I always thought 'chick lit' meant third-person contemporary

"I always thought 'chick lit' meant third-person contemporary funny novels, dealing with issues of the day. I mean, it's not the ideal term; when I'm asked to describe what I do, I say I write romantic comedies, cause that's what I feel they are. But I'm quite pragmatic." These words spoken by Sophie Kinsella reveal a deep understanding of the modern literary landscape, one that is often shaped by categories and labels that fail to capture the true essence of a genre. Kinsella reflects on the term "chick lit", recognizing it as a label that, while commonly used, does not entirely reflect the heart of the stories she writes. Instead, she describes her work as romantic comedies, a genre defined by light-heartedness, humor, and a focus on love and relationships, which transcends the superficiality of the term “chick lit.” In this, she embraces both romance and pragmatism, creating stories that resonate with modern sensibilities while retaining a deep connection to the timeless human experiences of love and personal growth.

In the ancient world, the romantic comedy was not just a literary genre but a celebration of human connection, often presented with humor and light-heartedness. Aristophanes, the ancient Greek playwright, crafted comedies that explored the complexities of love, relationships, and society. His play Lysistrata is a striking example of how humor and romance intertwined to highlight serious themes—though the play is about women’s sexuality, it also cleverly critiques the futility of war. This blend of humor and romantic intrigue was central to Aristophanes’ work, and it resonates with Kinsella’s description of romantic comedies. Just as Aristophanes used comedy to provoke thought, Kinsella uses humor in her romantic tales to explore the everyday challenges faced by modern women, making her stories both entertaining and relatable.

Consider also the stories of the ancient gods and their romantic entanglements. The love story of Zeus and Hera, though filled with divine drama and occasionally tragic, was nonetheless an early example of romance, power, and partnership. Zeus, often seen as the idealized masculine figure, was both flawed and beloved, while Hera, his wife, represented loyalty, authority, and the complications of being in love with a powerful and often unpredictable partner. Their relationship, fraught with challenges, was played out through both humor and drama, much like the romantic comedies of modern literature. Here, we see that love has always been more than just a simple emotion—it is layered with complexities, imperfections, and moments of joy, all of which are woven into the fabric of the romantic comedy genre that Kinsella embraces.

In the realm of romantic comedies, Kinsella offers a unique perspective. Romantic comedies, whether in literature or film, have a tendency to focus on personal growth, self-discovery, and the evolution of relationships. Take the story of Elizabeth Bennet and Mr. Darcy in Jane Austen’s Pride and Prejudice. Their relationship, much like the novels written by Kinsella, is filled with both humorous misunderstandings and profound moments of self-reflection. Elizabeth, initially prejudiced against Darcy, learns over time that her assumptions were flawed, just as Darcy learns to overcome his own pride. The progression of their love is both funny and transformative, offering us a portrait of romance that is grounded in the realities of human relationships. This mixture of humor and romance, along with the pragmatic nature of personal growth, mirrors the essence of Kinsella’s work in the romantic comedy genre.

As Kinsella points out, there is a pragmatic element to her writing, one that distinguishes her novels from purely idealized or fantastical love stories. In the same way that the characters in Jane Austen’s novels must face real-life obstacles—social expectations, personal flaws, misunderstandings—so too must the characters in Kinsella’s stories navigate the complexities of modern life. Pragmatism here does not diminish the romantic aspect, but rather grounds it in the real world, making it more accessible and relatable. Kinsella’s novels are about women who are trying to balance their dreams, ambitions, and romantic desires with the pressures of work, family, and self-realization. These are the realities that her readers can identify with, making her characters human and their stories both entertaining and meaningful.

The lesson here is that romantic love is not a mere fantasy, but a powerful force that exists in the real world, where it is shaped by both emotion and practicality. Kinsella’s acknowledgment that her work is rooted in romantic comedy reminds us that love is not about the perfect or the idealized, but about growth, understanding, and adaptation in the face of life’s challenges. Her stories offer a portrayal of love that is both funny and real, filled with moments of joy but also the occasional disappointment. Just as the ancients used comedy to explore love, Kinsella uses humor to address the complexities of modern relationships, reminding us that romance is not about perfection, but about the journey of two people finding each other amid the messiness of life.

To future generations, I say this: in love, as in life, seek not the idealized fantasy, but the real connection that allows for growth, laughter, and understanding. Embrace the romantic comedy of your own story, recognizing that love is as much about pragmatic decisions and personal growth as it is about emotion and attraction. The true essence of romance lies in the balance between the humor of life’s challenges and the depth of the love that transcends them. Let the stories of both ancient heroes and modern writers like Kinsella inspire you to approach your own relationships with a heart open to laughter, growth, and shared experiences, for in these, you will find the truest form of romance.