Unabashedly Bookish

[#1]

Next to "Secret Babies" and "Big Mistakes," the love triangle - especially among two heroes and one heroine -- is one of the most popular plot devices in romance fiction through which an author builds emotional and sensual tension.  Ask the romance reader and -- whether she digs a sweet, "happily ever after" love triad, or a lusty m/f/m romp -- she'll probably tell you the heroine's clearly in the position of power. 

Yet let's have a little fun and apply to romance heroes and heroines Eve Kosofsky Sedgwick's thoughts on the love triad among "literary" characters. In her much-lauded, "Between Men :English Liturature and Male Homosocial Desire " Sedgwick determines from work of literary critic Rene Girard that important female characters may be seen simply as "conduits" between two characters vying for their affection.  Girard, says Sedgwick

 seems to see the bond between the rivals in an erotic triangle as being even stronger, more heavily determinant of actions and choices, than anything in the bond between either of the lovers and the beloved.  (Between Men: 21)

Could it then be the case that love-triad romances like LaVyrle Spencer's celebrated "Fulfillment  " - in which a man who's infertile asks his wife and his brother to attempt conception - are more about rival discontent and competition than a woman torn between commitment and desire?  If that were so, perhaps our thinking of the heroine as central power broker is skewed; the guy we're rooting for to "get the girl," clearly owns the day.

My advocating for Ol' Scratch aside, in the 26 years since "Hummingbird" was published, the love triad's remained as compelling as ever.  How cool, then, that the device's been mashed up and genre- and gender blended to add spice and flair. Take for example, Ann Herendeen's exceptional, intelligent and sexy "Phyllida and the Brotherhood of Philander  ," in which our hero Andrew Carrington is the ideal alpha Regency romance hero: arrogant, Corinthian, wealthy and highly sexed.   Unlike the "traditional" Regency hero, Andrew prefers men.  Yet dutiful is our Andrew, and so to beget an heir he marries bluestocking Phyllida Lewis to whom he soon finds himself physically and emotionally attracted.  When Andrew meets his dream guy, brash and buff Matthew Thornby, Andrew and Phyllida explore not the boundaries of a sexual triad, but an emotional one. 

More traditional - yet uncommonly sensual and entertaining -- "A Hint of Wicked  " by Jennifer Haymore introduces Sophie and Tristan, duchess and duke of Calton.  They're blissful newlyweds when Sophie's first husband - Tristan's cousin and best friend, Garrett - returns after their believing him seven years dead.  By law, Sophie must live as Garrett's wife and is drawn again to him emotionally and sexually.  Yet her heart and body can't help but remember the more mature love she shared with Tristan.  Sophie wonders whether the men might allow her the only choice that wouldn't separate their trio...

Dawn Halliday blends the traditional historical with the highly erotic in her great new novel, "Highland Obsession  ," in which clan chief Alan MacDonald tenderly introduces his innocent Highland bride, Sorcha Stewart, to wedding-night pleasures. Unbeknownst to them, her actual first lover - MacDonald's closest friend -- jealously watches through their bedroom window, then kidnaps Sorcha.  She decides which man's love she can live without -- and whether she simply can enjoy both men... perhaps simultaneously!

What's your favorite kind of romance-novel love triangle? Who do you believe has the power in the romantic triad?  Why does the love triad work so well in the historical romance?

Michelle Buonfiglio writes daily about romance fiction and pop culture at Romance: B(u)y the Book (RBTB).  Read all Michelle's "Unabashedly Bookish" posts here.

Message Edited by Michelle_Buonfiglio on 05-26-2009 09:51 PM

Message Edited by Michelle_Buonfiglio on 05-29-2009 02:07 PM

[#2]

I don't know if I can pick my favorite--but this concept is so interresting. And I'm always up for any show of intimacy between two males.

I keep waiting for Randy Orton to kiss John Cena--'nother topic perhaps.

It always seemed it was the one who making the choice had the most power...but now, I don't know. It will be interresting to read what other people have to say.

[#3]

I'm like Amy. It's hard to pin down a favourite type of love triangle. I think it depends on the individual story and I know the ones I like when I read them. 'A Hint of Wicked' sounds fantastic. I think I really must read that one to see how the dilemma is resolved!

Another author who writes superb love triangle relationships, with a huge erotic charge, is Madelynne Ellis. And she doesn't shy away from the thornier side of a three way relationship ie. emotional and sexual jealousy within the trio.  Her 'A Gentleman's Wager' and 'Phantasmagoria' are exceptional.

