Hopelessly Devoted: What Twilight Reveals about Love and Obsession
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Candence Malhiet Robillard
Hopelessly Devoted:
What Twilight Reveals about Love and Obsession
I
against the primal desire to kill her, as well as the
n the fall semester of 2007, I was living every Eng-
lish teacher’s dream. My best students, my worst superhuman speed and strength that would allow him
students, my serious students, my most flighty to do so. “Common sense [tells her she] should be
students were absorbed, engrossed, virtually inhaling terrified,” but Bella finds herself “relieved to finally
thick, grown-up-looking books. Every day during our understand” the cause of Edward’s mysterious, often
silent reading time, they would turn page after page. aloof behavior toward her (Meyer, Twilight 272).
When silent reading time ended, I allowed five more Later in the same chapter, Bella and Edward “de-
minutes, let them linger over that last paragraph whileclare” themselves to each other (Meyer, Twilight 274),
and Bella decides that she will give up her humanity
I waited patiently at the front of the class to begin our
day’s lesson. In one of my honors classes, I counted to live in Edward’s world. Forever. Surprisingly, she
seven students reading the books that had become never wavers after making this decision. Not only
a phenomenon. They had intriguing titles: Twilight, does she refuse to consider any other boy who falls
New Moon, Eclipse (Meyer). Their covers were slick, for her (and they all do), but she also withdraws from
glossy invitations designed in starkly contrasting her father and her new friends in favor of Edward’s
black and white and red. One of them even featured company. Moreover, Bella doesn’t consider the beauti-
nearly glowing hands cradling an apple, just begging a ful parts of being human long enough to absorb how
would-be reader to take a bite. I bit. gruesome and dark and lonely Edward’s existence is.
In investigating the phenomenon of this novel, I
The Twilight Phenomenon framed my reading around the following questions:
what is so powerful about this work to my students,
Twilight follows a predictable pattern. A female
especially the girls? What is it about the vampire as
protagonist, Bella, moves to a new
character that is so appealing?
town, Forks, Washington, to live
What does this series say to the
with her father and becomes in- I framed my reading young people who read it? Through
stantly smitten with the most hand-
study of editorial and reader
some and most mysterious boy in around the following reviews, analysis of the novels
her new school, Edward. The twist?
questions: what is so themselves (Twilight in particular),
Edward and his equally beautiful
and research on vampire mythol-
siblings are vampires. When she
powerful about this work ogy and gender roles in adolescent
is alone with Edward for the first
novels, I attempt to make sense of
time in the sunlight, Bella sees him to my students, especially the love affair between my students
in his sunlit, glittering glory. At the
the girls? and these books.
same time, he reveals his struggle
As a high school English
12
The ALAN Review Fall 2009
e12-17-TAR-Fall09.indd 12 9/1/09 4:50 PMteacher who has witnessed the phenomenal success Editorial reviewers see this novel as a suspense-
of the Twilight novels in my own classroom and in ful, action-packed page-turner that is sure to capture
popular media over the last several years, I recognize the attention of readers of all ages. The problem here,
how powerful these texts are. My students, like thou- though, is that the readers who are the target audi-
sands of others all over the country, love them, carry ence of this book are teenagers—specifically teenage
them around for weeks at a time, read them, re-read girls. Some reviewers acknowledge the pervasive
them. Yet, I worry about their merely absorbing the sensual imagery in the novel, particularly the way
plot, images, and themes of these texts without taking that readers are expected to respond to the characters’
a critical look. If our students are willing to spend “palpable” love “viscerally” (Booklist 58). However,
so much time and energy on a novel, whether it is a in these professional reviews, the most disturbing
novel that an adult would have selected for them or aspects of Edward’s character are described even as
not, then we must take their efforts seriously. We can- they are tempered with gushing praise for the love
not expect kids to read with an adult perspective, but story between the two characters. Publisher’s Weekly
we can encourage opportunities for them to question asserts that “the sense of danger inherent in [Bella’s
and probe into the characters and narratives that have and Edward’s] love, and Edward’s inner struggle [are]
become the objects of their obsession. the perfect metaphor for the sexual tension that ac-
Twilight can be read as a novel with a predict- companies adolescence” (207). That kind of descrip-
able plot that reinforces passivity in young women tion would grab the attention of many adolescent
and aggression in young men. Bella, the quintessential readers, even if that love
damsel in distress, is more than eager to allow Edward story involves a nearly
complete control over her safety, and indeed, her one-hundred-year-old One can read Edward as
future. On the other hand, one can read Edward as a vampire, a teenage girl,
postmodern hero, the literary “bad boy” who reveals and a relationship based a postmodern hero, the
what it means to be human in an ironic blurring of on physical attraction
the boundaries between good and evil. In this view, that borders on abuse.
