What Twilight Should Have Been

I've been thinking about Twilight lately.

Yeah, I know, I need a new topic. But after being secretly obsessed with those books, I've been trying to both justify my reaction, and figure out how I feel about the books now.

I have already dealt with the some of the Questionable Content in Twilight. As well as the Reason Why People Read it. Today, I'm going to quickly examine the literary merits of the book, and then explain what form it could, and perhaps should, have taken.

One thing that helped me understand my own veiw, was going to amazon.com and reading the reviews of others. Not the paltry ones from "Twi-hards" or haters (which generally focus entirely on story content and whether they loved or hated it), but the meaty ones that are written with thought (and allude to the author's skill). I especially like the 3/5 stars entries, because there I generally find reviews I agree with. These often point out the same flaws/strengths. Elizabeth Spires, reviewing for the New York Times, got it right.

"The premise of "Twilight" is attractive and compelling — who hasn't fantasized about unearthly love with a beautiful stranger? — but the book suffers at times from overearnest, amateurish writing. A little more "showing" and a lot less "telling" might have been a good thing, especially some pruning to eliminate the constant references to Edward's shattering beauty and Bella's undying love."

The way I see it, Twilight suffers from two main things.

It Lacks Plot. If you can be satisfied to follow every minute detail of a heroine's mental agony over new love (as apparently I can), then you'll enjoy Twilight. The book does not offer as much in the way of life events, as it does in mental/emotional events. Also, it is a very linear book. Bella has one problem and, as soon as it is resolved, another problem enters to take it's place.

The Main Characters Aren't Sympethetic. Those who view books critically tend to find Bella annoying and weak, and Edward abusive. Those who, like me, take characters at face value on a first read, found them to be exactly what Stephenie Meyer intended. Bella is supposed to have a quiet strength. She rarely stands up for herself or speaks her mind but, in the end, she always does what she thinks is right. Edward is supposed to be the strong intellectual that burns with such passion he will stand in the way of anything that threaten's Bella's safety (including Bella herself). The problem lies, as Elizabeth Spires said, in too much telling, and not enough showing. People like me tend to believe everything they are told (unless there is obvious evidence to the contrary), but to about half the population, seeing is believing. So while I find that Bella and Edward's relationship is reminicent of Jane Eyre and Mr. Rochester's (INFJ + ENTJ), many people find the whole thing to be a disgusting, anti-feminist travesty. In the end, perhaps they are right.

Obviously, the fatal flaw in my Jane Eyre argument is that, in that story, Jane was the one strong enough to leave a bad situation, while in Twilight's sequal, it is Edward that leaves.



Now, on to the THE POINT of my post (yes, I know I always take too long to arrive, but in case you haven't noticed, it's the journey, the "rising action" that I enjoy).


What should Twilight have been? No plot? Flat characters? I'd have thought it was obvious.




Twilight Should have been an Opera

Remember those famous lines from Phantom (Which, incidentally, is not an opera)?

You'd never get away
with all this in a play,
but if it's loudly sung
and in a foreign tongue
it's just the sort of story
audiences adore,
in fact a perfect opera!

Traditional opera is a combination of two kinds of singing: Recititive and Aria. Recititive is singing where the melody mimics human speech patterns. It is the conversations, the dialogue, and what moves the action in an opera. Arias are moments in time. Traditionally, they are supposed to explore a single emotion. They do not move the plot forward, but instead are a probe of some aspect of the human experience. (Which is why people take so long to die in operas, they're exploring their final emotion.)

Twilight is full of emotional probes.

Imagine the selections on the soundtrack?
An Aria for Bella, "L'amour est un brillant poitrine".
And one for Edward, "Qu'est-ce qu'elle pense en ce moment?"
And while we're at it, how about Charlie? "S'il vous plaît, rester loin de ma fille!"

No? No opera?

Fine.




Twilight Should have been a Poem

Imagine if Stephenie Meyer had chosen a more abstract method to catalogue her famous dream? Instead of creating characters that made her curious to explore their lives, she could have focused on the strong emotions involved, written a page a verse, and been done.

