Women in Horror Month (WiHM) Event

An annotated and illustrated edition of Mary Shelley's classic work, celebrating its 200th anniversary in 2018. First published in 1818, Frankenstein has spellbound, disturbed, and fascinated readers for generations. One of the most haunting and enduring works ever written in English, it has inspired numerous retellings and sequels in virtually every medium, making the Frankenstein myth familiar even to those who have never read a word of Mary Shelley's remarkable novel. Now, this freshly annotated, illustrated edition illuminates the novel and its electrifying afterlife with unmatched detail and vitality. From the first decade after publication, "Frankenstein" became a byword for any new, disturbing developments in science, technology, and human imagination. The editors' Introduction explores the fable's continuing presence in popular culture and intellectual life as well as the novel's genesis and composition. Mary Shelley's awareness of European politics and history, her interest in the poets and philosophical debates of the day, and especially her genius in distilling her personal traumas come alive in this engaging essay. The editors' commentary, placed conveniently alongside the text, provides stimulating company. Their often surprising observations are drawn from a lifetime of reading and teaching the novel. A wealth of illustrations, many in color, immerses the reader in Shelley's literary and social world, in the range of artwork inspired by her novel, as well as in Frankenstein's provocative cinematic career. The fresh light that The Annotated Frankenstein casts on a story everyone thinks is familiar will delight readers while deepening their understanding of Mary Shelley's novel and the Romantic era in which it was created.

"To many readers, who have perhaps known Frankenstein only at second hand, the original may well come as a surprise. When Mary Shelley began it, she was only 18, though she was already Shelley's mistress and Byron's friend. In her preface she explains how she and Shelley spent part of a wet summer with Byron in Switzerland, amusing themselves by reading and writing ghost stories. Her contribution was Frankenstein, a story about a student of natural philosophy who learns the secret of imparting life to a creature constructed from bones he has collected in charnel-houses. The story is not a study of the macabre, as such, but rather a study of how man uses his power, through science, to manipulate and pervert his own destiny, and this makes it a profoundly disturbing book."--Jacket.

This edition of Frankenstein, or The Modern Prometheus, presents Mary Shelley's remarkable novel in several provocative and illuminating contexts, cultural, critical and literary. As part of Longman's new Cultural Edition series of novels, Susan Wolfson presents the 1818 version of Mary Shelley's famous novel in its cultural and historical contexts. Like all great works of fiction, Frankenstein gains depth and dimension from its "conversation" with contemporary texts, especially by Shelley's parents, husband, and friends. In addition to the 1818 text, this cultural edition features the introduction to and a sample revision of the 1831 version. A lively introduction to the edition is complemented by a chronology coordinating Shelley's life with key historical events and a speculative calendar of the novel's events in the late eighteenth century. For those interested in reading and critically analyzing literature.

The best-selling student edition on the market, now available in a Second Edition. Almost two centuries after its publication, Frankenstein remains an indisputably classic text and Mary Shelley's finest work. This extensively revised Norton Critical Edition includes new texts and illustrative materials that convey the enduring global conversation about Frankenstein and its author. The text is that of the 1818 first edition, published in three volumes by Lackington, Hughes, Harding, Mavor, and Jones. It is accompanied by an expansive new preface, explanatory annotations, a map of Geneva and its environs, and seven illustrations, five of them new to the Second Edition. Context is provided in three supporting sections: "Circumstance, Influence, Composition, Revision," "Reception, Impact, Adaptation," and "Sources, Influences, Analogues." Among the Second Edition's new inclusions are historical-cultural studies by Susan Tyler Hitchcock, William St. Clair, and Elizabeth Young; Chris Baldrick on the novel's reception; and David Pirie on the novel's many film adaptations. Related excerpts from the Bible and from John Milton's Paradise Lost are now included, as is Charles Lamb's poem "The Old Familiar Faces." "Criticism" collects sixteen major interpretations of Frankenstein, nine of them new to the Second Edition. The new contributors are Peter Brooks, Bette London, Garrett Stewart, James. A. W. Heffernan, Patrick Brantlinger, Jonathan Bate, Anne Mellor, Jane Goodall, and Christa Knellwolf. A Chronology and Selected Bibliography are also included.

