Love! Frat Boys! and Visualizing [Female] Desire

One of my projects of late has taken me into the world of romance novel covers. I went into the work thinking I’d talk about the covers of het romances—and then I stumbled across Anne Tenino’s Frat Boy and Toppy. And that discovery led to the presentation below.

You can see a slide show of the images that I reference here and learn more about the book from the publisher here–which you should because this novel? Is awesome.

Covering Up to Strip Down:
Remixing Anne Tenino’s Frat Boy and Toppy

I began this project with a general interest in the covers of romance novels (slide 1), in these too-familiar renderings [rendings] (slide 2) of female garments by well-muscled, occasionally well-meaning masculine overlords.

And then I came across this (slide 3): Anne Tenino’s terribly titled but oh so very excellent novel Frat Boy and Toppy—a male/male erotic romance.

Now on the one hand, this cover is stereotypical, a close cousin of the now-familiar images plastered on heterosexual romance novels—featuring two naked male torsos for the price of one. But on the other, the cover is just bizarre. Its assemblage-like quality comes off as an artist’s fever dream: over-thought, over-designed, and, worst of all [to my mind] a poor representation of the content [and the pleasures] the text presents. My goal, then, has been to redesign Toppy’s cover so that it might more effectively reflect both the book’s content and the current cultural conversation surrounding women and the consumption of popular [erotic] romance, a discussion sparked by the runaway success of this novel, (slide 4) Fifty Shades of Grey.

Perhaps the busy nature of Toppy’s cover (slide 5) is due, in part, to the many different kinds of stories that the novel manages to tell within the generic constraints of an erotic romance; that is, a romance in which sexual encounters are used as the building blocks of a mutually satisfying and emotionally supportive love match and one which concludes with the characters living “happily ever after.” Toppy manages to do this while performing several other kinds of stories within the same text. First, the novel is a coming-out story in which Brad [the titular frat boy] recognizes that he’s gay, that he’s attracted to other men: specifically, to Sebastian, the TA for Brad’s “Classical Greece” history course.

Early in the book, Brad comes out to his family, who are relaxed and groovy about the whole thing, as, it seems, is Brad himself. Indeed, he is pretty angst free about the whole thing: he accepts who he is—and who he is wants Sebastian. That said, Brad is reluctant to come out to his frat, many of whom aren’t homophobic, per say, but are pretty happily ensconced in their belief that Brad’s straight [given that he’s been dating—but not sleeping with—women] and show little interest in discussing the potential fluidities of male sexual desire.

But this is also a romance, a story about two people falling in love and using hot sex as a means by which to discover that their attraction goes beyond the physical. After getting Sebastian’s attention by turning in a paper he purchased online as his own [like you do], Brad confesses his desire. The two men immediately sleep together [in that Yankee Candle- infested living room on the front cover] and it’s all happily uphill from there. Continue reading “Love! Frat Boys! and Visualizing [Female] Desire”