Behind the fantasy of 'Twilight'

What would you say about a teen relationship in which the guy is so obsessed and protective he sneaks into his loved one's bedroom to watch her sleep; seems to stalk her every move; tries to control whom she sees; and even disables her truck engine so she can't go out?

Or how about a girl who is equally obsessed with this guy even though he continually tells her he's dangerous, could inadvertently kill her and treats her as if she were a child? This same girl becomes so depressed when her boyfriends breaks up with her that she begins to take risks, some seemingly suicidal, because such behavior summons visions of him.

And then, that same girl gives up a chance to go to Dartmouth, instead marrying that boy, having sex that leaves her bruised all over, and deciding to have his baby even though she knows it may well kill her.

Reduce Stephenie Meyer's megahit Twilight book series to its bare-bones plot lines about the romance of Edward and Bella and many critics say it's difficult to understand exactly why it is so overwhelmingly popular and why millions of tweens and teens will be delivered - by their parents - this week to see the second in the series, New Moon, on film.

Devotees of the series (including twentysomethings and older) argue that reducing the sprawling novels to plot lines loses the all-important context of the story, which of course is that this is fantasy. Edward is, after all, a vampire; part of the series' attractiveness is to depart this land for an exotic one.

Gina Barreca, an author and English professor at the University of Connecticut, is a vehement critic: "The big thing that really makes Twilight a really bad book is that fear should never be an aphrodisiac. The idea that you fear your lover should not make him sexier, and that is a big part of these books.

"It's a damaging fantasy. . . . It's the idea that she feels as if she is in a dangerous relationship and she doesn't know how to get out of it, and that, finally, however much in danger you feel, love has to conquer. . . . No, when you feel yourself in danger, you have to go away, put yourself in another novel."

Dina Anselmi, a psychology professor at Trinity College, said books with the kinds of messages found in the Twilight series are "ubiquitous in our culture, so I'm not sure that this is any better or worse than anything else." But, she said, "It's kind of surprising that parents of young girls might not see this as something bad for them. . . . There is a lot of sexualization. . . . I'm not surprised that girls find this interesting and tantalizing in a way."

The themes are "definitely nonprogressive messages for young girls." Not everyone is so critical, most especially many of the girls and young women who are devotees.

Isabel Bart, a sophomore at Quinnipiac University, said, "I really liked the series. I got obsessed like everyone else." But, Bart said, "I think when I was first reading the book, it didn't jump out at me that the relationship wasn't a great role model, because it was so romantic."

It wasn't until the second book, when Bella virtually collapses after Edward breaks up with her - Meyer indicates this with entire chapters that consist of a blank page with the name of the month at the top - that she began to see the relationship as "probably not the healthiest thing in the world." "But people have to remember it's a fictional thing," Bart said. "It's obviously not real. . . . Everyone falls in love with the bad boys. Edward has both sides to him. The appeal is, he's safe because he does want to protect her and spend his life with her, but there is this underlying element of danger."

Bart said she could understand why "people think it's probably not the best thing to be giving young girls."

Still, there are moments in the books that trouble even those who enjoyed the series.

One was about a character named Sam who, when he was turning into a werewolf, loses control and hurts Emily, the young woman he desires. Later, he apologizes profusely. She forgives him because he didn't mean to hurt her. The two get together, but Emily is scarred by the event. (next page »)