Sex, Girls, and Media

The media is an inescapable reality of today’s society. Throughout their lives, women are surrounded and saturated with television, radio, advertisement, news print, and internet in which women are underrepresented and over sexualized. The physical appearance and sexual aspect of women is over emphasized in the media. Media, like Cosmo or Seventeen Magazine, which is targeted to women revolves largely around sex, relationships, fashion, and beauty products. Exposure to these images during a sensitive period could have a large impact on mental health, the development of self image, and the development of social roles in adolescent women.
How are adolescent girls affected by over sexualization of women in the media? Do adolescent women develop different identities or social roles for themselves as a result of this presentation? Are the images of women in the media to blame for the increasing amount of adolescent females diagnosed with anxiety, depression, and eating disorders? Do these images have an effect on their mental health, body image, or sexual behavior?

For the purposes of this discussion:
• Poor mental health will be defined as having poor body image, self objectification, and internalizing problems. Internalizing problems may include anxiety, depression, and social withdrawal. (Peter & Valkenburg, 2007).
• Sexual behavior will include at what age an individual becomes sexually active, how sexually active they are, and their attitude toward being sexually active.
Adolescents, as defined by Erik Erikson’s psychosocial stages of development, spans the ages from eleven to eighteen and is a stage during which adolescents either develop a sense of identity or role confusion. During adolescents, according to Erikson, a person becomes concerned with how he or she is perceived by others. During this time the person develops identity if they feel confidant that their inner self matches their outer self, and they develop a sexual identity.

Self objectification is a feminist theory that women and girls internalize the image of women as sex objects, and the unrealistic images of thin women as the ideal. Women come to view themselves in terms of external perspectives. They define themselves as objects to be viewed, admired, and possessed (Aubrey, 2006). In Western culture the depiction is specifically sexual; women view themselves as sex objects for men to use, possess, and approve of. According to feminist theory, this self objectification leads to high levels of anxiety, body shame, and poor self esteem (Peirce, 1990).
Teens under the age of eighteen spend an average of between six and seven hours a day with mass media in some form. Older teens spend about twenty hours a week listening to music or watching music videos. In prime time television there is an average of about eight sexual incidents per hour. Women are primarily depicted as sex objects. In fact women are, “rarely portrayed as anything other than sexual objects to be lusted after or aggressed against.”(Brown& Witherspoon, 2002). Magazines and advertisements focus mainly on women’s bodies or body parts, sometimes omitting the woman’s head and face altogether. This focus on women’s bodies and body parts, contributes to the problem of self objectification. In television programming that is popular among adolescents, the second most common plot is women and girls being judged by their physical appearance and sexuality (Aubrey, 2006). This depiction leads adolescent women to judge themselves by this same appearance standard, rather than by their own values of talent, intelligence, or personality.


Despite the growing prevalence of television, music, and movies, magazines remain one of the most significant forms of media for adolescent women. Adolescent females rank magazines as second only to friends in importance as a source of information (Brown & Witherspoon, 2002). Seventeen Magazine, which is targeted directly to adolescent females, focuses on showing adolescent girls in sexual situations. It contains extensive cultural level scripts for romantic and sexual situations which have been revealed to oversimplify female sexuality, “to guide real-life sexual behavior and to perpetuate gender inequalities.” (Carpenter, 1998). Also, the scenarios often focus on sexual victimization, reminding readers of negative consequences of sexual behavior for females without mentioning similar consequences for males (Carpenter, 1998).


The ideal woman in the media is also becoming thinner and less realistic. In 1985, the average fashion model was a size eight; ten years later the average model had shrunk to between size zero and size two(Mundray & Ogden,1996).


A definite correlation has been drawn between a female’s exposure to media and their body image and mental health. In particular exposure to the thin, sexy ideal image, “results in a small, but statistically significant, increase in body dissatisfaction.”(Aubrey, 2006).

Magazines have been proven to be a reliable indicator of body satisfaction in adolescent females, and television is linked to anxiety, shame, self dissatisfaction, and eating disorders (Aubrey, 2006). This may be a result of the fact that these forms of media saturate adolescents with sexual, stereotypical images of women and impossible ideals of female beauty. The adolescent can not achieve these ideals, and can not reconcile what they see in the media with the values given to them by family, educators, and religious leaders. This discrepancy can lead to dissonance, which increases anxiety and depression.

The depiction of thin, sexy women in the media is closely associated with eating disorders, body dissatisfaction, shame, anxiety, and depression. Even more disturbing, it is increasingly common in adolescent females for body dissatisfaction to generalize into dissatisfaction with one’s self and one’s life (Miller, 2007). It is not surprising that being inundated with unrealistic images of women drive adolescents to self objectification, and extreme dieting in order to achieve the ideal. It is, however, important that adolescent males appear to be suffering from self objectification as well. The image of ideal men in the media emphasizes muscularity, with the depictions becoming more and more unrealistically muscular over the last 20 years (Good, Mills, Murnen, & Smolak, 2003).
Surprisingly, over sexualization of women in the media does not seem to affect adolescent female’s sexual behavior. While the media becomes more and more saturated with sexual material and images of females in sexual situations, the age at which teens become sexually active is actually getting higher, with females being older than males when they become sexually active. The United States still has a higher rate of teen pregnancy and STD infection in teens than European countries, but it is uncertain whether or not this can be linked to depiction in the media. (Berkey, Camargo, Colditz, Field, Roberts & Taylor, 2001).

It is clear that the image of women in the media needs to change. Instead of showing bodies and sexual images which are unrealistic and unhealthy, the portrayal of women should be expanded to include women of all ethnicities and body types with lives and identities which are valuable independent of appearance and sexuality.