I'm no poet, but here's what I came up with in a few minutes:

Green leaves cover death
secret song thrums through veins to capture heart
darkness never looked so bright

breath steals it's last moment
Life lives it's fullest
thinking
perhaps
it has come to an end

Heart stopped by absence....
or presence

What would you decide?


Not very good, but I could keep at it and make it better.
My friend, though he hated the movie, was somehow inspired by the concept. He came home and wrote a creeptastically chilling love song. Someday, when it's online, I'll link it here, but for now, you'll have to make do with my attempt.


Alright, now, I know you might not like poetry, so here's my favorite thought:



Twilight Should have been a BALLET

Imagine! No dialogue! No characters agonizing over their faults while the audience completely agrees. No constant discriptions of Edward's beauty! Physical beauty could be successfully portrayed by the (statistically) gay man in the part. It wouldn't be weird that he takes his shirt off, because it'll actually help us see the lines of his movement! And Bella would never have to remind us how clumsy she is.

Ballets have a tradition of romance and the supernatural, and can also do well in industrialized settings (wish I could have seen Matthew Bourne's Cinderella, set in WWII Britain, when it was here in LA).

Bella and Edward's danger laden passion could have been exemplified in beautiful, tension filled pas de deux ("step of two," a dancer's duet, if you will). And imagine the high school scenes! I can picture the intricate chaos between classes, the shy and clumsy Bella, unaware of her effect on those around her. And don't forget pas d'action! The romance would probably not take as long, so we could skip ahead to an Allegro fight scene with James.

How else can we ladies talk our men into going to the ballet?



I'll make a poll. Let me know which you think Twilight should have been.



P.S. I've never tried to get my husband to go to a ballet, but he took ballet in college and I go to Clippers' games with him, so maybe I should try it....

Why Are so Many of Us Obsessed with Twilight?, Or: Why People Read Books

Warning: This post comes as close to PG-13 as I've ever been. It's not explicit, but may be too frank for some.
Warning II: Twilight spoilers ahead (duh).




_________________

In order to discover why people (mostly women, but some men also) are so obsessed with Stephenie Meyer's best-selling series, we must first look at why people get obsessed with romances and books in general.

So what is it about a book, that can draw someone in? Even books that are not well written?

Remember these?





Basically, something intriguing happens, and attracts your attention. You begin reading (or watching, listening etc.) and tension builds, keeping your attention and engaging your mind and/or emotions. Finally, the tension is paramount, reaches a climax, and then everything winds down to the conclusion.

Now pretend for a moment, that you saw one of those charts up there for the first time (Gardner's for example). Pretend that it was free of words. Follow the line with your finger, inhaling with the upward motion, exhaling with the downward....

Remind you of something?


....Nothing? Really?



It seriously doesn't remind you of anything?




Maybe it's just me.


Think about it....something that, like a story, stems from initial attraction, builds until you thirst for more, climaxes at the best part, and then relaxes, leaving you satisfied but eager for another such encounter.

....

Just in case anyone is still not sure of my metaphor, let me spell it out. Incentive Moment = Attraction, Rising Action = Foreplay, Continuing Tension = sex, Climax = ....er....Climax, and Denouement (Falling Action) = Cuddling, Sleeping, or whatever (who knows, maybe even a sequel....).


For those of you who have never been obsessed with reading in general...perhaps now you understand how a bookworm is made. Basically....reading is like sex for your brain.

Now don't freak out on me! I'm not saying people like books for sexual reasons, I'm merely comparing two things that seem to follow a similar pattern.

I love books and consume them with an appetite. Everyone has their little pleasures. I imagine your enjoyment follows a similar pattern when you meet a deadline at work, teach a successful lesson, or help someone solve a problem.

For all of you who have done any of these things, you know what it's like to build up to something, enjoy the process, have the moment of achievement, and then the relaxing euphoria of a job well done.

However, we are human. Euphoria wears off. We have fond memories of accomplishments, but the feelings fade. Fortunately, there are plenty of books to read, problems to solve, people to help, and....well, you get the idea.

Writers have their little tricks to keep tension (and interest) high. Anne Perry, renowned for her Victorian mysteries, skips the Denouement. Almost as soon as the killer is revealed, the action completed, the book ends. There is no gracious explanation by the detective, no revelation on how "elementary" or "the 'leetle' gray cells" saved the day, and certainly no fluffy epilogue to explain which minor characters got married. Instead, you have to wait for the next book (which may or may not mention said minor characters), or figure it out yourself.

