Frankenstein (Dover Children’s Thrift Classics)
A brilliant young scientist’s fascination with the hidden secrets of life results in the making of a horrifying monster with a bloody taste for revenge. Specially abridged for young readers, this new version of the suspenseful 1817 classic includes 22 illustrations.
Frankenstein, loved by many decades of readers and praised by such eminent literary critics as Harold Bloom, seems hardly to need a recommendation. If you haven’t read it recently, though, you may not remember the sweeping force of the prose, the grotesque, surreal imagery, and the multilayered doppelgänger themes of Mary Shelley’s masterpiece. As fantasy writer Jane Yolen writes of this (the reviewer’s favorite) edition, “The strong black and whites of the main text [illustrations] are dark and brooding, with unremitting shadows and stark contrasts. But the central conversation with the monster–who owes nothing to the overused movie image … but is rather the novel’s charnel-house composite–is where [Barry] Moser’s illustrations show their greatest power … The viewer can all but smell the powerful stench of the monster’s breath as its words spill out across the page. Strong book-making for one of the world’s strongest and most remarkable books.” Includes an illuminating afterword by Joyce Carol Oates.
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A moving, disturbing, depressing, but also touching tale,
Much like Bram Stoker’s “Dracula”, Mary Shelley’s “Frankenstein” is a story we all think we know, but really don’t. Very few films have consciously attempted to follow the novel too closely (which shouldn’t detract from the excellent James Whale/Boris Karloff film, or its masterpiece-sequel, “The Bride of Frankenstein). Thus, everything popular culture “knows” about “Frankenstein” does not originate from literature, but from films. This is a shame, in a way, because the novel itself is, if not the progenitor, an early vessel of so many archetypes found science fiction and horror.
The basic plot remained intact when transferred to other media. Swiss medical student Victor Frankenstein discovers the secret of life (which he never reveals, lest someone repeat the mistake). He then puts together a body, essentially a man, from various corpses. He then becomes horrified by the creature he has built, and abandons. The creature, suffering a great deal of neglect and abuse, still manages to get a thorough education, and learns of his lineage. After murdering Victor’s younger brother, and framing the family maid, the creature tells his (admittedly) sad tale to his “father”, and then demands a mate. Victor, in a panic, agrees, then thinks better of it at the last moment, destroying the new bride. In retaliation, the creature murders all of Victor’s loved ones (including his wife), and leads Victor on a merry chase across the world.
Most probably know that Mary Shelley wrote this book in response to a challenge issued by Lord Byron, during a vacation at Lake Geneva. (Along with this story came John Polidori’s “The Vampyre”, the first English vampire novel.) Most probably also know that Shelley went on to write other works of imaginative gothic fiction. Still, her modern reputation rests with this book, understandably.
As stated, numerous archetypes (themes, plot lines, characters) are present here. The basic fear of what evil technology may bring along with the good is a central theme, as is the warning against playing God. So is the implicit admonition to be responsible in all things, be it during innovation or being a parent. The creature is, for all intents and purposes, an android-everyone from Gort to C-3PO owe their existence to the Frankenstein monster. And the monster that slays all but one protagonist is a staple of horror, be it traditional monster movies, like “Alien”, or more realistic slasher movies like “Halloween”.
But, as I noted at the beginning of this review, certain of these elements have been lost in most interpretations. The creature is actually intelligent, and well-spoken, quite different from the inarticulate grunts or slow, half-sentences of the movies (again, no disrespect to Karloff). Further, while the films have made lightening a staple of the creatures creation, Shelley never really explains the process (probably knowing that she might interfere with the plausibility of her work). Finally, one of the staples of the films is the explanation for the creatures “evil” nature. Often, the problem lies with the brain used, which almost invariably is a criminal brain, or is damaged before implantation. In the book, the creature is really a child that’s horribly neglected, but with the strength and intelligence to strike back: id without superego, and without restraints.
Thus, “Frankenstein” will be a new experience for readers who have never experienced it. Unlike “Dracula”, there aren’t any moments where a reader might look up and suddenly realize how quiet it is in the house, or how dark it’s gotten outside. In that regard, “Frankenstein” has not aged particularly well. Throughout, however, it is a moving, disturbing, depressing, but also a touching and beautiful tale. Those qualities have withstood the test of time. While it is not always a rollicking adventure, it is a rewarding read.
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|DO NOT BUY THIS EDITION!!!!!!,
This “enriched classics” is a bowdlerized version of Mary Shelley’s original text. It eliminates passages, changes the diction, abridges the chapters, and changes the entire structure of the novel. Our school bought this edition thinking that the additional notes would be helpful to students studying the text, but there was no indication at all on Amazon’s website that this version had been substantially altered by the editors. The book is so bowdlerized that our school bought an entire new set of texts for the students at a considerable finanacial loss for the school. WHATEVER YOU DO, BUY SOME OTHER VERSION OF FRANKENSTEIN. THIS ONE IS A MONSTER CREATED BY SOMEONE WHO HAS NO RESPECT FOR THE AUTHOR. BANTAM, PUFFIN, OXFORD — THEY ARE ALL FINE. Irene Nicastro, English teacher, The American School of The Hague.
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|More Relevant Today Than When First Written,
Modern readers must jump through a number of hoops to enjoy this legendary novel. Written between 1816 and 1818, this is very much a novel of its era, and both language and ideas about plot are quite different from those of today. That aside, and unlike such contemporaries as Jane Austen, author Mary Shelly has never been greatly admired for her literary style, which is often awkward. But perhaps the biggest hurdle is that of our own expectations: while it certainly sent icy chills down the spines of 19th Century readers, FRANKENSTEIN is not a horror novel per se.
While Mary Shelly might have been stylistically weak, her story was not. Nothing like it had been written before, and the concept of a student endowing life upon a humanoid creature cobbled together from charnel house parts was unexpectedly shocking to the reading public. But even more shocking were the ideas that Shelly brought to the story. Having created this thing in his own image, what–if anything–does the creator owe it? And in posing this question, Shelly very deliberately raises her novel to an even more complex level: this is not merely the conflict of man and his creation, but also a questioning of God and his responsibility toward his creation.
In some respects, the book is written like the famous philosophical “dialogues” of the ancient world: a counterpoint of questions and arguments that do battle for the reader’s acceptance. More than anything else, FRANKENSTEIN is a novel of ethics and of ideas about ideas, with Mary Shelly’s themes arrayed in multiple layers throughout: God, self, society, science; responsibility to self, to society, to the things we bring to society, to the truth; life, integrity, and death–these are the ideas and issues that predominate the book, and any one expecting a horror novel pure and simple is out of luck.
Mary Shelly is a rare example of a writer whose ideas clearly outstrip her literary skill–but whose ideas are so powerful that they transcend her literary limitations and continue to resonate today. And indeed, as science continues to advance, it could not be otherwise so. Mary Shelly could not see into the future of DNA research, laboratory-grown tissues, test-tube babies and the like–but between 1816 and 1818 she wrote a book about the ethical dilemmas that swirl around them. And for all its flaws, FRANKENSTEIN is perhaps even more relevant today than it was over a hundred and fifty years ago.
GFT, Amazon Reviewer
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