Mills & Boon: Unpacking The Cultural Impact Of The Quintessential 'Mom Genre' In India
It has become a common phenomenon to observe a specific segment of the Indian population, predominantly older women, and particularly mothers, finding solace within the pages of Mills & Boon novels. The remarkable cultural relevance and lasting impact of Mills & Boon, originating in 1908 in the United Kingdom and printed by Harlequin Enterprise, are worth exploring. There was a time, when these romance novels, known for their concentrated romantic narratives, sold one book every ten seconds.
The success of Mills & Boon in India can be attributed to the company's strategic approach of tailoring its offerings to meet the preferences of the local readership. But what piques our interest the most is the particular fashion in which Mills & Boon have captured the attention of an entire generation of women for several decades.
The stories of Mills & Boon heavily rely on the notion of a fairytale-like happy ending, which revolves around the anticipation of a blissful, domesticated family life. These narratives often feature an initially insecure and unattractive female protagonist, who, through the process of meeting a man and falling in love, transforms into a woman who conforms to societal expectations of sexuality and cultural norms. Being 'feminine' in this context means embracing the patriarchal and monogamous codes of behaviour. The man she meets as her love interest is, as always, the reason behind this integral transformation.
Interestingly, women are drawn to reading these romances perhaps because the protagonist is often depicted as a victorious figure. It is not uncommon to overlook the passivity of the protagonist within the plot due to her constant presence in the spotlight.
Mills & Boon often faces criticism for its formulaic nature, with plots and elements that can be predictably anticipated. Cynics have even gone as far as suggesting that the authors of Mills & Boon novels might be replaced by computer algorithms. However, there is an undeniable allure to this formula that has allowed these novels to endure for over a century, defying the constant backlash they receive.
Despite receiving criticism for reinforcing patriarchal norms and adhering to traditional notions of femininity and masculinity, many readers don't consider M&B to be anti-feminist. According to some experts, they are stories exclusively marketed for women by women and the intention is to never insult their target consumers who singlehandedly drive the sales.
What's more important in my mind, is how these novels allowed so many women an idealised escape in the form of a guilty pleasure. Within the world of Mills & Boon, readers share an unspoken bond, a sense of communal understanding. But in the end, it's all fantasy. Both readers and writers of Mills & Boon recognize that their desires for escapist fiction bear little resemblance to what they truly seek in reality. My own mother, being part of its readership, believes these novels bring respite from daily life.
Some argue Mills & Boon novels predominantly depict stories of female triumph, where the enigmatic male protagonist is compelled to confront his own sexism and undergo a transformation. It is also argued these books, being products of their era, effectively encapsulate the concerns and aspirations of their contemporary society, reflecting societal and fashion trends that have long been relegated to the recesses of memory.
It's clear to see that the Mills & Boon phenomenon carries within it an escape and dreamlike nostalgia cherished by an entire generation of women. While so many of its contemporaries treaded the same ground, none have quite achieved the same lasting relevance and cultural impact as Mills & Boon. In an ever-changing literary landscape, Mills & Boon's ability to resonate with readers remains unrivaled. However, if this phenomenon were to emerge in the present, it would likely be deemed too unsettling for our current times, challenging the sensibilities and expectations of today's readers.
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