Laura's Blog

I'm too busy repeating "it was written in 1953" from between gritted teeth to write anything very insightful about Margaret Malcolm's Cherish This Wayward Heart but here's the blurb, from a 1983 Harlequin reprint:

All her life Judith had tried to make up for not being the son her father had wanted. She was determined to be as good as any man.

Now, with her father's death, Windygates Farm was hers. And right from the start she resented the new estate manager, Charles Saxilby.

But, in the ensuing battle of wills between them, Charles taught Judith to be a woman!

Obviously, this heroine is doomed to fail: there is no way she can run a farm as well as a man could because

Men and women were different. Had and ought to have a different outlook on life so that each was not the same as the other but complementary. Right from the beginning it had been been impossible for her to take the place of the son that her father had wanted so fervently, and she should never have been allowed to try. Life had always been frustrating because she had attempted to live it in a way that was foreign to a woman's nature, only she had been too stubborn to see that or admit it if she had.

And that, of all reasons, was the real one why she had hated Charles. He, with the normal man's approach, had taken it for granted that she would rely on him - that she would need to, just because he was a man and she a woman. And he had compelled her to admit it to herself, if no one else. He had always been there when she needed help - and she had needed it. (553-554)

The novel teaches that a woman simply can't do a man's job, because men and women are different and are therefore naturally best suited to different jobs. It's interesting, though, that the blurb says Judith needs to be "taught [...] to be a woman" because Simone de Beauvoir has argued that

"One is not born, but rather becomes, a woman." By this, Beauvoir means to destroy the essentialism which claims that women are born "feminine" (according to whatever the culture and time define it to be) but are rather constructed to be such through social indoctrination. (Mussett)

I doubt that's quite what the blurb writer had in mind, though. Personally, I think Beauvoir was correct, and I'd suggest that Cherish This Wayward Heart provides evidence that romance novels can, on occasion, help with "social indoctrination."


Malcolm, Margaret. Cherish This Wayward Heart. In The third anthology of 3 Harlequin Romances by Margaret Malcolm. Toronto: Harlequin, 1983. 385-574.

Mussett, Shannon. "Simone de Beauvoir (1908-1986)." Internet Encyclopedia of Philosophy.

An untamed North African Elephant Shrew, via Wikimedia Commons.


One of the sections in Kate Walker's 12 Point Guide to Writing Romance stresses the importance of


Perfection isn't totally appealing. It can be scary. It can be unbelievable. It can seem inhuman. It can be just too much. [...]

Why especially for the hero?

So why is that vulnerability so vital - especially in a hero? As I've said, the alpha male is strong, powerful, forceful, dynamic and successful  [...]. But at heart he's just a human being. (109)

One of Sally Wentworth's heroines throws a bit more light on the topic:

she would probably never have fallen in love with him if she hadn't seen his bad leg and realised his vulnerability. Before she had been half afraid of him; he was so different from herself that he might almost have come from another world, not only of class and background, but of confidence and experience; he was a man in every sense of the word [...]. But the fact that he was vulnerable to pain, to frustration, to life, had brought him down to a level where she could fall head over heels in love with him. (146)


Walker, Kate. Kate Walker's 12 Point Guide to Writing Romance. Abergele: Studymates, 2008.

Wentworth, Sally. Man for Hire. Don Mills, Ontario: Harlequin, 1982.

The illustration is of Achilles, from The World's Famous Orations, Vol. 1 (via Wikimedia Commons).


Scotland has voted "no" to independence and I agree with Euan Bennet that this seems a likely outlook:

  • No new powers for the Scottish Parliament. Or worse, the Labour proposals for further devolution are brought in, featuring no new powers, but new responsibilities without the means to fund them.
  • A Tory Government or a Labour Government at Westminster come 2015. Both have pledged that they will continue planned public spending cuts, austerity measures, punitive welfare reform, and confrontational foreign and immigration policy. Add UKIP to a coalition with the Tories for extra racism, sexism, and every other ‘-ism’ in your worst-case scenario!
  • An EU exit following the proposed referendum in 2017.
  • The TTIP opens up the NHS in Scotland to marketisation just like it already is in England.
  • 100,000 more children in poverty by 2020.
  • Another banking crash fuelled by the housing bubble that economic policy is currently reinflating.
  • More austerity, forever.
  • BUT enough money to build a new generation of nuclear weapons stored 30 miles from our biggest city.
  • Scotland’s renewable energy potential left to one side while fracking poisons our soil and water.

