The figure of the dangerous lover crops up in blockbuster movies, pulp fiction, harlequin romance novels, as well as more literary fiction and films. He is a staple figure of our collective imagination and his presence seems almost synonymous with romance–excepting perhaps feature films of the romantic comedy variety.
Strange then, that this book by Dr. Deborah Lutz should be the first and only one I’ve run across to explore and dissect this figure, his character and history.
An academic book of this nature could easily become just an exercise in collating footnotes and obscure material; instead, Dr. Lutz opts for a more meditative, essayistic approach to her subject, something akin perhaps to Didion, Barthes, or Benjamin. The method fits the subject matter well as the dangerous lover could be considered part of our collective dreamscape and therefore benefits from a study that ambles through our cultural sensorium and recollections in a fashion largely informed and choreographed by the character of the dangerous lover himself. What is thrilling about the book is its ability to deal in Heidegger as well as harlequin romance without missing a beat or without making these different literary realms seem incongruous or affected.
While at times the arguments in Dr. Lutz’s prose can meander disconcertingly as it explores her topic, it nevertheless is guided by a prevailing wind of deep, thoughtful, and studious reflection on her subject–a subject that, whether we like to admit it or not, has an incredibly deep hold on our inner life, whether in our romantic attachments, our sense of self, or our consumption of entertainment.
I found it very well worth the read for its ability to both broaden my understanding of various literary genres, as well as helping me understand aspects of my self and self-development in new and interesting light.
Romance teaches us that love, like philosophy and thinking itself, is never completed. Each declaration of “I love you” is finite and utterly singular, yet in its abundance of meaning, it means both everything and nothing. To say “I love you” points to a singular place and time, with a unique and always changing self that speaks, an “I” and a “you” whose status is always uncertain. In this sense, its meaning is so fleeting; we might say that we can never agree on a meaning for this utterance. Yet, everyone knows what love means; to love is, as Nancy writes, to exist as such: to think, to be , to philosophize. The “I love you” is what can be repeated, perhaps must be repeated. “Love in its singularity, when it is grasped absolutely, is itself perhaps nothing but the indefinite abundance of all possible loves, and an abandonment to their dissemination, indeed to the disorder of these explosions” (Inoperative Community, 83). The prodigiousness of the “I love you” is that, while it ends a particular love story, it also stretches beyond it, indicating a future “I love you.”