Exploring the spiritual themes and humanity in Stephenie Meyer’s modern vampire narrative
The Twilight saga, marking its 20th anniversary this year, reflects a significant cultural shift in how reality is perceived. Stephenie Meyer introduced a unique take on vampires, notably depicting them with sparkling, diamond-like skin in sunlight. However, her work also draws from a long-standing vampiric tradition that intertwines spiritual themes, relevant both in the Victorian era and in contemporary society. During the 19th century, vampires symbolized societal tensions between emerging scientific discoveries and the spiritualist movement, embodying a quest to reconcile the material and immaterial worlds. Meyer’s series sought to engage with similar questions, resonating with readers of her generation.
In the years leading up to the publication of Twilight in 2005, cultural historian Christopher Partridge observed a rise in alternative spirituality in the West, suggesting a shift towards viewing existence as both physical and spiritual. Despite a decline in institutional religion’s influence, many individuals began to identify as spiritual rather than religious. Twilight mirrors this paradigm shift, challenging the notion that reality is limited to what can be seen or understood intellectually. By setting her modernized vampires in the ordinary town of Forks, Washington, Meyer tapped into a collective yearning to discover spiritual meaning in everyday life, effectively re-enchanting the world.
Meyer’s vampires share characteristics with their Victorian predecessors. For instance, both the unnamed female vampire in Le Fanu’s Spalatro and Robert Louis Stevenson’s Olalla exhibit traits such as mercy towards humans and a tendency to sacrifice personal relationships for their protection. This reflection on existence as spiritual beings in a tangible world allows Meyer’s characters to explore profound theological questions about humanity. By revitalizing an ancient mythos for the 21st century, Meyer retained its relevance, swapping creepy castles for modern homes, yet maintaining an enduring appeal.
The series follows the Victorian tradition of examining humanity through the lens of inhumanity. A central theme is the character of Edward Cullen, who grapples with his soul. Following the example of his adopted father, Carlisle, Edward chooses to consume animal blood rather than human blood, illustrating his desire to avoid becoming a monster. The Cullens hold the belief that indulging their thirst for human blood compromises their soulful existence, raising age-old questions about the nature of humanity. Edward’s remark, “This is the skin of a killer, Bella,” encapsulates this deep-rooted human concern regarding the essence of being.
Bella Swan, the saga’s protagonist, serves as a lens through which Meyer examines what it means to be human. Torn between two worlds—humanity and vampirism—Bella’s character exemplifies selfless love as the defining trait of humanity. Each installment of the series showcases her willingness to jeopardize her safety for the sake of her loved ones, mirroring the Cullen family’s commitment to refrain from taking innocent lives. Through these sacrifices, both Bella and Edward embody humane qualities despite their biological differences.
Myths endure because they resonate with the core of human existence. The vampire archetype persists in literature across cultures, as it articulates aspects of humanity that mere analytical discourse cannot capture. As noted by author CS Lewis, myths convey not just a statement about reality but reality itself. The enduring fascination with vampires, two decades after Twilight’s debut and two centuries since the Victorian era, highlights their capacity to reflect profound truths about the human experience.
