Three volumes of The Romantic Spirit arranged next to. each other.

The Romantic Spirit: Pre-internet Goldmine

I want you for a moment to imagine yourself in 1983 (easier for some of us than others, I know!). You’ve just finished Jayne Castle’s Candlelight Ecstasy title from the previous year, Spellbound. You need more of Castle’s distinct writing style, but you haven’t seen her name on the new release shelf at the book store in a while. At the checkout counter, you ask about your favorite author, hoping the clerk has heard something.

Today, it would take a few clicks to find the information you need. Not so in 1983! But you’re in luck! The clerk tells you to hold on for a moment, and they turn around to grab a thick trade paperback off the shelf behind them. This may help, they tell you. It’s a brilliant new resource that lists all of the authors you can think of along with their books. The Romantic Spirit, it’s called. In a few seconds you learn that Jayne Castle (real name Jayne Ann Castle Krentz) has also written for Silhouette as Stephanie James, and McFadden as Jayne Bentley. A whole new world of books opens up in front of you as you can now follow your favorite authors as they change name from publisher to publisher.

Three volumes of The Romantic Spirit arranged next to. each other.
My (incomplete) collection of volumes of The Romantic Spirit from 1983, 1984, and 1990.

First published in January 1983, The Romantic Spirit was the self-published debut for an author named Mary June Kay. Appropriately for a book about pseudonyms, Mary June Kay was the pseudonym for three San Antonio women- Mary Hotchkiss (1921-2004), June Manning (1923-2008), and Kay Garteiser. Hotchkiss and Manning were sisters who had retired from federal service and operated a romance-focused used bookstore called The Second Edition in San Antonio. They knew their stock, but didn’t have any printed reference resource for themselves or readers to use in finding, or more particularly, cross-referencing more romances. Garteiser worked with word processors at an accounting firm, presumably bringing the technical know-how to the project.

Lovers of genre fiction have long relied on bibliographies- collectors of science fiction and mystery novels used them to not only show off their own collections of pulp magazine and novels, but also to be able to cross-reference authors, publishers and titles. As romance exploded in the 1970s and 1980s, no one had yet made an effort to gather information about the genre in one place. Mary, June, and Kay were the first to take on this mammoth task.

The book itself is utilitarian and no-frills. After a brief three page introduction by Romantic Times publisher Kathryn Falk, the books sets straight to business. Authors are listed in alphabetical order, along with their known pen names [in brackets] and real name if known (in parens). Their books are then listed, with the publisher identified and book number if applicable. In some cases, sub-genre information is provided- for example, <RS> for romantic suspense. In the back, numbered lines are listed together, with titles and authors. The information appears to largely be drawn from the published books themselves, though in some cases authors are listed without books; presumably those names were taken from resources such as Romantic Times, which was still in its infancy at the time.

The book was enough of a success that Mary, June, and Kay kept at it for several years. They published updates for 1983-1984, 1985-1986, and 1987-1988 focused only on the books from those individual years, alongside corrected errors or omissions from earlier editions. The original volume earned an award from Romantic Times, presented by Barbara Cartland herself at the 1983 Booklovers’ Convention.

In 1990, Kay Garteiser announced in the pages of Romantic Times that she was retiring from working on The Romantic Spirit due to her health. She passed the torch on to occasional RT reviewer Lisa Miller, also a San Antonio resident, who put out a revised full edition of the book in 1990. The revised volume used the same format as the original, adding books and new entries where appropriate, though it lacks the line indexes of the original.

The Romance Reader’s Handbook (1989)

At the same time as Mary, June and Kay were working on The Romantic Spirit, reviewer Melinda Helfer was writing a column for Romantic Times identifying authors and their pseudonyms, calling herself “The Pseudonym Sleuth”. Helfer began writing the column in 1981, taking an alphabetical approach. By 1989, she had only reached the letter “P”, which tells you the scope of the task. In 1989, Helfer’s work was combined with that of Kathryn Falk and Kathe Robin in The Romance Reader’s Handbook, published by Romantic Times. This spiral-bound volume took a less comprehensive approach than The Romantic Spirit, listing only the pen names and known real name of authors but not their books. Also included was a guide to RT’s “Bookstores that Care” network, a nationwide group of independent bookstores that welcomed romance readers (and generally sold RT as well). The Second Edition in San Antonio isn’t listed- near as I can figure it was gone by then. There’s also contact information for authors and publishers, and a delightful collection of author ads in the back.

Ad from The Romance Reader’s Handbook (1989) from Dorothy Garlock, where she wishes her readers “health, happiness, and good eyesight”.

The five editions of The Romantic Spirit, alongside The Romance Reader’s Handbook, are not essential resources for collectors in this day and age. The vast majority of the information about authors found here can be found elsewhere. But- not everything can be found on the internet! There are author listings here that can connect you to authors you may never have thought of as romance authors, such as mystery author Jane Haddam, who wrote romance as Nicola Andrews and Ann Paris. And the bookstore section of The Romance Reader’s Handbook is an exploration waiting to happen all on its own! Or maybe you’re just like me, and a random name pops into your head at 9:30 at night and you don’t feel like looking at a screen. It can be tricky to find all of these volumes, but to me, the joy of a nicely done bibliography is well worth it!

