Was Diego at the Clearing? The “Ending” of Bree Tanner

Sunday, July 11th, 2010

SPOILER ALERT FOR BREE TANNER

“Holy crow! It’s been like this all day. The battle is finally over. My coven is all dead. Phew! Time to jump out of hiding and take them all on myself! No wait, that doesn’t really make sense… Does it?”

Was Diego actually at the clearing for the final battle in The Short Second Life of Bree Tanner?

The question arises because of this passage, which offers two possibilities:

…I realized now that I’d been hearing the description of Diego’s death.

That night, I’d been sure that something had changed in Riley. Killing Diego was what had changed Riley, had hardened him. I believed only one thing that Riley had ever told me: he had valued Diego more than any of the rest of us. Had even been fond of him. And yet he’d watched our creator hurt him. No doubt he’d helped her. Killed Diego with her.

I wondered how much pain it would have taken to make me betray Diego. I imagined it would have taken quite a lot. And I was sure it had taken at least that much to make Diego betray me.

I felt sick. I wanted the image of Diego screaming in agony out of my head, but it wouldn’t leave.

And then there was screaming there in the field.

My eyelids fluttered, but Jasper snarled furiously and I clenched them together at once. I’d seen nothing but heavy lavender smoke.

I heard shouting and a strange, savage howling. It was loud, and there was a lot of it. I couldn’t imagine how a face would have to contort to create such a noise, and the not knowing made the sound more frightening. These yellow-eyed vampires were so different from the rest of us. Or different from me, I guess, since I was the only one left. Riley and our creator were long gone by now.

I heard names called, Jacob, Leah, Sam. There were lots of distinct voices, though the howls continued. Of course Riley had lied to us about the number of vampires here, too.

The sound of the howling tapered off until it was just one voice, one agonized, inhuman yowling that made me grit my teeth. I could see Diego’s face so clearly in my mind, and the sound was like him screaming.

So there are two possibilities that we are aware of, highlighted by Bree:

Possibility 1. Diego was there at the clearing: This theory is supported by the last straggler vampire’s death, and the question of why a vampire would allow himself to be discovered after the battle is already lost? Why not just stay hiding? Further, perhaps that is why the screaming sounded so much like Diego — it was him — but Bree was prevented from seeing him for herself.

In this scenario, Diego was scouting ahead just as Riley had told Bree, but having figured things out as Bree had, instead of attacking, he hid near the clearing — waiting to save and/or rejoin Bree. Yet once Diego sees that his beloved Bree is in the custody of the fearsome Jasper, he leaps out of hiding to save her — well after the battle is over — is noticed by Leah, and is killed by Jacob (and others), injuring Jacob in the process.

Possibility 2. Diego was not there at the clearing: This theory is supported by Bree’s own conjecture, and as Bree notes, Riley’s “gone to the dark side” behavior.

In this scenario, Diego was tortured by Riley and the Creator, Victoria, the night he confronted Riley with his deceptions, until Diego gave enough information to them so Riley could keep Bree in the attack party. Once they had the information, he was killed.

So how can these options be verified? By counting the vampires who made it to the clearing (and died there) if Diego had been in the group, versus the number of dead tallied by Jane.

If Diego was there:

At Victoria’s cottage: 22 plus Vic and Riley = 24

Ashes on floor (-1 vamp): 21 plus Victoria and Riley = 23
Confirmation: Bree’s headcount just before dawn: 20 plus Vic plus Riley plus absent Diego = 23

Fred leaves on day of the battle (-1 vamp) = 22 (including Diego)

Sara kills male blond she doesnt know name of (-1 vamp) (including Diego, Bree, Victoria and Riley): 21

Victoria + Riley + Total at battle including Bree and Diego = 21

Thus, there would be a total of 21 total dead vampires if Diego was in the clearing, yet was killed by Jacob after the battle was over.

However:

Jane’s tally of the group defeated by the Cullens: 20
Confirmation: Carlisle says there were 18, including Bree, at first; Edward adds Victoria and Riley to the count, which make a final count of 20 vampires left in Victoria’s army of newborn vampires.

Thus, it appears that Diego never made it to the battle, suggesting that he had been tortured and killed as Bree supposed.

Thus, the manner of both Diego’s and Bree’s deaths swerve the mode* of Bree’s story towards a meaningless mode of irony — wherein things just end, and the hero fails to perceive the order in all things (other than the “order” that there is no order to the universe) rather than ending in meaningful tragic mode — wherein the hero gains insights which reveal the order of the universe, which are so valuable that perhaps the joys of these insights transcend the pains of their price to be learned (for the reader, if not the hero).

This ironic ending adds an element of poetic justice to the deaths of Victoria and Riley, however: they truly deserved to die. There is in this ironic ending an added possibility of subtle political criticism regarding torture, as well.

And yet, a couple issues remain.

First, the ending of “Bree Tanner” doesn’t proceed as one would normally expect for an ironic ending. Generally, any work of art and literature within the Ironic Mode, expresses the sentiments of Queen’s “Bohemian Rhapsody,” driving the following points home:

Is this the real life?
Is this just fantasy?
Caught in a landslide
No escape from reality
Open your eyes
Look up to the skies and see…

Any way the wind blows
Doesn’t really matter to me, to me

Too late, my time has come
Sends shivers down my spine
Body’s aching all the time
Goodbye, everybody
I’ve got to go
Gotta leave you all behind and face the truth
Mama, oooooooh (Anyway the wind blows)
I don’t want to die
Sometimes wish I’d never been born at all…

Nothing really matters
Anyone can see
Nothing really matters
Nothing really matters to me

Any way the wind blows…

Bummer. Which is sort of the point. And why most ironic tales don’t do so hot at the box office. But “Bree Tanner” is the best selling book of the year. So either society as a whole has taken a dire and depressing turn, or the book isn’t as meaningless and ironic as this interpretation suggests.

Further, there are few moments before Bree’s death which do not drive home an ironic ending. Instead, Bree is “touched to the core” by the Cullen’s example. She is quickly persuaded that they represent a truer way of existence than what she had ever known. She longs to join with them.

And in this, Bree truly does parallel Bella. They both want to transcend their unsatisfying lives and live more like the angelic, celestial Cullen family.

Accordingly, Bree quickly begins to communicate with Edward Cullen, and deliberately saves the family from the wrath of Jane and the rest of the Volturi coven. Bree lays out all that she has learned of the truth before the godlike Edward, and entrusts him with knowledge of the most heavenly being she had heretofore known, Fred.

So, in the end, Bree not only briefly becomes the messenger of the gods, if you will, but she saves Fred and Cullens and offers information to help them connect and gain more power in case the Volturi or other enemies of truth should return and threaten their heavenly, immortal lives.

In addition, before her demise, Bree struggles to break off from the hunt — in this case, toward Bella — for the first time in her life. She clearly intends to not hunt Bella in the future, should she be allowed to survive. In only a few brief, eventful minutes, even given her minimal understanding, Bree is committed to live according to the example of the Cullens, if she is only allowed to live with them. But the Volturi would never allow her to live.

And in this, “Bree Tanner” takes a firm turn toward meaningful tragedy. It may be “death-bed repentance,” but Bree has thrown off her carnal nature and has become god-like herself. So, we may presume, if there is an afterlife for Meyer’s vampires, Bree’s soul will be saved.

And Diego’s off-screen death certainly softens the blow for Bree, as she faces her own “ending.” She knows that life without her love would leave her bereft, and she is left with the expectation of rejoining him one day in lives beyond.

Further, what happened to Diego’s body? There is no closure (for many readers at least) in his death. He’s just… gone. Weird.

In soap operas, there is a rule that whenever someone dies, they generally die off-screen so that if fans complain enough, so the character can later re-enter the show — it was all a mistake, a ruse, a miracle surgery brought him back to life, etc.

Which suggests that perhaps Diego survives, overcomes Riley, or some other scenario took place which allowed him to escape. And if he escaped, within the confines of the milieu we are given in “Bree Tanner,” we may expect that Diego would join with Fred in the pursuit of greater truths about themselves and their world.

In any case, we do know that the godlike Fred does survive. Since only righteous beings can withstand his presence, the Volturi cannot harm him — or see him, or even understand that he lives. And in that, there is hope.

And all of that hope brings a deeper reading of “The Short Second Life of Bree Tanner” from meaningless irony into meaningful tragedy, and leaves us, the readers, with a renewed sense of hope, and deeper understanding of how we might best secure our own hopes for a more fulfilling, understanding life — and afterlife.

——-
*There are four modes of literature/drama/art:

1. Adventure, where the hero goes from bad circumstances to good. The hero’s journey is not only triumphant but insightful.

2. Adventure’s opposite, Tragedy, where the hero goes from good to bad. The hero’s fall is saddening and cathartic, yet insightful.

3. Comedy, where the hero goes from good to good (often, slightly better). When everything goes so well in the world, you can’t help but laugh, and maybe learn a little lesson along the way.

4. Comedy’s opposite, Irony, where the hero goes from bad to bad (often worse), yet learns little if anything, other than the pointlessness of (their) life.

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Is Bella a zero? Or a hero?

Sunday, June 27th, 2010

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It’s been a while since I posted formally to the Meaning of Twilight blog. So here goes. MSNBC posted an article today which includes:

The books are written about Bella’s life and through her perspective — taking the reader through the teen’s innermost thoughts about love, death, vampires and unnecessary cold medications. But even that intimacy fails to engender sympathy for a character who comes off to many as whiny, self-involved and weak.

“Never have I read a story written in the first person where I really cared less about the person who is doing the talking,” said Sharmila Badkar-Bhan, 33, of San Francisco. Jones described Bella both as “a girl who was born to whine” and also “the worst female protagonist in the world of fiction.”

And Bella “comes across as a weak, boring thing who always needs to be rescued,” said Catherine Shattuck, 36, of San Francisco.

