LAST YEAR, A novel called Hush, Hush debuted at number 10 on the New York Times bestseller list. Since its publication, a sequel has been released and more in the series are lined up to come. Hush, Hush is the first novel from health major-turned-self-proclaimed storyteller Becca Fitzpatrick, who describes the tale as “sexy” and “dangerous.”

I’m not sure that’s such a good thing.

Hush, Hush is basically Twilight with angels. The “sexy” and “dangerous” Edward Cullen character takes the form of a fallen angel named Patch Cipriano, and is just as creepy and emotionally abusive as the sparkly vegetarian vampire — a disturbing thought.

Amazon’s “Customers Who Bought This Item Also Bought” section for Hush, Hush lists pages of stories of fallen angels and forbidden mortal love. Then there’s also a recent affront to the world of literature: Kiss Me Deadly, a compilation of short stories devoted to “mysterious metaphysical accounts of love.” It seems that the Teen/YA genre is ruled today by paranormal love.

The concepts behind these paranormal love stories tend to go against, well, everything we millennial gals are taught about independence and gender equality. Both Twilight’s Edward and Hush, Hush’s Patch stalk, taunt, command and are physically aggressive with their respective ladies. Patch and “heroine” Nora’s love connection forms through a series of awkward encounters: a dumb biology class assignment, a contrived run-in at an amusement park (complete with whack-you-over-the-head metaphors about fallen angels), a scene involving a knife and tacos and a pseudo-date that takes place at a shady bar. Then there’s a motel scene that reads like porn for tweens…bet you’re rushing to your local bookstore now, huh?

These crass relationships seem to form the basis of most of the novels in this paranormal genre. Twilight might seem edgy, but it’s an awfully repetitive story: An average girl lives a boring life in a non-exciting city/town until some eldritch boy appears and is mysteriously drawn to her. Weird events happen and some evil forces are after the girl, causing her to rely on the creepy boy to save her life, but – gasp – can she trust him despite his angry and brooding nature? The twisted version of the author’s chosen mythology is then revealed and some Googling happens. Blah, blah, blah and then there’s a terrifying showdown that ends with some dramatic dialogue and the girl blacking out, only to wake up safe and sound with her supernatural beau by her side and plenty of room for a sequel (or three).

But YA lit doesn’t have to be this way. Shattering Glass remains one of my favorite reads, despite my departure into more adult-friendly lit. That novel’s “sexy, dangerous” character is Rob Haynes — but his manipulative actions are criminalized, unlike Edward or Patch’s cunning moves. Speak’s protagonist, Melinda, learns to overcome rape and her identity as a victim — a marked contrast from Twilight, where Bella is powerless in her own decision-making when faced with Edward’s lust. Bella remains a victim of this emotional abuse for four novels. Pop culture seems to romanticize victimization despite society’s messages about female empowerment and independence. In paranormal romances, it’s cool to be helpless instead of in control of your life.

Twilight‘s other cultural offerings — the films, the merchandise — do nothing to allay the problem. In the films, fans are treated to close-up shots of young, pretty actors and soundtracks filled with angst-ridden alternative tunes about love tearing souls in two. It’s a foolproof formula that is also inspiring the soon-to-be-released Red Riding Hood, which is also directed by Twilight director Catherine Hardwicke. These stories aren’t the average “once upon a time” stories anymore.

As the popularity of these stories grows, it seems like we’re regressing. Young girls are subtly taught that their lives are incomplete if they’re not recklessly in love with (and wholly dependent upon) a moody bad boy. Case in point: Bella can’t exist without Edward. Literally: In New Moon, she tries to kill herself when she realizes it’s will help her regain Edward’s attention.

When YA female protagonists are stripped of their agency, their lives dominated entirely by the needs of their psychologically manipulative significant others, it presents a worrying dilemma for the tweens hungrily lapping up paranormal romance fare. Tween girls are smart enough to separate fact from fiction, but writing YA lit featuring female role models whose lives revolve around something other than their emotionally unavailable boyfriends would go a long way in defeating the stereotypes inherent to books like Twilight. Many YA girls don’t mind being swept off their feet; just don’t forget to put them back on the ground and let them walk on their own, too.