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Abstract

Few works inspired as much contention as Stephenie Meyer’s The Twilight Saga, a tetralogy expanded annually from 2005 to 2008. The books, which follow the passionate relationship between Bella Swan, an average human girl, and Edward Cullen, a heavily idealized vampire, boast a somewhat complex critical and cultural history. What began as a popular series among young women turned into a veritable pop culture phenomenon, leading to a tug of war between consumers and critics: the books were instant, record-setting bestsellers with a large, dedicated, and obsessive fanbase. Under critical scrutiny, however, they were deemed low-quality, frivolous, problematic, antifeminist, even dangerous. Many of these criticisms are valid; the Twilight books are certainly far from perfect. Much of the prose itself is uninspired. Storylines trudge along as the overarching plot becomes episodic and muddled. The melodrama that makes the books emotionally engaging often crosses over from plainly sentimental to purely absurd. The central relationship does, indeed, display questionable dynamics. However, these criticisms of Twilight, valid as they may be, do not necessitate—or even justify—a total dismissal of the Twilight series as unworthy of critical attention. The scope of the series’ readership indicates that something in the series resonates with readers. Something about Twilight matters, even if it may be poorly or questionably presented.

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