Frankenstein: Difference between revisions

For other uses, see Frankenstein (disambiguation).

Frankenstein;
or, The Modern Prometheus

Illustration from the frontispiece of the Template:Lty edition by Theodor von Holst
Author	Mary Shelley
Language
Genre	Horror, Science fiction, Gothic
Publisher	Lackington, Hughes, Harding, Mavor & Jones
Publication date	1 January Template:Lty
Publication place	United Kingdom
Pages	280
ISBN	NA

Frankenstein; or, The Modern Prometheus, generally known as Frankenstein, is a novel written by the British author Mary Wollstonecraft Shelley. Shelley started writing Frankenstein when she was 18 and finished when she was 19. The first edition was published anonymously in London in Template:Lty. Shelley's name appears on the second edition, published in Template:Lty. The title of the novel refers to a scientist, Victor , who learns how to create life and creates a being in the likeness of man, but larger than average and more powerful. In popular culture, people have tended to refer to the Creature as "Frankenstein", despite this being the name of the scientist. Frankenstein is infused with some elements of the Gothic novel and the Romantic movement. It was also a warning against the "over-reaching" of modern man and the Industrial Revolution, alluded to in the novel's subtitle, The Modern Prometheus. The story has had an influence across literature and popular culture and spawned a complete genre of horror stories and films. It is often considered the first fully realized science fiction novel due to its pointed, if gruesome, focus on artificial intelligence.

Plot

Frankenstein begins with the epistolary technique of a correspondence between Captain Robert Walton and his sister. These letters form the framework of the story in which Walton tells his sister the story of Victor Frankenstein and his creature as Frankenstein tells it to him.

Walton sets out to explore the North Pole and expand his scientific knowledge in hopes of achieving fame and friendship. Unfortunately, the ship becomes trapped in ice. One day, the crew observes a giant man in the distance on a dogsled. Hours later they find Frankenstein, weak and in need of sustenance, near the ship. Saved by the kind occupants of the ship, Frankenstein starts to recover from his exertion and recounts to Walton his story, warning Walton of the wretched effects of allowing your ambition to push you to aim beyond what you are capable of achieving. Victor Frankenstein begins by telling Walton of his childhood. Frankenstein was raised by a wealthy family, and was always encouraged to seek a greater understanding of the world around him (but not science), whilst remaining in a safe environment surrounded by loving family and friends.

Frankenstein grew up with close ties to Elizabeth, a girl brought to his family who he is raised with like a sister, and his friend Henry Clerval. As a young boy, Frankenstein becomes obsessed with studying outdated theories of science that focus on achieving natural wonders. In college at Ingolstadt, Germany excels at chemistry and other sciences and discovers the secret to imbuing the dead with life. Once discovered, he creates what he considers a paragon of humanity from scavenged body parts, but upon bringing it to life, realizes the creature is hideous. Disgusted by and fearful of the monster's appearance, Frankenstein flees.

Henry Clerval comes to Ingolstadt to study with Frankenstein, but ends up nursing him after his exhausting and secretive efforts to create a human life. While Frankenstein recovers from his illness over many months and then studies languages with Clerval at the college, the monster wanders around looking for friendship. After several harsh encounters with humans, the monster becomes afraid of them and spends a year living near a cottage and observing the family who lived there. Through these observations he becomes educated and self-aware and realizes that he is very different in physical appearance from the humans he watches.

In loneliness, the monster seeks the friendship of this family (the De Laceys), but they are afraid of him, and this rejection makes him seek vengeance against his creator. He travels to Geneva and meets a little boy in the woods. In the vain hope that because the boy is still young and potentially unaffected by older humans' perception of his hideousness, the monster hopes to kidnap him and keep him as a companion, but the boy reveals himself as Frankenstein's younger brother, so the monster kills him in his first act of vengeance against his creator. The monster plants a necklace he removes from the child's body on a girl, Justine, who is later executed for the crime.