That so many people have voted for this has fundamentally affected how I feel about participation with other people, both on and offline. I'm putting this blog on hiatus and only expect to update it if I publish any new work (and I'm considering cutting down on that too).


Euan Hague sent me his latest article on Scotland, in which he notes that in romance novels set in Scotland (but written by US authors)

the idea of Scottish adversity, typically in relation to England, produces an 'underdog' theme which researcher Jody Allen [...] finds appealing: 'Scotland as the underdog, always fighting back, still today with the "yes" vote campaign for independence.' The idea of fighting against a superior political power resonates with US readers reminded every Fourth of July about their nation's struggle for independence. A reader of romances who posted on Word Wenches (2013) concurs: 'I think we like to read about the "underdogs. Scotland is loaded with "underdogs" in history ... I read a lot of English-set novels - but for them I am usually reading for the heroine, who is the underdog. When I'm reading a Scottish one, the hero is just as important because usually he's as much of an underdog - the stakes are greater! Freedom for your entire country - a huge stake!' (188)

These novels are not, however, necessarily ideal entry points to understanding either modern Scotland or its independence referendum. The kind of Scotland to be found in US romance novels can generally be described as

Tartanry, replete with kilt-wearing, sword-wielding, bagpipe-playing Highlanders wandering across treeless mountains and along scenic lochsides among the purple flowers of heather and thistles, remains the dominant representation of Scotland internationally. (173)


key themes include genealogy, family and heredity, which raise associated plot lines of the legitimacy of heirs and competing claims to land, power and leadership positions in both clans and royal families. Brooding, passionate, feisty Scots are often drawn in contrast to more prosaic English or American protagonists. (176)

It would be very wrong, for instance, to assume that those campaigning for Scottish independence are motivated primarily by "genealogy, family and heredity":

In Scotland, both the devolutionists of the Constitutional Convention and the independence-minded SNP (which stood outside the Convention) have proclaimed a non-ethnic, inclusive, ‘civic’ concept of nationalism.(SA 29:138) Ethnic nationalism ‘is in essence exclusive’, stressing the ethnic group and common descent. Civic nationalism ‘is inclusive in the sense that anyone can adopt the culture and join the nation’. (Kellas p.65) (Miller and Hussain 1)

As for being an underdog, well

Dr Nasar Meer, an Edinburgh-based social sciences academic at the University of Strathclyde who has studied the support for independence among minorities, agreed that minorities "identify with the narrative" of Scotland.

"They understand what it feels like to be oppressed, and that's the Scottish version of their history too," he said. "Though, of course, it's not necessarily true that Scots have always been oppressed. Scots ran the British Empire, practically. The Indian military has a Scottish tartan in its formal regalia." (Elgot)

If that sounds like a bit of a paradox, try this, from Professor Tom Devine:

the Scottish people seem to be wedded to a social democratic agenda and the kind of political values which sustained and were embedded in the welfare state of the 1950s. In fact, you could argue that it is the Scots who have tried to preserve the idea of Britishness in terms of state support and intervention, and that it is England that has chosen to go on a separate journey since the 1980s.


Devine, Tom. "Tom Devine: why I now say yes to Independence for Scotland." Bella Caledonia, 22 August 2014.

Elgot, Jessica. "Why Are So Many Scots From Ethnic Minorities Voting Yes?" Huffington Post, 14 June 2014.

Hague, Euan. “Mass Market Romance Fiction and the Representation of Scotland in the United States.” The Modern Scottish Diaspora: Contemporary Debates and Perspectives. Ed. Murray Stewart Leith and Duncan Sim. Edinburgh: Edinburgh UP, 2014. 171-190.

