In literature, the term “cosy” typically refers to mysteries and romances that are free of explicit language, violence, and sexual content. These stories often prioritize character development, feature charming or peaceful settings, and maintain lower levels of suspense.
If you’ve visited a bookstore recently, you may have encountered a display of cosy books like Joss Richard’s “It’s Different This Time” or Richard Osman’s “The Thursday Murder Club.” These cosy narratives are promoted as perfect reads for the fall and winter seasons and have gained popularity in recent times.
Although cosy mysteries and romances are not new, the term “cosy” is now being used to describe a wide range of genres, including cosy fantasy such as Travis Baldree’s “Legends and Lattes” and even cosy horror like Silvia Moreno-Garcia’s “The Bewitching.”
In “Legends and Lattes,” an orc creature opens a coffee shop instead of engaging in battles, while “The Bewitching” follows three generations of women grappling with dangerous witchcraft in serene settings like a New England college town and the Mexican countryside.
CBC Books producer Lucy Mann appreciates the diversification of “cosy” into various genres. She believes that the allure of cosy books lies in their ability to provide escapism and comfort, offering readers a sense of being transported to different worlds.
Despite the seemingly paradoxical nature of finding comfort in murder-themed stories, some readers find solace in the ambiance, tone, and backdrop of a book, or in the physical setting where they read it.
Vancouver author Iona Whishaw, known for her Lane Winslow Mystery series, views cosy books as existing along a spectrum, ranging from light, character-driven tales set in fictional towns to more intricate crime novels with a strong atmospheric presence. Her own novels strike a balance by exploring crime and challenging themes with compassion, while maintaining a cozy atmosphere through vivid settings, endearing characters, and touches of humor.
While some readers may critique the level of coziness in Whishaw’s books, she emphasizes the diversity within the cosy genre, highlighting the broad spectrum of cosy narratives rather than categorizing them into a single mold.
The surge in popularity of cosy books has not escaped the notice of industry insiders like Indigo’s Rachel Law, who oversees book categorization and promotion. Law points out that while cosy books have always been present, their prominence has grown as a trend, with a particular rise in Japanese, Korean, and Western cozy fiction across mystery, romance, and fantasy genres.
In retail spaces, sales of cosy books have spiked significantly, with romance and cosy coloring books emerging as top subgenres. Online searches for “cosy” related terms have also surged, reflecting the increasing interest in these comforting narratives.
Despite the evolving definition of “cosy,” with some books pushing the boundaries of traditional expectations, the appeal of these stories lies in their ability to offer a reprieve from the overwhelming news cycle and highlight the positive aspects of life. Law suggests that the popularity of cosy books stems from their ability to remind readers of the goodness and kindness in the world, providing a comforting escape during uncertain times.
Mann echoes this sentiment, noting that cosy books have always held a special place in literature but are especially valued in today’s turbulent world, offering a sense of calm and stability amidst chaos.