With the people she loves in danger, can Meredith survive her affliction and finally make her eternal choice between a vampire and a werewolf?
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Cursed to Love is a standalone paranormal romance novel and a spinoff from the sensual One Night of Love series. Lainie would do anything for a few more days with her dying husband. With his will to live fading fast, she knows only a miracle baby could pull him back from the edge of the grave. Desperate to conceive, she shares a night of passion with a rugged stranger whose skills under the sheets border on the supernatural… in more ways than she could ever imagine. As the alpha of his pack, Luke Wolfson could have his pick of the litter.
Before the due date arrives, can Lainie and Luke hold fast to each other and embrace the transformational changes that threaten to tear both their worlds apart? One Night of Love is the first book in a pulse-pounding paranormal romance series. Buy One Night of Love to turn up the heat with a case of full moon fever tonight! The Horse List. She wants a partner for a sensual journey. He wants a wife.
Will a naughty list of wishes give them both what they want? As her ex-husband stalks her, Ava Black counts the days until she moves to her hometown. But, she must complete her secret list of desires before she leaves town or she may never have another opportunity. The Horse List is the first book in the suspense-filled, erotic romance series. Buy The Horse List and start a new sexy as sin adventure today. She needs protection.
He needs to keep her safe. Together, can they find a second chance at love? Torn between a loving promise to cowboy Brady Ross and the desire to reconnect with billionaire Eric North, Ava Black resurrects a new version of her wish list. But Brady might not be available for all the adventures on her list, and she might not be ready to face the solution to her problems. The Horse List Challenge is book 2 in the suspense-filled erotic romance series. Said argues that since the advent of the Arab-Israeli wars and the oil crises of the s, the figure of the demonized Arab has become pervasive in American popular culture:.
In the films and television the Arab is associated either with lechery or bloodthirsty dishonesty. He appears as an oversexed degenerate, capable, it is true, of cleverly devious intrigues, but essentially sadistic, treacherous, low. Slave trader, camel driver, moneychanger, colorful scoundrel: these are some traditional Arab roles in the cinema.
Copious works have been produced enumerating the negative stereotypes of Arabs in American songs, jokes, fiction, television programs, political cartoons, comics, and movies. Of course, as Melani McAlister points out, such representations were never static, nor did they serve the same political, economic, or cultural functions in America over the course of the twentieth century.
Extant discussions of negative stereotypes almost always omit the valorization of Middle Eastern Muslim cultures by black American men who identified with Islam as an alternative way of carving out a cultural identity and political position for themselves, particularly within mid-twentieth-century American society. Nevertheless, as many scholars have shown, the sheer weight of negative representations of Arabs in American popular culture is undeniable and serves as a cultural warehouse from which stock images and narratives can be wheeled out to explain international events or to justify foreign and domestic policies.
In this respect, the modern, female-authored, sheik romance subgenre provides an interesting contrast. These novels certainly rehash classic Orientalist discourses, but not necessarily with the aim of differentiating, distancing, and denigrating the Arab or Muslim other in modern Western society. Because of the formal plot demands of the genre of romance fiction, cultural commonality and shared human interests and emotions are often emphasized instead of ineluctable difference.
In many cases, the strength and stability of the Oriental family is celebrated and contrasted favorably against the high divorce rates in the West, or the dysfunctional families that conservative authors fear have come to both characterize and destabilize the nation. Quite often, interracial, interreligious, cross-cultural unions between white women and Arab men represent a healing of the family and society, as well as a wistful, nostalgic return to a more idyllic, ordered national utopia that accommodates both women and ethnic others.
This is not to say that these novels are free of Orientalist stereotypes, of course. Certainly, the sheik is often initially portrayed as harsh and unenlightened in his view of gender relations, and with a tendency toward authoritarian behavior. Yet the Middle Eastern potentate is not completely demonized or beyond redemption by a good, liberated, liberal Western woman.
Within their plots, contemporary sheik romances seek to rescue the Middle East from the effects of social and technological backwardness and ignorance, particularly where the treatment of women is concerned. But they also seek to normalize depictions of Middle Eastern people to a certain extent, to celebrate the strength and vitality of Oriental family life and cultural traditions, and to renew social bonds between the East and West by incorporating ethnic difference and ethnic culture into contemporary Western societies.
Especially during the era of the American war on terror, this is by no means insignificant. My methodological approach in Desert Passions is that of a feminist cultural historian engaging primarily with three ongoing scholarly conversations: the first involves Orientalism and Western culture; the second, Western women and imperialism; and the third, the new wave of scholarship in romance fiction. In the three decades since the publication of Orientalism, numerous works have appeared exploring the production of Orientalist discourse in art, literature, and travel.
This book is located within such historically specific revisions of Orientalism and Western culture. One of the ways in which I extend the study of Orientalism is by considering how women produced such discourses in popular culture. Many of these analyses conclude with the end of the nineteenth or the early twentieth century, often using the First World War as the end point of their studies.