Works Cited:
Aubrey, J. S. (2006). Exposure of sexually objectifying media and body self-perceptions among college women: An examination of the selective exposure hypothesis and the role of moderating variables. Sex Roles, 55(3-4), 159-172.

Bartini, M. (2006). Gender Role Flexibility in Early Adolescence: Developmental Change in Attitudes, Self-perceptions, and Behaviors. Sex Roles, 55, 233–245.

Berkey, C.S., Camargo, C.A., Colditz, G.A., Field, A.E., Roberts, S.B. & Taylor, C.B. (2001). Peer, parent, and media influences on the development of weight concerns and frequent dieting among preadolescent and adolescent girls and boys. Pediatrics,107(1), 54-60.

Brown, J. D. & Witherspoon, E. M. (2002). The mass media and American adolescents’ health. Journal of Adolescent Health, 31(6), 153-170.

Carpenter, L.M. (1998). From girls into women: Scripts for sexuality and romance in Seventeen magazine, 1974-1994. Journal of Sex Research, 35(2), 158-168.

Fitzharris, J. L., Morrissey, K. M. & Werner-Wilson, R. J. (2004). Adolescent and parent perceptions of media influence on adolescent sexuality. Adolescence, 39(154), 303-313.

Good, L., Mills, J.A., Murnen, S.K., & Smolak, L. (2003). Thin, sexy women and strong, mascular men: Grade-school children’s responses to objectified images of women and men. Sex Roles, 49(9-10), 427-437.

Hansbrough, E., Walker, E. & Ward, L. M. (2005). Contributions of music video exposure to black adolescents’ gender and sexual schemas. Journal of Adolescent Research, 20(2), 143-166.

Miller, M.A. (2007) Effects of highly sexualized images of women in visual media on adolescent females' objectified body consciousness and feminine ideology. (Doctoral dissertation, Walden University, 2007). Dissertation Abstracts International, 68, 1963 B.

Mundray, K. & Ogden, J. (1996). The effect of the media on body satisfaction: The role of gender and size. European Eating Disorders Review, 4(3), 171-182.

Peirce, K. (1990). A feminist theoretical perspective on the socialization of teenage girls through Seventeen Magazine. Sex Roles, 23(9-10), 491–500.

Peter, J. & Valkenburg, P. M. ( 2007). Adolescent’s Exposure to a Sexualized Media Environment and Their Notions of Women as Sex Objects. Sex Roles, 56(5-6), 381- 395.

Fragments of Time

The film “The Tracey Fragments,” directed by Bruce McDonald and staring Ellen Page as Tracey Berkowitz, is a highly experimental film. At its core the film tells the story of Tracey Berkowitz, an emotionally distraught adolescent girl, as she travels around the city looking for her little brother who has gone missing. It also incorporates elements of Tracey’s home and school life, and her relationship with Billy Zero, played by Slim Twig. As the story opens, Tracey is riding a city bus late at night wearing only a shower curtain. From this post Tracey speaks directly to the audience narrating the story, which unfolds in a highly inconsistent and fragmented narrative.
Since the story that Tracey tells is highly inconsistent, and Tracey herself proves to be a very unreliable narrator, it is next to impossible to construct a satisfactory summary of the plot of the film. What seems to be certain is that Tracey, an outsider and target of abuse at school, falls in love with the new kid, Billy Zero. Meanwhile, Tracey’s neglectful and abusive parents ground Tracey and leave her to watch after Sonny, her much younger brother. In deliberate defiance of her parents, Tracey goes outside despite the record breaking blizzard that is on its way. Sonny follows her and the two run off, playing in the park surrounding her house. Tracey, distracted by the sudden appearance of Billy Zero, stops watching Sonny. By the time Tracey goes to look for Sonny he is gone. Their parents blame Tracey, and she, desperately concerned for Sonny’s safety in the oncoming blizzard, runs away to try to find him. She rides the bus and wonders aimlessly around the city searching for him. Along the way she nearly freezes to death and is rescued by Lance, played by Maxwell McCabe-Lokos, a less than savory character with whom Tracey intends to wait out the coming storm. Unfortunately while Tracey is staying with Lance, his loan shark comes calling. Tracey hides behind a shower curtain while the loan shark beats Lance severely. The loan shark finds Tracey and strips her of her cloths, clearly intending to rape her. In self defense, Tracey slashes his throat with the jagged lid of a tin can lying on the floor and runs out, grabbing the loose shower curtain to cover herself. This is only a very minimalistic summary, excluding essential details such as her interactions with her parents, Billy Zero, the girls at school, and her psychiatrist, Dr. Heker.