I think the readers of Twilight quoted above, as well as many others, may misunderstand the series. Twilight is* a God-and-man allegory showing Bella — an unreliable narrator, with an unpolished narrative style — who reaches divinization through commitment, love, and sacrifice. The key here though is that she, like many people, fails even to see her own self very clearly (as her Edward points out often) until the very, very end of Breaking Dawn. You will notice many references to lying in the series, suggesting that Bella is “lying,” or at least incorrect in how she sees things. The surprising thing, at least to me, is that so many people believe her wholeheartedly.

For example, she is lonely for the god-like presence of the Cullens after they depart in New Moon, the possibility of reaching a heavenly state in their presence, and when she seeks comfort with the earthy wolfpack, readers assume that she is hopelessly dependent upon men. Yet she saves every other character in the series, especially the men, who are hopelessly mistaken and wrong-headed in every decision they make. The girls, especially Bella, need to rescue everyone else over and over again. Still, feminist critics complain that she is weak. Just because Bella views herself as weak doesn’t mean the readers shouldn’t notice that she is the dominant savior for the entire series.

Others complain that the stories are morally bereft because she is sleeping with a vampire. Only sleeping, but still they complain. Yet Edward is expressly said to be her “guardian angel” repeatedly in the series. He is watching over her, and providing a tangible goal as she sets out to discover the godly in life and within herself. When she herself becomes a demi-God, the most powerful vampire in the world because she has diligently sought to be more godly, these readers still complain. Who among them strives to “see as she is seen” by God as Bella has?

Then there’s the Bella = zero readers. Why all these other complaints if she is merely nothing? Surely the reader enjoys a profoundly subjective experience through Bella’s first-person perspective — which is why 100 million readers have become immersed into the story. But if she had no perspective, what is with the hundreds of opinions that litter the entire series? She hates occasions, values her friendships, worries that she is unnaturally clumsy, and so forth. She has an opinion on virtually everything she sees. The immersive experience of seeing life through Bella’s eyes is not only not a nothing, it is a “something” which they not only engage with, she is someone they aspire to become more like. Why? Her fans enjoy watching her choices, because they then feel empowered to make their own choices in their own lives. The cause-and-effect, Law of the Harvest order of the universe is revealed, a path to success is sketched out, and her readers begin to apply those principles in their own lives — a transformation that begins to rival Bella’s own experience.

And it concerns me when a cultural milestone like this awakes so many in our culture, yet is so widely misunderstood by its critics and is criticized not on what it offers, but on what they imagine it doesn’t offer.

There is more there than meets the eye. Which is Meyer’s main point — for Bella, for the series, and for each of her careful readers who she rewards in remarkably profound ways.

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*Among other things, simultaneously. Nothing wrong with hitting several levels of meaning at the same time, which the Twilight saga certainly does. Another sign of it’s significance and glut of weapons in its arsenal.

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Prom Dresses

Monday, June 21st, 2010

Bella:

Alice:

A model sports a black sleeveless geometric dress with openwork design and a train during the presentation of Cerruti’s Spring-Summer 2003 ready-to-wear collection, Wednesday, Oct. 9, 2002 in Paris.

If you have info on Bella’s dress, please let us know.

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Concerns arise over Melissa Rosenberg interview about feminism in Twilight

Saturday, June 19th, 2010

Melissa Rosenberg, the screenwriter for the Twilight saga, recently gave an in-depth interview to the Hollywood Reporter.

I enjoyed the interview, and recommend to others; it is a serious and introspective piece which I appreciate. Melissa’s candor is refreshing.

That said, I confess some concern about the possibility of changing the values and themes of the saga to fit what she refers to at one point as her “feminist agenda.” I’m not sure if the reporter is sort of leading the conversation along this path, or if this truly represents Melissa’s primary concern with Bella’s story arc. My concern is because:

First, I think that many readers already appreciate Stephenie’s values inasmuch as they are expressed in Twilight. Altering story elements is one thing, while changing themes can be quite another matter entirely. And when people don’t agree with the theme, they don’t like the film (at least, very much).

Secondarily, Bella is the hero of the series. She saves everyone — from the villains and from themselves. That there is a sacrificial element and underlying humility to her story, underscores the transforming power of love. It doesn’t make Bella weak. Quite the contrary, it reveals her strength of character. Further, it helps her find her strength — her shielding power. She is the true protector in the series.

Finally, the men in Twilight already screw up everything. They are tragically stupid, they fight endlessly and pointlessly, they threaten foolishly, and they make constant, dangerous errors in judgment. Few (if any) of their ideas are correct. At one point, Meyer wonders if violence is endemic to the Y chromosone. In the Twilight universe, when a man disagrees with a woman, the woman is always right (just like in real ).

In contrast, the women in the books (esp. Bella) already have to do everything that is actually done. While the guys are busy moping, Bella (and the other female characters) are driving the plot forward by making successful plans and carrying them out. The women drive the significant (and successful) events throughout the entire series.

Just because Bella is an unreliable narrator — and mistakenly thinks she is the one doing all the moping, or that she isn’t brave (when she obviously is), or that her humanity is like a tragic flaw, and so forth — doesn’t change her basic strength, clarity of thought, and her ability to enlist the other women in carrying out her successful plans.

Even though she doesn’t see herself clearly (as Edward warns her at the start of “Twilight”) until the very end of “Breaking Dawn,” doesn’t mean that we can’t, won’t, or don’t. Bella is awesome. We all recognize that. Already.

So how does the series — and Bella in particular — need Melissa to alter the flawed Twilight to be more feminist?

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A response to “Bree Tanner”

Sunday, June 6th, 2010

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Real Men Read (And Love) ‘Twilight’ — Really

Friday, May 14th, 2010

Just have to add that every man I personally know has read Twilight, if not all the books, and they all really liked it. A lot. Nearly all of the young men as well. It’s a cultural phenomenon, like Oprah said. So they all read it. And what Oprah neglected to point out, is that everyone likes Twilight. What’s not to like?

We all fall in love — for some, make that “have fallen” or for the younger set, “will fall.” Not a crush. Not a “marriage of convenience.” The real thing.

And for many of us, that is a transformative experience. It opens new possibilities, and poses new responsibilities. We take on both. And it’s… magical. Incredible. Wonderful.

Everyone experiences that. Or can, if they can be as unselfish and sacrifice as needed, like Bella. And Edward.

And like Jacob who lost his, we would have liked to have had a mother as kind and caring as Bella. Or a father like Charlie, or Carlisle. Even when we didn’t.

Whether some refuse to enjoy it, and whether that’s because they chose another (lesser?) path, we all “get” Twilight.

And for those of us who haven’t chosen a path that renders Bella’s possibilities too painful to consider, we love it. Everyone I know does.

Thanks, Stephenie. We appreciate it.

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My Guilty Pleasure is a new NPR series in which writers talk about the books they’ve loved only secretly — until now.

There are — news flash here — true differences between men and women.

A friend who has twins (one boy, one girl) told me the story of when they were down at a pond, and the young twins spotted a cute little duck.

The little girl said, “I want to pet the duck.”

The little boy said, “I want to kill the duck.”

I rest my case.

And with that gender gauntlet thrown, let me say to you as a meat-eating, Entourage-watching, sports-loving (OK, I really don’t love sports, or actually understand sports) — heterosexual man who can’t sit through a single show on Lifetime television, let me loudly proclaim: I, Brad Meltzer, love the Twilight series by Stephenie Meyer.

Now this is the part where I’m supposed to make an intellectual disclaimer like: I don’t really love it, but I appreciate it for what it is.

But let me be clear here. I love it. I love Twilight. I love Bella, and I love Edward.

I’m not alone. Since it debuted in 2005, the Twilight series has sold over 53 [actually, 85] million copies, making it the hottest thing in bookshops since that nerdy kid with the lightning-bolt scar.

But back to what’s really important: Me.

I love this story of the gawky, awkward girl who falls in love with the brooding vampire. And I love that she can’t get sexual with said vampire because when her blood gets pumping, it’ll send him into a frenzy and he’ll kill her. (How’s that for a prophylactic?)

I love hearing the dark secret histories of how the other vampires were turned into vampires. And I love when Edward gets all huffy with Jacob the werewolf — oh my God, I’m on the verge of writing fan-fic here — but again, in case you missed it, I love this story.

But for the most part, I’ve told almost no one.

Y’know why?

Because as a man, this book is not supposed to be for me.

I realized this when I went to see the Twilight movie. Yes, I was there. Opening weekend. We got a babysitter for it. And I sat there in the dark with my wife and a roomful of suburban mothers and a smattering of teenage daughters. I counted. There were four other men (all teenagers) besides me. Me. Four dragged-along boyfriends. And the rest women.

But you know who I blame for this?

I blame my fellow men. That’s right. I blame all the men out there who point fingers and call things “girlie” and run like spineless cowards whenever something gets embraced by the opposite sex.

It happens all the time. Remember when men were named Terry and Robin and Leslie? And then a few cool girls were named Teri and Robin and Leslie. And what happened? The men ran. Those names were ceded to the women.

To be honest, I can handle that for Leslie. Leslie is just not a cool name (no offense to Leslie Sydelman, who came to my bar mitzvah). But I will not let this stand for Twilight. We’d never dismiss Romeo and Juliet as “just for women.” (Yes, I know — I’m not saying it’s Shakespeare, and I still think Harry Potter is better — but don’t mess up my analogy.) I won’t cede Twilight.

And so I challenge — not the men out there; the men are clearly wusses — I challenge the women. Give Twilight to your teenage sons. Give it to your nephews and husbands and other guy types. Tell them it’s cool. Tell them they’ll like it. Tell them that it’ll help them understand women and therefore help them get dates (c’mon, why else do you think I spent so much time with Are You There God? It’s Me, Margaret)

And I issue this challenge — not for sexual equality, not to break down gender barriers. I issue it for the most vital reason of all: The sequel is coming, and I’m tired of being the only guy in the movie theater.