When Frankenstein learns of his brother's death, he returns to Geneva to be with his family. In the woods where his young brother is murdered, Frankenstein sees the monster and becomes sure that he is William's murderer. Frankenstein, ravaged by his grief and guilt for creating the monster who wreaked so much destruction, retreats into the mountains alone to find peace. After a time in solitude, the monster approaches Frankenstein. Initially furious and intending to kill it, Frankenstein composes himself upon the monster's pleading. The monster delves into a lengthy narrative of his short life, beginning with his creation, which fashions an impression of him as an initially harmless innocent whom humans abused into wretchedness. He concludes his story with a demand that Frankenstein create for him a female counterpart, reasoning that no human will accept his existence and character due to his hideous outer appearance. He argues that as a living thing, he has a right to happiness and that Frankenstein, as his creator, has the duty to facilitate it.

Frankenstein, fearing for his family, reluctantly agrees and travels to England to do his work. Clerval accompanies Frankenstein, but they separate in Scotland. In the process of creating a second being on the Orkney Islands, Frankenstein becomes plagued by the notion of the carnage another monster could wreak and destroys the unfinished project. The monster vows revenge on Frankenstein's upcoming wedding night. Before Frankenstein returns to Ireland, the monster murders Clerval. Once arriving in Ireland, Frankenstein is imprisoned for the crime, and falls violently ill. After being acquitted and back to health, Frankenstein returns home.

Once home, Frankenstein marries his cousin Elizabeth and, in full knowledge of and belief in the monster's threat, prepares for his death. Instead, the monster kills Elizabeth; the grief of her death kills Frankenstein's father. After that, Frankenstein vows to pursue the monster until one destroys the other.

Over months of pursuit, the two end up in the Arctic Circle near the North Pole. Here, Frankenstein's narrative ends and Captain Walton reassumes the telling of the story. A few days after Frankenstein finishes his story, Walton and his crew decides to turn back and go home, since they cannot break through the ice. Before they leave, Frankenstein dies and the monster appears in his room. Walton hears the monster's sorrowful justification for his vengeance as well as expressions of remorse before he leaves the ship and travels toward the Pole to destroy himself on his own funeral pyre so that none would ever know of his existence.

Composition

Draft of Frankenstein ("It was on a dreary night of November that I beheld my man completed ...")

How I, then a young girl, came to think of, and to dilate upon, so very hideous an idea?

During the rainy summer of 1816, the "Year Without a Summer," the world was locked in a long cold volcanic winter caused by the eruption of Mount Tambora in 1815. Mary Wollstonecraft Godwin, aged 19, and her lover (and later husband) Percy Bysshe Shelley, visited Lord Byron at the Villa Diodati by Lake Geneva in Switzerland. The weather was consistently too cold and dreary that summer to enjoy the outdoor holiday activities they had planned, so the group retired indoors until dawn. Amongst other subjects, the conversation turned to the experiments of the 18th-century natural philosopher and poet Erasmus Darwin, who was said to have animated dead matter, and to galvanism and the feasibility of returning a corpse or assembled body parts to life. Sitting around a log fire at Byron's villa, the company also amused themselves by reading German ghost stories, prompting Byron to suggest they each write their own supernatural tale. Shortly afterwards, in a waking dream, Mary Godwin conceived the idea for Frankenstein:

I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion. Frightful must it be; for supremely frightful would be the effect of any human endeavour to mock the stupendous mechanism of the Creator of the world.

She began writing what she assumed would be a short story. With Percy Shelley's encouragement, she expanded this tale into a full-fledged novel. She later described that summer in Switzerland as the moment "when I first stepped out from childhood into life". Byron managed to write just a fragment based on the vampire legends he heard while travelling the Balkans, and from this Polidori created The Vampyre (1819), the progenitor of the romantic vampire literary genre. Thus, two legendary horror tales originated from this one circumstance.

Mary's and Percy Bysshe Shelley's manuscripts for the first three-volume edition in 1818 (written 1816–1817), as well as Mary Shelley's fair copy for her publisher, are now housed in the Bodleian Library in Oxford. The Bodleian acquired the papers in 2004, and they belong now to the Abinger Collection. On 1 October 2008, the Bodleian published a new edition of Frankenstein which contains comparisons of Mary Shelley's original text with Percy Shelley's additions and interventions alongside. The new edition is edited by Charles E. Robinson: The Original Frankenstein (ISBN 978-1851243969).

