I am shocked, dismayed, not surprised at all to discover from Usually Reliable Sources that the series has a happy ending. Let's recap. The story so far: Bella, a shy, bookish, unimaginative 17 year old girl who's never been kissed, falls in love with Edward, who once was human but has now been transformed, by means not fully explained in the books, into a robot-like being with an insatiable craving for blood. Edward tries to control every aspect of Bella's life, including stealing into her bedroom at night and watching over her while she sleeps. At one point, Edward leaves Bella abruptly, pushing her into a state of suicidal despair. He in fact believes, on rather slender evidence, that she has killed herself, and, rather than trying to find out whether she really is dead, decides to kill himself too. Bella, who has not died, is forced to risk her life a second time to save his.
While Edward was out of the picture, Bella has fallen in love with Jacob, who reciprocates her feelings. After she gets back together with Edward, she callously abandons Jacob, mirroring Edward's behavior towards her. Edward then cleverly manipulates both Bella and Jacob to destroy her relationship with the one person who truly loves and cares for her. He also uses Bella's feelings of sexual attraction towards him to trick her into marrying him, something Bella has made quite clear that she does not want to do. At the end of Book 3, Bella is being coerced into a wedding she hates the very idea of. Once they are married, Edward is going to turn her into a creature similar to himself. This means that she will also be a blood-craving robot, and will never be able to have children. It is also likely that their union will trigger a major war between Edward's and Jacob's families.
We are clearly being set up for a geek [Surely "Greek"? Ed.] tragedy, and a logical ending might have been something like the following. Bella's and Edward's wedding proceeds as planned under Alice's manic supervision. On their wedding night, Edward makes a last-ditch attempt to persuade Bella not to have sex with him while still human. She refuses, and holds him to his promise. The sex is excruciatingly painful and nearly fatal; in order to save her life, Edward is forced to turn Bella into a vampire there and then. As a new-born, Bella lacks all self-control. During the early hours of the morning, she sneaks out of the bridal suite, lured by an overwhelmingly enticing smell. The trail leads to her mother's room; evidently, Bella's delicious scent has been genetically inherited. She breaks down the door, and kills and eats Renee. Then, overcome by remorse, she flees alone into the wilderness.
Jacob hears about the ghastly events, and deduces what has happened. Edward has violated the terms of the werewolf/vampire treaty, and Jacob is also consumed by rage and jealousy. He summons the werewolf pack, and they attack the Cullen residence in force. Bella has realised, too late, that he will do this. She hastens to Forks, but arrives when the battle is already in full swing. Sam kills Carlisle and Esme, before himself being killed by Jasper. Edward and Jacob kill each other in single combat. Bella looks on, horrified and grief-stricken, but is powerless to intervene.
At this point, the Volturi arrive. It turns out that Bella, in her new vampire form, is no longer immune to the demonic Jane. Jane paralyzes her, and forces her to watch as the Volturi kill the remaining Cullens and werewolves. Finally, when everyone else lies dead and dismembered on the ground, Jane is kind enough to kill her too.
But, instead... no, I can't continue. What the hell, Stephenie Meyer is right! To show how whole-heartedly I embrace her solution, here's my improved ending to Hamlet. We join the action in the middle of the fencing match between Hamlet and Laertes from Act V, Scene 2.
HAMLET: I'll play this bout first; set it by awhile. Come.
They play
Another hit; what say you?
LAERTES: A touch, a touch, I do confess.
KING CLAUDIUS: Our son shall win.
A pause. Then:
LAERTES: I can't do it. It's wrong. I'm sorry, man.
He throws down the foil
LAERTES: Hamlet, you may be a vampire, but you're my friend.
HAMLET: You may be a werewolf, but I love you.
LAERTES and HAMLET embrace
GERTRUDE: I'll drink to that.
CLAUDIUS: Don't... ah, shit, too late.
Enter POLONIUS
POLONIUS: Fear not, I switched the cups.
HAMLET: Huh? But... you're dead. I killed you.
POLONIUS: Just a flesh wound. I thought it would be safer to be out of the picture for a while.
HAMLET: Gee, you're smarter than I thought. You'd have made a great father-in-law, if only...