literary “bad boy” who
Twilight is the ultimate morality tale, encouraging Absent from any reveals what it means to
abstinence and romance, rather than hasty lust. Either reviews of this novel are
way, Twilight complicates the genre of both the vam- excerpts from the text be human in an ironic
pire narrative and adolescent romance, offering read- that provide vivid de-
ers a traditional love story on one level and a fresh scriptions of characters’
blurring of the boundaries
perspective on relationships on another. moods and emotions between good and evil.
that are particularly dis-
What Readers and Critics Say turbing, not to mention
particularly revealing. Early in Twilight Edward as-
In studying the editorial reviews, I found many critics
serts his protective power over Bella against her will.
praising Twilight as not only a vampire novel, but “a
In one scene, Bella falls faint at the sight of blood in
sweet and innocent love story” in which Bella’s and
biology class (insert ironic chuckle here), and Edward
Edward’s love is “as spiritual as physical although
insists he drive her home. In Meyer’s prose, Edward
they never have intimate relations” (Blasingame
is described in superlatives. In this instance, he is
629). In the New York Times’ review of Eclipse, Bella
“outraged,” “indignant,” and “threatening,” “grip-
is a “relentlessly intense heroine” at the center of a
ping a fistful of [Bella’s] jacket” and “yanking” her
“steamy occult romantic thriller” (Schillinger, para. 2,
toward him (Meyer, Twilight 104-105). Bella, as the
11). While the tone of the article is generally ironic,
first-person narrator, describes herself “staggering,”
remarking in conversational prose the juxtaposition of
being “ignored,” and “finally freed” once she relents
the dangerous supernatural world and the superficiali-
to Edward’s demands (Meyer, Twilight 105). To me,
ty of high school drama, it, like most editorial reviews,
this does not seem like the beginnings of a romantic
ignores the lingering philosophical issues surround-
love affair. Rather, Edward and Bella’s mutual mag-
ing Bella’s willingness to give up her humanity for an
netic attraction is based on physical appearance and
existence as an outlaw and outcast.
13
The ALAN Review Fall 2009
e12-17-TAR-Fall09.indd 13 9/1/09 4:50 PMproximity. When he is near, Bella goofy, and incomplete until she
can only concentrate on his beauty.
In discussing Twilight with meets Edward. In that regard, she
He, likewise, finds her equally mys- is a reincarnate from the protago-
terious and fascinating, since she some of my female stu- nists in 1950s novels who primped
seems immune to his mind-reading for twenty pages just to attend a
powers. dents, I found that many dance with the object of their af-
For many readers, this is fection. On the other hand, though,
saw nothing surprising or
enough. Edward is so beautiful, so Edward is no ordinary boy (he’s
mysterious, so deliciously unat- questionable about Bella’s no ordinary monster, either), and
tainable that his age (almost 80) Bella represents a uniquely modern
and his dietary needs (the blood of and Edward’s relationship. young woman. She arrives in Forks
living creatures) only makes him already isolated from humanity.
that much more appealing to read-
It seemed normal to them School is irrelevant; she has already
ers. And Bella, who already feels that a girl would alter al- learned every lesson presented in
isolated and different from her cell- the school episodes. Her parents
phone-using, prom-attending peers, most every area of her life are grossly inadequate; Bella has
would of course be attracted to an come to Forks so that her mother
equally aloof boy. Perhaps readers for a boyfriend. can follow her new husband to
long for the freedom Bella enjoys baseball training camp, and her fa-
once she falls in love with Edward. ther can barely cook himself a meal
With him, Bella believes she has found her true love or wash his own laundry.