Publication

Mary Shelley by Richard Rothwell (1840–41)

Mary Shelley completed her writing in May 1817, and Frankenstein; or, The Modern Prometheus was first published on 1 January 1818 by the small London publishing house of Harding, Mavor & Jones. It was issued anonymously, with a preface written for Mary by Percy Bysshe Shelley and with a dedication to philosopher William Godwin, her father. It was published in an edition of just 500 copies in three volumes, the standard "triple-decker" format for 19th century first editions. The novel had been previously rejected by Percy Bysshe Shelley's publisher, Charles Ollier and by Byron's publisher John Murray.

The second edition of Frankenstein was published on 11 August 1823 in two volumes (by G. and W. B. Whittaker), and this time credited Mary Shelley as the author.

On 31 October 1831, the first "popular" edition in one volume appeared, published by Henry Colburn & Richard Bentley. This edition was quite heavily revised by Mary Shelley, and included a new, longer preface by her, presenting a somewhat embellished version of the genesis of the story. This edition tends to be the one most widely read now, although editions containing the original 1818 text are still being published. In fact, many scholars prefer the 1818 edition. They argue that it preserves the spirit of Shelley's original publication (see Anne K. Mellor's "Choosing a Text of Frankenstein to Teach" in the W.W. Norton Critical edition).

Name origins

Frankenstein's creature

Main article: Frankenstein's monster

In 1843, an English editorial cartoonist in Punch conceived the Irish as akin to Frankenstein's monster.

Part of Frankenstein's rejection of his creation is the fact that he does not give it a name, which gives it a lack of identity. Instead it is referred to by words such as "monster," "dæmon," "fiend," and "it." When Frankenstein converses with the monster in Chapter 10, he addresses it as "Devil," "Vile insect," "Abhorred monster," "fiend," "wretched devil," and "abhorred devil."

During a telling Shelley did of Frankenstein, she referred to the creature as "Adam". Shelley was referring to the first man in the Garden of Eden, as in her epigraph:

Did I request thee, Maker from my clay

To mould Me man? Did I solicit thee

From darkness to promote me?

John Milton, Paradise Lost (X.743–5)

The monster has often been mistakenly called "Frankenstein." In 1908 one author said "It is strange to note how well-nigh universally the term "Frankenstein" is misused, even by intelligent persons, as describing some hideous monster...". Edith Wharton's The Reef (1916) describes an unruly child as an "infant Frankenstein." David Lindsay's "The Bridal Ornament," published in The Rover, 12 June 1844, mentioned "the maker of poor Frankenstein." After the release of James Whale's popular 1931 film Frankenstein, the public at large began speaking of the monster itself as "Frankenstein." A reference to this occurs in Bride of Frankenstein (1935) and in several subsequent films in the series, as well as in film titles such as Abbott and Costello Meet Frankenstein.

Some justify referring to the Creature as "Frankenstein" by pointing out that the Creature is, so to speak, Victor Frankenstein's offspring. Also, one might say that the monster is the invention of Doctor Frankenstein, and inventions are often named after the person who invented them.

Frankenstein

Mary Shelley maintained that she derived the name "Frankenstein" from a dream-vision. Despite her public claims of originality, the significance of the name has been a source of speculation. Literally, in German, the name Frankenstein means "stone of the Franks." The name is associated with various places such as Castle Frankenstein (Burg Frankenstein), which Mary Shelley had seen while on a boat before writing the novel. Frankenstein is also a town in the region of Palatinate; and before 1946, Ząbkowice Śląskie, a city in Silesia, Poland, was known as Frankenstein in Schlesien.

More recently, Radu Florescu, in his book In Search of Frankenstein, argued that Mary and Percy Shelley visited Castle Frankenstein on their way to Switzerland, near Darmstadt along the Rhine, where a notorious alchemist named Konrad Dippel had experimented with human bodies, but that Mary suppressed mentioning this visit, to maintain her public claim of originality. A recent literary essay by A.J. Day supports Florescu's position that Mary Shelley knew of, and visited Castle Frankenstein before writing her debut novel. Day includes details of an alleged description of the Frankenstein castle that exists in Mary Shelley's 'lost' journals. However, this theory is not without critics; Frankenstein expert Leonard Wolf calls it an "unconvincing...conspiracy theory." and the 'lost journals' as well as Florescu's claims could not be verified.