Enter OPHELIA, carrying a MUTANT VAMPIRE BABY
OPHELIA: Hi honey! This is Renesmee. But I call her Nessie. You're her father.
HAMLET: Oh, uh... good. If only my own father were still...
CLAUDIUS wipes the makeup from his face, and we see he is really HAMLET'S FATHER in disguise
HAMLET: ... Dad?
HAMLET'S FATHER: Son!
They embrace
HAMLET: But...
HAMLET'S FATHER: I wanted to see if you really cared about me.
HAMLET: Um... I nearly stabbed you once when you were praying, you know.
HAMLET'S FATHER: I don't think that would have worked.
He opens his robes to reveal a Kevlar vest
HAMLET: Oh, wow, this is like... incredible. Group hug!
HAMLET, HAMLET'S FATHER, GERTRUDE, LAERTES, POLONIUS, OPHELIA and OPHELIA'S MUTANT VAMPIRE BABY all embrace
HORATIO: [who has somehow been left out] Why does the drum come hither?
March within. Enter FORTINBRAS, the English Ambassadors, and others.
FORTINBRAS: What is this sight?
HORATIO: Well may you ask. It's a long story.
He starts whispering in FORTINBRAS's ear. FORTINBRAS mimes astonishment, disbelief, outrage etc as the curtain falls.
FINIS
I suppose I'll still have to read it. But under protest, as one might say.
______________________
OK, I've read it, so now I'm speaking from a position of both knowledge and prejudice, rather than just prejudice. I hope everyone grasps the subtle distinction.
Well... the first two thirds aren't bad. Her technical writing skills have improved since Twilight, and the atmosphere was suitably menacing and creepy. She did a good job of maintaining the ambiguity, so that we weren't sure about how reliable Bella was as a narrator. I approved of the way she treated the sex during their honeymoon. Bella, who's usually so appallingly, prosaically circumstantial about the smallest details, suddenly can't remember a thing about it, although there are bruises all over her body and Edward is in shock about what he's done to her. You do wonder what's going on. Try as I will, I find it difficult to imagine how a human woman could ever enjoy sex with a cold, robot-like vampire. But they have mind-control powers, some of which (Jasper's, for example) work on Bella, so it's entirely possible that she's somehow being manipulated. And the following part, where the mutant child starts growing and sucking the life from her body, is effective too. Bella's utter irrationality is scary, as is the Alien-like thing inside her. The horrifying birth scene is one of Meyer's best passages.
But then... oh dear. If anything, my Hamlet parody understated the extent of the difficulties she runs into. I have nothing against the deus ex machina as a plot device. Heck, if it's good enough for Shakespeare and Molière, it's good enough for Stephenie Meyer. The problem here is that she's ignoring all the basic rules. To start off with, she doesn't just have one deus ex machina; she has at least two big ones (Jacob imprinting on Renesmee, and the sudden production of the other half-immortal), plus some smaller ones (Bella's new abilities as a shield, and the switch of position regarding werewolves).
Also, the deus ex machina is normally used at the end, not in the middle, and it works best in the context of a comedy. Think of Frank Oz's version of Little Shop of Horrors, one of my favorite black comedies. Having Seymour electrocute the Plant and live happily ever after with Audrey works fine. You know perfectly well that he's really been eaten, just as you know perfectly well that Tartuffe really ends with poor Orgon being turned out of his own home. Here, though, with the dei ex machina coming down like hail all through Part 3, you don't know what to think. She actually seems to believe in her illogical happy ending rather than just intending it ironically. All the dramatic tension disappears. It's such a waste of a great build-up.
And, before I go back to reading the conclusion of Mysterier, a final thought about the absurd vampire science. If I understand correctly, the hocus-pocus with the numbers of chromosomes in the different species is there to establish the validity of the key equation
Werewolf = 1/2(Human) + 1/2(Vampire)
If Renesmee weren't a kind of werewolf, Jacob wouldn't have been able to imprint on her. But did anyone stop to consider that you can rearrange the terms to get the following form?
Human = 2(Werewolf) - Vampire
I'll leave you to ponder the significance of that.