Source

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“Love.”

Friday, May 14th, 2010

OPRAH WINFREY (HOST): Let me give you a hug. It’s okay. It’s okay. Yeah. Really? Okay, and you’re nervous why? Tell me why.

KRISTEN STEWART: Well, you know, this means a lot to you guys, and it’s the same deal for me. I understand that your words have weight, and I mince them when I know that everybody’s waiting for them. You know what I mean?

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Thanks to Stephenie Meyer

Sunday, May 2nd, 2010

Hey,

I just wanted to briefly express my gratitude to Stephenie Meyer. She took the time to write down her dream/inspiration that morning in 2003 when other things were pressing. I’d say she made the right choice.

By writing down her dream that morning — and following through that summer and in years to come — She has kept many, many families afloat during this recession. Entire industries, in fact.

More importantly, she has enriched the lives of millions by allowing them to catch a glimpse of their own immortal potential and the infinite love they can share with another — if they only knew they could. And Stephenie helped us to know we can.

So thanks, Stephenie. You helped make our lives better, and changed the world in the process. Thank you, and God bless you. I really appreciate it.

-James

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Mitosis: Onion Root Tip

Wednesday, April 28th, 2010

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Topaz

Monday, April 19th, 2010

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A response to feminist attacks on girls and Twilight: “Reading too much into ‘Twilight’ – Berkshire Eagle”

Saturday, April 17th, 2010

Below is a letter from Arianna, a high school student who offers a well-written response to a previous op-ed article published in the Bershire Eagle, Twilight reflects our toxic culture, by RJ Doughty, a student at the Massachusetts College of Liberal Arts, and office manager for campus' women's center.

Doughty's previous article asserts the popular feminist criticism of Twilight that Bella is subjecting herself to abusive men, setting a bad example for girls everywhere, etc. Adams takes these claims further, though, and in effect says that Twilight encourages victimization among women, and that these "dangerous" texts perpetuate rape and other sexual violence. Doughty has entirely legitimate concerns about violence toward women, but her interpretation of Twilight becomes more a reflection of her own fears than the books themselves when she claims that Twilight is part of society's:

"'rape culture' [which] normalizes (and sometimes idealizes) sexual violence... I get it -- he's a vampire. But I'm not prepared to give him three cheers for bravely not murdering his girlfriend. This idea of Edward constantly resisting his impulses sounds awfully similar to the ways apologists excuse the actions of batterers and abusive boyfriends. It's just in men's nature. He just has a bad temper. She just provoked him. Edward also exhibits other violent and controlling behavior totally unrelated to his vampirism. He stalks, he insults, he isolates."

Perhaps these texts do sound "awfully similar" -- to her. These are serious claims, which appear to be based on serious misunderstandings of the Twilight text and themes -- and of young women's abilities to understand drama and life itself.

Young women don't seem to have the problems understanding the value and meaning of Twilight as feminist critics like Doughty fear they will. Responses to the op-ed piece include fellow high-school-student Kristina's letter to the Berkshire newspaper, which asserts that 'Twilight' is about love, happiness. Which is of course true and a key reason why the series has now sold close to 900 million copies.

My own response to this and other frequent criticisms of Twilight may be found in the Twilight News Site's "Meaning of Twilight" blog post, A Response to Criticisms Leveled at Twilight.

In that post, I included the following statement:

“And what if teenage girls start risking suicide because a boy breaks up with them?” critics ask.

I don’t recall anyone voicing fears that teenaged boys would start running off with homeless people when Luke Skywalker ran away from home with Obi-Wan Kenobi. Further, high school English teachers’ insistence that "Romeo and Juliet" form the basis of their curriculum for the past hundred years (or more) doesn’t seem to have resulted in sky-rocketing suicides every year — even among those ever-so-emotionally-fragile teenage girls.

If there is an anti-feminist point of view out there in relation to Twilight, perhaps it is seen among these very criticisms, pre-supposing that young women are incapable of learning a moral lesson via the extreme examples that drama provides.

I believe that Arianna and Kristina ably demonstrate that young women can and do understand the difference between drama and reality, do not simply apply a character's example, including Bella's, on all their relationships in a thoughtless manner, and that further, young people are well capable of understanding the metaphorical meanings within the drama.

Personally, I resent critics claims to the contrary, and applaud these students' mature and well-written responses to such attacks.

I wanted to take this opportunity to thank Kristina and Arianna -- whose letter is below -- for standing up for young people (and Twilight) so well. She describes the problems sometimes inherit in reactive literary interpretations (feminist, racist, marxist, etc.) which rely less on the text than on one's own fears about the ability a person has to live life well (a major topic of my upcoming book about Twilight -- stay tuned). Enough from me; here's Arianna:

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Reading too much into ‘Twilight'

Letter to the Editor
Updated: 04/17/2010 08:02:52 AM EDT

Saturday April 17, 2010

In our society there are creeps and perverts, but not all love stories end with violence or rape. In reference to RJ Doughty's op-ed column of April 8, "Twilight" is a love story between a human and a vampire. Never in the book does it say Edward forces her or makes her love him. She does crazy things because she and he have such a connection. They both know they cannot live without one another. Both Edward and Bella have an unbreakable bond of love.

This is a fictional story. Stephanie Meyer wrote the books with teenage girls in mind, not thinking of how it paralleled our society. Many teenage books, if analyzed [in the same way Doughty does], would come out with the same result.

Stephanie Meyer also has redeeming qualities in her books. Edward and Bella wait to have sex until after they are married. Edward is extremely protective of Bella, but so is every other husband. Edward and Bella's love story is so interesting to women everywhere because of its everlasting strength and their connection.

ARIANNA

Williamstown

The writer is a student at Mount Greylock Regional High School.

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How to tell if Edward *really* loves Bella (and if your BF/GF is bitten by you)

Wednesday, March 10th, 2010

Two little lovers sitting in a tree… Does helping you ditch class to climb trees count as “the extra mile?”

Okay, okay, I’ll admit it right up front: this post is based upon an article called “Dating Tips: 10 Signs He’s Smitten,” and yes, I know, that’s kind of pathetic.

But, this is an unusually perceptive list.

Plus, I’m reading through John Granger’s excellent book, Spotlight (for serious readers of the Twilight series; I will post a review later) right now, and didn’t want you to think I had forgotten you in the meantime.

Anyway, a lot of critics of Twilight sound like Jacob — wondering if Bella should have caught that TV show on “controlling, abusive teenage relationships.” They read about Bella being overwhelmed with love for Edward, but they don’t see how Edward is showing any real love in return for her.

So, here’s a 10 tips that help answer if your boyfriend, girlfriend, or vampire-of-destiny are really into you. And the article says, “If he’s done any of the following, there’s no question.” And how can you not trust Yahoo? So, here goes:

1. He talks you up to all his friends. If you’re meeting his friends for the first time and they already know your entire life history — not to mention your favorite movie, ice cream flavor, and guilty pleasure song — chances are he’s hooked on you, and has probably been suffering major harassment at the hands of his buddies in the name of love. (Yeah, he’s totally whipped.)

Edward talks at great length with his family about Bella in Midnight Sun. Of course, the discussion doesn’t go particularly well, but that’s besides the point. Bella is Edward’s life now and he thinks and talks of little else.

2. He enjoys doing the most mundane activities with you. Laundry. Running errands. Napping. Shoe shopping. Congratulations, you’re the most boring couple ever. (Kidding!) But when he acts like the most routine, everyday activities are confetti-filled barrels of fun — because you’re doing them together — there’s definitely something there.

For Edward, this includes helping her cook food (which disgusts him, but he does it anyway), driving Bella to school, sitting with her at lunch time, waiting out her sentence with her inside her small and humble home, and of course the main one: watching over her while she sleeps. And he is never anything but fascinated by that/her.

3. He’d rather talk to you than watch the latest episode of “24″… at least for now. If he shuts down his BlackBerry, Xbox, or most recently scheduled World of Warcraft raid so that he can give you his undivided attention, don’t doubt his devotion. Most women would kill to command that sort of attention at later points in their relationships.

Edward puts off hunting/eating, piano playing, reading, writing in his journals, etc., in order to be with Bella, hanging on her every word, breath, and expression to cross her face.

4. He’s not afraid to say, “I love you.” In fact, he willingly says it in front of both friends and family, and doesn’t balk at PDAs either.

Edward tells Bella of his love frequently, regularly and passionately — and kisses her in front of his whole family — without embarrassment. W-o-w.

5. He misses you. Always. He texts and/or emails regularly to say that he was “thinking about you” or “just wanted to say hi.” Even a “hey, what’s up?” speaks to the depths of the pain he feels when you’re not around. And if he can’t let a day go by without a phone chat? You’re gonna have a tough time getting rid of this one.

“Be safe.” “Take care of my heart — I’ve left it with you.” When he decides to not hunt any further away than absolutely necessary — even Rosalie knows that it terrifies him to be away from Bella — that showed real commitment.

6. He takes it for granted that you have a future together. He says “we” instead of “I” and talks about your future together as if it’s a given. “When you meet my sister you’ll see what I mean” or “My birthday was boring this year. We’ll have to do something fun next year.” He may not have mentioned marriage, but he’s definitely thinking long-term.

Edward tells Bella, simply, “You are my life now.” When Edward thinks long term relationship, he means very long term — like, eternity. And he definitely talks about marriage.

7. He goes the extra mile. He surprises you with candy buttons because he knows they’re your fave. He puts gas in your car or unloads the dishwasher, completely unsolicited. They’re not grand gestures, but he’s making an obvious attempt to do something special for you. Men and women speak different languages when it comes to romance, but when he does something nice for you without being asked, he’s trying. And that speaks volumes.

Too many to mention here (Fishing her car keys out of puddles. Carrying her to the nurse’s office. Getting her out of gym. And so forth.), though Edward does lean toward the “grand” side, like, missile-proof cars. Enormous diamonds. Eternal life.

