There is a lot going on in this recent blog entry from Kimberly George and some of you may be drawn to other parts of it, but I wanted to share the following section about the violence at work in the "Twilight" stories. While I admit to not having read the series, I very much share Kimberly's concern about models for relationships -- and this is not the first time I've heard the word "heroin" in a description of Bella & Edward's relationship. For those of you who have read these, what do you think?
What Twilight Has to Teach: Today’s Normative Gender Restrictions and the Marriage of Sex and Violence
As we talk about normative gender restrictions, I think it’s important to highlight one extremely popular script currently in vogue, particularly for teenagers: the bestselling Twilight books and movies. The second book in the series, New Moon, just came out this fall as a movie. The gender stereotypes in these stories are as damaging as any of the religious beliefs around gender we have so often analyzed on our blog. Here, I will restrict my comments to the original book in the series, Twilight, which is the only one I have read, but reading summaries of the others in the series has assured me the problematic gender scripts only get worse.
The drama of this original, bestseller revolves around the awkward Bella and the “god-like” Edward falling tragically in love. She is the new girl in town who wins the attention of the aloof, mysterious sex symbol. He is a 108-year-old vampire in teenage form who is disturbingly volatile and controlling, but only because he “loves her” and is trying to “protect” her. Our vampire-hero is so intensely moody—the reader late finds out— because he is edgy from fighting his vintage patriarchal battle: Bella’s so darn attractive to him, that he is in immediate danger of losing all control, dominating her, and leaving her dead. And so we read on—never quite sure if Bella will end up being a bloody mess should the teenagers decide to consummate their relationship. The intimacy in this book is like heroin—thrilling, dangerous, and flirting with death—and the drama of it makes Twilight a page-turner.
I am horrified, to say the least, by the 498-pages of dysfunction that passes as romantic entertainment in Twilight. Just when did “sadomasochistic teenage erotica” (as my colleague Kj Swanson terms it over at her brilliant blog) become so overwhelmingly popular? Twilight is unabashed in its reflection of some of the worst elements of our culture’s patriarchal dysfunctions: domestic violence patterns, eroticized violence deemed “romance,” and harmful power differentials between men and women that are either not noticed or are mindlessly condoned. In fact, the power differentials in this book are the very foundation of its plot. Bella is constantly being saved and infantilized by Edward; his moods continually switch from angry to intimate like a typical perpetrator; and the reader awaits whether the sexual tension between the characters will lead to Edward enacting violence toward Bella. It is her sexual attractiveness that arouses his desire to suck her blood and kill her. Because of how attractive she is to him, she is forbidden to initiate any physical relationship. It all must be led by him, and she must risk her life during any moment of intimacy.
And this is what teenagers (and many adults) are imbibing?