Romances, as a genre, have an especially difficult time following dramatic structure in a unique way. The purpose of a romance is (generally) to document a love affair. However, in order to build the proper tension, authors must include stumbling blocks to the two lovers. Many authors, through lack of creativity, ability, or mere interest utilize the same ones over and over again.

There are only so many detours on the path of "true love" : Misunderstanding, Shyness, Anger and Jealousy, Self-Doubt, and Mr. Wrong seem to be the most common.

Many creative, able, and deliberate authors choose to pad their romances with non-romantic plots, allowing those story-lines to incite the tension instead (or in addition). Of course this makes a case that such books are not actually romances, but some other genre. In truth, I find it hard to think of any romance I have enjoyed, that can not also be counted in some other category.

For example: Family Drama, Social Satire, Historical Fiction, Fantasy, Action Adventure, Horror and Mystery, Comedy etc.

The above genres can still be butchered, but they give the author more leeway. A specific example would be Jane Austen. While I would not consider her books to be romances, romance was a key aspect of her writing. However, instead of populating her stories with flat leads and completely unmemorable minor characters (like some stories I've wasted time on), Austen took time to develop her characters. We learn, not just of a hero and heroine, but of their families, friends, and neighbors. We know their quirks, foibles, and tastes. This allowed Austen to make subtle commentaries on society, politics, family dynamics etc. that kept her audience entertained while her main characters figured out how to be together.

So how do romantic stories (good and bad) affect the obsessive? Imagine the mental and emotional response you have to the building tension and climax of your favorite movie or book. Now, add the mental and emotional response you have to new love. Remember how exciting new love is?

Most people in the world are not currently experiencing this phenomenon. They are either seeking someone worthy of, and willing to receive, their attention, or they have committed themselves to someone, and are moving toward a deeper communion.

But does that mean they can't experience the exciting enticement of new love without cheating, or wasting time? It depends. If you are the sort of person who can be swept away by a good story, who can suspend disbelief, and enter a new world in every book, then perhaps, for you, vicarious new love will always be within reach.

(*Note: The Author is neither advocating, nor opposing the escapism implied in this concept, she merely sympathizes with you all, and reminds herself to remember the words of our Old Friend: "It does not do to dwell on dreams, and forget to live.")

This vicarious new love can be exciting, but it fades more quickly than a real (typical) infatuation. Some romances (the smutty ones), also try to vicariously induce other responses. These can be especially enticing to women, as it provides an emotional context for eroticism, that pornographic imagery often (I assume) lacks.

(*Note: The Author wishes to make it very clear, that she believes pornography in any form is detrimental to relationships, families, and individuals. Here she recommends strict self-control.)



Finally, we arrive at Twilight, a series that combines two genius tension builders.

First, Danger: One morning Stephenie Meyer awoke from a Dream involving a girl and a Vampire with two problems. One, they were in love, and two, her blood was (somehow) more enticing to him than any other. For those of you who have not read Twilight, Stephenie Meyer's Vampires do not merely enjoy drinking blood, it is a constant, raging, painful thirst. To deny themselves, as the Cullens do, is torture. In addition, it is occasionally possible for certain blood to attract certain Vampires (as is the case with Edward and Bella). Therefore, Bella is in constant danger from the Vampire's around her, and specifically from the one she has fallen for.

Second, Sexual Tension: While most modern romance novels (even many written for teens) contain sexual encounters, Twilight, and two of its sequels, do not. By making Edward chivalrous and a bit old fashioned, Stephenie Meyer was able to reconcile the modern romance with her own personal beliefs. Whether or not she also intended to draw out sexual tension, is unknown.


The Result
The combination of these tensions allow the author to break some of the rules of her genre, beginning by allowing the two main characters to be together. They immediately show interest in each other, and, after some initial ignoring, they spend all their time together. This is allowable because, where most romance series keep you asking, "When, when, when will they [hero and heroine] get together," Twilight makes you ask, "How, how, how will this ever work?"