A long-awaited revision of the bestselling Case Study in Contemporary Criticism: Frankenstein revised to reflect critical trends of the past 15 years, the third iteration of this widely adopted critical edition presents the 1831 text of Mary Shelley's English Romantic novel along with critical essays that introduce students to Frankenstein from contemporary psychoanalytic, Marxist, feminist, gender/queer, postcolonial, and cultural studies perspectives. The text and essays are complemented by contextual documents, introductions (with bibliographies), and a glossary of critical and theoretical terms. In the third edition, three of the six essays are new, representing recent gender/queer, postcolonial, and cultural theories. The contextual documents have been significantly revised to include many images of Frankenstein from contemporary popular culture.

What happens when Man plays God? Mary Shelley's Frankenstein, a dark parable of science misused was an immediate success on its publication in 1818. Determined to prove he can create life out of nothing, Victor Frankenstein, a brilliant but arrogant scientist, builds a human out of dead flesh. Horrified by his own creation, he abandons the creature -- with deadly consequences. Alone, unloved, and hideous to behold, Frankenstein's monster seeks vengeance on his creator, unleashing a cycle of destruction that ultimately consumes them both.

Of particular interest about this volume is that we have it housed in Special Collections and University Archives.

"Fifteen hundred copies printed for the members of the Limited editions club at the Walpole printing office in New Rochelle, N.Y. ... The illustrations are by Everett Henry who here signs Everett Henry. This copy is number 319."

"'It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open!' Written when Mary Shelley was only nineteen-years old, this chilling tale of a young scientist's desire to create life still resonates today. Victor Frankenstein's monster is stitched together from the stolen limbs of the dead, and the result is a grotesque being who, rejected by his maker, sets out on a journey to reek his revenge. In the most famous gothic horror story ever told, Shelley confronts the limitations of science, the nature of human cruelty and the pathway to forgiveness with rich language and evocative imagery."--From publisher.

What happens when Man plays God? Mary Shelley's Frankenstein, a dark parable of science misused was an immediate success on its publication in 1818. Determined to prove he can create life out of nothing, Victor Frankenstein, a brilliant but arrogant scientist, builds a human out of dead flesh. Horrified by his own creation, he abandons the creature -- with deadly consequences. Alone, unloved, and hideous to behold, Frankenstein's monster seeks vengeance on his creator, unleashing a cycle of destruction that ultimately consumes them both.

This is housed in Special Collections and University Archives as a part of the A. E. Howse Collection.

Dr. Frankenstein dares to tamper with life and death by creating a human monster in his laboratory but his dreams of perfection are thwarted when the monster becomes an uncontrollable beast.

Dr. Frankenstein dares to tamper with life and death by creating a human monster in his laboratory but his dreams of perfection are thwarted when the monster becomes an uncontrollable beast.

A finely tuned parody of the old Frankenstein movies, in which Wilder is summoned by a will to his late grandfather's castle in Transylvania, young Dr. Frankenstein soon discovers the scientist's step-by-step manual explaining how to bring a corpse to life. Assisted by the hunchbacked Igor and the curvaceous Inga, he creates a monster who only wants to be loved.

The Cambridge Companion to Frankenstein consists of sixteen original essays on Mary Shelley's novel by leading scholars, providing an invaluable introduction to Frankenstein and its various critical contexts. Theoretically informed but accessibly written, this volume relates Frankenstein to various social, literary, scientific and historical contexts, and outlines how critical theories such as ecocriticism, posthumanism, and queer theory generate new and important discussion in illuminating ways. The volume also explores the cultural afterlife of the novel including its adaptations in various media such as drama, film, television, graphic novels, and literature aimed at children and young adults. Written by an international team of leading experts, the essays provide new insights into the novel and the various critical approaches which can be applied to it. The volume is an essential guide to students and academics who are interested in Frankenstein and who wish to know more about its complex literary history.