The narrative is presented in a highly fragmented format, with scenes frequently interrupted, repeated or shown out of sequence. To further complicate the timeline, at any given moment during the film a single screen includes multiple frames. The frames may show the same scene from a different angle, the same angle played at a different speed, or something different all together. All these make analyzing time in the film a complicated undertaking. Gérard Genette and Heike Klippel both offer theories of time to be used when analyzing narratives. Of these two theories, Klippel’s theory will prove to be most useful in analyzing time in “The Tracey Fragments.”
The theory of time that Genette puts forth in his essay is primarily concerned with breaking narrative time into three basic elements: order, duration, and frequency. Gennette’s idea of order relies heavily on the ability to establish a chronological order, running on the assumption that if a narrative is not presented in a logical series of events then it is because the artist has “reorder[ed] the temporality of events” (Gennette, p 26). He discusses order as the sequence in which the story is told and the sequence of “actual” events. Gennette’s theory does account for anachronisms, which he divides into two categories: external and internal. External anachronisms happen well outside the “main narrative,” as Gennette calls it, while internal anachronisms happen within the main narrative. These internal anachronisms are further subdivided into completive and repetitive. A completive internal anachronism fills in a blank that has or will appear in the narrative, while a repetitive internal anachronism can be used to call attention or give meaning to another event in the narrative.
The second element of Gennette’s theory, duration, is a way of measuring the speed of narration and changes in narrative speed. Gennette proposes measuring duration in number of pages and names four fundamental forms of duration: summary, dramatic scene, narrative stasis, and ellipsis. The summary is when the “narrative duration is greatly reduced with respect to the historical duration”(Gennette, p30). The dramatic scene is when the narrative duration is approximately equal to the historical duration. Narrative stasis is when the narrative discourse continues while the historical time stands still, as in the case of a lengthy description. Finally, an ellipsis is when the narrative skips a length of historical time. Gennette suggests that examining what kind of narrative duration is used is an important aspect of understanding time in any narrative.
Finally, the third element of Gennette’s theory is frequency. Gennette separates narratives into three types with respect to frequency. The first type is a singulative narrative, in which an event that happens once is narrated once and an event that happens several times is narrated several times. The second type is repetitive narrative in which an event that happens once is narrated several times, with or without variation. The third type is an iterative narrative in which an event that happens several times is narrated by one statement.
Although Gennette claims that his theory applies “to all narratives, regardless of their complexity of degree of elaboration” (Gennette, p25), using it to analyze “The Tracey Fragments” is problematic. First of all, Gennette’s theory of order requires a plot “that could be easily represented by a graph and in which the relationship between the time of events and the time of the narrative could be summarized” (Gennette, p27). Any attempt to create such a graph of this particular narrative would be next to impossible. Such a graph would have to somehow account for the multiple frames, as frequently the frames at any given instant will contain images from different moments in the film. For example, the first three minutes of the movie contain images, clips, and audio that will not appear in the main narrative until as much as an hour into the film. Simultaneously it shows images, clips, and audio from ten minutes, fifteen minutes, thirty minutes, forty minutes, and so on. Clearly, attempting to graph or summarize the order of event would be futile.
The narrative contains far too many of what Gennette would label internal anachronisms. While many of these anachronisms are just repetitive and some are completive, the vast majority of them are completely contradictory. Gennette’s theory, which places a heavy emphasis on a single, orderable main narrative, would require that these anachronisms be separated into true and untrue events to negate these contradictions. While this is possible some of the time, it is not always clear which events are to be taken for true and which are not. For example, the representation of her relationship with Billy Zero is one of the story lines most fraught with these contradictory anachronisms. Using logic and certain visual clues it is possible to separate many of these clips into reality and fantasy. For example, Tracey’s repeated assertions that Billy Zero is her boy friend seem to be a fantasy. The series of clips which portray Tracey and Billy in a relationship are often in black and white or an unreal light or color scheme. Furthermore, the images which depict Tracey and Billy as a rock star couple followed by paparazzi seem most certainly to be a fantasy. From these set of images the audience might judge any scenes which are in black and white or an unrealistic color scheme to be part of a fantasy but this set of standards is quickly challenged.
Throughout the movie there are several scenes which appear perfectly normal and are in line with the main narrative, but which intersect or refer back to these fantasy plot lines. For example, during her search Tracey enters a convenience store. The scene appears no different than any other scene in the search sequence. While in the convenience store, Tracey picks up a tabloid and finds candid shots of her and Billy together with the headline “Tracey and Billy Caught! Is it Love?” The color scheme, lighting and fragmentation are indistinguishable from the rest of the scenes which would be labeled as real. How then can the audience distinguish between what is real and what is unreal in order to construct an orderable main narrative? There is another series of scenes which blurs the distinction between the real and unreal. The scenes that depict Tracey’s sessions with Dr. Heker, her psychiatrist, are visually unrealistic. They appear in a completely white background with no distinguishable features. The only things visible in the scene are Tracey and Dr. Heker, sitting in the foreground on white chairs with a class coffee table between them. The audio of the scene is also unrealistic because Dr. Heker’s voice is frequently distorted to the point of nearly being unintelligible and it is only Tracey’s responses that allows the audience to interpret the psychiatrist’s words. During other, apparently real scenes Tracey fights with her parents about her attending a psychiatrist, making it seem as if Dr. Heker is actually real and not a fantasy or hallucination. These confused boundaries make it difficult to construct a single real main narrative.
Duration is a particularly troublesome element of Gennette’s theory in “The Tracey Fragments.” For a narrative in the form of a film, “number of pages” might be translated into screen time in relation to the length of the entire film. The running time of the film is about one hour and seventeen minutes. However, if one were to measure the screen time allotted to each event in the narrative, because of the multiple frames, the sum of all the narrative events would add up to far longer than the total running time of the film. How then can one calculate the duration of events in the film? This question of duration is further complicated by the fact that it is nearly impossible to determine the amount of ‘historical time’ that passes over the course of the narrative. The narrative draws from events as far back as Tracey’s early child hood, and the rest of events are nearly impossible to pin down even in relation to one another. The images can only definitely be divided into three categories: events that happen before Tracey runs away, events that happen after Tracey runs away, and events that happen after Tracey looses her cloths in Lance’s apartment. Beyond that the only thing the audience is given in reference to time is the impending blizzard. Tracey’s search through the city, what Gennette would consider the main narrative, is merely clips of her wondering around the city or on the bus. It is impossible to determine how long Tracey is searching.
The final element of Gennette’s theory is frequency. Of the three options that Gennette provides, singulative, repetitive, and iterative, the film is most certainly a repetitive narrative. The film is made up of a series of images that are continuously repeated, sometimes with and sometimes without variation. In fact, the repetitions are so numerous that it would be difficult to quantify them. It is possibly to approximate the number of repetitions. For example, images of Billy Zero are repeated more frequently than images associated with Sonny. Does this mean that Tracey holds more anxiety about Billy Zero than her little brother? Or that Billy is more important to her than Sonny? This does not seem likely. The mere frequency of repetitions is not the key to understanding the significance of events in the narrative.
While Gennette’s theory can be applied to the narrative of “The Tracey Fragments,” it is problematic at best. It requires the reader to discount the uncertainties and ambiguities built into Tracey’s narrative and construct a ‘true’ narrative and a ‘false’ narrative. For the most part this would mean taking what is only visually represented realistically as fact and what is visually represented unrealistically as false. However, the subjectivity of these two kinds of narration is made clear throughout the film. Furthermore, Gennette’s theory would require a judgment call about the reliability of the possibly mentally ill narrator. It requires superimposing a normal concept of time and progression on a highly impressionistic representation.
The theory of time that Klippel proposes in his essay “The Radiance of Truth,” deals largely with a theory of understanding time as it pertains to memory. Klippel’s theory has two main points. The first is the idea of self-evidence, and the second is his concept of durée or duration. The concept of self-evidence “refer[s] to the truth of memories as it is subjectively perceived, regardless of whether they can be proven or not” (Klippel, p145). This idea suspends the need to assign events in the narrative as real or unreal. Instead, Klippel draws on Freud’s theory of “screen memories.” According to Freud, a screen memory is “impressibley vivid, but [is] related to occurrences that can be proven not to have taken place” (Klippel, p150). Never the less, Freud posits that these memories are completely genuine, if not true, and equally as important as memories based in fact. He goes on to say that “historical accuracy [is] wholly irrelevant with regard to remembrance” (Klippel, p152). Since the narrative of this film comes entirely from Tracey’s memory, it is possible to apply these ideas to her narrative. This theory allows the audience not to place a value on the events in the narrative that logically seem to be untrue. If all of Tracey’s memories are equally genuine, then all the events in the narrative can be examined on equal ground, without discounting those events which seem to be a fantasy.
Klippel’s theory of duration is very different than that of Gennette. To form his theory of duration, he incorporates concepts of memory and consciousness. Klippel posits that the duration of memory cannot be understood in spatial terms, and so cannot be understood in a normal temporality. He claims that in memory time periods pass into one another without differentiation. Furthermore, he states that “duration is less determined by a sequence of events than by their simultaneity and co-existence” (Klippel, p148). This theory argues that these events which are recalled simultaneously matter in their relation to one another and not in their relationship to historical time.