Because we are constantly, morbidly curious to see if the hero will kill the heroine, there is no typical let down after the milestones in their relationship. Innocent moments like the first date, first touch, and first kiss become passion ridden, dangerously critical trials of endurance and love.

Edward explains that Bella would especially be in danger if they experimented sexually, and tries to keep them as far from that situation as possible. Eventually, it is also revealed that he wants to "wait" for marriage. By giving her characters a boundary that they must avoid as widely as possible, Meyer can have Bella and Edward flirt inch by dangerous inch along the path of their desire, exploring forms of affection (like cuddling) that the modern romance often completely ignores (They can't even french kiss, for fear of Bella cutting herself on Edward's sharp teeth). With each fractional increase, the danger intensifies, and Edward must find new depths of self-control!

Talk about tension!!!



Okay....breathe.

So there's your answer: tension and euphoria. (And welcome to the Denouement of my post.) As humans, we've learned, the greater the tension, the greater the euphoria, right? I'm not going to tell you if Twilight payed off, you'll just have to read the books for yourself.

Also, I wanted to add that, while I have illustrated what might make the works of Stephenie Meyer attractive and popular, I do not mean this to be a review of their literary merit. I leave that up to professional and personal opinions.

Hopefully I've answered some questions, I certainly enjoyed trying.


The End


(Why do I suddenly feel like having a cigarette....?)

Question: Is Edward Cullen an Abusive Boyfriend?

Answer: I don't think so, but we'll see.

Disclaimer: I managed to read all four Twilight books without falling in love with Edward Cullin. I think he's an interesting character, he's just not the kind of guy I'd want (Plus, he's NOT REAL). That being said, I was kind of obsessed with the books for a while, but I got over it. I think this puts me in a unique position. I don't think Stephenie Meyer's saga is "tHE beSt EvEr!" but I enjoyed them, and think they're fun. If you think it's silly to analyze fictional characters, you won't enjoy this, so go away.

If you intend to, but have not yet read the Twilight series, consider this your warning: Spoilers Ahead!


Now, I've been thinking about this since dear Liz, Nicole (miss you!) and I talked about it on Saturday. Is Bella in an abusive relationship? Well, I looked up a few websites, and can easily claim that NO she is not. Of the ten characteristics listed on this site, Edward only has three (as does Bella), so I conclude that he is not abusive....Physically.

Unfortunately, Edward and Bella's relationship is a candidate for Ambient (or Stealth) Abuse.

According to Dr. Sam Vaknin's book, "Malignant Self Love: Narcissism Revisited," ambient abuse is, "...the stealth, subtle, underground currents of maltreatment that sometimes go unnoticed even by the victims themselves, until it is too late. ...It is the outcome of fear."

By subtly introducing fear to a victim (or prey, as Vaknin says) an ambient abuser renders him or her useless and easily manipulated....it's all about control.

Now, here comes the age old debate on Desire. If someone doesn't want to, or intend to hurt you, are they still responsible for it? This will be important.

It is my assertion that Edward can be considered an Ambient Abuser, when who he is, is added to what he is.

Vaknin gives five categories of Ambient Abuse. One can be considered abuse, but, by the nature of his personality, we can assign Edward two or three. In addition, by the nature of his species, we can assign him the other two. So, while he does not seem abusive, it does appear that Bella is being abused.

Let's begin.

I. Inducing Disorientation (Not Edward's Fault)

"The abuser causes the victim to lose faith in her ability to manage and to cope with the world and its demands." Let's face it, Bella has never had much faith in her ability to begin with, Edward didn't cause that.

"The abuser subverts the target's focus by disagreeing with her way of perceiving the world, her judgment, the facts of her existence, by criticizing her incessantly – and by offering plausible but specious alternatives. By constantly lying, he blurs the line between reality and nightmare."

Edward does lie to Bella, when he is trying to protect her, but she can usually tell. He often criticizes her, but in a charming way. He has the habit of trying to convince her she is good and beautiful (things she does not believe) but often teases her about her intelligence and logic (things that she is more confident in).