Mary Shelley's Frankenstein; or, The Modern Prometheus grew out of a parlor game and a nightmare vision. The story of the book's origin is a famous one, first told in the introduction Mary Shelley wrote for the 1831 edition of the novel. The two Shelleys, Byron, Mary's stepsister Claire Clairmont, and John William Polidori (Byron's physician) spent a "wet, ungenial summer in the Swiss Alps." Byron suggested that "each write a ghost story." If one is to trust Mary Shelley's account (and James Rieger has shown the untrustworthiness of its chronology and particulars), only she and "poor Polidori" took the contest seriously. The two "illustrious poets," according to her, "annoyed by the platitude of prose, speedily relinquished their uncongenial task." Polidori, too, is made to seem careless, unable to handle his story of a "skull-headed lady." Though Mary Shelley is just as deprecating when she speaks of her own "tiresome unlucky ghost story," she also suggests that its sources went deeper. Her truant muse became active as soon as she fastened on the "idea" of "making only a transcript of the grim terrors of my waking dream": "'I have found it! What terrified me will terrify others."' The twelve essays in this collection attest to the endurance of Mary Shelley's "waking dream." Appropriately, though less romantically, this book also grew out of a playful conversation at a party. When several of the contributors to this book discovered that they were all closet aficionados of Mary Shelley's novel, they decided that a book might be written in which each contributor-contestant might try to account for the persistent hold that Frankenstein continues to exercise on the popular imagination. Within a few months, two films--Warhol's Frankenstein and Mel Brooks's Young Frankenstein--and the Hall-Landau and Isherwood-Bachardy television versions of the novel appeared to remind us of our blunted purpose. These manifestations were an auspicious sign and resulted in the book Endurance of Frankenstein.

Some of the most significant currents in modern intellectual and cultural history pass by way of Mary Shelley's Frankenstein (1818). By choosing in her book as a guiding theme the idea of the scientist who creates a monster, she both revives for the Romantic period the traditional link between scientific experiment and natural magic, and makes her own contribution to the debate on the difference between "creation" and "production" that was flourishing among the natural scientists of her time. Frankenstein thus signals a remarkable integration of the broad issues of contemporary science and culture within the form of a popular fiction. In this way, it stands at the head of a productive tendency which is marked, over the coming century, by related works like Bram Stoker's Dracula and H. G. Wells's The Island of Doctor Moreau. Common to all these works is a fascination with the ethics of creation, and the phenomenon of monstrosity, which provokes interesting questions about the place of the monster in Western visual culture.

On New Year's Day 1818, Mary Shelley's novel Frankenstein was first published in an anonymous three-volume edition of 500 copies. Some thought the book was too radical in implication. A few found the central theme intriguing ... no-one predicted its success. This book, celebrating the two hundredth birthday of Frankenstein, traces, in colourful and engaging ways, the journey of Shelley's Frankenstein from limited edition literature to the bloodstream of contemporary culture. It includes new research on the novel's origins, and a facsimile reprint of the earliest-known manuscript version of the creation scene. Frankenstein's legacy is to be seen all over the world--on small and large screens, in print and online, on stage and on hoardings, in graphic novels, comics and even on cereal packets. From a Regency nightmare, Frankenstein's creature has even become a cuddly childhood companion--thoroughly munstered, so to speak. The real creation myth of modern times--the era of genetic engineering, three-parent babies, nanotechnology, artificial intelligence, robotics and singularity, human/animal interfaces and secularism--is no longer Adam and Eve in the Garden of Eden. The real creation myth is Frankenstein.

Mary Wollstonecraft Shelley's classic novel Frankenstein: or, The Modern Prometheus, first published in 1818, started a phenomeon that has survived the years and permeated many aspects of popular culture. It has spawned numerous films, television programs, books, comics, stage presentations, and the like, and continues to do so today. Like the Frankenstein Monster, this work is made up of many individual parts, some of which are quite different in their specific themes, but all of which relate to Frankenstein in some way. They consider the untold true story of Frankenstein, Glenn Strange's portrayals of the Monster, the portrayals of lesser-known actors who played the character, Peter Cushing and his role as Baron (and Dr.) Frankenstein, the classic film Young Frankenstein co-written by Mel Brooks and Gene Wilder (who also starred in it), the battles between do-gooders and the Monster and other horror figures, Frankenstein in cartoons--and much more. Each of the 15 essays, all written by the author, is prefaced with explanatory notes that place the essay in its historical perspective, comment on its origin and content, and where appropriate, supplement the text with new, additional, or otherwise relevant information. Richly illustrated.