Klippel’s theory frees the audience from attempting to construct a time line of the events and images, and invites them to consider the reason that those particular images are showed simultaneously. For example, frequently when Tracey thinks of Billy Zero, images of him coincide with images of the snowy forest in which Sonny was lost, or the hat which was the only trace she was able to find of him. Additionally, when these two images coincide an audio clip of Tracey saying, “It really wasn’t my fault,” is repeated. Though the concrete connection is not revealed until the very end of the film, there is a very significant connection between Billy Zero and Sonny’s disappearance. At the very end of the film, Tracey reveals that Sonny got lost while she was distracted by Billy Zero. Tracey is reluctant to reveal the event not just because of her feelings of guilt over Sonny’s disappearance, but also because of Billy’s mistreatment of her. Billy Zero, the object of Tracey’s passionate, adolescent love and who does not even remember Tracey’s name, invites her to sit in his car, has dispassionate sex with her then pushes her out of the car before she even has a chance to pull her pants back on. Only Seconds after Billy’s car pulls off, Tracey realizes that Sonny is gone. These images and audio appear together throughout the narrative, because Tracey closely associates her love for Billy with her shame at his hands, and her guilt and sense of loss over her missing brother. Klippel suggests that through memories, a person is capable of reverting to a previous state of mind or point of view, which explains Tracey’s conviction that she and Billy Zero are in love. Klippel’s statement that “the act of remembering could unify the Ego(s) of different times and places and hence ward off fragmentation” (Klippel, p153), also offers an explanation for the fragmentation of the narrative. It is possible that Tracey’s narrative is so fragmented because she is unable to unify these egos in her memory. The experiences and resulting states of mind are so contradictory and conflicting that Tracey could never unify them into one coherent memory. Instead, she remembers them all separately but simultaneously.
Klippel, who describes film as “the description of preconceptual layers of consciousness” (Klippel pp145-6), seems the perfect filter through which to understand “The Tracey Fragments.” Rather than imposing the critic’s preformed ideas of reality and logic on the narrative, Klippel’s theory allows the film to exist in its own logic and temporality, that of Tracey’s memories and experiences.

Cited:
Gennette, Gérard. “Order, Duration, and Frequency.” Narrative Dynamics. Ed. Brian Richardson. Columbus: The Ohio State University Press, 2002. 25-34.

Klippel, Heike. “The Radiance of Truth: Remembrance, Self-Evidence and Cinema.” Time and Memory. Ed. Michael Crawford, Paul Harris, & Jo Alyson Parker. Boston: Koninklijke Brill N.V., 2004. 145-161.

The Tracey Fragments. Dir. Bruce McDonald. Writer. Maureen Medved. Perf. Ellen Page. Shadow Shows, 2007.