"Bella, you are utterly absurd" (Twilight p. 82). "You don’t see yourself very clearly, you know. I’ll admit you’re dead-on about the bad things, but you didn’t hear what every human male in this school was thinking on your first day" (210). Edward is constantly trying to convince Bella to believe the opposite, to see herself as he sees her. It's not intended malignantly, and Bella never buys it anyway. While Edward often disapproves of Bella's choices (as do many others) she usually is convinced she's done the right thing. However, he does introduce her to a new world, a world where her previous notions and beliefs cannot exist, a world of vampires and mythology. This, more than anything, seems to make Bella reassess herself, her life. She is ready to accept almost anything.

II. Incapacitating (Both Edward's Fault and Not Edward's Fault)

"The abuser gradually and surreptitiously takes over functions and chores previously adequately and skilfully performed by the victim. The prey finds itself isolated from the outer world, a hostage to the goodwill – or, more often, ill-will – of her captor. She is crippled by his encroachment and by the inexorable dissolution of her boundaries and ends up totally dependent on her tormentor's whims and desires, plans and stratagems." Edward is Chivalrous. He drives her to school, he protects her from harm, he makes sure she eats. Here's where intent comes in play. Does he like it when she's helpless and depends solely on him, or is he merely a little old fashioned and service-oriented. After all, he usually drives his whole family to school....but it is his car.

"Moreover, the abuser engineers impossible, dangerous, unpredictable, unprecedented, or highly specific situations in which he is sorely needed. The abuser makes sure that his knowledge, his skills, his connections, or his traits are the only ones applicable and the most useful in the situations that he, himself, wrought. The abuser generates his own indispensability." This Edward has not done purposefully. At first, he is of the greatest danger to Bella, but quickly becomes her best defense. Did he somehow entice enemies (James, Victoria, the Volturi) to Bella in order to have the opportunity to save her? Don't be silly. He defends her completely, hates that he has to, and blames himself for exposing her to his world in the first-place (cue self-loathing).

III. Shared Psychosis (folie a deux) (Not Edward's Fault)

"The abuser creates a fantasy world, inhabited by the victim and himself, and besieged by imaginary enemies. He allocates to the abused the role of defending this invented and unreal Universe. She must swear to secrecy, stand by her abuser no matter what, lie, fight, pretend, obfuscate and do whatever else it takes to preserve this oasis of inanity." The fantasy world that Bella and Edward inhabit is real (at least to them). However, it does call for secrecy and solidarity. This, in part, is what makes Edward so enticing to Bella and other (real) women.

"Her membership in the abuser's "kingdom" is cast as a privilege and a prize. But it is not to be taken for granted. She has to work hard to earn her continued affiliation. She is constantly being tested and evaluated. Inevitably, this interminable stress reduces the victim's resistance and her ability to "see straight"." Again, this is not engineered by Edward, but by the nature of Vampires and Bella herself. She has never fit in anywhere, and suddenly is welcomed in by the most beautiful, strongest, fastest, "coolest," people around. So of course, when Edward leaves and tries to "save" her from herself, she only craves him more. Soon he becomes her be all, end all. She cannot live without him.

Can you imagine what it would have been like if Stephenie Meyer ended her series showing Bella and Edward in some mental institution and you realize that he made the whole thing up! I probably would have been mad, but it would have been awesome in a creepy way.

IV. Abuse of Information (Edward's Fault)

"From the first moments of an encounter with another person, the abuser is on the prowl. He collects information. The more he knows about his potential victim – the better able he is to coerce, manipulate, charm, extort or convert it "to the cause"." Edward did this. He wanted to know everything about Bella, partly because he couldn't read her thoughts, and partly because he was in lust with her (at that point, I don't think he loved her, physically he's still seventeen, but I could be wrong). While we know his intention was not manipulation, on page 208 of Twilight Edward says, "I do want to know what you’re thinking — everything," and on 245, "You fascinate me." While he does care what Bella thinks, that doesn't always affect his actions. As long as she is happy and satisfied, where's the harm? Dangerous situation coming to town? Don't tell Bella, just take her to visit her mother.