Miller, William L. and Asifa M. Hussain. "Devolution, Nationalism and Ethnic Minorities: The Civility of Civic Nationalism."


The image of the Scotch Terrier came from Wikimedia Commons and was created by Pearson Scott Foresman.


I've written in a somewhat comical vein about the referendum in the past. It's not because I take the subject lightly, though. This week I'm choosing a rather more serious template for my post because I was filled with righteous indignation by Alistair Darling's attitude in the second televised debate between him and Alex Salmond. In his summing up, Darling stated that "any country's starting point is currency, money." Let that sink in. It's not the people of the country, the communities they build, the respect and love they show one another, or the talents and skills they have. No, for Alistair Darling it apparently all starts with money. And that's what the No campaign's been about: money.

Since this is supposed to be a sermon, can I just point out that

No man can serve two masters: for either he will hate the one, and love the other; or else he will hold to the one, and despise the other. Ye cannot serve God and mammon. (Matthew 6:24)

The No campaign's been focussed on Mammon: its priority seems to be to frighten people that they'd lose the pound, and make older people fear for their pensions. So, let's clear those things up:

Last Sunday, over 30 ordained ministers of the Church of Scotland declared "We believe that a Yes vote in the forthcoming referendum makes possible a more socially just Scotland" and they quoted Matthew 23:45

Truly, I say to you, as you did it not to one of the least of these, you did it not to me.

The Yes campaign have been saying quite a lot about social justice and about the need to end inequality. These are pressing issues because

Recently released research has revealed increasing levels of poverty in Scotland. Over the last year a further 110,000 people fell below the poverty line, under which affording the basic essentials of life is often a struggle. The fact that women, men and children are turning to food banks to get enough to eat is just one sign that the system isn't working.

In a wealthy country like Scotland, it's scandalous that some 820,000 people now live in poverty, including 180,000 children.

But alongside increasing poverty, there's another major issue: inequality.

Across the UK the five richest families own the same as the poorest 20% of the population put together. Here in Scotland, the richest 10% of households have 900 times more wealth than the poorest 10%.

And yet, figures from the Trussell Trust in Scotland show the amount of food aid distributed has risen sharply, with over 71,000 people using their food banks last year - a five-fold increase over the previous 12 months. (Oxfam)

The Yes campaign isn't promising that independence will transform Scotland into a utopia, but it is confident that after independence

we’ll be able to vote for policies such as the following:

  • abolishing the “Bedroom Tax” cut to housing benefit and increasing support for carers
  • introducing a “triple lock” on pensions and ensuring tax credits and benefits rise with living costs
  • transforming provision of childcare to help tackle gender inequalities
  • ensuring the minimum wage rises at least in line with living costs
  • an industrial strategy to revive Scotland’s manufacturing sector, creating good quality jobs
  • a tax on bankers’ bonuses, an end to tax cuts for hedge funds and the reintroduction of the 50p top rate of tax.
  • promoting and incentivising companies to pay the living wage and wage ratios, and support for collective bargaining to boost wages. (Yes Scotland)

Internationally, a Yes vote could also be a force for good. The Yes campaign is committed to removing the UK's Trident nuclear submarines from the Clyde and Scottish CND is therefore of the opinion that "The independence referendum provides a great opportunity not just to remove Trident from Scotland, but to achieve nuclear disarmament in Britain" (Yes Scotland). The Churches' position on this would seem to be clear:

“We believe that nuclear weapons are inherently evil .” (General Assembly of the Church of Scotland May 2009)

“This point of view, that nuclear weapons have any place in a civilized society, is not only baneful but also completely fallacious. In a nuclear war there would be no victors, only victims.” (Pope Benedict XVI, 2007)

“ All people of faith are needed in our day to expose the fallacies of nuclear doctrine. These hold for example that there is a role in the human affairs of this small planet for a bomb more powerful than all the weapons ever used. We are bound to confront these follies before it is too late”. (World Council of Churches 2006) (Church and Society Council, Church of Scotland)


Tonight sees the second debate between Scotland's First Minister, Alex Salmond, and Alistair Darling, the head of the "Better Together" campaign. In the first debate

Alistair Darling pressed Alex Salmond repeatedly about which currency he would use if the rest of the UK refused to enter a currency union.