The Responsibilities of a Writer

When most people pick up a book, they do not realize what they hold in their hands. They see mere words, a plot, a few characters. If it is an old book, full of language or ideas that seem archaic to them, they toss the book aside in frustration or boredom. They don’t see the author staring up at them from the pages, begging to be heard. They don’t see the imprint of every scribe, editor, or publisher who ever touched the work. They don’t feel the community of readers throughout history, who read the exact same words. Perhaps, this is because many of today’s writers don’t see it either. They write merely to entertain and struggle to capture the attention of an increasingly distracted readership. They forget the beauty and power of their own language, and they forget their obligation to the intimate connection between author and reader.
I have heard many people today, including many critics, praise good writers for their talent. They seem to think that this mystical gift of talent, which one either is lucky enough to have or is unfortunate enough to lack, is where good writing comes from, and that a talented writer simply sits down with his muse beside him and brilliant stories flow from his pen. This is not the case. Talent is not the most important thing about being a good writer. A singer with a beautiful voice, but who never bothers to practice will not be a very good musician. Likewise, a talented writer who does not work at it will not be a very good writer. Let the image of the gifted, inspired writer sitting beneath the willow tree with a pen and paper (or at her computer with a one year old on her lap, as the case may be) die right here and now. With rare exceptions, good novels are not written in three months in between dance class and soccer practice. Writing is, and should be, hard work, even to those who love it.
I do not mean to say that there are no good writers working today, or that the good writer is the one who scorns the hollowness of modern society and goes off into the woods to be alone with his art. On the contrary, the angsty, reclusive writer, who suffers for his art, produces empty art. A writer must be part of life in order to write about it. They must interact with people in order to represent them in their writing. A writer is a philosopher, a psychologist, a historian, an adventurer and, above all, a human being. It is their responsibility to put a great deal of thought and consideration into their writing. Writing is not just a hobby or an occupation; it is a way of life. The good writer observes life around him, so that he may recreate and manipulate it later. He collects words and people in his mind. He eagerly learns new things, wondering how each scrap of information can be used in his work. He spends his life searching the faces and words of the people around him for a movement or a pattern of speech that will bring a dead character to life. A writer must do research and become fluent in any subject they choose to write about. He needs to be able to represent reality in their work, even if he chooses not to. Most good stories will depart from truth at some point or other. However, it must be done with intention so as not to distract the reader from their work with unintentional mistakes.
The writer cannot just self indulgently write whatever he wants, but rather must let the story run its natural course. A writer must cut out even his favorite part, if that part takes the story away from its natural path. Once the limits of a world or character have been defined, the writer cannot suddenly change or ignore them on a whim. The character’s actions must come from the characters themselves, not the author. This is why a writer must be a psychologist. He must be able to create and completely understand the minds and actions of the characters in his story. He must know how his characters will react to events in the story and why they will react that way.
Even when writing a fantastical story, the writer must have an understanding of the reality in that fantasy world. I write stories full of magic that are set in a completely constructed world. Even though the world is fictitious, it is still restrained by reality it many ways. Humans and human nature, for example, remain the same. I tried to imagine how humans, as a race and as individuals, would react to and develop in a world very different from our own. I have pages and pages of research into magical lore, psychology, myth, religion and history. I have written the histories, superstitions and religious myths of the people in this world. This is the only way to create a world that is real to my readers and myself.
I dabble in many genres, but my passion is fantasy-fiction. Until I was thirteen, I thought fantasy was childish. One of my closest friends, who would read nothing else, tried to convince me to read one of her favorite books. When I, very disdainfully, asked why I should read a book about a world that didn’t even exist, she looked me squarely in the eye and said, “Because the fantasy world makes more sense than the real one.” I had no argument to meet her earnesty, and I agreed to
give fantasy a try. The book she handed me was The Lord of the Rings. I finished it in just over four days, and couldn’t get enough.

I read all the appendixes, poured over the maps, and then read The Hobbit, and The Silmarillian. What impressed me the most was the amount of detail and forethought that had gone into this book. Tolkien opened my eyes to the power that a story can have. A well written and well thought out story is a powerful thing. No one can read The Lord of the Rings without being touched by Frodo’s sacrifice, Sam’s unwavering devotion, or Pippin’s and Merry’s childlike view of the world.

No matter who we are or where we are from, we all look at the contrast between Frodo and Gollum with a mixture of horror and pity. When, after all is said and done, the four hobbits return home only to find the sanctity of the shire shattered, the reader is just as horrified and outraged as the shirefolk themselves. It is difficult to remember that this place, which is so precious to us, does not exist, because Tolkien has created it so completely. He put so much thought and care into its creation that the reader can easily believe that the shire and all of middle earth were once a very real place. This is the power that writers have, and the gift that readers hold in their hands when they pick up a book. It can force people to feel truths that they would never otherwise be able to accept intellectually, and connect people who have nothing in common but their language.

Stephenie Meyer on Ellen 9-17-08

Image Isn't Everything

In his essay “Ways of Seeing,” John Berger makes the claim that, “images are more precise and richer than literature.” Berger claims that as a means of communicating and connecting with the past, visual art is more effective than literature. This is not necessarily true. Visual art can show us what people of the past saw, but it can not show us how they saw it or what they thought about it. When we look at a painting of an object, we have no way of knowing why the artist chose to paint it. Was it because it was something extraordinary? Or was it an ordinary object? Literature is a peek directly into the mind of the author. Through it, we can tell what was extraordinary and what they took for granted. Further more, a verbal description can communicate the meaning of an image that may not translate from one individual to another or one century to another. The image of a cross or Star of David may not mean as much to us as it did to the people of a highly religious past, but the written description of religious fervor will communicate that feeling regardless. People have had the same range of emotions through out history and a well written piece of literature can evoke those emotions in a way that art cannot always do.
Berger also claims that a single image can have a more profound impact than a single word. This may be true for the individual, but not for the community. Perhaps the sight of a man’s lover will cause him an emotion that no word can, but that same image shown to someone else will mean nothing. On the other hand, the word “lover” carries such strong connotations with it that it can communicate all the feelings of that man at first sight of his lover in a single word. A single word can hold as much power as an image.

