Civilized Vampires Vs Savage Werewolves Summary

In the article, “Civilized Vampires Versus Savage Werewolves: Race and Ethnicity in the Twilight Series,” Natalie Wilson compares the physical appearance and qualities of the two main character groups in the Twilight series, and how they represent a much deeper issue of class and racial inequality. First, Wilson compares the physical traits of Edward Cullen and the vampires, who are extraordinarily beautiful and have pale white skin, to the traits of Jacob Black and the werewolves who have copper skin, dark features, and look animalistic. Wilson also compares their personalities, the vampires being intelligent and well behaved, and the werewolves who are irrational and hostile. The two are further compared by their wealth. Edward has a seemingly endless supply of funds, lives in a mansion, drives a nice car, and wears sophisticated clothing, where Jacob lives in a small house, drives an old car, and wears tattered clothes. Wilson uses this collected information to bring to light the undercurrent of white privilege that is displayed throughout the Twilight series. It is also important to note, that in the story, Bella Swan a white teenage girl, is caught in a love triangle between Jacob and Edward.

After a long and romanticized courtship, she ultimately chooses Edward and in doing so, she chooses all that he represents. Wilson also cautions, that although fantasy, depicting characters in this way is detrimental to society’s views about race and class.
In further exploration of the topic of white privilege, it seems necessary to state what the term actually means.

White privilege is defined as “The differences in power between white people and people of color, including the advantages white people automatically take for granted and the apparent disadvantages for minorities” (McFeeters). Wilson makes the connection between Peggy McIntosh’s idea of white privilege as “an invisible weightless knapsack of special provisions, maps, passports, codebooks, visas, clothes, tools and blank checks,” to Bella’s remarkably similar backpack full of supplies, made available to her by her connection to white vampire privilege. Wilson suggests that the story encourages readers to covet unearned privileges rather than question

them.
In her TED Talks presentation, model Cameron Russell reveals her awareness of her own exploitation of white privilege, referring to a time when she was given a free dress while shopping after forgetting to bring her money. On a separate occasion, she was released without consequence after offering an apology to a police officer for being stopped for running a red light. Unfortunately, most white individuals are not cognizant of their white privilege. In researching women’s studies, McIntosh noticed men were averse to recognizing the privilege they had over women and that their “denials protect male privilege from being fully acknowledged, lessened, or ended.” She further maintains, “…whites are carefully taught not to recognize white privilege.” Perhaps the denial, or lack of awareness one has of their own white privilege has become a method of preserving the idea that they have rightfully attained all that they have earned. Some individuals even feel threatened when approached with the concept of their white privilege.
The idea of white advantage is not a new phenomenon as it is recognizable in many other accounts throughout history. There is a predominate belief that white equals purity and innocence, and black symbolizes evil and fear. Examples of these concepts are identifiable in religion, mythology, the Yin Yang symbol, even Star Wars.
I think the belief of black and white dualism could have originated from the fact that we need light for visibility, it imparts safety, we arise during daytime hours, and it allows awareness and clarity. Darkness on the other hand, means low visibility, the time in which we sleep, and is a result of unconsciousness or ignorance. The real question is, is it irresponsible to apply those symbols of light and dark to skin color in our writing, or stories? Or is it fulfilling a need in forcing us to take a step back and think about our own race, which could result in the unveiling of our own racially based privileges? I was surprised at how negative Wilson’s stance seemed in her article. It was as though she believed it was an irresponsible use of light and dark symbolism. Maybe Meyer did us a favor by connecting those symbols with skin color, and as a result we are more aware of how the feelings we associate with light and dark may also influence the feelings we have toward skin color. I was also a little shocked that after reading Wilson’s article I had not picked up on the racial separation when I had previously watched the films. Being a part of an ethnic minority myself, I am generally pretty sensitive to racial divides. In the case of the Twilight series, however, I believe I was too preoccupied with the terrible acting and editing to notice much else.
So after reviewing the article by Wilson about the Twilight series, and taking a deeper look at white privilege, it is my conclusion that the world can benefit from people like Meyer who write their stories and bring to light the unsavory aspects of society. I think people like Wilson are also valuable in that they take a closer look at these stories and break them down so that the rest of us can have a clearer understanding of what is occurring in our society that may be “kept in the dark.”

Works Cited
McFeeters, Belinda Bennett. "White Privilege: The Invisible Advantages And Apparent Disadvantages." Research Starters: Education (Online Edition) (2015): Research Starters. Web. 21 Sept. 2015.
McIntosh, Peggy, 1934-. "White Privilege: Unpacking The Invisible Knapsack." Independent School 49.(1990): 31. Education Full Text (H.W. Wilson). Web. 21 Sept. 2015.
Russell, Cameron. “Looks Aren’t Everything.” Ted.com. 2012. Web. 2015.
Wilson, Natalie. “Civilized Vampires Versus Savage Werewolves: Race and Ethnicity in the Twilight Series.” Bitten by Twilight: Youth Culture, Media, & the Vampire Franchise. (2010): 55-70. Rpt in. Monsters. Ed. Brandy Ball Blake & L. Andrew Cooper. Southlake: Fountainhead Press, 2012. 155-170. Print.