The Romantic Spirit (1983, 1984, and 1990), and The Romance Reader’s Handbook (1989)

Some updates!

It’s been quiet here, but I promise I’ve been busy. I created a new Instagram account called the Romance Historian, where I’ve been sharing shorter content about some of the random romances and reference books in my collection. Some of it will mirror content you’ve read here, but I’ll try to make sure there’s lots of new bits and bobs to enjoy.

The Summer 2022 edition of Fine Books & Collections, featuring my article on romance collecting!

I also recently wrote an article for Fine Books & Collections Magazine, which is in their Summer 2022 issue! I was able to speak with some of my favorite people in the romance collecting community- Funmi Brown, Jennifer Wielt, Rebecca Romney, and Rebecca Baumann- about their approaches to collecting, and how they’d like to see collecting in the genre grow. It was great fun talking with these awesome people, and I’m really pleased with how the article came out. You can order print editions of the magazine directly from their website, or you can find it at select bookstores.

I hope you’re having a great start to your summer, and look for more content soon!

Collecting Romance- Harlequin and manga

Back in January, I was starting to think about collecting some romance novels (everyone needs a hobby, right?) and what I’d want my collection to look like. Anyone who knows me won’t be surprised to learn that what I really wanted was to collect oddballs. Books that might not mean much to most readers, but mark an important point in the history of the genre. This both keeps me from driving myself up a wall trying to find sequential Harlequin Historicals (though that’s an idea!) and it makes me feel better knowing that someone, somewhere is holding onto these books with the knowledge of what they mean.

So where to start? There are so many ways to go that your head would spin for weeks. But I knew where to begin. With Harlequin’s Dark Horse manga.

What? Harlequin manga? You heard me. Let me explain.

As described in this excellent article from Duke’s Unsuitable blog, Harlequin entered the Japanese market in the early 1980s and found success within a decade, becoming a dominant provider of fiction translated from English in the country. As they did in other countries, Harlequin became a hit by hiring local translators who not only adapted the text, but adjusted plots and dialogue to fit different cultural norms. But they saw the potential for more by getting into the Japanese ladies comics market. In 1998, they began partnering with Ozora Publishing House to translate their books into comic form.

As the new century dawned, manga began to become more popular in America and Harlequin saw yet another opportunity for growth. In 2005 the company licensed Dark Horse Comics to translate and distribute their manga titles back to English.

Only six titles were published by Dark Horse before Harlequin took over distribution in 2006, and continues to do so to this day. Inevitably, the manga shifted to the digital space, and they’re available in the US through Harlequin Comics.

As I said though, my interest is really in those Dark Horse titles. They represent a fascinating translation project from start to finish. A book like Debbie Macomber’s The Bachelor Prince (published as a Silhouette Romance in 1994) first had its text translated from English to Japanese, including cultural changes, for a regular text edition. Then the text was translated into graphic form by Misao Hoshiai and published in Japan. Then the text from that graphic form was translated back into English Ikoi Hiroe for the American market. It’s a little bit like a romance version of Telephone Down the Lane, right?

Another interesting element of these six editions is that while the original texts all had different authors, and the manga translation was done by five different artists, they were all translated back to English by the same person. It raises fascinating questions of whose voice is really represented in the books.

Another unique aspect of these books is the way there were presented. Two separate lines were created. The first, Harlequin Pink, was intended for all ages. Typically, these were from the Harlequin or Silhouette Romance lines, so they tended to be pretty chaste. The books in the Harlequin Violet line were Harlequin Presents books, which tended to have a higher heat level, but were still closed-door. The Violet books were marketed as being for readers age 16 and over.

The color of the line the books as assigned to also indicated what color ink would be used in the printing. This was a gimmick that definitely had mixed results.

Interior pages from The Bachelor Prince (2006).

The pink volumes are, quite frankly, headache-inducing after a while. While it’s really more of a dark pink ink, it still ends up being very difficult to read.

Interior pages from Holding on to Alex (2006).

The violet/purple ink for the other volumes is really only marginally better. Not so many headaches, but I have found it hard to concentrate on it for any length of time.

Ultimately, Harlequin eliminated the Violet line for US audiences, and stuck with Pink. Thankfully, the Harlequin Comics volumes you read today are in good old black and white.

These six volumes won’t ever make me rich, and they have no lasting significance to romance history beyond the fact that they were Harlequin’s first experiment into graphic storytelling. But they were easy to acquire, with all six costing me around $35 including shipping despite the fact that I bought them from multiple sellers, and they’re interesting conversation starters that I’m happy to have.

Spines of all six Harlequin Dark Horse manga

What was your starting point for romance collecting? Or are there books you secretly lust after?