The Frankenstein we know is not Mary Shelley's creature at all. Rather it is an amalgam of over 200 years of images and dramatizations that range from the ghoulish fiends of nineteenth-century sensation dramas to Boris Karloff's movie monster to Mel Brooks's tap-dancing giant. These versions treat the Frankenstein myth with varying levels of horror, hysteria, and humor, but all of them attest to its enduring power. In Hideous Progenies, Steven Earl Forry offers a historical overview of the legend's transformation over time--beginning with Shelley's original and the earliest popular dramatizations of it (which transformed the myth, adding a burlesque quality and simplifying its moral allegory) and continuing on through the advent of cinema. He also documents this development with actual texts of seven pre-1931 dramatizations, a sampling of cartoons and playbills, and a shooting script for the first cinematic version, Thomas Edison's Frankenstein (1910). Forry's rare materials and interesting survey offer a valuable resource for scholars and students of theater history, literary history, and popular culture.

The story of Frankenstein and the monster he created is one of our most important modern myths. This study surveys the history of the myth in literature before the advent of film. First examining the range of meanings generated by Mary Shelley's Frankenstein in light of images of political "monstrosity" produced by the French Revolution, Baldick goes on to trace the protean transformations of the myth in the fiction of Hoffmann, Hawthorne, Dickens, Melville, Conrad, and Lawrence, as well as in the historical and political writings of Carlyle and Marx and the science fiction of Stevenson and Wells. In conclusion, he shows that the myth's most powerful associations have centered on human relationships, the family, work, and politics.

This is a critical reading of Frankenstein by Mary Godwin, later Shelley, which aims to encompass the writer, her intentions and literary antecedents, the complexities of the novel itself and the relevance of all the hideous progeny that her monster has called forth into popular culture.

The year 1818 saw the publication of one of the most influential science-fiction stories of all time. Frankenstein: Or, Modern Prometheus by Mary Shelley had a huge impact on gothic horror and science-fiction genres, and her creation has become part of our everyday culture, from cartoons to Hallowe'en costumes. Even the name 'Frankenstein' has become a by-word for evil scientists and dangerous experiments. How did a teenager with no formal education come up with the idea for an extraordinary novel such as Frankenstein? Clues are dotted throughout Georgian science and popular culture. The years before the book's publication saw huge advances in our understanding of the natural sciences, in areas such as electricity and physiology, for example. Sensational science demonstrations caught the imagination of the general public, while the newspapers were full of lurid tales of murderers and resurrectionists.Making the Monster explores the scientific background behind Mary Shelley's book. Is there any science fact behind the science fiction? And how might a real-life Victor Frankenstein have gone about creating his monster? From tales of volcanic eruptions, artificial life and chemical revolutions, to experimental surgery, 'monsters' and electrical experiments on human cadavers, Kathryn Harkup examines the science and scientists that influenced Shelley, and inspired her most famous creation.

An extraordinary wealth of new work by established and young scholars on both sides of the Atlantic emerged during Mary Shelley's recent bicentenary year. Michael Eberle-Sinatra has made a representative selection, focusing on current issues and theoretical approaches, and treating Shelley's earlier fiction as inseparable from her neglected later fiction of the 1830s. With this collection, studies of this newly canonised Romantic period author enter a 'post-"Beyond- Frankenstein" ' era.

Women Writing Science Fiction: The Frankenstein Inheritance explores the relationship between women, science and fiction through an analysis of science fiction written by women from the turn of the century to the mid 1980s.

A Frankenstein is big. He could push you really high on the swing. He'd never get tired of giving you rides on his shoulder. A Frankenstein would be the perfect new best friend. Maybe you could build one. . . . No! Wait! Whatever you do, Do Not Build a Frankenstein!

