Archer tries not to think of his own state of purity, physically unsullied, yet now spiritually beyond redemption, his thoughts plagued by lithe limbs and brilliant blue eyes. Doctor Archer has never really understood women, nor has he ever had time for courtship; this is a sacrifice he has willingly made for his career. He thought - believed - for most of his adult life that his vocation was to tend the sick of mind. Romance was a frivolity, carnal urges something he successfully sublimated, resisting the drive to spoil himself. Now, in the overbearing loneliness of his 4am bed he touches himself in secret, panting and hungry and stunned by shame

I don’t know what it is that comes over me, but suddenly I’m crossing to his side of the table and sitting down in his lap, arms wrapping around his neck. His lips are soft against mine, and when I part them he tenderly obliges, tasting me delicately. His fingers prod at my back, never going further than the small indent at the base of the spine, and it’s all very lovely and nice. “I think I could get used to you,” I say, looking down into his beautiful brown eyes, deep like the color of autumn. (From "Undone, The Romance of Nick and Layla [Part 5"]).

Now, it’s undeniably true that male writers (including yours truly) are generally and commercially allowed to write about “girl stuff” without being penalized for doing so. In part this is the same old shit it’s always been ... I’ve said before that men who write mostly about men win prizes for revealing the human condition, while women who write about both men and women are filed away as writing “womens’ issues.” Likewise, in fantasy, the imprimatur of a dude somehow makes stuff like romance, relationship drama, introspection, and adorable animal companions magically not girly after all.In a sense, we male fantasists are allowed to be like money launderers for girl coo

He showed, in a few words, that it is not sufficient to throw together a few incidents that are to be met with in every romance, and that to dazzle the spectator the thought should be new, without being farfetched; frequently sublime, but always natural; the author should have a thorough knowledge of the human heart and make it speak properly; he should be a complete poet, without showing an affectation of it in any of the characters of his piece; he should be a perfect master of his language, speak it with all its pruity and with the utmost harmony, and yet so as not to make the sense a slave to the rhyme. Whoever, added he, neglects any one of these rules, though he may write two or three tragedies with tolerable success, will never be reckoned in the number of good authors.

In order that life should be a story or romance to us, it is necessary that a great part of it, at any rate, should be settled for us without our permission. If we wish life to be a system, this may be a nuiseance; but if we wish it to be a drama, it is an essential. It may often happen, no doubt, that a drama may be written by somebody else which we like very little. But we should like it still less if the author came before the curtain every hour or so, and forced on us the whole trouble of inventing the next act. A man has control over many things in his life; he has control over enough things to be the hero of a novel. But if he had control over everything, there would be so much hero that there would be no novel.

My name is Nathan, just twenty-three and given to the curation of stories. I listen, retain, then polish and release them over the fire at night, when the others hush and lean forward in their desire to hear of the past. They crave romance, particularly when autumn sets in and cold nights await them, and so I speak of Alice, and Bethany, and Sarah, and Val, and other dead women who all once had lustrous hair and never a bad word on their plump lips. I can remember this is not how they were; I knew them, I knew them! Only six years have passed and yet I mythologize them as if it is six thousand. I am not culpable. Language is changing, like the earth, like the sea. We live in lonely, fateful flux, outnumbered and outgrown.

Lucy gripped her chilled glass of orange and raspberry juice. When Rebecca talked about Austen, she’d mostly mentioned Mr. Darcy or Mr. Knightley. She hadn’t really thought of the doe-eyed, pale-skinned heroines. On the screen, Anne Elliot walked down a long hallway, glancing just once at covered paintings, her mouth a grim line. Lucy thought Jane Austen would start the story with the romance, or the loss of it, but instead the tale seemed to begin with Anne’s home, and having to make difficult decisions. Maybe this writer from over two hundred years ago knew how everything important met at the intersection of family, home, love, and loss. This was something Lucy understood with every fiber of her being.

You read all kinds of books and see all kinds of movies about the man who is obsessed and devoted, whose focus is a single solid beam, same as the lighthouse and that intense, too. It is Heathcliff with Catherine. It is a vampire with a passionate love stronger than death. We crave that kind of focus from someone else. We'd give anything to be that "loved." But that focus is not some soul-deep pinnacle of perfect devotion - it's only darkness and the tormented ghosts of darkness. It's strange, isn't it, to see a person's gaping emotional wounds, their gnawing needs, as our romance? We long for it, I don't know why, but when we have it, it is a knife at our throat on the banks of Greenlake. It is an unwanted power you'd do anything to be rid of. A power that becomes the ultimate powerlessness.

Of course there always will be darkness but I realize now something inhabits it. Historical or not. Sometimes it seems like a cat, the panther with its moon mad gait or a tiger with stripes of ash and eyes as wild as winter oceans. Sometimes it's the curve of a wrist or what's left of romance, still hiding in the drawer of some long lost nightstand or carefully drawn in the margins of an old discarded calendar. Sometimes it's even just a vapor trail speeding west, prophetic, over clouds aglow with dangerous light. Of course these are only images, my images, and in the end they're born out of something much more akin to a Voice, which though invisible to the eye and frequently unheard by even the ear still continues, day and night, year after year, to sweep through us all.

Martha told me, "I don't know how you're going to talk about romance in your book, but you're going to have to because its truly part of all our lives down there-and in a big way- because its an incredibly sensuous environment. Think of how many times you've fallen in love down there, and how many times people have fallen in love with you. Its a place where we shine. We're the happiest in our lives. We're vibrant. We're just so full of life, and not only does that put you in the mood for love, it sets you up for it. People are really drawn to people who are shining, who feel so happy where they are and who they are and what they're doing and who they're doing it with.