I recently read an article (NY Post, Lifestyle, by Jana Hocking) which tells of a situation wherein a woman knew that a man was interested in an exclusive relationship when he asked her to get tested for STDs so they could start having sex without condoms.
The condom motive is obviously self-serving; and how appallingly unromantic. But Hocking analyzed further, presenting his request as a modern man’s way of stating that he wanted to be with her only, and for her to be with him only. I guess if you think of it in this way, it might be, at a stretch, considered romantic. But really, where’s the flair/flare?
In this scenario, the woman wasn’t into it; and in fact, at the time of his request, was also seeing someone else. Her response was that they should continue to have protected sex while she continued to look around.
As a mother of boys, I observed the girls they grew up with, and I loved what I saw—young women who supported one another instead of back biting, who built each other up rather than tear each other down, who innately understood that being imperfect didn’t mean they were called to conform to someone else’s ideal. They were a take-charge generation of women, independent, self-confident in a way I never was, and comfortable competing with men in the workplace.
And being asked to take an STD so the guy doesn’t have to use a condom is what they’ve paid for being the inheritors of feminism and part of a generation so lacking in romance.
Last week I felt burdened by the literary tomes I’ve been buried in for the last year or so, and I realized it’d been a long while since I looked in on romance. I chose a book called Variation by Rebecca Yorros. This author has recently had success in the fantasy arena with her book The Fourth Wing, which was a fun adventure with dragons; and who doesn’t love dragons? But for the most part, her work is rooted in love stories and Variation received good reviews.
The formulaic romances I devoured during my Harlequin/pulp stage were built on a few traditional plots—two people consumed by their passionate love, inadvertently finding themselves wrapped in one another’s arms during every encounter, yet bizarrely hanging on to their fury over a years-old groundless grudge. Or it might be that, upon a couple’s first meeting they feel inexplicable and intense antipathy toward one another, and are vexed by their instant dislike until realizing that what they’re really feeling is mad love. Another plot might be that the woman is independent and brilliant; enter the masterful man who is compelled to tame her.
Oh, the storylines I recall—a reticent, mysterious doctor (handsome) hires a pediatric nurse (beautiful) to care for his daughter; a secretly aristocratic pirate (handsome) kidnaps a haughty heiress (beautiful); a movie star (handsome) visits his mother in his hometown, runs into his high school girlfriend (beautiful), and suspects her son is his—and it is!
The beginning of Variation hints at a standard plot—an encounter years after a life-altering and hurtful misunderstanding. However, as demonstrated in this novel, the writing and characters have altered drastically since the days of Rosemary Rogers and Jude Devereaux. The absurd and sometimes vulgar euphemisms for genitals of the seventies and eighties—“engorged manhood” and “member” for the man parts; “intimate folds” and “love canal” for the woman parts—have been replaced, not because of an attempt to introduce more appealing language, because the new vocabulary certainly hasn’t achieved that, but in a questionable quest for blunt clarity—now a penis is called a penis and a vagina is called a vagina. Finding names for body parts has probably stymied romance writers for centuries, though some of the best romances in the history of romances haven’t had a single sex scene (think Gone with the Wind). Also, in Variation, the language of love, which used to be erotic and seductive and, at times, lyrical, has become crude and unimaginative. Though it seems to be accepted these days, the word fuck was used without reservation or trepidation in this book, and it’s a word I never say or even think; and indeed, I suffered a sensibility crisis in the typing of it.
One difference between the old romances and the new, as demonstrated in Variation, is that in the romances of forty years ago, the man and woman were at odds. There was heated conflict over who was in charge, or how they felt about one another; or there was jealousy or disapproval in some form. The testosterone-charged man always conquered, and the feisty woman came away purring with satisfaction. What drivel. These days I cringe when I think of all the women-driven chauvinistic crap I bought into back then.
But in Variation, rather than passion or lust, the impediments to the characters’ happily-ever-after were based on careers and logistics. While the man is undoubtedly manly, a decorated Coast Guard swimmer; and the woman is ultrafeminine, a prima ballerina, they were both sappily concerned that their partner would have to give up his or her career in order for them to be together. In the end, they discover a unique and wondrous technique for decision-making called compromise. However, though there was some tepid back-and-forthing over how they would move forward, there was no heat, which is what happens when no heat is expected and today’s social norm for taking the next step is your partner asking you to get tested for STDs so he won’t have to use a condom.