Perhaps it is a bit narrow-minded of me to make broad generalizations about gender. Particularly in this day and age, when there is a heightened awareness in the genre community regarding gender diversity. Sexual diversity. Ethnic diversity. And so on…
But the fact remains, by and large, that the romance genre is primarily produced and written for women. The genre itself is hard to define, spanning Puritan love stories to BDSM erotica. A portion of this genre is what we could call trashy romance — novels that have little redeeming quality in terms of character/plot development, literary merit, or meaningful themes. These novels serve more to entice the reader with wish-fulfillment and gratuitous sex scenes.
I think men read a lot less widely in the romance genre. Maybe because men are visual creatures, often seeking images rather than emotional connections to fulfill their passions. But that certainly isn’t a rule, nor is it a claim that men have higher tastes in literature than women (I actually suspect the opposite is true).
The subject of a male equivalent of trashy romance came to me while reading the novel, Night in the Lonesome October, by Richard Laymon. This horror novel tells of a twenty-year-old college kid who is dumped by his first love who then embarks on a series of nightly journeys. His travels confront him with some of the most vile humans and most alluring women. Female characters play little more than the role of fulfilling the protagonist’s inner desires while the male characters are stumbling blocks, preventing the protagonist from achieving his goals. The novel is far from erotic and it certainly isn’t romantic. Sexual exploits are purposely visual (blunt) in description and serve to titillate the reader amidst the several try-fail cycles that burden the protagonist.
Despite the paper-thin character sheets, I found this novel impossible to put down and I read it in less than a 24-hour span. Based on my comments, I cannot recommend the novel, but found myself reading page after page after page. The main character, Eddie, is a young man that many can relate to, from the onset being rejected by the woman of his dreams. He is a little reckless and seems to have little trouble finding a replacement for his ex. Even when threatened by more powerful opponents, Eddie is able to demonstrate resourcefulness to escape their hold on him.
Overall, this novel has no prevailing themes worth mentioning and frankly speaking, I cannot give it a higher status than trashy. But it still appeals to the base emotions of the reader. There are some brief attempts at wit and scholarship, but one cannot ignore the fact that Eddie is an imbecile, even if we do care for his livelihood.
So to answer the question at hand, what is the male equivalent of trashy romance? I would posit that it is adventure/horror stories where women are objects of affection with little to no agency. Violence and sex are often gratuitous with little effort in trying to suspend the reader’s disbelief. I suspect that it is this type of novel that many of the leading voices in genre fiction are trying to purge from its repertoire, but alas — they still manage to gain a readership.
I don’t mean to bash on Richard Laymon. In fact, I found his novel, The Traveling Vampire Show, to be a great coming-of-age story that I still recall with fondness years after reading it. Furthermore, I have never stopped reading a novel of his that I started and I doubt it ever took me longer than a week to finish one. I wish I could share the same affection for Night in the Lonesome October, but there comes a point — for me, at least — where I need intelligent actions on the part of the protagonist and deeper character development (and plausibility) on the part of the romantic interests. If you are looking for a fast-paced, cheap-thrill horror novel, this one is addicting. But after gorging myself on the literary equivalent of Hostess Twinkies, I must search for something a little more nutritious for my next read. I wish I could tell you that I am giving up on Twinkies, but hey — everyone has their weaknesses.