[#4]

Ah, Amy, I think we'll have to wait quite some time for WWE -- otherwise known as soap opera for men -- to write the storyline you're hankerin' for.  But your point about intimacy between males is spot on.  Simplistically speaking, the term "homosocial" refers to non-sexual relationships between males.  I think of the 'Band of Brothers' BOB phenom.  We're so eager to see inside the boys' club because the male dominion is fascinating.  To get a glimpse of their brand of intimacy is very cool, but we often can mistake it.  And, frankly, it can be fun to homoeroticize it, if you like that sort of thing.  

When folks start talking about the homoerotic nature of JR Ward's Black Dagger Brotherhood novels in general, I think rather of the homoerotic relationship between two Brothers in general. But the larger relationships are fascinating in their 'homosociality.'  Don't you sometimes get the idea that the Brothers really could do without women?  Maybe that's why the heroines sometimes seem like such 'soft' placeholders, at least to me.  But, as you know, I'm all about the heroes anywayz, and don't need much of a heroine to slip into her skin and enjoy the ride...

Portia, I've read Madeynne's A Gentleman's Wager," and agree that it's a very fine novel.  The 'thornier' edge really ups the emotional and sexual antes for the reader, and I'd second your rec.

[#5]

A heady, thoughtful analysis about a topic mostly geared toward titillation. 

Who has the power? The last person in, I think.  That person has made the decision to join the other two, and therefore has the "power" to allow or deny the experience for the other two.  In  that regard, the last in has 50% of the power while the other two share 50%.

I think... 

[#6]

Interesting theory, MPG, and I may not be quite bright enough to elaborate upon it.  At first glance, I want to concur.  Sure, the second man a heroine meets generally is going to have something she didn't get from the first man in the triad, if she knew and loved him romantically first.  There's a bunch of emotional justice when she chooses the 'second' guy who is more tender and caring, a better and more respectful/attentive lover, etc.  The first lover doesn't necessarily have to have been a bad guy.  The second lover simply has to offer the heroine more intimacy and promise for growth. Yet sometimes the second guy really was the runner up by default, as in LaVyrle Spencer's "Twice Loved."  So, there you have it.  I've proven nothing.  But your point really is interesting, that the last person necessarily displaces the power sharing, taking more and focing the others to share less.

I think...

[#7]

Michelle, I think in the motif of any power struggle between people -romance, intimacy, friendships... is  the question:  who needs it the lesser of anyone else...that's the one, by holding back,  who holds  the power over those that need and want it.  It's kind of like, "those that can't have it, want it".  Sometimes and sometimes not, realized by the one holding the power.  Unless the one in need voices what is missing in that relationship.

I don't know if the second guy is by default, or just that lessons learned from the first create the yard stick for knowing what is actually needed to fulflil whatever desires are there by the heroine,   Does it make for a more interesting story if the heroine is portrayed as  stupid or clueless; or portrayed as conniving and bitchy....or smart and knowledgeable about what she wants.....whatever you want, it's in story form...

[#8]

Oddly enough, the triangle that comes to mind is from a movie: The Philadelphia Story, where Katharine Hepburn is torn between Jimmy Stewart and Cary Grant.  I know I've read a million love-triangles in books -- maybe too many, because I can't focus on one in particular.  I'll have to keep thinking about this!

[#9]

Okay...this is as close as I can get to scraping up a  love triangle: 

Stephanie Plum can't make up her mind!  Will she go with Ranger, or will she go with Joe?...she loves them both., I think...they're both hot, and both want her.    She leans to Joe....he came into her life first..... Not exactly hot sex, (or any sex, for that matter) but the tension is there!  Does that count?  Oh, and not to mention goofy characters!

Fourteen, going on fifteen novels later, we aren't any closer to marriage.....none of the characters age....and life goes on as usual - zany!  I know, too tame for this discussion board!   - But entertaining, none the less, for a once a year laugh!

[#10]

KathyS, you took the words right out of my mouth, Steph, Ranger and Joe. And here at work we have a little rivalry going as to who wants her to pick who. We even have Rangeman Tees and Joe key chains.

[#11]

Hey, KathyS, you've got it exactly right, not too tame at all!  The Plum books are the perfect example of a love triangle that has folks totally hooked.  I'm not too familiar, but I'm not sure there's a strong rivalry between the guys themselves?  I think Stephanie really does hold the power in the series and the fact that there's tension and no sex really works in the character-driven books. and what characters, as my grandmother would say!  What a nutty bunch.

The point of what I was writing isn't really about the erotic aspect of the love triangle, but the power dynamic, so you totally are in the right direction.  Are there books in which the fight over the woman is more about the fight than the woman?  Or do romance novel triangles work because we come from a place acknowledging the competitive nature of men and don't even realize how much of that is the draw of the triangle theme?  

[#12]

becke, I remember when, I guess the time Ranger came around?, and everyone was like, ooo, Ranger. And I was, Ranger?  And that's when I found out about Stephanie Plum.  Show me two guys fighting over a woman and you've got me hooked.