Being a monsternbsp;isn't all frightening villagers and sucking blood.nbsp;Monsters have their trials, too. Poor Frankenstein's cupboard is bare, Wolfman is in need of some household help, and it's best not to get started on Dracula’s hygiene issues. What could be scarier? nbsp;nbsp;nbsp;nbsp; Nineteen hilarious poems delve into the secret lives of the Creature from the Black Lagoon, Bigfoot, Godzilla, and others. In a range of styles that pay homage to everyone from Charles Schulz to John James Audubon, the monstrously talented Adam Rex uncovers horrific--and clever--truths you won't want to miss.

No one ever said it was easy being a monster. Take Frankenstein, for instance: He just wants to marry his undead bride in peace, but his best man, Dracula, is freaking out about the garlic bread. Then there's the Headless Horseman, who wishes everyone would stop drooling over his delicious pumpkin head. And can someone please tell Edgar Allan Poe to get the door already before the raven completely loses it?Sheesh.           In a wickedly funny follow-up to the bestsellingFrankenstein Makes a Sandwich, Adam Rex once again proves that monsters are just like you and me. (Well, sort of.)

This laugh-out-loud funny and devilish send-up of Ludwig Bemelmans'sMadeline is for little monsters everywhere. Frankenstein is the scariest of all the monsters in Miss Devel's castle. He can frighten anything--animals, parents, even rocks. Until one night, Miss Devel wakes up and runs downstairs to find that Frankenstein has lost his head!

The inspiring story of the girl behind one of the greatest novels -- and monsters -- ever, perfectly timed for the 200th anniversary of the publication of Frankenstein. For fans for picture book biographies such as I Dissent or She Persisted. How does a story begin? Sometimes it begins with a dream, and a dreamer. Mary is one such dreamer, a little girl who learns to read by tracing the letters on the tombstone of her famous feminist mother, Mary Wollstonecraft, and whose only escape from her strict father and overbearing stepmother is through the stories she reads and imagines. Unhappy at home, she seeks independence, and at the age of sixteen runs away with poet Percy Bysshe Shelley, another dreamer. Two years later, they travel to Switzerland where they meet a famous poet, Lord Byron. On a stormy summer evening, with five young people gathered around a fire, Byron suggests a contest to see who can create the best ghost story. Mary has a waking dream about a monster come to life. A year and a half later, Mary Shelley's terrifying tale, Frankenstein: or, the Modern Prometheus, is published -- a novel that goes on to become the most enduring monster story ever and one of the most popular legends of all time. A riveting and atmospheric picture book about the young woman who wrote one of the greatest horror novels ever written and one of the first works of science fiction, Mary Who Wrote Frankenstein is an exploration of the process of artistic inspiration that will galvanize readers and writers of all ages.

On a stormy night two hundred years ago, a young woman sat in a dark house and dreamed of her life as a writer. She longed to follow the path her own mother, Mary Wollstonecraft, had started down, but young Mary Shelley had yet to be inspired.As the night wore on, Mary grew more anxious. The next day was the deadline that her friend, the poet Lord Byron, had set for writing the best ghost story. After much talk of science and the secrets of life, Mary had gone to bed exhausted and frustrated that nothing she could think of was scary enough. But as she drifted off to sleep, she dreamed of a man that was not a man. He was a monster.This fascinating story gives readers insight into the tale behind one of the world's most celebrated novels and the creation of an indelible figure that is recognizable to readers of all ages.

Beset by jealousy over an admirer of his wife's, Lord Lodore has come with his daughter Ethel to the American wilderness; his wife Cornelia, meanwhile, has remained with her controlling mother in England. When he finally brings himself to attempt a return, Lodore is killed en route in a duel. Ethel does return to England, and the rest of the book tells the story of her marriage to the troubled and impoverished Villiers (whom she stands by through a variety of tribulations) and her long journey to a reconciliation with her mother. Lodore's scope of character and of idea is matched by its narrative range and variety of setting; the novel's highly dramatic story-line moves at different points to Italy, to Illinois, and to Niagara Falls. And in this edition, which includes a wealth of documents from the period, the reader is provided with a sense of the full context out of which Shelley's achievement emerged.

