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J. Charles and Cat Sebastian. Traces these writings to Georgette Heyer’s Regency legacy and the longer history of M/M romance, shaped by digital fanfiction and queer publishing of the 1960s–1970s. 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J. Charles and Cat Sebastian. Their writings are rooted in the legacy of Georgette Heyer’s Regency romances and the history of M/M romance, a recent genre which owes as much to digital fanfiction as it does to queer publishers in the 1960s and 1970s. I explore the idea of a queer Happily Ever After as a topos and telos that allows the narratives to rewrite the past through creating a happy queer ‘archive’, while also engaging critically with the representation of marginalised gender, sexual, and racial identities. Although there are problematic aspects to these portrayals, I posit that the passionate community of romance readers and writers shows a popular, affective, and truly neo-Victorian engagement with the nineteenth century.  \nKeywords: K. J. Charles, fanfiction, genre fiction, happy ending, Georgette Heyer, m/m, popular, queer, romance, Cat Sebastian.  \n*****  \nYou cannot have a romance without a happy ending. According to the Romance Writers of America’s (RWA) definition, genre romance is characterised by “a central love story and an emotionally satisfying and optimistic ending”(Anon. 2017: n.p.) . This definition was designed to be as inclusive as possible: elements like time, space, length, tone, or the level and amount of explicit sexual content were not defined, as they depend on the subgenre and the individual author’s choices. Most importantly, however, this new definition sought to recognise the evolution of the market, and especially the fact that a heterosexual wedding or partnership could no longer serve as a commonplace ending for all. That being said, Pamela Regis’s seminal work, A Natural History of the Romance Novel, published around the same time, solely focuses on heterosexual pairings, stating that “a romance novel is a work of prose fiction that tells the story of  \nthe courtship and betrothal of one or more heroines”(Regis 2003: 19) . The Journal of Popular Romance Studies was founded in 2010; genre romance scholarship is still a new field, and has to contend with the sheer mass of output from a rapidly evolving billion-dollar industry while trying to catchup to a backlog of nineteenth-and twentieth-century works hitherto deemed unworthy of critical attention. M/M romance is one of those blind spots. As such, in this article, parts of genre history have been drawn together from partial information and speculation, hopefully to be fleshed out and nuanced by further research.  \nThis article deals with M/M neo-Victorian romance, that is to say, novels written in the twenty-first century but set in the Long Nineteenth Century, with a central love story between two male characters and an emotionally satisfying and optimistic ending, which are generally written by female authors and for a mostly female readership. Despite the potential confusion with ‘gay fiction’ (written by and for gay men), the term ‘gay romance’ will be used interchangeably with ‘M/M romance’ from time to time, reflecting the overlap of categories in the history of the genre. I examine the points of connection between the particular sub-genre of M/M romance set in the nineteenth century and neo-Victorianism through the lens of two authors, K. J. Charles and Cat Sebastian, focusing on the following works: the Sins of the City trilogy (2017),‘Wanted, An Author’ (2018), Unfit to Print (2018) and Band Sinister (2018) by Charles, and It Takes Two to Tumble (2017) and Unmasked by the Marquess (2018) by Sebastian. In addition to these five novels, one novella and one short story, I also refer to the rest of these writers’ backlists and M/M works by other authors. In Unmasked by the Marquess and An Unsuitable Heir (2017","cbCaigAHeJ99X2gN","https://ap.wps.com/l/cbCaigAHeJ99X2gN","pdf",480156,28,"English","# 研究对象与语境\n## RWA浪漫类型定义与学术背景\n## M/M neo-Victorian romance的界定与写作特征\n# 作者与作品范围\n## K. J. Charles与Cat Sebastian的核心文本\n## 主题扩展：跨性别谱系与“queer romance”用法\n# “Gaily Ever After”的理论框架\n## 幸福结局作为中心拓扑与目标\n## 与酷儿理论的张力与对话","[{\"question\":\"文章聚焦哪些M/M浪漫作品与作者？\",\"answer\":\"文章以2017–2018年的小说为主要语料，并结合K. J. Charles与Cat Sebastian的短篇/短作，讨论多部代表性长篇与配套作品。\"},{\"question\":\"文中如何界定“neo-Victorian M/M romance”？\",\"answer\":\"指21世纪创作但舞台设定在“长十九世纪”的文本，核心为两位男性角色之间的爱情，并以情感上令人满足、且较为乐观的结局收束。\"},{\"question\":\"“queer Happily Ever After”在文章中扮演什么功能？\",\"answer\":\"作为浪漫叙事的中心拓扑与目标，它使文本能够通过建构“快乐的酷儿档案”来重写过去，同时批判性地处理边缘化性别、性与种族身份的呈现。\"}]","Gaily Ever After - Neo-Victorian M/M Genre Romance for the Twenty-First Century - Abstract与研究概述 | PDF",71]