55 pages • 1 hour read
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Colleen Hoover embraces her identity as a romance writer, seeing the genre label as a way to reach a wide readership. After all, romances have been a mainstay in the publishing industry for generations, perennial fixtures on bestseller lists. The genre has enjoyed a significant increase in popularity among Gen Zers. Born roughly after 1997 and raised entirely within the reach of the Internet, social media, and video games, Gen Zers find in romances a comforting sanctuary from a complicated real-time world.
In a post-911 era defined by a 24-7 news cycle, Gen Zers are arguably more attuned than previous generations to the widespread political and social unrest that defines the globe. They have found in the romance genre a quieting world where characters find their way to emotionally satisfying relationships. Hoover, however, presents a variation on the genre: She uses the conventions of the romance novel to reveal how her characters, like Gen Zers, must face difficult truths, not run from them. Hopeless, for instance, introduces the moral dilemma of premarital sex and the dark issues of pedophilia, incest, rape, alcohol abuse, and teenage suicide.
In her determination to keep the romance genre relevant, Collen Hoover has found great success. At many times since her debut in 2011, she has had multiple titles on weekly bestseller lists, most notably The New York Times and Amazon. To her fans, she is known as “CoHo.” Her prose is invitingly accessible, and her characters are recognizable and complicated, repudiating the stereotype that the romance genre can only offer two-dimensional caricatures. Their lives are informed by difficult, real-time issues. Happy endings are earned, not given. In this generational appeal, Hoover has established herself as a leading figure in the reading habits of the post-millennial culture often dismissed for not reading recreationally.
After the publication of Hopeless, Colleen Hoover published three additional titles about Sky Davis and Dean Holder, which are packaged together as the Finding Hope series. It is unclear whether the story of Sky and Holder chronicled in Hopeless was intended to be read as a stand-alone, or whether Hoover had larger visions from the beginning.
In recycling characters and revisiting plots, some authors of book series are accused of crass commercialization as they turn popular characters into essentially cash cows. But the series does more than make authors richer. The concept redefines narrative itself. A series defies the logic of an ending and reminds readers that the narrative plotline of characters’ lives, like the narrative plotline of the reader’s own life, is only arbitrarily stopped. Life goes on, and any novel’s plot is necessarily, even inevitably, incomplete. Although any character’s life can be extended by the reader beyond the ending of the story, a series upends the assumption that a novel is in and of itself complete.
Hoover’s follow-up novel, Losing Hope (2013), is not so much a sequel as a parallel narrative. Hoover explores Holder’s life from the moment of his sister’s death by suicide and fills in his family’s backstory, including the disturbing information that his own parents knew about the abuse next door. The third and fourth volumes—the novellas Finding Cinderella (2013) and Finding Perfect (2016)—focus on the character Six and her efforts to find her way to a stable relationship. Sky and Holder, now with kids, make cameo appearances to affirm they have found a life together based on honesty and trust, sustained by their certainty that in facing their darks pasts together, they fused their hearts and souls. Thus, for Hoover, the series demonstrates the idea Holder expresses in the last chapters of Hopeless: the possibility of a happily-enough-ever-after fairy tale, set in the real world.
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By Colleen Hoover