8. He can’t get over how beautiful you are. If you keep catching him sneaking peeks at you from across the room, he’s totally a goner.

Edward tells Bella she’s beautiful about a zillion times (I counted), even though Bella accepts his compliments, like, twice. And he definitely does some sneaking to see Bella, for instance, constantly sneaking into everyone’s heads at school just to see her as much as possible.

9. He picks you over the boys. His friends are hitting up the local nightclub? Well… he’d rather spend the night in with you and your latest Netflix picks. They’re going to see his favorite basketball team? Well… hmm… lemme think about… what!? Of course I’d rather spend time with you, honey. Yes, he’s smitten.

In Midnight Sun, Edward seriously considers fighting his family over Bella. And he does (briefly), in New Moon.

10. He’s willing to be a total mush. As evidenced by the mixed CD he made for your “month-aversary,” complete with cutesy album title and hand-drawn cover art, and accompanied by a carefully chosen card containing five long paragraphs on why he’s grateful you’re a part of his life.

Ah, the CD. He even played the music himself. Feel free to swoon.

So, if there isn’t anyone in your life loving you, committed to you, treating you like this — learn to be more like that yourself. And, trust me, it will work out when the time is right.

What do you think of the list? Can you think of other examples with Edward and Bella? Does she do the same for him? Please comment below!

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Rain Forest: Olympic Peninsula

Sunday, February 28th, 2010

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Clair de Lune

Saturday, February 27th, 2010

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La Push

Wednesday, February 24th, 2010

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Who are Vampires? (a.k.a., Who are We?)

Saturday, February 20th, 2010

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A Response to Criticisms Leveled at Twilight

Friday, February 12th, 2010

What if you were an angel, but didn’t know it? Who would — or could — save you? Only a true hero. Above: A revelation: Edward Cullen as angel, a glorified being. Click for wallpaper.

I have noticed that there are a lot of Twilight haters out there. [If you are one of them, I suggest reading this wonderful article -- written just for you, and the Twihards who have to deal with you -- by Monica Hesse of the Washington Post.]

As we’ve discussed earlier, dislike, and its resulting criticism, is often tied closely to disagreement with the themes presented in a given story, film, song, or other work of art. If you don’t agree with the moral, you probably won’t like the story very much, and if you do agree with its message, you’ll probably like it more.

Criticisms of Twilight appear to be particularly leveled at Breaking Dawn, the last book in the series. These criticisms may grow as the final Twilight book is made into a film. In Breaking Dawn, the series culminates as our hero, Bella, reaches her high point (or low, if you happen to be a critic). So it may be natural that this book would take the hardest hits.

In any case, criticism of the Twilight series seems to morph over time, and I’d like to address a few recent critical trends:

1.) Bella’s story arc is anti-feminist, and thus, presents a bad example for young women. This criticism parallels a closely related one, which is that Bella suffers from low self-esteem, and relies upon her (often, male) friends for support and thus, presents a bad example for young women.

2.) “Breaking Dawn” is confusing because it violates the pre-existing milieu of the entire Twilight series.

3.) Recently, critics assert that the Twilight books are “anti-God.” Okay.

And, 4.) that “Breaking Dawn” book proves conclusively, as a very popular writer* of horror bluntly stated, Stephenie Meyer “can’t write worth a darn.” Ouch.

So let’s take a look at each of these criticisms and see if we can’t alleviate them, at least for some readers.

1.) Is Bella Swan an “anti-feminist” character?

Bella, through adherence to her principles amid changing circumstances (see earlier Meaning of Twilight posts), grows in maturity and becomes the most powerful character in the series, acting independently from Edward and others.

Edward, Jacob (and Carlisle, Charlie, etc.) contribute to the group’s success at times (notably when Edward saves Bella from being hit by a van). But eventually the men inevitably ruin things and it is left to the women — especially Bella — to ultimately work things out, warn about upcoming dangers, repair things, and otherwise save the day in situation after situation. As Alice notes: Edward is, sometimes, a disappointment.

For instance, in New Moon, as Edward wallows in misery while hopelessly misguided off the the right path in Brazil — not finding his quarry, not keeping Bella safe, not preserving his own sanity — it is Bella who finally takes the leap of faith that brings Edward back: she jumps off the La Push cliff.

As a direct consequence, all of the breaches caused by Edward’s foolish disappearance — vampire attacks around Forks, the werewolf pack in constant danger, too-few doctors in the local hospital, Mike ignoring Jessica, etc. — are repaired.

Soon after, because of Bella’s willingness to sacrifice herself rather than Edward to the Volturi’s justice, her life is spared on the condition that she be granted immortality. Thus, her leap leads not only to her immediate success but to her eternal transformation as well.

But — critics say — this was a suicidal act. Indeed, if she had died, it could have been seen in this light. But she doesn’t die, and doesn’t even realize what danger she was in until after she takes the leap. Bella is immediately remorseful afterwards for her foolishness, and for the pain she has — and could have — caused. So while she may be self-destructive, she isn’t suicidal. “You see,” critics say, “Bella is a terrible role model.”

Bella is the hero of the Twilight series. She saves Charlie from loneliness. She helps Renee grow up. She assists Alice in discovering her past, and in fulfilling her lost, human side. She helps Rosalie find peace and joy in caring for her child, and so forth. She is the key to helping each character reach their potential and find happiness.

Most importantly for the story, Bella saves Edward from being a “monster” — and Jacob, too. Both young men are profoundly distressed by their supernatural natures. Bella helps them both to see, and then to achieve, the goodness that their powers enable them to achieve. She transforms them from monsters into men, in the best sense.

Further, Bella saves herself from her awkward adolescence, maturing into an accomplished and powerful woman; she is much more powerful than any other human or immortal in the series, even more powerful than Aro, the pinnacle of vampiric royalty and power. And what is anti-feminist about that?

Since Socrates, who first pointed this out, stories thrive on conflict caused by the flaws (hamartia) of their characters, just like the most popular of Shakespeare’s tragedies, Romeo and Juliet. Accordingly, Bella and the other characters have pronounced flaws in their character, and thus make dramatic mistakes in their lives. “Dramatic” being the key word there. Moreover, the overcoming of these flaws becomes the backbone of this — and any other — story.

More pointedly, unlike real life, in drama the “ends justifies the means,” simply because it is a story and the outcome is assured in the writer’s mind. This is why the concept of destiny is so easily explored in drama; the author “destines” it, and so the characters must fulfill their destiny.

In real life, outcomes are rarely assured, so we must be more cautious — and we are. Usually. “And what if teenage girls start risking suicide because a boy breaks up with them?” critics ask.

I don’t recall anyone voicing fears that teenaged boys would start running off with homeless people when Luke Skywalker ran away from home with Obi-Wan Kenobi. Further, high school English teachers’ insistence that "Romeo and Juliet" form the basis of their curriculum for the past hundred years (or more) doesn’t seem to have resulted in sky-rocketing suicides every year — even among those ever-so-emotionally-fragile teenage girls.

If there is an anti-feminist point of view out there in relation to Twilight, perhaps it is seen among these very criticisms, pre-supposing that young women are incapable of learning a moral lesson via the extreme examples that drama provides.

The related criticism about Bella’s “poor self-esteem” doesn’t hold water either. While Bella can feel self-conscious from time to time — and occasionally agonizes over those feelings — she actually exhibits self-assuredness time and again in the face of physical danger, difficult social situations, spiritual quandries, and intellectual challenges. What she also exhibits, which may be confused by some as low self-esteem, is humility.

Simple, decent humility is a sign of greatness. How does one develop true self-worth? By adhering to one’s principles amid changing circumstances, adapting in upright ways as situations change, just as Bella does (discussed elsewhere in the Meaning of Twilight series). When one does achieve a measure of greatness, does that mean one can lord over others in arrogance and pride? Of course not. Thus, the need for humility, and why it is associated with greatness.

So if Bella is a real, feminine hero, why the harsh criticism of her character — especially among feminists? As we’ve explored earlier, it may be that they simply do not agree with her decisions. Or will not agree. In Breaking Dawn, for instance, the descriptions of the spiritual and physical joys of married intimacy are attacked by critics because they underscore the benefits of pre-marital chastity — benefits which may now be beyond the reach of some readers. And that can be hard to live with. Ugly feelings have a way of seeping into every aspect of a person’s life. Sad. But true. I’m sorry.

2.) Breaking Dawn, though with purposeful differences, is consistent with the rest of the books in the Twilight series.

Surprisingly enough, life goes on beyond the teen years. And contrary to what many teens (and John Hughes) may want you to think, the teen years are hardly the best years that life offers. To the contrary, once a person’s life becomes their own, and as they gain wisdom, people make wiser and wiser choices and increasingly enjoy the cumulative benefits of all those good choices. Unless you choose to act foolishly (failing to follow the Wisdom Cycle), life really does get better as you change and move forward. Really. I promise.

We will likely review this more later, but a key principal of Bella and Edward’s growing maturity is a commitment to be true to one another, to offer one another the best life they can have — which includes largely reserving their intimate life until after marriage. BD offers the payoff of their living according to their principles. Specifically, Bella and Edward are able to develop a profound emotional intimacy with one another throughout their courtship, even though (or perhaps: because) they haven’t actually been physically intimate. Further, despite the adjustments they must make (common in many new marriages), they enjoy a deeply rewarding sex life which celebrates and deepens their emotional intimacy. They don’t miss a thing. And Breaking Dawn underscores exactly that point — that devotion to principle is well worth it.

Despite the need to advance the story quickly through numerous life events which, for most people, symbolize an accomplished mature life — marriage, intimacy, college decisions, career choices, extended family relations, etc. — Breaking Dawn reveals that physical intimacy at any time of life opens a new world of options, including pregnancy, childbirth, and raising a family. Whether those steps make one’s life better, or worse, largely depends on one’s commitments, including the formal commitment of marriage.

