Literary Queery: Where are all the commercial queer books?

With Pride Month drawing to a close, rainbows once again become a rarer sight. But for queer readers, their need for community and visibility does not disappear with the turning of a calendar page. Returning to bookshelves post pride month is a stark reminder of how often queer readers must rely on themselves in order to find representation. Hot on the heels of the music industry's 'Lesbian Renaissance', there has been a noticeable uptick in the amount of queer fiction available. From Madeline Miller's breakout success The Song of Achilles to Josh Silver's haunting adult debut Fruit Fly, queer fiction is undeniably having its moment. But the thing about queer fiction is that, like it's readership, it is far from being a monolith. So why is it that most queer books fall into the category of literary fiction?

Praised for its thematic depth and experimental prose, literary fiction is often unfairly lauded by critics as the most worthy genre, a perpetuation of the kind of book snobbery which dominates school curriculums. This is not to take away from the merit of individual works of literary fiction: the problem is systemic, not the fault of a single book, or really the books at all. Marketing plays a huge role in accessibility, which is epitomised not just by the offering of representation or accommodations but by their being fully integrated into the fabric of the sector. Literary fiction, by nature, has a tendency to capture the poetic and traumatic. But what about the meaning which can be found in the everyday?

The restricted view of what queer fiction can be suggests that only certain types of queerness are accepted: ones which can be made palatable to an educated few instead of accepted into the ranks of mass market fiction. Literary queer fiction assumes its readers want lofty and esoteric portrayals of queer love, when all most queer readers want is a relatable and real story of identity, connection and acceptance. Queer people exist within all facets of society, and therefore queer readers exist across all genres.

It is not true representation to offer only one kind of queer story. In fact, this works against the queer community as much as it does for it. The success of Heated Rivalry has finally made visible the demand for queer commercial fiction, something which has always existed but has never been fulfilled by publishers. Retailers such as The Works excel at curating commercial fiction, but their shelves are undeniably dominated by heteronormative romantic comedies, hundreds of boy-meets-girl to the one boy-meets-boy. Sapphic commercial fiction is even rarer: there is a pervasive misconception that only queer women want WLW content and that their straight counterparts won't watch or read alongside them. There is no market for anything when it's audience is invisible; I myself have long since given up scouring bookshelves for lesbian rom-coms which simply aren't being published.

Fiction written for joy and visibility is no less worthy than fiction penned to win prizes. We've waited long enough for a gay Bridget Jones, and her queer equivalents do exist, if you look hard enough. But we shouldn't have to look hard for representation which should come easily. The newly launched independent publisher Pansy Books was created for this exact purpose: to shine a spotlight on queer commercial fiction which wasn't being given the time, attention or marketing by mainstream corporate publishers that it deserved. Pansy Books aims to publish one book each year, so that it can dedicate its focus to ensuring that this queer fiction reaches its queer readers. Their first title is The Castle of Stories by co-founder Matt Cain, a perfect example of LGBTQIA+ summer up lit which will resonate within its community and beyond. To continue the amazing work of organisations such as Pansy Books, I have curated some recommendations of my own of commercial queer fiction books I would like to shine a light on and bring to the front of bookshelves everywhere.

Can't Spell Treason Without Tea by Rebecca Thorne (lesbian, bi, gay, non-binary and aroace rep)

Bringing lesbians to the cosy fantasy genre, this delightfully charming quartet blends magic, romance and found family into the perfect brew for any queer person who has ever wished to escape to a barn full of books, plants and baby griffons with the love of their life.

Here Comes Summer by Georgie Kain (gay and bi rep)

Every gay loves a holiday, so pack your bags for a steamy trip around Europe with a couple to rival Hollander and Rozanov in Kain's debut novel following internet sensation Brady and his ex as they pretend to still be boyfriends on a fabulously camp and heartwarming romp through some delightfully romantic destinations.

Ex Marks The Spot by Eleanor Vendrell (bi rep with WLW romance)

Nerds rejoice- this one's for you! Romance hits Oxford as awkward librarian Evie is paired up with her charismatic ex Nic, Oxford's newest honorary professor. But it's not just their hearts sending them on a wild goose chase around the city when they discover an illuminated manuscript with clues to a treasure hunt. With a dangerous group hot on their heels, will they find the treasure- and a way back to each other?

Bromantasy by Maire Roche (gay and queer rep)

If Schitt's Creek and Gwen and Art are Not In Love had a baby, the result would be Bromantasy, a cozy queer quest full of skincare tips, awkward encounters with princes, and a baby dragon two adorable to be denied cheese, no matter how scarce. This book is the perfect treat for anyone who has ever wanted to go on a Medieval adventure but is much better suited to knitting at home.

Best Woman by Rose Dommu (trans, bi and lesbian rep)

For anyone who has ever wished 90s rom-coms had been queer, Best Woman takes the most beloved rom-com tropes, family wedding and all, and blends them into a fantastically chaotic and relatable story of old flames, second chances and what it really means to fall in love, this time with yourself.

Other great commercial queer books include:

Lady’s Knight by Meagan Spooner and Amie Kaufman

D’Vaughn and Kris Plan a Wedding by Chencia C. Higgins

The Charm Offensive by Alison Cochrun

Hani and Ishu’s Guide to Fake Dating by Adiba Jaigirdar

Cleat Cute by Meryl Wilsner

Make Room For Love by Darcy Liao

Bored Gay Werewolf by Tony Santorella

Late Bloomer by Mazey Eddings

Set the Record Straight by Hannah Bonam-Young

Reality Check by Lizzie Huxley-Jones

Connection Error by Annabeth Albert

Love Galaxy by Sierra Branham