Stephenie Meyer's Twilight saga has maintained a tight grip on the contemporary cultural imagination. This timely and critical work examines how the Twilight series offers addictively appealing messages about love, romance, sex, beauty and body image, and how these charged themes interact with cultural issues regarding race, class, gender and sexuality. Through a careful analysis of the texts, the fandom and the current socio-historical climate, this work argues that the success of the Twilight series stems chiefly from Meyer's negotiation of cultural mores.

I am Meredith Gentry, P.I. and Princess Merry, heir to the throne of Fairie. Now there are those among me who whisper I am more. They fear me even as they protect me. And who can blame them? I’ve awakened the dazzling magic that’s slumbered in them for thousands of years. But the thing is, I can’t figure out why. My aunt, the Queen of Air and Darkness, is no longer distracted by her usual sadistic hobbies. Her obsession has turned unwaveringly to me. The mission to get me pregnant and beat my cousin Prince Cel to the crown is taking longer than expected. Even though I spend each night with the Queen’s Ravens, my immortal guards, no child has come of our decadent pleasures. But something else is happening. My magic courses through me uncontrollably. And as I lock my half-mortal body with their full-Sidhe blooded ones, the power surges like never before. It all began with the chalice. I dreamed of it, and it appeared, cool and hard, beside me when I awoke. My guards know the ancient relic well—its disappearance ages ago stripped them of their vital powers. But it is here with us now. My touch resonates with its force, and they’re consumed with it, their Sidhe essences lit up by it. But even as they cherish me for this unexpected gift, there are those who loathe me for it. Me, a mongrel, only half fey and part mortal. The Unseelie court has suffered for so long, and there are some who would not have it weakened further by an impure queen. My enemies grow in number every day. But they do not know what I am capable of. Nor, for that matter, do I. . . . In Seduced by Moonlight, Laurell K. Hamilton brings the dark, erotic reign of the immortal fey to a startling new depth. Full of sensuality and the consuming anticipation of latent powers unleashed, this world of gods, shapeshifters, and immortal souls is unveiled in all of its supreme magnificence and its treacherous deceits.

“I am Princess Meredith, heir to a throne—if I can stay alive long enough to claim it.” After eluding relentless assassination attempts by Prince Cel, her cousin and rival for the Faerie crown, Meredith Gentry, Los Angeles private eye, has a whole new set of problems. To become queen, she must bear a child before Cel can father one of his own. But havoc lies on the horizon: people are dying in mysterious, frightening ways, and suddenly the very existence of the place known as Faerie is at grave risk. So now, while she enjoys the greatest pleasures of her life attempting to conceive a baby with the warriors of her royal guard, she must fend off an ancient evil that could destroy the very fabric of reality. And that’s just her day job. . . .

The essays in this collection use the interpretative lens to interrogate the meanings of Meyer's books, making a compelling case for the cultural relevance of Twilight and providing insights on how we can "read" popular culture to our best advantage.

Since the publication of Twilight in 2005, Stephenie Meyer's four-book saga about the tortured relationship between human heroine Bella Swan and her vampire love Edward Cullen has become a world-wide sensation--inciting screams of delight, sighs of derision, and fervent pronouncements. Those looking deeper into its pages and on screen can find intriguing subtexts about everything from gender, race, sexuality, and religion. The 15 essays in this book examine the texts, the films, and the fandom, exploring the series' cultural reach and offering one of the first thorough analyses of the saga.

This volume presents a diverse group of opinions that lay the foundation for change in basic attitudes about power, gender, race, and sexuality -- for a future without sexual violence. The contributors to this sourcebook share the conviction that rape is epidemic because our society encourages male aggression and tacitly or overtly supports violence against women. Cumulatively, these 34 essays by such figures as Gloria Steinem, Andrea Dworkin, Ntozake Shange, Michael Kimmel and Louise Erdrich situate rape on a continuum extending from sexist language to pornography, sexual harassment in schools and the workplace, wife battering and date and marital rape. Highlights include a proposal to make rape a presidential election issue, an analysis of the churches' ambivalent response to societal violence, guidelines for raising boys to view themselves as nurturing, nonviolent fathers and inspirational visions of personal or institutional change.

With contributions from various experts, this is an interdisciplinary approach to the global phenomenon that is the Twilight series, which has evolved well beyond the novels by Stephenie Meyer. This anthology contains in-depth film analyses, gender perspectives, economic and literary studies of the book market, and several articles on fans and fandom as well as contributions investigating vampire fiction traditions and vampire religious beliefs. A theoretically well-founded study, this volume maps the contemporary cultural experience surrounding Twilight and discusses multiple themes, such as fear of aging, vampire ethics and the cross-generational appeal.

The book investigates Meyer's popular Twilight saga from a feminist point of view, focusing on the development of Bella's character and her quest for identity in a rigidly patriarchal world. Bella's life is entirely determined by the two central male characters who form a polarized axis which slowly tears her apart. Bella's low self-esteem and her strong attachment to the over-idealized Edward Cullen are read as symptoms of her placelessness in a world that does not grant her space to develop as an autonomous subject. Bella's wish to become a vampire can be equalled with a woman's desire to gain access to a higher social realm via her husband and thereby escape her marginalisation in patriarchal culture. In order to live eternally in the idealized, capitalist, patriarchal and overly religious world that Edward represents, Bella has to make a series of sacrifices. Leaving her mother behind, she moves into a male dominated world which is divided into morally idealized vampires and racially devalued werewolves. She is forced to give up her friendship with Jacob Black, who represents her autonomous self, in order to find her patriarchal pre-defined destiny as mother and wife. Similar patterns of stereotypical representations of femininity can be found in various characters of the saga. A more controversial note is brought in by Bella's half-vampire child who can be seen as a destabilizing factor of the saga's rigid dichotomy. Taking all this into consideration, we have to ask whether it is desirable that millions of young women worldwide admire Bella and set her up as their role model.

In this new monograph, author Debra Dudek defines a new era of vampire texts in which vampires have moved from their iconic dark, feared, often seductive figure lingering in alleys, to the beloved and morally sensitive vampire winning the affections of teen protagonists throughout pop culture. Dudek takes a close look at three hugely-popular vampire series for young adults, drawing parallels between the TV series Buffy the Vampire Slayer, the Twilight Saga novels/films, and The Vampire Diaries TV series/book series. By defining a new era of vampire texts and situating these three series within this transition, The Beloved Does Not Bite signals their significance and lays the groundwork for future scholarship on the flourishing genre of paranormal romances for young adults.