Marriage itself shows society that a person has decided they are willing and ready to take serious steps, such as pregnancy. It is for this reason that Bella, humble as she is, is somewhat embarrassed to publicly reveal herself to have matured beyond her years, and well beyond her peers (just imagine how Jessica and Mike would handle a newborn).

3.) The Twilight series is hardly “anti-God.”

The series resolutely and seriously considers the importance of saving one’s (and one another’s) soul. The lead characters take a chaste approach to their romantic relationship specifically to preserve their clean and pure state into the afterlife — a portrayal of rarity in today’s popular culture.

This is a secular book, and God is not specifically mentioned (is He??). Yet Bella discusses and considers the importance of securing a happy afterlife, extensively, and to the very best of her abilities. Like Carlisle, she approaches spiritual matters with a limited understanding, yet with a resolute faith.

On a deeper level, the series explores another relationship people may choose to have with their Maker — to become more like God himself, in order to better act on God’s behalf, whatever that may entail in that person’s life. This happens in two different ways.

First, the characters of Twilight do good to others within the range of their abilities, in a sense acting as “angels.” For example, Edward Cullen, the male lead, is frequently compared with angels. Edward is sometimes said to be as beautiful as an angel, or as dangerous as a destroying angel. Yet he is most often and specifically said to act as a guardian angel. In Midnight Sun, the released yet unfinished story of Twilight from Edward’s point of view, this is made explicit. Edward is like an angel — which may be the actual inspiration for his glowing, sparkling light with which he shines in daylight.

But it is not just who he is that makes Edward angelic; it is what he does. As the story progresses, he puts off the natural man, through his love, to readily sacrifice any and all of his own pleasures and desires — all to serve a higher purpose, as needed. For instance, Edward continually protects Bella, even watching over her in her sleep (something that otherwise would seem awfully forward, if not criminal). Using his unique abilities, he is inspired to help others — ranging from helping Ben and Angela to overcome their shyness to get together, most likely for the rest of their lives, to protecting Bella from her various attackers as best he can.

Conversely, the villainous Volturi use their own supernatural powers only to preserve themselves and their exalted position in evil. Their court serves as an inverted mockery of the Vatican itself. They represent the fallen angels — the devils — of this world.

Thus, the Cullens and the Volturi represent two great possibilities of human nature: To serve the good and thereby become ever more like God, eventually to act as an immortal, veritable angel upon the earth; or, to become overthrown by their own greedy and carnal passions — until they become as vicious and heartless as the very devils themselves.

Second, the good vampire characters — the Cullen family and their closest friends — each posses various qualities of God which ennoble and empower them in doing good for others. They are filled with compassion for humanity (Carlisle). They are enormously caring (Esme). They are glorious (Rosalie) and powerful (Emmett). They see the future (Alice). They know the hearts (Jasper) and minds (Edward) of men, insomuch that they can perceive one’s innate potential (Eleazar). They even control the elements themselves (Benjamin), or alter the course of history as they will (Siobhan). And, of course, they protect the good and the weak (Bella).

In addition, they are immortal. They do not sleep. They are nearly indestructible. They shine with an unearthly glow. They are inconceivably knowledgeable, incredibly smart, and thus are (usually) very wise. They do not have blood, or suffer from human weakness, frailty or fatigue. They can, but rarely, eat. Indeed, their “food” is — though befitting the genre of the vampire tale — sacramental in nature. Their bodies are made perfect and transform into each person’s ideal form through their death as a human and passage into immortality. It is as though the author envisioned the possibility of what a resurrected being would be like (according to many faiths), and after making a few minor changes, called them vampires. (Note: According to the LDS faith, to which the author ascribes, angels are essentially exalted people, and their “wings” as mentioned in scripture are only metaphorical; the Cullens don’t have wings either, and they only “fly” metaphorically — and often.)

4.) The fourth criticism — that Meyer is not a good author — begs a more technical explanation.

Setting aside the possibility of jealousy among critics and peers in the face of Meyer’s enormous success, as well as her obvious talent at creating a vividly engaging milieu, along with her delightful skills in writing dialogue, and her masterful control of what the reader does and doesn’t know, I believe that many readers (especially critics) are confused by the impact of Meyer’s most obvious literary device: first-person perspective. The matter requires a technical explanation.

To simplify, here’s a little story: As a college freshman, I studied Joseph Conrad’s landmark novel, “Lord Jim.” In it, Conrad changes perspective from the first-person view of the lead character after the first few pages, to a third-person narrative, where a semi-omniscient narrator describes the remainder of the story. The book is powerful and inspiring, but problemmatic for English scholars. Historically, the main issue was that Conrad was publishing the book little-by-little, over several months in a magazine, so he couldn’t re-write the first few chapters. So, when the hero makes a terrible mistake at the end of the first-person perspective portion of the book, the narrator takes over as the lead character tries to redeem himself. He is ultimately successful and becomes a true hero — albeit one with a martyr’s complex (though, like Bella, we love him anyway).

Why the change? Because it is extremely difficult — and some (like my professor) might say, impossible — to make a first-person narrator into a hero. Because readers see things through his eyes, we know his flaws, his reasons, and his reasoning, so the hero’s actions are completely understandable, rather than the sort of thing which inspires awe. Thus, authors very rarely use first-person narrators, and when they do, they are either outside observers of the story (as in “Moby Dick”) or anti-heroes we aren’t supposed to revere (as in “Catcher in the Rye”). And this is why the great Joseph Conrad had to bail out on Lord Jim’s perspective, when Jim bailed out of his own troubles.

What Meyer has done in the Twilight series is to create a truly heroic character while relying only upon a first-person narrator — a remarkably compelling addition to the world of English literature.

While Bella marvels at the powers of those around her, she believes herself to be weak, yet triumphs again and again. Only in Breaking Dawn’s denouement does Bella finally, in embarrassed humility, ever even notice that fact. But although Bella’s humility makes her blind to her own greatness, we as the readers do not need to be so blind, especially when we see her extraordinary triumphs. She traps James where he can be killed. She saves Edward from suicide, and is the convincing factor so that the Volturi don’t kill her, Alice and Edward. In Eclipse, she cuts herself at the cliff to entice and distract the attacking vampires. And so on.

However, it appears that many critics, no doubt well accustomed to this once unbreakable “rule” of literature that no hero can be portrayed through their own first-person perspective, fail to see Bella for what she is: a true hero.

Further, Meyer’s critics fail to see her own artistic triumph, even when the pattern remains while Jacob briefly becomes the self-sacrificing hero in Breaking Dawn, and the narration obligingly shifts over to his own first-person view.

Thus, critics’ growing confusion as they progress through the series, as they continue misunderstanding the texts, resulting in their particular dislike for Breaking Dawn.

And their obviously incorrect insistence that Bella is as weak of a female lead as the character herself (also, mistakenly) believes herself to be.

And their failure to recognize Meyer’s work in the Twilight series for what it truly is: a triumph of English literature.

So, thank you, Stephenie (who, as if to drive the point home, takes this concept even further in The Host). Thank you, Bella, our true hero.

And, thank you, dear readers. You may hold your head high.

Yet, in humility, please remember why some people — as described above — will never understand the light that we see, ironically enough, in Twilight.

Please feel free to comment below. And thanks for visiting TwilightNewsSite.com. Tell your friends!

---

*Yes, it was Stephen King. More on that later but briefly, Meyer’s worldview is that the world is based upon cause and effect — Law of the Harvest, “you reap what you sow.” Hence, the long origin stories of each of the Cullens, Edward and Bella’s discussion on the creation vs. evolution of vampires, etc.

In contrast, the horror genre argues that life has no cause and effect — horrible things just “happen.” Thus, if something bad or difficult arises in your life, you can declaim any responsibility for your own life. Good luck with that.

Thus, the horror worldview says that it’s not your fault if: a magical dome encloses your town; a giant dog attacks your car; or say, you aren’t paying attention walking down the road when an equally inattentive driver hits you with his car from behind.

So I suspect what King really disagrees with isn’t Meyer’s writing ability, but her worldview. And her massive book sales.

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Major Themes in the Twilight Series

Thursday, January 14th, 2010

Bella contemplates her future — with Jacob? — and a possibly abrupt end to the Twilight saga.

I promised in our earlier “Meaning of Twilight” series of articles that I would address some major themes in the Twilight saga. There are a number of other significant themes Meyer presents to the reader, some of which could aid a young person striving for maturity, and may contribute to the series’ popularity.

Like most teens, Bella makes numerous observations and judgments about everyone she associates with (e.g., Mike Newton’s hair styles). This is normal behavior for teens, for which they are roundly criticized. And as with most teens, this ability serves an important purpose — by doing this, she hones her ability to appraise the hearts and minds of others. This is, in fact, a crucial ability since they will soon search for (and find) a life partner. So Bella’s observations are a positive thing. For example, Bella realizes that she would “rather die” than end up with Mike Newton.

Bella struggles with her decision of who her boyfriend will be — primarily Edward or Jacob. She does not seem to be fully aware that who she chooses would likely become her life partner — her husband — which raises the reader’s tension throughout the texts. Further complicating her decision (and raising our tension) is that she argues with each of them, frequently, as they hash through their differences of opinion — a normal and healthy process, but it can be stressful nonetheless.

What Bella does seem to understand, at some level, is that a key aspect of her choice will be which of the two you men she admires most — which of them she most wants to be like. Perhaps this is one reason for the popularity of the “Team Edward versus Team Jacob” discussions among fans, who also face the same decision in selecting their own life partners.

Jacob is more enjoyable to be around, perhaps similar to a younger Bella, but he is a less developed person in that he often reverts to “bugging the crap out of” Bella to get his way, and excuses these choices by saying that these behaviors are “just how he is.”