Breaking Dawn or Broken Down?

The fantasy novel, and particularly the vampire novel, has become an incredibly popular genre especially among teenage audiences. J.K. Rowling’s Harry Potter was a world wide phenomenon, and Anne Rice’s Interview with the Vampire remains a popular read. More recently, Stephanie Meyer’s Twilight Saga captured the attention of these teenage audiences. There is even a movie made from the first novel and there is another on the way this winter. The Twilight Saga is a quartet of books about a teenage girl, named Bella, who moves to the small, drizzly town of Forks in Washington State. On her first day at the new school, Bella is enthralled by a lunch table full of inhumanly beautiful students and one boy in particular. The boy who catches her eye is Edward, and the two soon fall madly in love. The catch is that Edward and his “family” are actually a coven of vampires who gave up drinking human blood so that they could coexist peacefully with humans. Instead they subsist on animal blood, and pose as humans, the younger ones going to school while the older two vampires, Carlisle and Esme, pose as their adoptive parents. Edward learns to overcome the temptation of Bella’s blood and to reign in his superhuman strength and speed around her. As the story progresses, we also find out that Bella’s best friend, Jacob Black, and his friends are actually a pack of werewolves.
The series was never going to be literary gold, but it had its charms. That is, until Breaking Dawn, the fourth (and hopefully final book) came out in August 2008. When eager fans finally got their hands on the long awaited book, many were simply stunned. Many critics trashed the book. Reese from Entertainment Weekly says that, “Meyer takes her supernatural love story several bizarre steps too far.” Hand from The Washington Post calls it “frankly, dreadful,” saying that “Meyer’s prose seldom rises above the serviceable... like reading a young teenage girl's blog.” The defense against criticisms like this is that this is, after all, just a teen novel. Vikas Turakhia, a reviewer for The Plain Dealer and a teacher at Copley High School, gives Breaking Dawn a lukewarm review, endorsing it for teens but not for adults. He claims that “teenage girls will devour these pages,” but that he is left “craving a more substantial meal.” This seems like a backward attitude for a high school teacher. Why should a full grown, fully educated mind need a more substantial meal than a growing, developing teen mind? Isn’t it just as important for children and teens to have access to sophisticated, well written literature?
Teens need books that are well thought out, developed, and insightful, not just fun and exciting. Breaking Dawn was none of these things, and while adults were happily labeling it ‘just a teen novel’ the teens were making up their own minds. On Teen Book Review, an online forum where teens and young adults can review and discuss books, many young teenage girls express disappointment with the book. Jocelyn says, “now that I’ve finished I don’t feel like I’ve gained anything,” while Nessa posts that, “it feels like something was left out.” Clearly these girls are left just as dissatisfied as Mr.Turakhia. The problem is that Breaking Dawn reads like a rough draft. There are too many contradictions in the plot, the characters are flat and unrealistic, and the explanations offered for events, when any are offered at all, are ludicrous.
Readers have trouble getting into the book because the numerous contradictions make the events rather hard to swallow. In the first three books of the series, Meyer builds a fantastical world with only a few hard and fast rules. In Breaking Dawn Meyer throws each and every one of these rules out the window. For example, Bella’s most important characteristic is that she is as unwavering and self-sacrificing in love as a fairytale damsel aught to be. Because of her love of Edward, Bella decides to become an immortal vampire so that she can spend an eternity with him. The issue of Bella’s potential immortality is a major focus of the last three of the four novels. It is painted as a huge sacrifice, not just because it is a painful experience, but because of what Bella will have to give up. She will never grow older, or be able to have children. She will never be able see her family or friends again, since it is forbidden for humans to know about vampire’s existence. If her family guessed the truth about Bella’s sudden, dramatic changes the Volturi, the Vampire Royalty, would kill them. In fact, Bella will probably have to spend her first few years as a vampire in isolation until she can control her thirst for human blood. Even after she has adapted, it is said that being around humans will still be a painful temptation. Most terrible of all to Bella, is the idea that she will never again be able to see her best friend. Jacob, the werewolf who has always been in love with Bella, is the sworn enemy of all vampires. He is so repulsed by the idea of Bella becoming a vampire that he and his pack threaten to declare war on the Cullen’s Coven if they go through with it. When it comes down to it though, all the consequences that make Bella’s choice a sacrifice completely disappear. Before she is turned, Bella inexplicably becomes pregnant with Edward’s child. After a gruesome pregnancy, Bella gives birth to a semi-mortal vampire baby named Renesmee. To the surprise of the other vampires, after Bella is changed, she does not have that much trouble fighting off the temptation of human blood. She adapts almost immediately, and no definite explanation is given for this. Bella’s father remains part of Bella’s life, with the stipulation that he not ask too many questions. Even Jacob, who was so violently opposed to Bella’s transformation that he would rather she die in earnest than become a “bloodsucker,” sticks around. The explanation for this is perhaps more disturbing than if none had been given. Jacob imprints on the infant Renesmee. This means that the first moment he lays eyes on her, he becomes hopelessly devoted to her and that the two will eventually become lovers. As a result of this bond, which is somewhat common for werewolves, but still sacred to their kind, the pack will not declare war on the Cullen’s Coven. Meyer systematically negates Bella’s sacrifice and deconstructs the laws of her own world. This not only undermines the imaginative qualities of the book but it makes the book completely unbelievable.


