MAHTA BEHNAM

Despite having a reputation for being formulaic, books in the contemporary romance genre have ceased neither their publication nor sales. These books have only continued to grow in popularity among the younger generation. This fact is particularly interesting because people are generally known to tire easily of the same old plots and narratives over time. In the case of contemporary romance, however, certain readers may have stuck around because they find comfort in the formulaic and foreseeable nature of these books and plots. Meanwhile, some readers may have stuck around or even newly picked these books up due to the growing inclusiveness portrayed in the books of this genre, an inclusivity that extends even to taboo subjects. This is why topics such as sex in literature should not be censored, as shame stands in the way of authors expressing themselves, reaching diverse audiences, and selling their books. Taboos exist in all aspects of society and can be found easily bleeding into the literature as well. This fact has been persistently true when it comes to discussing certain topics that are generally drenched in societal stigma and not publicly talked about, such as sex. So, it should come as no shock to know that books containing discussions, descriptions, or depictions of sex were almost always censored in the past. However, contemporary romance has been a driving force in helping gradually move society away from such stigmatization by being inclusive and openly discussing taboos such as writing about sex. One such book that took the internet by storm is The Love Hypothesis by Ali Hazelwood. This paper will discuss the rise and fall of “obscene” literature in the 1950s, what made such books “obscene,” and why these books should no longer be censored.

The 1950s were a particularly turbulent set of years for the publishing industry. One of the many evolutions that transformed this industry in the 50s was “the new demand for sensationalism,” forcing authors out of their comfort zones and having them write about controversial topics—such as women’s role in contemporary society and public discussions of sex—that shattered the societal norms (Hunter 3). An example of such topics being researched and discussed can be found in “well-known volumes as the Kinsey ‘Sexual Behavior in the Human Female’” (Hunter 32). Books that explored new, shocking, and controversial topics were popular among readers in the 50s and were winning awards. This new style of writing continued to be carried into various genres throughout the decade. One genre, in particular, had great profits to gain from the inclusion of controversy and scandal in their books: romance. Publishing companies and romance authors had been searching for something different, something that would catch the audiences’ eyes, peak people’s interest, and rake up sales in an “over-saturated and shrinking” (Speer 2) market caused by the Paperback Revolution, which “by the early 1950s…was well underway” (Tucker 1). It was around this time in the history of mass-market paperback novels that authors and publishers began to realize the appeal of suggestive cover art and steamy plots among their readers and would push to have more of such books get published and distributed. These events are what would mark this time as “The Sex Era” (Speer 2). Having gained a large and diverse audience of readers, paperback novels were considered influential pieces of literature at the time. However, the government would soon deem these suggestive covers and plots to be threatening the public’s morals and values, thus beginning to heavily censor them (Speer 2). When censorship and obscenity laws were first proposed, they were “formulated with the main objective of suppressing pornography” (Al-Sharqi 1), mainly in other forms of media. Nevertheless, the wildfires of censorship fueled by the protests and complaints of “religious and parental groups to state-sponsored lawsuits” would sooner than later reach the bookshelves, too (Speer 2). From then on, “the argument became that if a text is legally obscene, it cannot be literature and may actually be pornography” (Al-Sharqi 1). Books became more directly the targets of censorship laws in 1952 when mass-market paperback novels were singled out and investigated as they had been deemed “a serious threat to public morality” (Speer 1).

Where would societies get the idea of what is appropriate and what is obscene? People would argue that the reason for the existence of the stigma surrounding sex is because it is a private act that, when mentioned in public, can cause others to feel embarrassed and uncomfortable. Although sex is a natural part of life, “most of us still retain a deeply ingrained belief that sex is shameful and that respectable people should conduct their sexual activities in private, hidden in the dark” (Brundage 6). This phenomenon could be due to the existence of social intelligence, a quality of mind that grants humans, as well as some animals, the ability to think about the consequences of their actions and analyze the behaviors and reactions of others in relation to themselves. For instance, patterns in concealed sex among nonhuman primates can be observed where a couple would “hide from the view of other animals that might object to the sexual liaison” (Friedl 5). In other words, shame plays a big part in why sex has—for the most part and only with a few exceptions—always been deemed a private aspect of human lives, which has remained so even through evolution. This may be why people might not enjoy reading sex scenes in books or want their kids exposed to them. On the other hand, some would agree that there is a thrill to reading these scenes as well since the reader gets to take a deeper look into the characters’ relationship. At times, these scenes of vulnerability can even make the readers resonate with the characters more.