On the other hand, Edward makes major, life-altering choices to help and support Bella, and makes sincere efforts to overcome old habits when they emerge, for example, when anger nearly overwhelms him after Bella is stalked by a group of men in Twilight (In a period of rebellion, Edward used to regularly prey upon men seeking to victimize women).

Ultimately, for Bella, the decision of who her boyfriend (and eventual husband) will be boils down to the fact that while she often appears to appreciate Jacob’s personality, she admires Edward more as a person, and wants to become more like him in the future — and so she wisely makes her choice accordingly. This is underscored by just how much she does become like her final choice…

Supporting this decision is the fact that Edward himself wants to become more like Bella, and does so, as his “human” nature surfaces more and more. In comparison, Jacob often points out that he is better than Bella (jokingly? or not?), or simply demands that Bella accept the person he is — in effect, demanding that Bella become more like him.

[For Team Jacob's benefit, let us point out that Jake matures markedly in Breaking Dawn, and is preparing himself for Renesmee -- to become a better person, to equal her -- much as Edward prepared himself earlier for Bella.]

Perhaps surprisingly, Bella does not consider — at least for us to know — what her college major or future career might be (she has some discussion with Angela while addressing graduation announcements, but summarizes it out of the narrative). Perhaps she realizes that since the average adult changes careers (not just jobs) an average of five times in their life — and jobs can be more a matter of chance than anything else — that stressing too much about a career as a teen may be something of a waste of time. More likely is that since Bella seems to handle money well, she has few fears about making a living, and thus, lesser need to ponder the matter. Further, she is entirely and remarkably successful in her one real avocation that we do know about — as a vampire. Nice work, if you can get it. And as with many people, Bella does stumble into her future “job” as a vampire, discovering that she does well as the Cullen’s preferred liaison with the family attorney, J. Jenks.

Another major and significant theme found throughout the Twilight series is the issue of pre-marital versus post-marital physical intimacy. This is discussed in great depth within the series, and the importance and value of chastity before marriage is revealed and supported.

Bella contemplates the mysteries of intimacy a great deal, and perhaps influenced by her “flaky” mother, initially supposes that pre-marital intimacy is at best, highly desirable, and at worst, no “big deal.” She — and the reader — later discover how wrong this supposition is, as pre-marital intimacy (even kissing) presents enormous risk and dangers:

In a key plot point, Bella nearly loses the love of her life, forever, by merely kissing her “best friend,” Jacob, after he saves her from drowning, while sitting in a parked car (her truck). She realizes that is she does, they could end up being committed romantically to one another, conceivably forever, even though she knows she does not love him romantically. What she doesn’t realize is that they may be secretly observed by Alice Cullen, who if she had seen them kissing, would have likely left immediately, leaving Bella unaware of her presence. Later, Edward would have inevitably moved on, been hopelessly miserable, or died, and Bella would have spent the rest of life having her friend/life partner (frequently) “bugging the crap out of” her.

Conversely, all of Bella’s future joys and happiness — as well as Edward’s, and Jacob’s –are founded upon the fact that she does not kiss Jacob in the truck that night. If Bella had kissed him that one time, all of the threesome’s future happiness — as described later in the books — would have been lost, and the story would have likely ended there, so the reader’s enjoyment would have ended as well. (Team Jacob may complain in comments below.)

In a remarkably direct, religious context, Bella eventually realizes and encourages Edward that their immortal souls are worth much more than the immediate gratification that pre-marital physical intimacy would have brought. How to save one’s soul (or not) is a serious matter, in life and in the text, and it is treated as such throughout.

The irrelevance for a person to date someone other than their true life partner is explicitly brought up in Jacob’s challenge to Quil to date another girl while Claire (the girl he is destined for) grows up. Quil refuses to consider it, finding the possibility irrelevant to his happiness; he “just can’t see it.” This explanation is supported as a wise decision throughout the series.

In comparison, both Sam and Leah are truly miserable throughout the series due to their affair prior to Sam’s discovery of his destined, true love, Emily.

Edward refuses Tanya’s advances before and during the series. This is presumably due, at least in part, to her active sex life with a wide variety of human partners. He maintains this position despite his acknowledgment that her beauty rivals that “of the stars.”

Further, Bella and Edward both must eventually confess to one another any previous physical intimacies with others, in a true-to-life moment. The fact that neither of them had any such trysts is a matter of great comfort and relief to the other, and results in a gratefully brief discussion — for them, and for the reader as well. The issue becomes a source of peace for them in their relationship, and is brought up again and again, rather than a source of fears, irritation, or contention.

When Bella is tricked into kissing Jacob, she falls into misery and immediately doubts her own commitment to Edward, and his commitment to her. In many narratives, characters often commit some sin before they are punished by subsequent (and often, unrelated) events. Similarly Bella — metaphorically at least — is made to “pay” for her transgression throughout the remainder of Eclipse, with her guilt before Edward and the wolf pack, the attack by Victoria, and her painful confrontation with Jacob later.

Bella’s “flaky” mother’s irresponsibility in terms of physical intimacy is also suggested. Renee’s failure to commit to the things which could have brought greater happiness during Bella’s childhood has serious negative effects. It is apparent that Renee has been unable to commit to almost anything in her life, up until she meets Phil prior to the start of the series. Bella’s childhood leaves her troubled, as she grows up in poverty, developing a serious martyr complex (though we love her for it), and with numerous fears and misunderstandings about marriage and committment in life. Bella must work through these misunderstandings later in order to secure her happiness for her own life — perhaps at a greater cost to herself and those around her than if she had been raised with a clearer understanding of committment and physical intimacy (e.g., in her refusal to marry Edward). This is underscored in how Bella’s life with her mother is rather bleak, apparently due in no part to her own failings, since her life quickly becomes wondrous when living with her (apparently now celibate) father, Charlie. In the end, to live happily and committed to her vampire husband, Bella must ostracize her mother from her life, because she simply “wouldn’t understand.” Her mother may never meet her granddaughter, or enjoy the life Charlie does, who finds his true life partner in time, with Sue. Poor Renee; although we enjoy her character, she is her own worst punishment and may progress less than any other major character in the series.

Bella is eventually able to commit to marriage in part because she hasn’t experienced pre-marital intimacy with Edward. She specifically discusses the need for chastity — to do things the “right” way — when she finally accepts the need to publicly acknowlege their engagement in the Meadow. She clearly declares that the true love Edward and Bella share should (must) preclude pre-marital intimacy.

Further, it is revealed later in the narrative that any intercouse with Edward would have resulted in death for Bella through an immediate and rapid pregnancy. It appears likely that if Bella had conceived a pregnancy out of wedlock, Edward’s family may have been unable to provide the incredible level of support that proves ultimately necessary to preserve Bella’s pregnancy and/or life — or at least, much less likely, given Rosalie’s pronounced dislike to her, and her essential role in keeping Bella and her child, Renesmee, alive.

Lastly, the benefits of such a delaying a physical relationship until marriage are revealed by the enthusiastic descriptions of the joys of married intimacy contained in Breaking Dawn. Some of the series’ younger readers have been confused or offended by these descriptions. However, the benefits of pre-marital chastity — which include the unclouded joys of monogamy — are key to Meyer’s theme, and no doubt, will be a revelation to many readers in time.

In contrast, Jacob’s preoccupations of Bella in a sexual context torment him throughout the series, even during childbirth. The fact that these thoughts will be toward his future mother-in-law is particularly disturbing, and most unfortunate. Ugh. If only he had noticed the decidedly maternal tone of Bella’s love for him! Nearly all her affectionate comments to him contain that maternal, motherly love, foreshadowing her future role in his life. With his mother having died, Bella’s love for him could have been a comfort, instead of becoming the burden it did — the burden that he brought upon himself.

So, as we’ve discussed before, people generally enjoy stories more — books, movies, folktales, and so forth — when they agree with their themes. Do you agree with these themes? Do you believe that a single kiss can hold in its balance the entire future of a person’s life? Your life?

If you enjoy Twilight as much as I do, perhaps so. I believe a single kiss does have that power. It certainly did for me, so richly and in so many ways that I can’t possibly describe it.

And if you don’t think it’s true, then perhaps you feel it, inside? Or at least, hope that it may be true? There is much to consider.

Okay, so that’s it — for now — on our “Meaning of Twilight” series. Thank you for reading. There will be more “Edward versus Jacob” contrasts in our next Meaning of Twilight article… Stay tuned, and by all means, please tell your friends!

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The Twilight Saga: New Moon — a Response and Review.

Friday, December 25th, 2009

When reviewing "New Moon," consider the alternatives, e.g., the 10 billion films just like "Face Punch" (but with worse sound). Above: Silver screen as mirror. Bella considers her alternatives.

Well, since our last “Meaning” post here at Twilight News Site, we have moved to a new home, got injured doing so, recovered somewhat, (mostly) moved into a delightful new home, and even had enough energy to enjoy a lovely Christmas. By the way, if you missed Stephenie Meyer’s Christmas essay for Ensign magazine, “Hero at the Grocery Store,” you may read it here. We haven’t posted a review of the New Moon film, but as a Christmas present to ourselves, we are setting aside some time this evening to write — which makes this Christmas even more lovely.

In general, the Chris Weitz film, “The Twilight Saga: New Moon,” has received what journalists kindly refer to as “mixed reviews.” Of course, we here at Twilight News Site have read a good many of them — which you’re not supposed to do before writing your review. Otherwise, if you liked it and others didn’t, your review becomes something more of a response to the movie and its criticism — in other words, a defense. Since, as it turns out, that’s exactly what I’d like to write, here goes.

How to Write a Film Review

Oftentimes, film reviewers run out of things to say about the bazillionth movie they’ve watched in their career. Apparently, the phrase, “I was bored, like I usually am watching yet another movie. The end, thank God.” isn’t enough to keep a job as a film reviewer. Yet it seems as though an extended version of that sentiment is, in fact, good enough to maintain a film critic position.