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In the twentieth and twenty-first centuries, however, Orientalist ideas have been conveyed most pervasively and effectively through popular culture. In this book, I not only situate popular Orientalist romance novels within their historical contexts and draw out the connections to relevant imperial and geopolitical circumstances; I also provide a cultural history of the development of Orientalist motifs in Western literature from the twelfth century to the present day, examining what these motifs meant to different societies at different times, and how they function in contemporary popular culture.
The fundamental question I ask, in other words, is: What purpose did different components of Orientalist discourse serve for different audiences? For example, narratives of abduction and sexual slavery in the harem had very different meanings in the sixteenth to the early eighteenth century, when Ottoman power was formidable and such occurrences were a reality, than in the late eighteenth to the early twentieth century, when British and French global power ascended to their imperial zenith, and the late twentieth and twenty-first centuries, when such narratives can be read as postmodern pastiches of colonial fantasies in an age of American global power and intervention in the Middle East.
In the United States, a growing body of work—much of it affiliated with the American-Arab Anti-Discrimination Committee—has examined the perpetuation of Orientalist discourse in popular culture through analyses of negative images of Arabs and Muslims particularly after the Second World War. This is what I seek to redress in Desert Passions through a study of the female-authored Orientalist romance novel. European women in the colonies helped produce bourgeois racial, imperial, and European identities through the careful policing of sexual desire to ensure the legitimacy of offspring.
They enforced a rigid code of middle-class maternal behavior as well as the racialized ordering of the domestic sphere.
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Yet such contemporary stories still bear the vestiges of earlier Western colonial discourse. I build on and engage with Susan L. The turn of the twenty-first century has seen the rise of a new wave of critical scholarship on romance fiction, driven largely by Eric Murphy Selinger and Sarah S. The first wave of romance scholarship began with feminist and socialist criticism in the s and early s and was initiated by denunciatory critiques of the genre by feminists such as Germaine Greer, Ann Douglas, and Kay Mussell.
This early scholarship thus expressed feminist anxieties about the ideological indoctrination of female readers through the supposedly backward images of women presented, and about the perpetuation of patriarchy and capitalism.
The debates revolved around whether romance novels were essentially liberating or oppressive for women. Carol Thurston comes down on the side of liberation, while Tania Modleski, Jan Cohn and Bridget Fowler support arguments that romance novels perpetuate the patriarchal, capitalist oppression of women. Meanwhile, one of the most noted scholars in this debate, Janice Radway, equivocates, but inclines toward the latter position.
Their attention to subtexts of power , in particular, has proved useful both for scholars and for romance authors. The issue did not circulate widely enough to displace those early, foundational studies. Other studies analyze subgenres and intergeneric trends in romance fiction, translations of romance novels, and the representations of different types of sexualities, among many other thematic and interdisciplinary approaches.
They explore historical change and pay attention to individual authors rather than assume the ahistorical and interchangeable nature of romance novels. In Desert Passions , I build on this body of work, but I do not approach romance fiction from a framework of literary theory; rather, mine is a historical contextualization and reading of Orientalist interracial love stories that crosses genres and media and examines how the romance novel exists in dialogical relationship with other historical and contemporary texts.
Treating Desert Passions as a historical work inevitably limits my engagement with the first wave of feminist scholarship on romance fiction. The romance readers of Smithton use their books to erect a barrier between themselves and their families in order to declare themselves temporarily off-limits to those who would mine them for emotional support and material care. I try to make a case for seeing romance reading as a form of individual resistance to a situation predicated on the assumption that it is women alone who are responsible for the care and emotional nurturance of others.
Romance reading creates a feeling of hope, provides emotional sustenance, and produces a fully visceral sense of well-being. Although Radway professes a respect for romance readers, such an argument reiterates a position that has been well-rehearsed since Q. Desert Passions does not engage with psychological or psychoanalytic readings of disparate women, nor does it prescribe what these female writers and readers should or should not do to usher in a utopia for women. I am neither interested in condemning nor defending romance novels and romance readers.
I simply approach my subject as a fascinating historical and cultural phenomenon, and with a feminist respect for the women who write and read these works. These contingencies change the perception as well as the practice of romance reading for different women, as is evident in blog postings, reader reviews of the novels from the Amazon.
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Because of its status and visibility, Reading the Romance has attracted significant critiques in the years since its publication. These interviews were supplemented by forty-two questionnaires completed by customers of the same bookseller. In any case, as most avid readers know, reading is a highly promiscuous affair: readers are rarely faithful to purely one genre of literature.
Moreover, it is obvious from the epigraphs found at the start of many romance novels that there is not only a familiarity with—or even veneration for—the traditional Western canon on the part of romance novelists, but the boundary between romance literature and the canon is frequently breached through the borrowing of plots, motifs, conventions, and characters. Nessun cover.