My husband loves "Philadelphia Story," btw.  Maybe he has love triangle fantasies, though I'd have thought they'd have been more like: him/Katharine Hepburn/Grace Kelly. But maybe that's a blog post for another day...

Now that I'm thinking on this, in the erotic love triangle area, Kate Pearce's "Simply Sinful" is a good example of shifting power centers, and characters working to choose both emotional and sexual fulfillment and boundaries.Very romantic and sexy.  Her "Simply Sexual" works in this way, too.  Terrific reads.

[#13]

ugh. dhaupt, the comment I addressed to becke was meant for you.  sorry!

[#14]

It took me all night, but I suddenly remembered a book I read a few months ago that featured an interesting triangle: Christine Merrill's The Mistletoe Wager.

Here's an excerpt from a review on All About Romance:

 The Mistletoe Wager 

Harry Pennyngton, Earl of Anneslea, is tired of being estranged from his wife, Elise. Two months previously, she left the family seat and has taken up with her former beau, Nicholas Tremaine, in London and hinted that she'd like a divorce. Harry always thought their marriage was perfect, but there is nothing like abandonment and replacement to make one question one's assumptions. Harry resolves to show Elise what she is missing and plans a Christmas party at his estate. He invites – dares, rather – Tremaine to come, knowing Elise will show up out of curiosity. And when she does, he puts the rest of his subtle and complex plan to win her back in motion. 

[#15]

Phew, late as ever, but better late than never (my oh my, I'm inventing bad rhymes, how embarassing!).

That's a very interesting topic. I've never read a love triad book and I have to say that I'm actually not really drawn to them. An erotic short story is okay, but not a whole book. I don't know why, but I think I've got that possessive thing going on, like "You're mine and I do not share!". It's something I feel and something I want characters in a book to feel, too.

However, I think the Phyllida thing sounds highly interesting. Maybe I should try it. But I already know that it won't make me a fan of triangle books. They may be very well written, but I doubt I could find real fulfillment in them. Just my opinion.  

[#16]

Triad 

'You want to know how it will be
Me and him OR you and me
You both stand there your long hair flowing
Eyes alive your mind still growing
Saying to me--"What can we do now that we both love you",
I love you too-- I don't really see
Why can't we go on as three'

[#17]

Hi, Michelle and friends,

Thanks again, Michelle, for the shout-out to my novel, Phyllida! In these discussions of "who has the power in a love triangle" I find that comments on my novel's m/m/f "emotional" menage follow one of two trends:

Some readers are soooo disappointed that Andrew and Phyllida and Matthew don't have a threeway (yet) and there are others who are just as emphatic that a threeway would ruin the marriage.

In this novel,  I deliberately set out to subvert the genre of the Regency marriage-of-convenience plot by having a rakish, super-masculine--and gay--hero. The "joke" would be that, just as the typical straight libertine finds himself, to his surprise, falling in love with his wife and choosing monogany, so my gay hero would be surprised by his unexpected love and sexual desire for this one woman.

But this starting point led inevitably to the shape of the resulting "emotional menage." Once Andrew meets his manly "true love," the only solution that satisfies him, and is, paradoxically, fair to both partners, is for him to choose both. Obviously, divorcing or leaving his wife is out of the question; but giving up his lover in the name of heterosexual monogamy goes against his nature--and would make a really rotten story

As I see it, everybody in this marriage shares the power equally, even though only one person enjoys sexual relationships with the other two. Both partners, wife and boyfriend, have entered this relationship knowing what they were getting into. They each chose it, rather than having a surprising or unpleasant truth forced on them after the fact.

I think the sticking point for many women readers is that we don't like the idea of "sharing" our husband/lover with somebody else. It's much more fun to imagine the heroine having two men, or at least playing one off against the other. Again, my starting point, the gay aplha male, is the reason for this "uncomfortable" story. It was a way to give my heroine what is usually "forbidden" or unattainable. The fact that a man like this will necessarily have a boyfriend is simply the "price," if you want to call it that, of choosing the most expensive item on the menu.

At the end of the novel, I hope I left readers with the impression that this emotional menage is not static, but evolving, as all good marriages do. My feeling is that Phyllida's power in this marriage is increasing over time, but it will take a while for this unusual arrangement to reach its equilibirum.

It's possible that the emotional triangle will become a physical one as well--or not. Ideally, each reader can make up her own mind as to what would be most satisfying, and imagine that.

[#18]

I love Paul's Triad -- did you write that, Paul?

Michelle - What a surprise, I have Kate Pearce's Simply Sinful on my bookshelf. And, of course, Kate Douglas'  Wolf Tales are often even wilder than that.