Although frowned upon by the majority of the general public and censored in the 20^th century, spice is making a comeback in the contemporary romance scene, and it should be a welcomed return. In a way, these explicit scenes are so much more than simple lewd displays of lust; they are a form of self-expression. In these authors’ endeavors to reach out to a more diverse audience and sell their books, several have been able to set themselves apart in the way they write their spicy scenes. The characters’ personalities and how they react to intimacy, the amount of spice in a book or chapter, the way the scenes are described, and the stylistic choices for writing, etc., are all contributing factors to how an author decides to express their creativity and dictate the type of audience their work may reach. In the case of The Love Hypothesis, the author decided to give Olive—the protagonist—a more prominent role in the sex scene, showcasing her vulnerabilities and validating her feelings. During this intimate scene, Olive explains to Adam—her love interest—that she has very limited past experiences with sex, stating, “There is something wrong with my brain and my body… I don’t feel any sexual attraction unless I actually get to trust and like a person” (Hazelwood 268).  Even though there is nothing objectively wrong with Olive, that is how she truly feels about herself. Revealing this piece of information can help audiences with similar experiences relate more to Olive. Furthermore, the existence of only a single sex scene in the entire book is a significant detail given Olive’s personality and the fact that she mentioned that she “doesn’t particularly want to have it” (Hazelwood 268), alluding to sex. The author’s decision to have Adam not initiate anything else with Olive is another example of how sex scenes in books can be used as forms of expression. Be it from personal experience or simply a piece of fictitious work made up in her mind, Ali Hazelwood’s decisions that drive her characters’ actions and reactions are reflective of her opinions and stances. This is why even sex scenes in books are vessels for self-expression that can help an author connect with his or her readers and should not be censored.

Although formulaic, censored, and negatively perceived by many through the years, contemporary romance authors must have been doing something right with their writing to have gained such a large audience in the 21^st century, especially in the years during and after the pandemic. These books and their community of readers have provided a safe space in which people are allowed to voice and explore their curiosities without the fear of stigmatization. Maybe along the way, they even find themselves relating to a character that has gone through similar experiences as them. This particular trait—inclusivity even in regard to taboos— has also allowed for self-expression for the authors, enabling them to reach out to more diverse audiences. Furthermore, simply because the books cover the topic of sex does not mean that is all they have to be about. Reading a book with a good plot that includes a little bit of spice can still be an enjoyable experience. The Love Hypothesis is a great example of how most contemporary romance books have managed to create a balance between a captivating story and hints of spice to give the consumers a satisfying read. This ties into the other reason why uncensored contemporary romance books have been performing well in the market. These authors have managed to showcase a depth of emotions behind the sex scenes rather than them being just lewd displays of lust. Characters in these scenes may show vulnerability in an array of ways, including revealing their fears, insecurities, trauma, love, etc. The characters bearing their souls for all to see can allow the readers to not only feel a deeper connection with them but also relate to them. Due to the taboos surrounding public discussions of sex, many voices can go unheard. The voices of those hurting from past trauma. Those crippled by insecurities. Those who long for affection but are too afraid to ask for it. When a character such as Olive admits to her differences and insecurities, readers with similar mindsets may feel seen and find comfort in a scene where Olive is finally not only being accepted but also beginning to embrace herself, giving the reader a sense of hope that they too can find comfort and acceptance someday. This is why it is imperative to realize and welcome the creative potential and outreach of such works rather than censoring them.

Works Cited

Al-Sharqi, Laila, & Irum Saeed Abbasi. “Literary Censorship: The Changing Standards.” International Journal of Applied Linguistics and English Literature [Online], 4.6 (2015): 33-38. Web. 11 Oct. 2024 https://journals.aiac.org.au/index.php/IJALEL/article/view/1775/1648

Friedl, Ernestine. “Sex The Invisible.” American Anthropologist, vol. 96, no. 4, 1994, pp. 833–44. JSTOR, http://www.jstor.org/stable/682447 Accessed October 12, 2024.

Hazelwood, Ali. The Love Hypothesis. Berkley Books, 2021.

Hunter, Gordon. “The 1950s.” What America Read: Taste, Class, and the Novel, 1920-1960, University of North Carolina Press, 2009, pp. 269–328. JSTOR, https://doi.org/10.5149/9780807887752_hutner.8  Accessed 22 Nov. 2024.

James A. Brundage. Law, Sex, and Christian Society in Medieval Europe. University of Chicago Press, 1987. EBSCOhost, research.ebsco.com/linkprocessor/plink?id=fbd06dcd-3a74-3772-b974-9e848fe55575 Accessed 21 November 2024.

Unwin, Philip Soundy, Tucker, David H. and Unwin, George. “History of ‘Publishing.” Encyclopedia Britannica, 15 Oct. 2024, https://www.britannica.com/topic/publishing  Accessed 21 November 2024.

Speer, Lisa K. “Paperback Pornography: Mass Market Novels and Censorship in Post-War America.” Journal of American & Comparative Cultures, vol. 24, no. 3/4, Sept. 2001, pp. 153–60. EBSCOhost, https://doi.org/10.1111/j.1537-4726.2001.2403_153.x.