and can choose her own path, independent of her Even though many women in my generation were
parents, her friends, and even her species, but the raised in the wake of first-wave feminism in which
price she pays for it is a willingness to participate at girls are not relegated to the home and are encouraged
least to some extent in a traditional version of gender- to pursue careers and interests independently, plots
separated power roles: from the very beginning of centering around girls who dream about boys ask-
their relationship, it is clear that Edward is in control, ing them on dates, reciprocating their affection, and
both physically and emotionally. eventually living happily ever after are so pervasive
Additionally, this novel expects that the reader in popular narrative that many don’t recognize the
will accept that the kind of power and passion that stereotypes they represent. In discussing Twilight with
emanates from Edward’s and Bella’s relationship is some of my female students, I found that many saw
the only logical progression of their relationship. Still, nothing surprising or questionable about Bella’s and
there is something beautiful about a creature who Edward’s relationship. It seemed normal to them that
defies his very nature to remain devoted to a very hu- a girl would alter almost every area of her life for a
man relationship. From the Cullens’ choice to remain boyfriend. Once we began discussing Bella’s complete
“vegetarian” (they kill animals only) to Edward’s willingness to succumb to Edward’s every mood,
continuing sacrifices to cater to Bella’s needs, the some actually did see parallels between this novel
vampires in this novel seem even more human than and the traditional, predictable romantic plots in other
their actual human counterparts. Edward chooses how books they have read, and they began to notice (if not
he will be—he forges his own path in the absence of yet to question) the use of such a paradigm in litera-
any kind of strict morality or adherence to religious ture intended for young women. However, because
dogma. Edward and Bella’s relationship is the stuff of fantasy,
not real life, their characters provide opportunity for
What’s Wrong with a Little Obsession? more than literal interpretation. Encouraging students
to situate a novel like Twilight within the genres of
Obviously, a guy like Edward can only exist in a
both young adult literature and vampire tales as a
dream world, but what does this kind of prevail-
whole can lead to deeper reflection and richer dis-
ing dream world reveal about young women in the
cussion that examines significant symbolism and
twenty-first century? In one way, Bella is clumsy,
14
The ALAN Review Fall 2009
e12-17-TAR-Fall09.indd 14 9/1/09 4:50 PMmetaphoric meaning. In other words, this isn’t just an it is for him to leave Bella in New Moon; he may be
entertaining read. determined not to harm her, but he can’t protect her
from other vampires (even his own “family”) or the
The Lure of the Vampire—Then and Now various dangers associated with his way of life. In this
manner, the “Twilight series so resonates with girls
Vampire narratives intended for young adults reveal
because it perfectly encapsulates the giddiness and the
issues of humanity, most often sexuality and identity,
rapture—and the menace—that inherently accompany
that mirror some of the problems young adults grapple
romance and sex for them” (Flanagan, para. 16). At
with today. In Not Your Mother’s Vampire: Vampires
first, their relationship is about falling in love and
in Young Adult Fiction, Overstreet categorizes notable
almost innocent sensual exploration. Even holding
patterns in vampire fiction, including stories on be-
hands is almost too much, and their first kiss is nearly
coming a vampire, romances with vampires, and the
explosive.
humans involved with vampires.
In book four, Breaking Dawn, Bella and Edward
Overstreet sees Anne Rice’s Lestat novels, begin-
marry and physically consummate their relation-
ning with Interview with a Vampire, as pivotal in
ship. Although Edward’s desire doesn’t kill Bella, and
the rethinking of the vampire character in popular
although much of the action happens between the
fiction. These characters are seductive and human,
lines, the effects of their sexual encounter are obvi-
so much so that “far from being repulsed by or afraid
ous. The room is destroyed, and Bella looks as though
of creatures that would previously have been consid-
she has been beaten black and blue. This is more
ered monsters, we are drawn to them and may even
than just a loss of virgin-
want to become them” (7). In chronicling the myriad
ity; it is primal, physical
examples of vampire novels, ranging from serious to
sex that finally occurs Although Edward’s desire
silly, Overstreet acknowledges that vampires, especial-
after “one thousand pages
ly the attractive ones inspired by Anne Rice, may in
of foreplay” (Flanagan, doesn’t kill Bella, and
fact represent “everything that most teenagers are not,
para. 15). As Breaking
but might like to be—fearless, attractive, powerful, although much of the
Dawn progresses, Bella
cool, independent, unsupervised, and intelligent” (13).
Clearly combining good looks, rebellious power, and
becomes pregnant, and in action happens between
a gory, vivid birth scene,
elusive sexuality can be a path to success in reaching the lines, the effects of
she delivers a vampire
a young adult audience. Vampires are characters who
baby while simultaneously
have transcended time and death and who continue
“dying,” therefore creat-
their sexual encounter
an existence in which their every choice is their own
ing an “acceptable” reason are obvious. The room is
(Overstreet). They live outside the boundaries of soci-
for Edward to change her
ety and are able to construct their own rules and mo- destroyed, and Bella looks
into a vampire. From that
rality, in the tradition of the dark Byronic hero. Many
point on, the existence of
contemporary vampire characters choose compassion,
the vampire becomes the
as though she has been
mercy, and love, even in the face of their unquestion-
“normal” one in the novel. beaten black and blue.
able power over the humans around them. They may
This seems like a perfect
be hundreds of years old, yet they are modern men
place for a happy ending,
who often protect those human characters who are
but even Bella’s new immortality does not resolve all
good to them. Twilight’s Edward is one such Byronic
the conflict presented within this novel.
vampire hero.
