date: 2011-07-21 02:18 pm (UTC)This I think is also the reason that fathers and father figures in these stories are portrayed so favorably compared to mothers. A mother who guides a child partway and refuses to allow them independence is manipulative and repulsive. A father who does the same thing is in the right. We also have this cultural emphasis more generally on a woman character's father. Ziva's father in NCIS trained her from birth to be an assassan, and when she escapes his grasp, she does it by leaping into the arms of the show's daddy, Gibbs, Tiana from Disney's The Princess and the Frog is following her dead father's dream of owning a restaurant, my beloved Babs is Commissioner Gordan's daughter... It's ridiculously common across multiple mediums. And it's toxic.