So to extend that thought, when a reviewer is bored, and has little to say about a film, he generally falls into simple plot description. First, they will write a brief sentence or two, telling what (little) they think of the film. Then they fill in their required word count with more and more of the plot until they run out of space. While doing this, they often turn to snark — the poor man’s version of wit — which also helps to fill things out, while temporarily salving one’s poor self-esteem.

Further, if you’re an angry critic, who is frequently annoyed by how much marketing there is, or the fact that a film isn’t specifically targeting elderly gentlemen, or perhaps bothered by indigestion or some other physical ailment, you go ahead and tell the entire plot and throw in the denouement for good measure. If you’re still short on word count, and especially put-out, you might want to add a statement to the effect of “how dare they make a film like this,” which makes you seem correct without having to justify any of your assessments.

Finally, you add a brief paragraph about how — despite all you’ve said above — the actual cinematic qualities of the film were professionally done, and this or that actor did a wonderful job with what they were given. Note: discussing the cinematic qualities is what they teach budding young critics reviews are supposed to contain, and they often try, but it can be difficult when you’ve never actually made a film before. Or television show. Or any other creative endeavor, outside of criticism. If you can call that “creative.”

Trust me on this: the vast majority of reviews of “New Moon” follow the above pattern.

A smaller percentage of reviewers, generally written by female baby boomers, challenge the film as detrimental to the women’s movement. Background for our readers: the women’s movement was a 1960-80s effort by many women to be “liberated.” I don’t know either, but I’m quite sure we’re all enjoying the benefits of their sacrifices today. So, thank you. Sincerely.

However, I’d just like to add a side note to a number of those reviewers that I’m very, very sorry that early promiscuity was not the path to happiness that you were hoping it would be, and that I can understand that the theme of “New Moon,” and the Twilight saga in general, might bring up a great deal of unpleasantness for you. So sorry. Really.

Lastly, I must add that broad attacks against the LDS church in the guise of a movie review would likely be regarded by most people nowadays as “politically incorrect,” a term you should be familiar with. I mean, that joke worked in that X-Men movie — more or less equating mutants with GLTs — so why not here?

Most of the remaining reviews of “New Moon” can be summed as saying, essentially: “Huh?” I applaud these reviewers for their authorial honesty in presenting their actual thoughts while viewing the film. Psychologists have identified three types of marriages: (1) Bad ones, where nothing between the two is ever really figured out (other than mutual agreement to harm one another); (2) Good ones, where they divide up their lives between themselves quite effectively; and surprisingly, a third category, (3) Great ones, where they save one another, and where the two become one. I can understand why some people simply wouldn’t get the Twilight series, which is all about #3. If you have not, will not, and never will truly love someone until you two become one, then no, I don’t think Twilight will make much sense to you.

Lastly, some reviewers said, simply, that they liked it. And then they explained why, referring to the cinematic qualities of the film itself, which as I recall from my college courses on film, was generally what film reviews were supposed to be. This — for those of you keeping score — is one of those reviews.

But then again, I’m not actually a professional film reviewer, so what do I know? Well, I do know a good deal about video production and I do recognized a few obvious truths about making a movie like “New Moon.”

New Moon: A Review

It is hard work to adapt a novel (i.e., hundreds of pages of dialogue, action and character development) into a screenplay (i.e., 90 – 120 pages, i.e., one page of script per minute of screen time). The screenwriter has to pare everything down while adding something(s) exciting enough to make the film a value-add for those who already read the book, without going too far outside of the world-within-the-book — it’s milieu. It is even more difficult to then take that script, hire and manage a few hundred people, short-term, and thereby create a compelling vision of that book and script.

The task is made even more difficult with a book/movie series, where you need to reach people who didn’t see the first film, while not boring those who did. The many fans of the book present a true challenge — to fulfill their sincere passion for each characters’ journey — while needing to produce a film at a marketable length, on-time, and under-budget. Further, you need to add your own vision and cinematic flair to the on-going story, while recognizing that the story can/must be able to be picked up by another director.

And, no doubt, that is made even more difficult when there are millions of rabid fans hounding your every move, you have an extremely limited amount of time to change thousands of man-hours into 2 hours or less of entertainment, and when the previous director has broken all manner of records in their own attempt.

Yet, despite those difficulties, Chris Weitz’s film is a resounding success. Let me be clear here: Not since “Gone with the Wind” has a popular novel been so carefully, lovingly, and brilliantly been brought to the screen.

Like the Twilight series, “Gone with the Wind” was an incredibly popular book in its day, with the film version facing fan such unbridled excitement and expectation rarely seen before or since. Like GWTW, “New Moon” presents a rich and fully-realized world for the beloved characters to inhabit and explore, with a remarkably rich visual palette, sound, and tempo as it briskly gallops from one beloved plot-point to the next.

“New Moon” treats its challenging subject matter with enormous care and affection. Where “Gone with the Wind” occasionally falls into weepy melodrama, in “New Moon,” the director strengthens and reinforces the bittersweet emotions of the characters, each one lost amid feelings so powerful they barely understand them. Viewers themselves are taken along for their own emotional journeys; undoubtedly, many couples will spend hours afterwards remembering their own courtship’s mistakes, success, and the deep (but sometimes forgotten) feelings that have led them to the life they now lead.

The love that the author, screenwriter, actors, and director have for each character — even each line of dialogue — is perfectly clear on the screen as the story unfolds from one breathtaking setting after another, again. Rarely are films so carefully produced. Yet that care never prevents the spontaneous performances of its talented cast members from revealing the raw emotions that drive their characters’ action.

For example, after viewing the film many times — and “New Moon” rewards repeat viewings as few films have — there is a moment which never fails to make my skin crawl and, simultaneously, my tears start. It is a powerful emotional combination I’ve experienced in life many times (e.g., whenever one of my children, or my wife, is hurt), but to be honest, never in the cinema.

Without divulging plot, it is when Kristen Stewart screams — in a captivating performance — “please,” repeatedly, in a climactic scene.

That moment is simply one of the finest in the history of film, an instant classic, a moment to be treasured forever — as performance, vision, sound, and story combine in synergy, with an emotional impact far beyond the sum of their parts or what one would expect from film. It is a masterful and supernal moment, a cinematic moment which transcends the medium, and one which I will always be grateful for.

“New Moon” is an amazing film of breathtaking emotional scope and visual impact, an artistic — and commercial — triumph, and a wonderful gift to Twilight fans, and to the cinema itself.

To Chris Weitz and company: Thank you. You did it.

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What makes Bella — and other heroes — “good?”

Tuesday, October 27th, 2009

Bella saving Edward, the vampire, the “monster” — one kiss at a time.

In our previous posts, we’ve looked briefly at why people like stories that offer truthful insights into life. We decided that a major theme of the Twilight saga is how to grow up well, and we looked at some real-life elements to Bella Swan’s personality we can all relate to — or at least, should be able to relate to. So, what other themes does the Twilight series offer?

Most readers would agree that Bella is a good person. Yet describing what it is that makes her good may be a more difficult to describe.

After all, she secretly sleeps with her boyfriend (only literally, but still), takes cold medicine to get to sleep (more on that one later |-\ ), risks her life for all sorts of reasons, and gets married and has a baby while still rather young. Yet, even her (and Stephenie Meyer’s) harshest critics’ most damning criticism is primarily that she’s sort of, well, boring. Ordinary. Like you and me. And of course Bella, herself, would whole-heartedly agree (which, nonetheless, I totally disagree with).

But all that still doesn’t satisfy the question, “What makes Bella into a good person, a real hero?”

She is a very passionate, thoughtful, and an articulate young woman, who delightfully surprises her loved ones, friends & associates (and readers) at every turn. She’s also observant, perceptive, and bright. That’s very important. And, by all accounts — other than her own — she is a lovely girl besides. Yet while those qualities are all very nice, they aren’t quite the same thing as good, as in ethically, morally, and heroically good.

Bella Swan shares another quality which some would say all great characters share, which notably distinguishes her, and other heroes like her. She is committed to her principles. Although her friends might, on occasion, think of her as stubborn, she isn’t just demanding her way because it’s her way, as all truly stubborn and selfish people do. It is because she will not yield on her principles.

Bella has a concrete set of principles she adheres to — primarily, her devoted love for others, her willingness to sacrifice on their behalf, and her overall sense of responsibility.  As her mother, Renee notes, commitment was never her problem.

Bella’s commitment to her principles provides the iron rod that her moral fiber clings to — and which guides the story forward. Every positive, major decision she makes is based on her principles, and each positive, major event is in turn based upon those decisions. For example, her devotion to Edward leads her to decide to become a vampire, and helps her overcome her fears of the pain (and in a sense, her death) which would accompany her rebirth into the immortal realm.

Bella’s internal monologue shows her continually measuring herself and her actions in comparison to her principles. And while she adapts her principles to her changing circumstances, with her actions changing in response, the principles themselves remain constant. For example, she weighs her devotion to Edward and Jacob carefully before telling the vampires or werewolves the other’s secrets, even after Edward had abandoned her.

In the end, it is her commitment to principles — her constance — which not only preserves her life but ennobles her character. An example is her willingness to risk harm to herself in order to save others, as in the battle with Victoria and Riley, just like her personal hero, the Third Wife.

Of course, Bella is far from perfect. Her reflexive anger in certain circumstances often causes her regret. For example, whenever someone challenges her as acting irresponsibly, no matter how much she loves them, she inevitably and angrily defends herself. A good example may be when Edward manipulates her into agreeing to visit Renee; first, by suggesting that she requires parental custodial care, and then, by triggering another challenge to her responsibility from Charlie — that she can’t be trusted to be alone with boys. (Edward is brilliant. Conniving, but brilliant.)

Yet the reader continues to appreciate, if not admire, Bella in her mistakes because she does at least try to reason through whether or not the (foolish) action would be a principled one. The most obvious example may be her jumping off the cliff. In her distress, her reasoning is flawed, ill-thought out, and shows a dangerously foolish amount of impatience. But we forgive her for this, not only for her sincere regret afterwards, but because she truly thought it would be the right thing to do, given the current circumstances.