For his part, Alex Salmond urged Mr Darling to accept that Scotland could be a prosperous independent country. Again and again he asked him to say if he agreed. (BBC)

The fact is, though, that a Fiscal Commission outlined various currency options many months ago.  So if I were writing a musical about the referendum, I'd give myself a little bit of poetic license and adapt the folk song about a soldier who implies he'll consider marriage, if his demands are met, only to turn around at the end and say he's already got a wife:

"O Darling, Darling, will you not agree,
we'd be a "successful independent country"?"
"Oh, no, Salmond, I really can't agree,
For I have no currency clarity."

Then off Salmond went to his Fiscal Commission,
And brought back a report from the very, very best:
He brought back a report from the very, very best,
And the Darling took a look.


"O Darling, Darling, will you not agree,
we'd be a "successful independent country"?"
Ah, no! Salmond, I really can't agree,
For you have no currency Plan B."

Then back Salmond went to his Fiscal Commission,
And brought him Annex A of the many, many options:
He brought him Annex A of the many, many options,
And the Darling took a look.


"Now, Darling, Darling, will you not agree,
we'd be a "successful independent country"?"
"Ah, no! Salmond, I really can't agree,
For I've a Project Fear I can't disown!"


So, having tried my hand at writing fiction about the Scottish referendum last week, I thought I'd move quickly on to graphic design.

I thought this would be ideal if there were a "Romance Readers for Yes" group

On second thoughts, if a Romance Readers for Yes group existed and we used this on our T-shirts, we'd probably get hassled by people wanting to know which currency we'd be accepting.


Of course, I had to borrow all the elements because I'm not much good at drawing. And then I needed a bit of help with resizing and positioning the various elements, but at least I cropped them myself!

The woman came from the cover of a 1949 comic. The "Yes"es were provided by Yes Scotland.


magical realism provides a perfect means for children to explore the world through their imaginations without losing a connection to what they recognize as the 'real world'. (Bowers 100)

YessieIt can be quite helpful for, and popular with, adults, too. So, with a bit of help from Diana Wynne Jones's The Dark Lord of Derkholm, let me tell you a story:

Once upon a time, in a land not so very far away, there was heather and tartan, plenty of ancient castles and a loch inhabited by a very strange monster. The inhabitants lived on a diet of oatcakes, shortbread and haggis and the water of life flowed plentifully. From below its seas could be extracted a substance which, although

it doesn't endure very long in the world it goes to [...] does marvels while it does last, of course. [...] they [...] use it to run all their machines, but they have to keep getting more" (438).

Despite it's usefulness, however, there were those who insisted it was not worth much: "It's just earth" (438). And all was not well in the land, for fear stalked the kingdom.

Admittedly those spreading the frightening rumours were not able to order that Edinburgh castle be transformed into a "Dark Lord's Citadel [...] with a labyrinthine interior lit by baleful fires" (Jones 47) but they could warn all the inhabitants that if they made the wrong choices, the “forces of darkness” would gather strength, with "cataclysmic" consequences (Scotsman). They couldn't insist that "one of your gods must manifest at least once to every party" (Jones 48) of tourists: instead they rustled up a wide range of celebrities (and some heads of state).

A rather motley band, including some griffin-like creatures who flew overhead, spreading their wings over Scotland, remained undaunted even when told that if they persisted they might be "fined [...] a sum not exceeding one hundred gold coins" (Jones 49) or, rather, £2.7 billion.

Did they all live happily ever after? I don't know. Maybe they'll ask

"[...] to be able to rule their own affairs. [...] We give the wizard Querida the task of making this world into its own place."

"But," Querida whispered, "won't that take ages?" [...]

"At least another forty years [...] And, as the Oracles warned you, [...] it will not be easy. Slaves have to learn freedom [...]." (Jones 504)


Bowers, Maggie Ann. Magic(al) Realism. 2004. Abingdon, Oxon: Routledge, 2005.