"Brings together the pwerful works of a mother/daughter combination... These novels will prove a foundation for any college-level course on literature and feminism." --The Bookwatch "A gripping tale of incestuous desire... vitalized by the powerful evocation of nature and the bolder passions of full-blown Romanticism." --Belles Lettres This volume for the first time brings together three extraordinary works of fiction by Mary Wollstonecraft, generally recognized as the mother of the feminist movement, and Mary Shelley.

"Beyond question Shelley scholars and 19th-century specialists will value this usefully annotated and carefully produced edition; it may also be that anyone would enjoy the stories themselves . . . and the accompanying original engravings."--Diane Johnson

Renewed interest in the life and works of Mary Wollstonecraft Shelley has in recent years generated new biographical studies, complete editions of her letters and short stories, and fresh critical assessments of Frankenstein and her other fiction. Until now, however, there has been noanthology of Shelley's work. The Mary Shelley Reader is a unique new collection that fills this gap. In addition to the original and complete 1818 version of her masterpiece Frankenstein, the book offers a new text of the novella Mathilda--an extraordinary tale of incest, guilt, and atonement thatwas not published until 1959 and has been out of print since then. Also included are seven short stories that range from gentle satire to fantastic tales of reanimation, diabolical transformation, and immortality. Eight essays and reviews are reprinted here for the first time since their originalpublication, and eleven representative letters help bring to life a remarkable literary and historical figure--author, daughter of William Godwin and Mary Wollstonecraft, and wife of Percy Bysshe Shelley. An illuminating introduction, a chronology, explanatory notes, and a bibliography make TheMary Shelley Reader indispensable for readers of English Romantic literature.

Originally published in 1823, Valperga is probably Mary Shelley's most neglected novel. Set in 14th-century Italy, it represents a merging of historical romance and the literature of sentiment. Incorporating intriguing feminist elements, this absorbing novel shows Shelley as a complex and intellectually astute thinker.

"Iconoclastic Departures contributes to the ongoing reevaluation of Mary Shelley as a professional author in her own right with a lifelong commitment to the development of her craft. Many of its essays acknowledge the importance of her family to her work - the steady theme of much earlier scholarship - but for them the family has become an imperative socio-psychological context within which to better understand her innovations in the many literary forms she worked with during her career: journals, letters, travelogues, biographies, poems, dramas, tales, and novels." "The book's essays also convey the conviction that even if Mary Shelley, after Percy Shelley's death, gradually retired from public life as his relatives wished, she retained a resiliently resistant attitude toward many of the established orders of her day, easily recovered by a careful look beyond her "feelings" to the productions of her literary "imagination."" "The Mary Shelley who inhabits this three-part collection of portraits is a radical, even if a quiet radical. Part 1 focuses on various moments in her construction of her authorial identity; parts 2 and 3 anatomize the nature of her resistance and her innovation. She is presented as a writer who reappropriates authority for herself, who redesigns genres, who redefines gender, who rewrites history and biography, who revises her readers' aesthetic expectations, and who protests cultural imperialism at home and abroad. It seems significant to the contributors to this volume that this new, radical Mary Shelley was not invented by a pointed call for papers but emerged spontaneously from an open invitation to scholars working in various corners of the English-speaking world."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Although Frankenstein is now widely taught in classes on Romanticism, little attention has been paid to the considerable corpus of Mary Shelley's other works. Indeed the excitement of the last decade at feminist approaches to Frankenstein has ironically obscured the persona of its author. Thiscollection of essays, written by a preeminent group of Romantic scholars, sketches a portrait of the "other Mary Shelley": the writer and intellectual who recognized the turbulent interplay among issues of family, gender, and society, and whose writings resonate strongly in the setting ofcontemporary politics, culture, and feminism. By analyzing a previously neglected body of novels, novellas, reviews, travel writing, essays, letters, biographies, and tales, and by emphasizing Mary Shelley's shrewd assessment of Romanticism, the essays in this volume offer a ground-breakingevaluation of one of the foremost cultural critics of the nineteenth century.