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Meeting fellow victims of amorous deception and tagging along on their quest for true affection has always been at the core of romantic fiction, regardless of formulaic conventions, implied readership, literary merit or explicit political agenda. That helps to understand the success and resilience of popular romance across historical periods and despite social and cultural revolutions, irrespective even of ill-reputation and critical disdain.
For, two decades into the twenty-first century, popular romance flaunts a matchless versatility to adapt to the demands, lifestyles and ideological affiliation of an increasingly diverse readership, to the crisis and challenges of publishing, and to the tastes and political stance of the critics. Over the last two decades, the genre has evinced an inexhaustible flexibility and adaptability to the demands of the industry, and more significantly, of its diverse and ever-changing readership and, consequently, it has also garnered renewed and refocused scholarly attention.
The evolution of the genre combined with new and more flexible academic practices and interests has now brought about a long overdue and more interdisciplinary approach.
The critics of the so-called third wave have largely moved beyond traditional assessments of romance as a form of vicarious escapism; on the contrary, romances are now explored from new angles and with the critical lens focused on the multiple, nuanced and, at times, contradictory cultural messages of the genre.
This third wave is also proving remarkably productive. The most recent addition to this third wave in the academia has been the publication of The Routledge Research Companion to Popular Romance Fiction edited by Jayashree Kamblé, Eric Murphy Selinger and Hsu-Ming Teo, which incorporates chapters by a good number of consolidated popular romance scholars whose ground-breaking research has cemented criticism of popular romance as a burgeoning and cross-disciplinary field of study.