Victor

Main article: Victor Frankenstein

A possible interpretation of the name Victor derives from Paradise Lost by John Milton, a great influence on Shelley (a quotation from Paradise Lost is on the opening page of Frankenstein and Shelley even allows the monster himself to read it). Milton frequently refers to God as "the Victor" in Paradise Lost, and Shelley sees Victor as playing God by creating life. In addition to this, Shelley's portrayal of the monster owes much to the character of Satan in Paradise Lost; indeed, the monster says, after reading the epic poem, that he empathizes with Satan's role in the story.

There are many similarities between Victor and Percy Shelley, Mary's husband. Victor was a pen name of Percy Shelley's, as in the collection of poetry he wrote with his sister Elizabeth, Original Poetry by Victor and Cazire. There is speculation that one of Mary Shelley's models for Victor Frankenstein was Percy, who at Eton had "experimented with electricity and magnetism as well as with gunpowder and numerous chemical reactions," and whose rooms at Oxford were filled with scientific equipment. Percy Shelley was the first-born son of a wealthy country squire with strong political connections and a descendant of Sir Bysshe Shelley, 1st Baronet of Castle Goring, and Richard Fitzalan, 10th Earl of Arundel. Victor's family is one of the most distinguished of that republic and his ancestors were counsellors and syndics. Percy had a sister named Elizabeth. Victor had an adopted sister, named Elizabeth. On 22 February 1815, Mary Shelley delivered a two-month premature baby and the baby died two weeks later. Percy did not care about the condition of this premature infant and left with Claire, Mary's stepsister, for a lurid affair. When Victor saw the creature come to life he fled the apartment.

"Modern Prometheus"

The Modern Prometheus is the novel's subtitle (though some modern publishings of the work now drop the subtitle, mentioning it only in an introduction). Prometheus, in some versions of Greek mythology, was the Titan who created mankind. It was also Prometheus who then secretly took fire from heaven and gave it to man. When Zeus discovered this, he eternally punished Prometheus by fixing him to a rock where each day a predatory bird came to devour his liver, only for the liver to regrow the next day; ready for the bird to come again.

Prometheus was also a myth told in Latin but was a very different story. In this version Prometheus makes man from clay and water, again a very relevant theme to Frankenstein as Victor rebels against the laws of nature (how life is naturally made) and as a result is punished by his creation.

In Template:Fy, Thomas Edison released the
first motion-picture adaptation of Shelley's story.

Prometheus' relation to the novel can be interpreted in a number of ways. The Titan in the Greek mythology of Prometheus parallels Victor Frankenstein. Victor's work by creating man by new means reflects the same innovative work of the Titan in creating humans. Victor, in a way, stole the secret of creation from God just as the Titan stole fire from heaven to give to man. Both the Titan and Victor get punished for their actions. Victor is reprimanded by suffering the loss of those close to him and having the dread of himself getting killed by his creation.

For Mary Shelley, Prometheus was not a hero but rather something of a devil, whom she blamed for bringing fire to man and thereby seducing the human race to the vice of eating meat (fire brought cooking which brought hunting and killing). Support for this claim may be reflected in Chapter 17 of the novel, where the "monster" speaks to Victor Frankenstein: "My food is not that of man; I do not destroy the lamb and the kid to glut my appetite; acorns and berries afford me sufficient nourishment." For Romance era artists in general, Prometheus' gift to man compared with the two great utopian promises of the 18th century: the Industrial Revolution and the French Revolution, containing both great promise and potentially unknown horrors.

Byron was particularly attached to the play Prometheus Bound by Aeschylus, and Percy Shelley would soon write his own Prometheus Unbound (1820). The term "Modern Prometheus" was actually coined by Immanuel Kant, referring to Benjamin Franklin and his then recent experiments with electricity.

Shelley's sources

Mary incorporated a number of different sources into her work, not the least of which was the Promethean myth from Ovid. The influence of John Milton's Paradise Lost, and Samuel Taylor Coleridge's The Rime of the Ancient Mariner, the books the Creature finds in the cabin, are also clearly evident within the novel. Also, both Shelleys had read William Thomas Beckford's Gothic novel Vathek. Frankenstein also contains multiple references to her mother, Mary Wollstonecraft, and her major work A Vindication of the Rights of Woman which discusses the lack of equal education for males and females. The inclusion of her mother's ideas in her work is also related to the theme of creation and motherhood in the novel. Mary is likely to have acquired some ideas for Frankenstein's character from Humphry Davy's book Elements of Chemical Philosophy in which he had written that "science has…bestowed upon man powers which may be called creative; which have enabled him to change and modify the beings around him…".

