employees, Dick and Barry, are socially maladroit music obsessives and supreme culture snobs. Rob's main product, vinyl LPs, is a residual pop commodity, and, not coincidentally, his store, Championship Vinyl, does meager business. Nick Hornby's High Fidelity (1995) is a comic romance, a male bildungsroman detailing the ups and downs of a relationship between Rob Fleming, a record-store owner, and Laura, his longstanding girlfriend, who has just entered the legal profession. I conceptualize that intersection as the symbolic boundary nexus and argue that analyzing genre classifications as a set of intersecting boundaries is a productive approach for understanding how cultural communities negotiate contested classification processes. Each debate represents a different symbolic boundary around the mainstream romance genre, but the case can only be fully understood by examining how they intersect.
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Drawing on interviews (n = 40) and text data from Romantic Times (n = 360) and Romance Writers Report (n = 180), I find that mainstream incorporation of erotic romance involved community negotiation of multiple symbolic boundary debates: (1) What is acceptable sexuality? (2) What is a real book? (3) Who is a professional author? Erotic romance was fully institutionalized after best-selling Fifty Shades of Grey forced the community to confront all three boundary debates at once. However, opposition to subgenre inclusion involved more than sexual content. Erotic romance upended conventions by introducing explicit and sometimes unconventional sex into the traditionally heteronormative romance genre. How do contested emerging subgenres become legitimated and institutionalized? This case illustrates the meso-level negotiation of community sense (Wohl, 2015) as stakeholders of a genre (romance fiction) debate whether genre boundaries include a new subgenre (erotic romance).
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