Renesmee presents another extremely dramatic contradiction. Bella’s pregnancy is so ghastly and graphic that the audience is repulsed and sure that the baby will come out as the Anti-Christ. The scene in which Bella actually goes into labor, told from Jacob’s perspective, is positively horrific:
It was not just a scream, it was a blood-curdling shriek of agony. The
horrifying sound cut off with a gurgle, and her eyes rolled back into her
head. Her body twitched, arched in Rosalie’s arms, and then Bella
vomited a fountain of blood.
This is just one of many violent and macabre descriptions of Bella’s terrifying pregnancy. However, once the baby is born all the characters fall instantly in love with her. When they mention her it is with “almost religious devotion.” The reader is expected to be as in love with this baby as all the characters. All the normal baby cliché’s are applied. The newborn Renesmee is described as having her mother’s eyes, her father’s smile, and “the most beautiful face in the world.” While the character’s are all cooing over their new bundle of joy, the audience has trouble forgetting that this little angel drinks blood and had to be gnawed from its mother’s womb by her father. The contradiction is so dramatic that it is irreconcilable.
As purely fairytale stories, the first three books had their place, but Breaking Dawn departs from the fairytale. Meyer takes a stab at science-fiction and pokes her own eye out. She attempts to offer scientific explanations for events, when it would have been better to invent magical explanations. When Edward, the vampire, accidentally impregnates his human wife, Carlisle, a vampire and a doctor, explains that it is because vampires have twenty-five chromosomes rather than the ordinary twenty-three. Meyer does not seem to understand what most teenagers learn in biology class. While the audience can accept that it is magically possible for a vampire to impregnate a human, they know that it is scientifically impossible for a species with twenty-five chromosomes to reproduce with a species with twenty-three. Meyer’s nonsensical explanations make the book more confusing and muddled.
To give the die hard fans their due, the criticism for the Twilight Saga, and specifically the final book Breaking Dawn, is split. Meyer’s defenders, which mostly consist of parents and teachers, claim that Breaking Dawn “tempted the imagination” and is “an excellent read.” They point to the fact that the main characters practice abstinence until marriage, and claim that the series promotes good morals.
Twilight’s champions claim that Bella, the female protagonist of the series, is a responsible and relatable role model for teenage girls. This is an alarming idea. The book is surprisingly misogynistic for something authored by a woman and is completely devoid of positive, strong female examples. Bella’s mother is ditzy and irresponsible, needing her husband to take care of her. Alice, who as a vampire aught to be a physically strong and intelligent character, is small and delicate, dances instead of walks and is overly obsessed with fashion and clothing. Bella, like all the other female characters, is weak and shallow. Bella, from whose perspective the story is told, is a self-deprecating, unambitious, and submissive girl. She does not want to attend college and has no career goals what so ever. Her only ambition in life is to become a vampire, like Edward, and spend the rest of eternity with him. Bella constantly claims to be unworthy of Edward’s affection. She describes herself as “fragile” and “so accident-prone, so much the victim to my own dangerous bad luck, apparently I need a tank-resistant car to keep me safe.” (page8). Bella and Edward play out the damsel in distress and white knight drama ad nauseum. Edward’s main role in the story is to protect and rescue his danger prone lover. Bella herself notes that Edward is “Worrying, always worrying. How different would it be when he didn’t have to worry about me anymore? What would he do with all his free time?” (page 26). In fact, Edward’s protectiveness goes so far as to become obsessive and controlling. He never leaves her alone unless forced to by his need to hunt. Even then, he usually leaves Bella with his family, or with Jacob, so that they can protect her in his absence. He will not even kiss her too enthusiastically for fear of injuring her, which incidentally is the reason that they remain abstinent.
Throughout the story Bella is portrayed as helpless and childish. She is never held accountable for her own actions, because she lacks self control and cannot be expected to help herself. Even in their sexual relationship, Edward has to be the one to draw the lines. At the wedding in front of all the guests, Bella looses control when he kisses her:
He began the kiss, and he had to end it; I clung to him, ignoring the titters
and throat-clearing in the audience. Finally, his hands restrained my face
and he pulled back.
Even though Bella puts her own life in danger when she tempts Edward too much, she is incapable of the necessary restraint. When Bella loses her temper, Edward is the one who apologizes for it. Countless characters excuse Bella for various misbehaviors, by saying that she does not seem to be able to help herself. Bella merely accepts this, though sometimes she worries that it is unfair to Edward.
Bella is further stripped of her decision making abilities when she is portrayed as not knowing what is best for her or even knowing what she really wants. Bella is very against the idea of marriage, worrying to the point of making herself ill about what people will think. Edward has to cajole, bribe, and blackmail her into it, but when Bella actually makes it to the alter she is overjoyed. Once Edward has forced her to go through with it, she says, “I saw just how silly I’d been for fearing this.” This dynamic puts Edward in a fatherly position over Bella, and allows him to adopt a ‘for-her-own-good’ mentality. As a result, Bella holds little power to influence her own life or the plot, except as a “danger magnet” which she is frequently called. Bella, the supposed heroine of the story, is little more than a McGuffin, affecting the plot only by motivating other characters.

Bella is also physically diminished in comparison to the males in her life. Bella is constantly being carried and pushed around by the men in her life and she is frequently passed from one male character to another. For example, after the wedding Edward passes his bride off to Jacob: “Edward kept his grip under my elbow until another set of strong hands caught me in the darkness.” Elsewhere in the novel Bella usually appears with Edwards arm around her, sitting in his lap, or wrapped in his arms. The fact that Bella is rarely seen to stand on her own undermines her physical identity as an individual. Even though Bella describes her self as being of average height, the men are constantly towering over her. All the male characters are unusually large and strong necessitating that weak, little Bella be at their mercy. In the third book, when Jacob comes dangerously close to sexual assault, Bella is forced to defend herself. She tries to punch him, but only manages to break her own hand and Jacob barely even feels it. In Breaking Dawn Bella is forced to seek help from her sisters-in-law and mother-in-law, to prevent her husband and father-in-law forcing an abortion onto her.