Jones, Diana Wynne. The Dark Lord of Derkholm. 1998. London: Harper Collins, 2013.


Yessie (a relative of Nessie) was created by Stewart Bremner and prints of the poster are available for purchase. The lion with wings is the logo of "Wings Over Scotland." I don't know who created the "Will it be easy? Nope. Worth it? Absolutely" poster.


Given how often criticisms of romance are interpreted as being, at their core, the result of the denigration of a genre associated with women, I was intrigued to discover that many of the negative responses to popular romance can also be found in the critical work on Hollywood movies. The common factor would seem to be happy endings, which are, apparently, commonly supposed by critics to be "a ubiquitous feature of Hollywood cinema" (MacDowell 1).

Here are some of the critiques made of Hollywood movies which sound rather familiar:

  • "Probably the second most common scholarly assumption about the ‘happy ending’ is that it is inherently ideologically conservative" (3).
  • Some critics have resorted to "Freudian psychoanalysis" (4) to understand their appeal.
  • "narrative ‘closure’ is in itself ideologically suspect – a view rehearsed many times in both literary and film scholarship since at least the 1960s" (4).
  • "the ‘happy ending’ is in some sense ‘unrealistic’" (15)

All these quotes are from the introduction to James MacDowell's Happy Endings in Hollywood Cinema and I think I may have to get hold of the rest of his book because he aimed

to broaden our conception of what ‘happy endings’ clearly have the potential to do, and to explore some of the implications of that potential. While I do not in the least intend to imply that ‘happy endings’ never function in the ways they have so frequently been assumed to function, I am nevertheless keen to convince the reader that, at the very least, there is little in the convention that ensures they must always do so. Demonstrating this is the necessary first step towards a much-needed reconsideration of this most famous and maligned of conventions. (15)


MacDowell, James. Happy Endings in Hollywood Cinema: Cliché, Convention and the Final Couple. Edinburgh: Edinburgh UP, 2013. [Introduction available in full here.]

When I come across articles I can't read in full, I'm tempted to speculate. That's what happened when I came across Sara Petersson and Daniel Söderberg's study about shapes and different types of genre fiction. It's available in full online but unfortunately I don't understand Swedish. Tantalisingly, I was able to read the abstract:

This study aims to explore whether there are any connections between geometric shapes and popular literary genres and, if so, how they are justified. The geometric shapes included in the study are circle, square, rhombus and two types of triangles (one peaking upwards and one peaking downwards), while the included popular literary genres are romance, mystery, science fiction, fantasy and horror. [...] It emerged that not all genres had substantiated connections to a geometric shape, but that there were two distinct, positive results. One of them was the distinct connection between the circle and romance and the other one was an equally distinct connection between the two triangles and the genre science fiction. The connection between the circle and romance was justified with the circle’s perceived softness, positivity and warmth and its symbolic eternal value. The connection between the triangles and science fiction was explained with how the triangles were perceived as hard, cold and metallic together with the respondents’ cultural references to triangles in science fiction.

I immediately wondered whether the associations of these shapes had in fact been formed by publisher and other logos, or whether those logos (and book covers in general) had been shaped by the perceptions of these shapes outlined by Petersson and Söderberg.

Here are a few triangles in science fiction:

Ace BooksAce Books StarfleetStarfleet Tor BooksTor Books BaenBaen

Tor and Baen are combining circles and triangles, but I thought the triangles were more dominant visually (the Tor logo is dominated by the bulk of the triangle and in the Baen logo the circle's being pierced by the triangular spaceship).

And what about romance? Well, Harlequin's logo features a rhombus so that doesn't fit either my theory or theirs but the covers of Harlequin Presents, which I think is their best-selling series, certainly do feature circles and, on occasion, they've taken the form of an engagement ring (which makes one association between circles and romance very clear):

Harlequin PresentsHarlequin Presents




Petersson, Sara and Daniel Söderberg. En berättelse tar form - en studie i hur geometrisk form på bokomslag indikerar populärlitterär genre. Linköping University, 2014.

Syndicate content