As a reader of romance novels that also enjoys reading more heady non-fiction, I’ve find myself piqued when thinking about the prolific subgenre of m/m romance novels. For the non-romance reader, m/m indicates am umbrella heading of homosexual romance, of which there are even further subgenres. What I find fascinating about this subgenre is that both its readers and writers are predominantly female. Yes, there are male m/m writers and readers but by and large, like the romance genre in general, the m/m subgenre is dominated by women.
At first glance, it might seem odd. Why would women actively seek out romance novels in which they as a gender play a limited role? There is one lone scholarly article written on the topic which seeks to look at this phenomena. While the author makes a slew of excellent points, I feel they fell slightly short. To expand the conclusions the author of that article drew, I believe the answer lies in trauma.
Women comprise half of our species, but still manage to be a marginalized populations. We are victims of sexual violence, economic inequity, and misogyny. Our bodies are unwillingly sexualized from a young age, and we learn to be on our guard against predators before we even become adults. We find ourselves subject to elusive standards of beauty of which many of us have little hope of living up to. We have been stereotyped, objectified and pitted against each other for centuries.
How relieving then, is it to read a romance novel in which all of those issues have been removed for the reader themselves?
By saying this, I am not trying to excuse the very real objectification of gay men that may happen in this subgenre. Like the heterosexual male consumption of “lesbian” pornography, there is an essential difference between the reality of life as an LGBTQ+ person and a fictional representation marketed for consumption by those not of that community. It is not my purpose here to explore that difference, because the production of such material will continue regardless of the ethical ambiguity. I believe that it is more fruitful to explore what lies behind this phenomena so that we can be more mindful of why the fantasy exists, and thus be more ethical consumers that insist on products that support accurate representation of that community, even if the material is generated by those outside of it.
For a woman reading a m/m romance, they are able to read romantic fiction in which they are not asked to identify with either of the main characters. They don’t have to face their own physicality or sexuality. If they have difficulties with other women, it’s a non-issue. Any trauma that has been perpetrated on our female body doesn’t have to be directly relived, and instead is visited by proxy in a fictional male body that is other from our own. By exploring the taboos that linger regarding homosexuality in European-derived societies, women can indirectly begin to investigate the taboos that exist upon female sexuality.
I think that it would be fascinating to create a study in which female readers of romance, especially m/m romance, were surveyed regarding their experience with sexual trauma. I have nothing beyond speculation to back me up at this point, but I wouldn’t be surprised if those who make a habit out of reading the genre had a history of sexual violence in their past. The m/m subgenre, which in contrast with more mainstream romances, often includes a plot that includes trauma. Even if the specifics are not comparable to a woman’s life experience, she may enjoy the resolution of trauma that is encapsulated in the romance genre by virtue of the necessary Happily Ever After, and thus ritually experience a proxy resolution of her own.
This is a quick and dirty examination of this topic, and by no means delves as deep as I believe this strange phenomena goes. Romance as a genre of literature itself deserves a strong presence investigating it within academia, though due to the stereotyping and misogyny that exists surrounding it, it is unlikely to get. Nevertheless, readers of romance should continue to advocate for this genre, and to explore the myriad of intellectual material that it presents. It is the feminine shadow side to literature, and as all shadows, is worthy of exploration and study.