What do these books say to young women and
young men who read them? On one hand, Bella’s life
They Did What?! literally ends when she marries Edward, but ironi-
Love and Sex in the Vampire World cally, that choice is also her ultimate happiness. She
At first, there is a chance that Bella and Edward’s re- realizes her full potential as a character only when
lationship doesn’t have to be sexual. It is nice to read she becomes a vampire; her human awkwardness
about Edward’s restraint, and we can feel how painful and introversion morph into superpowers in Edward’s
15
The ALAN Review Fall 2009
e12-17-TAR-Fall09.indd 15 9/1/09 4:50 PMworld. Long before she ever becomes a vampire her- barely has to fight Jacob for Bella’s affection, and
self, though, Bella rejects humanity, rushing headlong even though Edward and Jacob, as members of enemy
into marriage with Edward. At his insistence, Bella monster species, are sworn enemies, even this compli-
does wait until she graduates high school and turns cation doesn’t really pose much of a conflict to Bella.
18, but she does so with impatience. She doesn’t want
to age any further before becoming immortal, as Ed- Bella as a New Woman
ward’s body is frozen at 17. By the end of Breaking Dawn, in a deus ex machina
rivaling those of the best Greek tragedies, Jacob’s role
Bella’s Other Options? in Bella’s life is secured. Members of the werewolf
Not only does Bella choose Edward and eternal youth pack frequently “imprint” on a member of the op-
near the beginning of the series, but her character’s posite sex. This person is essentially the werewolf’s
choice is never really complicated by any other op- “soul mate” and one true love. The Quileute men/
tions. The other human characters are unsuitable sub- werewolves remain faithful to the one on whom they
stitutes for Edward, although they would make most have imprinted, devoting themselves to an eternity of
adolescent female protagonists more than adequate love and protection. Jacob has involuntarily imprinted
boyfriends. These are characters that go to class, ask on Renesme, Bella and Edward’s child. The happy
girls on dates, and hold after-school jobs, characters ending that Bella finds at the end of Breaking Dawn
whose descriptions and actions evoke old-fashioned is complex—oddly postmodern yet optimistic, while
mores and an idealized time in American life (Flana- simultaneously reinforcing traditional gender and so-
gan). cial roles. It may not be the ending that readers could
As New Moon opens, Edward, afraid for Bella or would literally choose, and Bella’s choice to follow
because of the very real dangers inherent in being a Edward into his world may not be the ideal choice
human among vampires (most especially the dreaded or the only choice for her character, but it is one that
Volturi, a vampiric “royal family” who are at once allows this narrative some kind of peaceful closure.
fascinated by and threatened by Edward’s family), The boundaries between good and evil are not totally
seeks to protect her by leaving her. In the aftermath, erased, but they stretch far beyond the human and
Bella’s friendship with Jacob, a Native American from supernatural communities of Forks.
the Quileute tribe, intensifies. As Bella pines for the In the human world, Bella is faced with dichoto-
missing Edward, she refuses to let herself fall in love mies. She, like many young women I teach, feels the
with Jacob, but Meyer doesn’t allow her heroine any pull to choose education and career or raising a fam-
chance to sort through a real love triangle. Instead, ily. She can stay in Forks or she can go to college. She
Jacob’s role becomes more complicated by the revela- must choose Edward or Jacob. Becoming a vampire,
tion that he and some of his Quileute peers can morph though, releases these dichotomies and expands her
back and forth into werewolves at will, no full moon choices infinitely. Because Jacob has imprinted on
necessary. Renesme, he will be a friend in her life forever. Her
Is there any hope for young men whose friends, father has accepted her choice, though under a thinly
sisters, girlfriends read these novels? The young hu- disguised sham of ignorance. And let’s face it, as a
man men who become infatuated with Bella, like Mike member of the practically immortal un-dead, Bella can
and Tyler, are likeable, attractive boys with a balance attend college dozens of times.