I think Kathy mentioned Ranger and Joe -- I confess, I've only read the between-the-numbers books.  My vote was for Joe! 

[#19]

Oh no. That's a David Crosby song. It actually led to the argument that facilitated his leaving of The Byrds, as they refused to record a song about a "threesome."

Grace Slick, in her Jefferson Airplane days, sang a beautiful version of it.

[#20]

Well, i would read that phyllidia book - sounds rather hot.

However, I'm a bit disturbed by Girard's utter marginalization of the female in his analysis:

"important female characters may be seen simply as 'conduits'."  That seems terrifically reductive. 

Two men fighting over a bone, and who cares about the bone? It's the fight we want to watch! 

Way to eliminate those pesky women, always demanding to be heard, eh Girard?

[#21]

Well, Paul, now that envision those words with a melody, it rings a bell. I have a lot of Grace Slick's old stuff, as well as Byrds and Crosby, Stills and Nash. If they recorded it, I have it someplace.

[#22]

An interesting thought came to mind as I read this discussion. Why is a girl, guy, guy threesome drama considered well hot, but a guy, girl, girl threesome drama is considered scary thriller fodder?

[#23]

Hiya, TiggerBear!  For the sake of this discussion, I'm exploring straight romance, with Phyllida's bi-sexual component.  If you're talking the f/f/m thriller movie or novel geared toward guys, I'd say that many men have enjoy the f/f/m fantasy. But I'm not sure what you mean by 'scary?" Can you help me? The f/f/m triad is fairly popular in erotic romance, or is becoming more popular, as in Monica Belle's "The Choice," and its polyamorous ending.  But the triad in that novel isn't contentious, rather exploratory, then loving.  Perhaps because the women aren't fighting over the guy.

Hi, Ellen: Love your grammar posts!   Phyllida is wicked hot!   And I totally hear you on your point about Girard.  I don't pretend to be a scholar of either Sedgwick's feminist work or Girard's lit crit,  so I can't speak definitively.  I think one interpretation of this bit of Sedgewick is that we place certain literary female characters on  pedestals as either valiant in their suffering or strong in their own ways, for example, when in reality, they're simply 'placeholders' so an author can explore rivalry.  Perhaps it's a 'calling it as one sees it' viewpoint, so that Girard's not disregarding women, but pointing out what's been done in literature?  In romance, most authors today are conscious of imbuing novels -- and heroines -- w/feminist viewpoints and representations of women that empower readers to think differently of their roles and the power available to them.  But that doesn't necessarily mean some romance lovers don't thrill to the fantasy of two guys fighting over them, or get caught up in the brawl itself, which is okey dokey if that's what interests a woman. 

See?  All that commentary from me and absolutely no clarification.  My work here is done.   

[#24]

Paul, you had me at, "You both stand there your long hair flowing."  The Byrds kicked him out over a threesome? My, how the times have changed...  That's a lovely bit of poetry. I'm glad you thought to share it.

becke, so you're a Joe girl!  Interesting...  I've heard of "The Mistletoe Wager," and'll have to check it out. Thanks for reccing it.

Hi, Lisa!  For you, the idea of your hero or heroine sleeping with someone outside the 'relationship,' once established, is a no-no, that's all. And it's really normal.  So many readers feel like you, and even many of those who read erotic romance only want the type in which the hot sensuality is explored between one couple in a relationship.  For years -- and still today -- the idea of the hero or heroine sleeping w/someone else in the book totally broke the "unspoken contract" between author/reader.

In this post, I wrote about 3 triads, but the first and second contain no 'menage' or threesomes.  Yet all three contain at least one partner having sex w/more than one person in the triad.  However, there are TONS of triads that have no sex among the triad or, perhaps, only between one of the heroes and heroine.

Message Edited by Michelle_Buonfiglio on 05-28-2009 08:03 AM

[#25]

Thanks for stopping by, Ann!  You're novel's definitely a hybrid, one which I'm sure lots of folks would like to define as something other than a  "bisexual Regency romance."  In reality, some folks have relationships like Andrew's, Phyllida's and Matthew's.  Yet the majority, I'd imagine, would have a harder time of it, even with the best of intentions.  But that's the beauty of fiction, no?  Readers who already have an affinity for the erotic romance -- especially with comfort zones that allow them to read and enjoy depictions of sexuality between men -- will enjoy Phyllida.   But those who start at that point and, in addition, have a love of the Regency novel will find Phyllida a rare treat, and especially funny and entertaining.  And they'll look forward to your upcoming "Pride/Prejudice, too!"

[#26]

Michelle - At Brenda Novak's auction, I was high bidder on lunch with you at National for the longest time. Sadly, people are going nuts in these last few days and I'm being outbid right and left!