"The abuser does not hesitate to misuse the information he gleans, regardless of its intimate nature or the circumstances in which he obtained it. This is a powerful tool in his armory." While Edward does not seem manipulative for the sake of manipulation, he is willing to stoop that low if he believes it is for Bella's own good. He insists that she will lose her soul if she becomes a vampire (though he doesn't really know), but she won't drop it, so he offers to make a deal. He offers her what she wants in return for what he wants. Compromise, right? But is it an accident that he asks for something that she is afraid to give? Did he infer this fear, and use it against her? Or was he unaware of it? Even though her fears are unfounded, it makes her rethink her original request. For a while, it looks like he might get his way. (Of course, she later turns things back on him, and proves that she can be just as devious, and in the end they both get what they want almost by accident.)

V. Control by Proxy (Edward's Fault and Not Edward's Fault)

"If all else fails, the abuser recruits friends, colleagues, mates, family members, the authorities, institutions, neighbours, the media, teachers – in short, third parties – to do his bidding. He uses them to cajole, coerce, threaten, stalk, offer, retreat, tempt, convince, harass, communicate and otherwise manipulate his target. He controls these unaware instruments exactly as he plans to control his ultimate prey. He employs the same mechanisms and devices. And he dumps his props unceremoniously when the job is done." Remember when Alice "kidnaps" Bella for that forced slumber "party?" Remember all those times when Charlie gets over-protective and Edward agrees with him when it keeps Bella where he wants her? True, he is trying to protect her from her own impulsiveness, and he definitely doesn't "dump" his allies (Alice is probably his best friend, and he has a lot of respect for Charlie), but he does overrule her in logical matters. He insists that he knows better.

"Another form of control by proxy is to engineer situations in which abuse is inflicted upon another person. Such carefully crafted scenarios of embarrassment and humiliation provoke social sanctions (condemnation, opprobrium, or even physical punishment) against the victim. Society, or a social group become the instruments of the abuser." This is not Edward, but, as above, we have seen that his world has caused this. The Volturi, random nomadic vampires, and even the local gossip mill all cause Bella grief.

Desire

As stated above Edward believes he knows what is best, or rather safest, for Bella, but is he wrong in trying to overrule and protect her? In truth, he is usually (but not always) right. Not because he is a man, not because he is older, but because, as a vampire, his brain works on a higher level. His synapses fire more rapidly, he has a perfect memory, and he's been to college several times. In comparison, Bella's mind is like a child. Is is wrong for you, as an adult, to see a child wandering the streets and take them to Child Protective Services? You have no authority over that child, yet what you did would be seen as heroic, even if the child prefers living on the streets. Many have complained that this kind of behavior is proof that Stephenie Meyer is anti-feminist, but she insists that she is merely, "anti-human." (stepheniemeyer.com) Looking at some of her other characters (Alice for one) does seem to make this argument viable. However, this "anti-human" sentiment is present for three books, books that are written in the first person. This can make it dangerous to those who may misinterpret the author's intentions, as Bella generally seems reasonable to herself and, therefore, the reader.

Conclusions

Despite his inclination to jealousy, self-loathing, and his own acknowledged "God complex" (Midnight Sun, p. 11) Edward Cullen is merely a borderline ambient abuser. He allows his desire to protect Bella to overcome his respect for her individuality. However, when the object of his concern (namely, Bella's human frailty) is extinguished, he begins to trust her more completely. He doesn't like to see her in dangerous situations, but stops being deceitful in order to keep her from them.

While it does seem as though Bella was experiencing all of the above abuses, few of them were actually caused, let alone intended, by Edward. However, had Bella remained human, we can only assume that the inequality of their relationship would have continued.

Perhaps we can assume that any human-vampire relationship would be, by nature, abusive in addition to dangerous.

Arguing that Edward abuses Bella is feasible, but not really fair. We are attempting to judge a cross-species relationship in a fantasy world. Now if you want to try to argue that Bella is abusing herself....

To all you women who wish for an Edward in your life....you may want to think again.

_______

Please don't shoot me:

To fellow fans of Twilight, please allow me the enjoyment I've had playing devil's advocate. As stated above, I like Stephenie Meyer, her books, and characters, but that doesn't mean we should accept everything she's written as a perfect dream to pursue without some serious consideration.

To all you Twilight haters, don't begrudge me the harmless fun of my escapist tendencies. I've overcome my obsession and lived to laugh at myself. I know it's hard to accept that so many people are so obsessed with something you find so valueless, but please, at least it's not High School Musical.