By Victoria Connelly
Compliment FOR VICTORIA CONNELLY: "Witty and unique. " -The Romantic Novelists' organization
Of direction she's captivated with Jane Austen...
Surrounded by way of appalling exes and fawning scholars, the one factor retaining professor Katherine Roberts sane is Jane Austen and her own mystery love for racy Regency romance novels. She thinks the Jane Austen Addicts convention within the English geographical region is the appropriate chance to flee her chaotic existence and at last relax...
But then she encounters a devilishly good-looking guy on the convention who turns out made up our minds to comb her off her ft. Is he extra fiction than truth? Or may he be the hero she didn't understand she used to be searching for? (20110613)
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Extra info for A Weekend with Mr. Darcy
She is experiencing herself as hero, and as heroine, completely within her own personality. If a hero or heroine does something the reader would not do, she will reject it. If she likes the character enough, she will pretend it didn't happen and go on; if she doesn't, across the room the book flies. " But regarding the heroine there is still, and always, that element of not-me, of her, of otherness. There is paradox involved in the placeholding component of the heroine. The reader is female in reality; therefore, it requires a greater stretch, a maximum submersion and letting go of self, to be another woman: the fundamental identity of gender means that a reader prefers not to surrender too much of her own individuality to this character but to remain judiciously objective.
The reader is female in reality; therefore, it requires a greater stretch, a maximum submersion and letting go of self, to be another woman: the fundamental identity of gender means that a reader prefers not to surrender too much of her own individuality to this character but to remain judiciously objective. I suspect it is this sensation that Modleski is labeling "hysteria," "hypocrisy," "schizophrenia," and "bad faith" in her description of the romance reader's experience of what I would call placeholding, a phenomenon that seems to me to be the exact opposite: a healthy maintenance of separate self-identity while reading fiction.
She determines ways to extract herself from the disasters—both physical and emotional—that threaten her. How does she accomplish this? By casting away her fears, facing her demons, and taking the actions that initiate her into her own considerable power. The most formidable of her demons is, of course, the hero. He is also the demon of many commentators who attempt to defend the romance novel. If romances are really about female empowerment rather than masculine domination, why do so many of them continue to regale their readers with so much blatant, undifferentiated machismo?
A Weekend with Mr. Darcy by Victoria Connelly