Analysis

One interpretation of her novel was alluded to by Shelley herself, in her account of the radical politics of her father, William Godwin:

The giant now awoke. The mind, never torpid, but never rouzed to its full energies, received the spark which lit it into an unextinguishable flame. Who can now tell the feelings of liberal men on the first outbreak of the French Revolution. In but too short a time afterwards it became tarnished by the vices of Orléans — dimmed by the want of talent of the Girondists — deformed and blood-stained by the Jacobins.

Representing a minority opinion, Arthur Belefant in his book, Frankenstein, the Man and the Monster (1999, ISBN 0-9629555-8-2) contends that Mary Shelley's intent was for the reader to understand that the Creature never existed, and Victor Frankenstein committed the three murders. In this interpretation, the story is a study of the moral degradation of Victor, and the science fiction aspects of the story are Victor's imagination.

Frankenstein explores the relationship between creator and creation, and the universal need for love and acceptance from one's parents and society. Victor's rejection of his creation causes the monster to feel as an outcast, stirring anger and resentment in the creature, to which he reacts violently by murdering those whom Victor holds most dear.

Reception

Critical reception of the book was mostly unfavorable, compounded by confused speculation as to the identity of the author. Sir Walter Scott wrote that "upon the whole, the work impresses us with a high idea of the author's original genius and happy power of expression", but most reviewers thought it "a tissue of horrible and disgusting absurdity" (Quarterly Review).

Despite the reviews, Frankenstein achieved an almost immediate popular success. It became widely known especially through melodramatic theatrical adaptations — Mary Shelley saw a production of Presumption; or The Fate of Frankenstein, a play by Richard Brinsley Peake, in 1823. A French translation appeared as early as 1821 (Frankenstein: ou le Prométhée Moderne, translated by Jules Saladin).

Frankenstein has been both well-received and disregarded since its anonymous publication in 1818. Critical reviews of that time demonstrate these two views. The Belle Assemblee described the novel as "very bold fiction" (139). The Quarterly Review stated "that the author has the power of both conception and language" (185). Sir Walter Scott, writing in Blackwood's Edinburgh Magazine congratulated "the author's original genius and happy power of expression" (620), although he is less convinced about the way in which the monster gains knowledge about the world and language . The Edinburgh Magazine and Literary Miscellany hoped to see "more productions from this author" (253). What is interesting to note about these glowing reviews is that the critics assume that the anonymous author is a man.

In two other reviews where the author is known as the daughter of William Godwin, the criticism of the novel is an attack on the feminine nature of Mary Shelley. The British Critic attacks the novel's flaws as the fault of the author: "The writer of it is, we understand, a female; this is an aggravation of that which is the prevailing fault of the novel; 420 SMOKE WEED EVERYDAY OF MY LIFE!!!! (_)_)::::::::::D~ ~ ~ ~ but if our authoress can forget the gentleness of her sex, it is no reason why we should; and we shall therefore dismiss the novel without further comment" (438). The Literary Panorama and National Register attacks the novel as a "feeble imitation of Mr. Godwin's novels" produced by the "daughter of a celebrated living novelist" (414).

Frankenstein in popular culture

Further information: Frankenstein in popular culture

Shelley's Frankenstein has been called the first novel of the now-popular mad scientist genre. However, popular culture has changed the naive, well-meaning Victor Frankenstein into more and more of a corrupt character. It has also changed the creature into a more sensational, dehumanized being than was originally portrayed. In the original story, the worst thing that Victor does is to neglect the creature out of fear. He does not intend to create a horror. The creature, even, begins as an innocent, loving being. Not until the world inflicts violence on him does he develop his hatred. Scientific knowledge is highlighted at the end by Victor as potentially evil and dangerously alluring.

Soon after the book was published, however, stage directors began to see the difficulty of bringing the story into a more visual form. In performances beginning in 1823, playwrights began to recognize that to visualize the play, the internal reasonings of the scientist and the creature would have to be cut. The creature became the star of the show, with his more visual and sensational violence. Victor was portrayed as a fool for delving into nature's mysteries. Despite the changes, though, the play was much closer to the original than later films would be. Comic versions also abounded, and a musical burlesque version was produced in London in 1887 called Frankenstein, or The Vampire's Victim.