Furthermore, Bella is completely unbelievable and unrelatable because, she does not develop as a character. Her identity is made up of such insubstantial things that everything that the reader identifies as Bella disappears when she is transformed. Immortality comes with, by Meyers’ own definition, stunning beauty, paleness, intelligence, impeccable grace and physical prowess. Bella, having been defined by her clumsiness, weakness, aptitude for getting herself into danger, and blushing frequently from embarrassment, disappears. She is no longer clumsy or weak, she now has the heightened senses to avoid danger, and can no longer blush since she no longer has blood pumping through her veins. What are we left with? Bella’s entire identity now becomes Edward’s wife and Renesmee’s mother. Is this the message we want young girls to take away from the books they read? Sacrifice your identity for your love, submit to your husband, and rely completely on the men because they are stronger, smarter, and more capable than you?
Stephanie Meyer single handedly took the genre of the teen novel back several centuries to the gothic novel, which was considered to be nothing but unsophisticated, sensationalist women’s entertainment. It is unfair to excuse Breaking Dawn by calling it a mere teen book, when other author’s have done such amazing things in the genre. Is it fair to explain away Meyer’s half baked scientific explanations when Madeleine L'Engle brings us the fourth dimension and the tesseract in A Wrinkle in Time? Can we really hold up Bella Swan, the wilting violet, as a teenage girl’s role model when Tamora Pierce brings us Alanna in The Song of the Lioness and Alianne in Trickster’s Choice? (Kirkus Review’s calls Alianne a, “fully formed, a snarky, talented uber-heroine…[who’s] difficulty with the complexity of colonialism adds surprising, welcome depth.”) Bella pales in comparison to a sixteen year old girl who manages to incite a rebellion and overthrow an oppressive empire, while struggling with enslavement, grief, racial politics, and her first love. Rather than writing off the genre, teachers and parents aught to be praising authors who take teen novels seriously and speaking out against authors who produce empty, thoughtless books for mass consumption.

Works Cited
Hand, Elizabeth. “Love Bites: The final book in a mega-selling series sucks the romance out of teen vampires.” Washington Post. 10 Aug. 2008: BW07.

Hogle, Jerrold E., ed. The Cambridge Companion to Gothic Fiction. New York: Cambridge University Press, 2007.

Meyer, Stephanie. Breaking Dawn. New York: Little, Brown and Company, 2008.

Pierce, Tamora. Trickster’s Choice. New York: Random House, Inc., 2003.

Reese, Jennifer. “Breaking Dawn (2008) Stephanie Meyer.” Entertainment Weekly. 8 Aug. 2008.

“Review: Breaking Dawn by Stephanie Meyer.” Teen Book Review. 3 Aug. 2008.
< http://teenbookreview.wordpress.com/2008/08/03/review-breaking-dawn-by-stephenie- meyer/>

Turakhia, Vikas. “Book Review: Vampire Series Finale ‘Breaking Dawn’ Ties Up Loose Ends.” The Plain Dealer Aug. 2008.

The Journey

I have traveled these roads for many a night,
Unable to choose which way is right.
I wonder alone with no place to go;
I wonder on paths that no one can know.
And as I wonder, time passes on.
While, other travelers have come and gone,
Still I dredge on with no end in sight
I travel in darkness without any light.
As step for step, the shadows close in
My mind drifts back to those that have been.
Dull reflections that wrap round my heart,
Had shown to me the very worst part.
I’d passed many crossroads without any thought,
Now, at this last I found myself caught.
As I stood there not knowing which way was right,
“What is my purpose?” I cried to the night.
Unseen, the wind whispered, “Surely,
The answer is in the journey!”

The Jumble

From a crack in the door it stares me down—
this mess I’ve made of life.
The night takes on a different sheen.
I’m growing old at last.
Twenty years have come and gone,
since I began to die.
The flowers wilt, and summers pass
But I will not come back.
Now the darkness, thick and black,
It hungers for my bones.
And I can run, but none escape
the jumble left behind.
I might as well stand stock still
and sink into the ground.
And twenty years will pass again,
Before my bones are found.

No More

With eyes facing West, I do it.
Quickly, quickly, thoughtless.
Sun setting into nothing,
rushing downwards again
never to rise.
To rest, yes, rest.
Darkness cries out, then is gone.
Get up! Get up! Get up!
Her voice or mine
No more
Getup! Getup! Getup!
Running running falling leap!
Leap into nothing
I’ll catch you!
Arms outstretched
turned away
Falling. Hard.
Nothing catches the fallen.
Nothing captures
Nothing keeps
“Nothing has you! You are safe!”
Is Nothing safe then?
Yes, Nothing has me!
Let it have me then!
GeddupGeddupGeddup!
No more!
Empty lies, this life I hold.
And after it?
Nothing!
Pieces tumbling,
tumbling on into water
Rushing past
Dead, forgotten, floating fast
Blind eyes perceive them
but thoughts will not touch.
You shrink away, are scared.
“Nothing will hurt you!”
Why should Nothing hurt me?

Silence.

I feel them in me now,
thrumming
Making heavy
Making cold.
No turning back now.
Should cowardly reason
endeavor to turn me
they will keep my eyes facing West.
Laughing
Running
Tumbling
Gone
ge’upge’upge’up!
No more!

Dancing on

The floor falls beneath my feet

We’re dancing on a carpet

of shattered glass and broken lives

that never come again.

We’re lost and spinning

Falling down

Then climbing slowly up.

If you can find the way we came

We could retrace our steps.

The bloody path we leave behind,

Should guide us safely home,

But homes a place I’ve been before,

A place I know quite well.

So let’s dance on in figure eights,

And find a whole new place.

With softer floors and brighter lights

And music full of grace.