Stephenie Meyer’s new offering, Life and Death (2015), is intended to be a kind of addendum to her problematic series about teenage love in the age of vampirism, Twilight (2005). According to Meyer, the story is a kind of fictionalised response to the plethora of accusations of sexism that have been levelled at the Twilight series. By swapping the genders of almost all the characters in the original story, Life and Death is meant to show how problems with gender in the original series are actually problems that can be attributed to the main character’s humanity rather than her femininity.
Life and Death has been branded a lot of things: bungling, lazy, and just plain greedy. Most have greeted it with a rightful degree of cynicism, seeing it as a rather cheap way to make a bit of extra cash and rejuvenate a series that, ten years on, is beginning to look a little tired.