Boris Karloff as the classic film version and Hollywood's interpretation of Frankenstein's monster

Silent films continued the struggle to bring the story alive. Early versions such as the Edison Company's Frankenstein, (Template:Fy) managed to stick somewhat close to the plot. In Template:Fy, however, James Whale created a film that drastically altered the story. Working at Universal Pictures, Whale introduced to the plot several elements now familiar to a modern audience: the image of "Dr." Frankenstein, whereas earlier he was merely a naive, young student, an Igor-like character (called Fritz in this film) who makes the mistake of bringing his master a criminal's brain while gathering body parts, and a sensational creation scene focusing on electric power rather than chemical processes. (In Shelly's original text, Frankenstein, as the narrator, intentionally omits describing the process by which he brings the creature to life, for fear that someone else may try to repeat the experiment.) In this film, the scientist is an arrogant, intelligent, grown man, rather than a unknowing youngster. Another scientist volunteers to destroy the creature for him, the film never forcing him to take responsibility for his acts. Whale's sequel Bride of Frankenstein (Template:Fy), and later sequels Son of Frankenstein (Template:Fy), and Ghost of Frankenstein (Template:Fy) all continued the general theme of sensationalism, horror, and exaggeration, with Dr. Frankenstein and other similar characters growing more and more sinister.

Later films diverted even more from the story, portraying the doctor as a sexual pervert and using his new persona to ask contemporary questions about science. Andy Warhol's Frankenstein (Template:Fy) portrayed him as a necrophiliac, and in The Rocky Horror Picture Show (Template:Fy) Dr. Frank-N-Furter – a parody of Frankenstein – creates a creature as a blond adonis for use as a sexual plaything. In Frankenstein Created Woman (Template:Fy), Baron Frankenstein transplants a man's soul into a woman's body, joining the transsexual debate. And in Frankenstein Must Be Destroyed (Template:Fy) he transplants a fellow-scientist's brain into another body in order to keep him alive, introducing moral questions into how far science should go to save a life. Although these films managed to bring the audience's attention back to the scientist, rather than the monster, they continue to show him as more depraved than the original. Overall, the story of Frankenstein that most people know today is more the product of movie studios than of Mary Shelley. Still, these films have provided valuable insights into the nature of film, the evolution of the general populace's view of science, and several interesting interpretations of a classic story.

See also

• Frankenstein argument
• Frankenstein complex
• Frankenstein's monster
• Frankenstein in popular culture
• Homunculus
• Golem

