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mett, Agatha Christie and Arthur C. Clarke have a few things in common: they are all canonized writers of popular genres that, for decades, have been critically devoured by popular media and literary scholars alike. English professors from Yale to the University of Alaska have long mined hard-boiled detective novels, science fiction and fantasy, identifying the tropes and memes as revelatory and significant markers of their respective eras — the femme fatale, the sordid luxury of the Orient Express, or a singing computer in 2001:A Space Odyssey.

Missing from the popular genre discussion is romance fiction, both its evolution and contemporary state, a glaring omission that Sarah Frantz Lyons is so determined to fix that she has it tattooed to her right arm.