of coolness and awkwardness that most any teenage If we view Bella in this manner, then maybe her
girl would find adorable. Instead, Bella must choose choice, her taking control of her own future, is the
between two monsters. Though there is potential at compelling component to this series. It’s not hard to
this stage for “the characters [to] grow too big for the imagine, by the end of the series, that perhaps Bella
box they’ve been placed in, where they become bold has fallen in love so quickly with Edward because he
and try to deal with their issues,” this never happens is the gateway to her destiny. She certainly is a bet-
(Trimboli). There is no moment in any of the four ter vampire than human, even disguising the painful
Twilight novels in which “Edward . . . fail[s] at some- initiation process in order to spare Edward and his
thing and discover[s] humility” (Trimboli). Edward family the distress of watching her suffer. Once trans-
16
The ALAN Review Fall 2009
e12-17-TAR-Fall09.indd 16 9/1/09 4:50 PMformed, she becomes the most powerful new vampire young people through books. If so, then it is important
any of the Cullen family has ever seen. Watching Bella to encourage students to read this text critically, to
fall in love with the irresistibly beautiful Edward and explore it in the context of other popular media, and
convincing him to give her the one thing she decides consider its implications beyond entertainment. It is
she wants puts a strong female character at the center possible that this novel allows for a questioning of
of two worlds and makes for a powerful reading expe- assumptions and an expansion of our current under-
rience. In this reading, she is innocent and seductive, standing of love, young men, young women, and the
naïve and clever: a biblical Eve tempting her own ways in which we craft stories about them.
fate and Edward’s strict morality. No wonder many
are insanely jealous of Bella. Not only does she snare Candence Malhiet Robillard is a doctoral student in the
the coolest guy in town, but she does so on her own department of Educational Theory, Policy, and Practice at
terms. Now that is a powerful story worthy of a popu- Louisiana State University in Baton Rouge. Her research
lar culture phenomenon. interests include the intersection of popular culture and
schooling and the ways in which students navigate suc-
cessfully through both worlds. She has taught high school
Concluding and Continuing English for the last 13 years.
As a comment on contemporary society, “one of the
unintended lessons of Twilight is that America has References
Blasingame, James. “Books for Adolescents” [Twilight re-
gotten so moribund that it’s the undead who come
view]. Journal of Adolescent and Adult Literacy 49,(2006):
through in the clutch while the living go through 628–633. Print.
their daily paces oblivious” (Wolcott 329). Certainly Flanagan, Caitlin. “What Girls Want.” The Atlantic Online.
one interpretation of the novel is that in order to find 2008. Web. 3 Dec. 2008. .
one must look outside of society and indeed humanity Glenn, Wendy. “Gossiping Girls, Insider Boys, A-List Achieve-
ment: Examining and Exposing Young Adult Novels Con-
itself.
sumed by Conspicuous Consumption.” Journal of Adolescent
On the other hand, from a literal perspective, and Adult Literacy 52:1 (2008): 34–42. Print.
maybe we are on the brink of a major shift in what Meyer, Stephenie. Breaking Dawn. New York: Little, Brown, and
teenagers expect from their literary counterparts. Company, 2008. Print.
Though Twilight is filled with brooding existential- ———. Eclipse. New York: Little, Brown, and Company, 2007.
Print.
ists, a relatively uncomplicated plot structure, and
———. New Moon. New York: Little, Brown, and Company, 2006.
creepy imagery, it is certainly a departure from much Print.
of the other contemporary young adult literature that ———. Twilight. New York: Little, Brown, and Company, 2005.
is currently being marketed to young women (Glenn). Print.
Rather than extol the virtues of materialism, alcohol- Overstreet, Deborah Wilson. Not Your Mother’s Vampire:
ism, and tawdry, pervasive sex, Twilight is ultimately Vampires in Young Adult Fiction. Lanham, MD: The Scarecrow
Press, 2006. Print.
about sacrifice. Bella sacrifices her humanity for a
Rev of Twilight, by Stephenie Meyer. Publisher’s Weekly 18 July
“life” that will give her room to define her own iden- 2005: 207. Print.
tity and realize her own potential. Edward sacrifices Rev of Twilight, by Stephenie Meyer. Booklist 15 November
his own instincts for a grueling three novels before 2005: 58. Print.
he can share eternity with his true love. For many Rice, Anne. Interview with a Vampire. New York: Random
House.
young women, there is something powerful in such a
Schillinger, Liesl. Rev. of Eclipse, by Stephenie Meyer. New York
romantic narrative, and there is something powerful Times 12 Aug. 2007, electronic ed.: PAGE?. Print.
in this series that young readers have embraced and Trimboli, Wendy. L. “Aromatic Airhead Meets Vacuous Vampire.”
are showing little signs of abandoning. Message 5 posted to http://www.amazon.com/review/prod-
If we look beyond the mass-market selling of ma- uct. 19 Aug. 2008. Web posting.
terialism disguised as literature that we find in many Wolcott, James. “The Twilight Zone.” Vanity Fair Dec. 2008:
290+. Print.
young adult texts, we may see the beginnings of a
subtle shift in the messages and possibilities offered to
17
The ALAN Review Fall 2009
e12-17-TAR-Fall09.indd 17 9/1/09 4:50 PMYou can also read