References

Bibliography

• Aldiss, Brian W. "On the Origin of Species: Mary Shelley". Speculations on Speculation: Theories of Science Fiction. Eds. James Gunn and Matthew Candelaria. Lanham, MD: Scarecrow, 2005.
• Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford University Press, 1987.
• Bann, Stephen, ed. "Frankenstein": Creation and Monstrosity. London: Reaktion, 1994.
• Behrendt, Stephen C., ed. Approaches to Teaching Shelley's "Frankenstein". New York: MLA, 1990.
• Bennett, Betty T. and Stuart Curran, eds. Mary Shelley in Her Times. Baltimore: Johns Hopkins University Press, 2000.
• Bennett, Betty T. Mary Wollstonecraft Shelley: An Introduction. Baltimore: Johns Hopkins University Press, 1998. ISBN 080185976X.
• Bohls, Elizabeth A. "Standards of Taste, Discourses of 'Race', and the Aesthetic Education of a Monster: Critique of Empire in Frankenstein". Eighteenth-Century Life 18.3 (1994): 23–36.
• Botting, Fred. Making Monstrous: "Frankenstein", Criticism, Theory. New York: St. Martin's, 1991.
• Clery, E. J. Women's Gothic: From Clara Reeve to Mary Shelley. Plymouth: Northcote House, 2000.
• Conger, Syndy M., Frederick S. Frank, and Gregory O'Dea, eds. Iconoclastic Departures: Mary Shelley after "Frankenstein": Essays in Honor of the Bicentenary of Mary Shelley's Birth. Madison, NJ: Fairleigh Dickinson University Press, 1997.
• Donawerth, Jane. Frankenstein's Daughters: Women Writing Science Fiction. Syracuse: Syracuse University Press, 1997.
• Dunn, Richard J. "Narrative Distance in Frankenstein". Studies in the Novel 6 (1974): 408–17.
• Eberle-Sinatra, Michael, ed. Mary Shelley's Fictions: From "Frankenstein" to "Falkner". New York: St. Martin's Press, 2000.
• Ellis, Kate Ferguson. The Contested Castle: Gothic Novels and the Subversion of Domestic Ideology. Urbana: University of Illinois Press, 1989.
• Forry, Steven Earl. Hideous Progenies: Dramatizations of "Frankenstein" from Mary Shelley to the Present. Philadelphia: University of Pennsylvania Press, 1990.
• Freedman, Carl. "Hail Mary: On the Author of Frankenstein and the Origins of Science Fiction". Science Fiction Studies 29.2 (2002): 253–64.
• Gigante, Denise. "Facing the Ugly: The Case of Frankenstein". ELH 67.2 (2000): 565–87.
• Gilbert, Sandra and Susan Gubar. The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. New Haven: Yale University Press, 1979.
• Heffernan, James A. W. "Looking at the Monster: Frankenstein and Film". Critical Inquiry 24.1 (1997): 133–58.
• Hodges, Devon. "Frankenstein and the Feminine Subversion of the Novel". Tulsa Studies in Women's Literature 2.2 (1983): 155–64.
• Hoeveler, Diane Long. Gothic Feminism: The Professionalization of Gender from Charlotte Smith to the Brontës. University Park: Pennsylvania State University Press, 1998.
• Holmes, Richard. Shelley: The Pursuit. 1974. London: Harper Perennial, 2003. ISBN 0007204582.
• Knoepflmacher, U. C. and George Levine, eds. The Endurance of "Frankenstein": Essays on Mary Shelley's Novel. Berkeley: University of California Press, 1979.
• Lew, Joseph W. "The Deceptive Other: Mary Shelley's Critique of Orientalism in Frankenstein". Studies in Romanticism 30.2 (1991): 255–83.
• London, Bette. "Mary Shelley, Frankenstein, and the Spectacle of Masculinity". PMLA 108.2 (1993): 256–67.
• Mellor, Anne K. Mary Shelley: Her Life, Her Fiction, Her Monsters. New York: Methuen, 1988.
• Miles, Robert. Gothic Writing 1750–1820: A Genealogy. London: Routledge, 1993.
• O'Flinn, Paul. "Production and Reproduction: The Case of Frankenstein". Literature and History 9.2 (1983): 194–213.
• Poovey, Mary. The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen. Chicago: University of Chicago Press, 1984.
• Rauch, Alan. "The Monstrous Body of Knowledge in Mary Shelley's Frankenstein". Studies in Romanticism 34.2 (1995): 227–53.
• Selbanev, Xtopher. "Natural Philosophy of the Soul", Western Press, 1999.
• Schor, Esther, ed. The Cambridge Companion to Mary Shelley. Cambridge: Cambridge University Press, 2003.
• Smith, Johanna M., ed. Frankenstein. Case Studies in Contemporary Criticism. Boston: Bedford/St. Martin's, 1992.
• Spark, Muriel. Mary Shelley. London: Cardinal, 1987. ISBN 074740138X.
• Stableford, Brian. "Frankenstein and the Origins of Science Fiction". Anticipations: Essays on Early Science Fiction and Its Precursors. Ed. David Seed. Syracuse: Syracuse University Press, 1995.
• Sunstein, Emily W. Mary Shelley: Romance and Reality. 1989. Baltimore: Johns Hopkins University Press, 1991. ISBN 0801842182.
• Tropp, Martin. Mary Shelley's Monster. Boston: Houghton Mifflin, 1976.
• Williams, Anne. The Art of Darkness: A Poetics of Gothic. Chicago: University of Chicago Press, 1995.

External links

Editions

• Frankenstein, the Pennsylvania Electronic Edition, edited by Stuart Curran, containing critical articles and other resources
• Frankenstein, 1831 edition at the Internet Archive
• Frankenstein audiobook with full text (no preface)
• Frankenstein audiobook from LibriVox, no prefaces (unknown edition)
• Frankenstein, Online Literature Library, includes the prefaces (unknown edition)

Resources

• Mary Wollstonecraft Shelley Chronology & Resource Site
• Various artists' illustrations of Mary Shelley's Frankenstein
• "On Frankenstein", review by Percy Bysshe Shelley.