Bella’s principles are so important to her that all of the people she loves most — her father, Edward, Jacob, Alice — reinforce and encourage her in her principles. And the people she likes least, such as Lauren, Jessica, and Leah, challenge them. For examples, look at whenever someone tells Bella what Bella is like.

So, why is this a big deal? What makes her commitment “good?”

The Wisdom Cycle

If you carefully examine every story you’ve ever heard — books, movies, ballads, myths, TV shows, folk tales, whatever — you will detect a common pattern. The thing that makes a character, trapped in an unhappy situation, into a true hero is that they follow these steps:

1. Knowledge: First, they decide they need to learn more, and seek it out. Eventually, they gain the knowledge they seek, like when Bella tries to figure out who/what Edward is at the start of Twilight.

2. Belief: Next, based upon what they’ve learned, they assert their hypothesis, their faith, their trust, their hope — and act on it. Just as Bella did when she decided that Edward was good, and it didn’t matter whether he was a vampire or not.

3. Change: Nobody’s perfect (and although some may except themselves, even Hannah Montana knows that to be true). Plus, everything is always changing, in some way or another. So, heroes change themselves as they act on their new knowledge and beliefs, adapting to the changing needs around them. In Twilight, Bella changes, and falls in love with Edward, counting him dearest among those she is most devoted to, and decides to save him — to help him discover that he is a good person, and not a “monster.”

4. Commitment: Finally, when the hero realizes that their new knowledge, beliefs, and changes are good, they decide to continue and remain true to what they have learned to be true. They commit. And when they do, they become a different person: a true hero. This is when their knowledge transforms into wisdom. This is the often the hardest step, since it represents the culminating step in their progress. For example, when Bella decides to protect Edward and the others she loves by sacrificing herself to a true monster, the antithesis of Edward: James.

I’ll give you a minute to think about those four steps, found in every story you’ve ever heard. Or a few weeks, or months, or years. Go ahead; it’s kind of important. I’ll still be here, waiting for you.

Okay, you’re back? Great. I told you I’d still be here.

You see how this pattern shows up in every story you’ve ever heard? Good — because either the hero follows this “Wisdom Cycle” pattern, or they ultimately fail to become a hero.

So why is that important?

It’s important because the Wisdom Cycle isn’t just how stories work.

It’s how life works.

And you, my dear friend, are that hero. The hero of the story. Your story.

Follow the Wisdom Cycle, and become the hero of your own story, or fail at life. The choice is yours. But please remember that I think you will succeed, or you wouldn’t be here, admiring such a wonderful hero, Bella Swan. She sacrificed her humanity to show you how to overcome all things. Don’t let her sacrifice be in vain.

You can do it. And, you will. I’m sure of it.

Well, that was a long one. I think I’ll need a break to recuperate. But there is more to come.

And, in the meantime, be safe.

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Lessons from Bella: A Guide to Living Well

Saturday, October 24th, 2009

With so many people stopping by, its a good thing Bella keeps the house so clean.

We previously discussed how themes of gaining maturity resonate throughout the Twilight saga — and in the hearts and minds of its readers.

Stephenie Meyer is — among other things — the world’s most engaging writer of notes in the forwards and afterwards of her books. They are as delightful (she stiffed her brother-slash-web designer?) as they are unpredictable (“Muse, Muse, Muse, Muse, Muse”).

Among her most surprising notes is when she thanks her husband and children for their willingness to frequently eat out. Apparently, with her writing deadlines, she didn’t have much time left for cooking dinners.

Eating well is, indeed, an important part of living well — something that Bella Swan, the heroine of the Twilight Saga (and her father, Charlie) knows well. How many fans have tried to figure out her recipe for broiled steak & baked potatoes? Spaghetti? Beef stroganoff? Chicken enchiladas? (I have! delicious!!)(and they were good as leftovers, too). The details of Bella’s cooking each night for her and Charlie are so well documented, and obviously based on actual recipes, that one could well imagine a future Twilight companion (cook)book of Bella’s Household Recipes for Young Cooks.

So, Bella lives in a world very, very much like ours when it comes to the prosaic matters of life. These themes are important enough for Meyer that she illuminates them in some detail. They also serve to show that Bella is quite mature for her age, even as she struggles to gain the peace, satisfaction, love and joy that only true maturity will bring — a very important theme of her character’s progression throughout the saga.

So, here are a few “Lessons from Bella:”

1. Bella on How to Cook: Eating well is an important part of enjoying life (just ask Charlie). Bella is comfortable in the kitchen, and knows how to shop for, and cook, a number of delicious and nourishing meals — enough to live off of healthily, without tiresome repetition.

Note for those living outside modern U.S. culture: This is an utterly remarkable skill for a young person living in the U.S. today, and is no doubt a key reason this part of Bella’s talents is left entirely out of the film(s?). In the U.S., it appears that one day we may all join Meyer in eating out every night, with cooking relegated to the same status as sewing — once a necessary skill, now an almost quaint hobby, only for those with a great deal of free time. Or Martha Stewart.

Note for those living within modern U.S. culture: Most young people in most other cultures (yes, particularly girls) know at least as much as Bella does about cooking, and can cook numerous meals competently, if not particularly well, by the time they reach adulthood.

Really.

For an example, see “Bend It Like Beckham,” (SPOILER:) where an Indian mother says confidently of her daughter as she leaves home, “I taught her to cook aloo gobi. The rest is up to God.”

So remember to remove the lid of your spaghetti sauce before you put it in the microwave, and be sure to stir the pasta while it cooks. Have any other authors — not actually writing about cooking — described the process of cooking in such detail? And so compellingly?

Ernest Hemingway…?

2. Bella Swan on Time Management: Prioritize carefully, finishing deadlined tasks (such as homework) as soon as possible, and afterwards, taking time out occasionally to think, to ponder, to rest, and even to simply relax.

Carefully and correctly prioritizing can be a difficult skill to develop, even though it offers such direct rewards. While it may be an important “habit of highly effective people,” it still takes a certain level of maturity to master. Yet, despite her young age, Bella (almost) always puts first things first.

Although students living outside the U.S. may view Bella as a somewhat casual student, most readers within the U.S. would regard her as notably studious. She regularly puts her homework first and rarely, if ever, misses an assignment (other than when unavoidably traveling internationally). For most high school students in the U.S., that is fairly surprising. Mike is an example of what may be the norm here (What? The report is due tomorrow??!!).

Although Bella avoids television and seldom uses the Internet (as a TV producer and web designer, I confess my concern), Bella’s hardworking nature doesn’t prevent her from relaxing and recharging as needed, often with a well-written and enlightening book. Again, at least in the U.S., this is fairly unique — or it was before the Twilight series was published.

3. Bella on How to Clean: Bella knows she is not as neat as she should be, but she is as clean as she needs to be. She cleans the house, does the laundry, and washes the dishes without complaint. Her bedroom… well, like many of us, not so much.

She generally takes care of cleaning jobs promptly, before they result in a bigger mess. For example, we often read of Bella washing her own dishes as soon as she finishes eating (any parent’s dream come true).

Further, she realizes that cleaning is often a sign you care for the others in your household — for example, cleaning while Charlie is at a funeral, even though her friend, Alice, is visiting.

The importance of cleaning may be underscored by the reader’s realization that perhaps if she had cleaned her room beyond what was simply necessary, she might have found the tokens of Edward’s lasting affection that he had left for her there during New Moon — when she needed them most.

So, did Stephenie Meyer mean for the Twilight saga to be taken as a guide to the need for good housekeeping skills? Hardly.

Yet, that doesn’t mean these points aren’t still contained within the texts themselves. And while these prosaic tasks ground Bella’s story within the real world we all live in — where meals must be cooked, where homes could use more cleaning, and where time is always, always limited — Meyer makes these anecdotal details compelling to her readers.

And perhaps, even a little inspiring.

Which reminds me, I really need to pick up in here. Next time, we’ll look at some more substantive themes in the Twilight saga. Feel free to comment below — if your homework is done.

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Growing up and the meaning of “Twilight”

Friday, October 23rd, 2009

Bella Swan is mature for her age… Are you?

So, in our previous post on the meaning of the Twilight saga, we discussed that people like stories (books, movies, folktales, whatever) that have a true theme they can relate to, and perhaps, will even help them in their lives.

There are many themes — some major, some minor — found throughout the Twilight saga.

The overarching theme throughout the series could be described as “growing up.” What I mean by that is, throughout the series, the reader has an inside look as Bella (and Jacob) mature from clumsy teen to powerful, successful woman (and man).

Through Bella’s first person perspective (more on that later), Stephenie Meyer discusses a wide range of thoughts on growing into maturity. This may be a key reason for Twilight’s popularity among young people, who face similar decisions for their own lives, with the series serving as something of a guide to adulthood. Meanwhile adults may use the series as a guide to compare and contrast with their own lives and the decisions they have made — and are making.

Meyer makes it very clear that “adulthood” (in age alone) is not the same thing as “maturity,” most notably in the contrasts between Bella and her kind-but-scatterbrained mother, Renee, and also with her peers, including the petty-and-scheming Lauren and Jessica. We eventually see similar contrasts between Jacob and members of the wolf pack, when Jacob takes on the narration.

In Twilight — as in most literature, and perhaps in life — true maturity includes the ability to learn and grow amid changing circumstances, the willingness to act responsibly, and a measure of wisdom — to understand the principles of living well, to see what is going on currently, and to know how to apply those true principles in the current circumstances.

Meyer’s concerns on gaining maturity range from the profound — for example, how to choose a life partner — to the prosaic — how to organize one’s time, how to cook, and how to clean.

We’ll look at specific themes in our next “Meaning of Twilight” post coming soon.

Comments?? Thanks for visiting the Twilight News Site!

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