3. Mary Shelley (1818), Frankenstein; or, The Modern Prometheus
I read this in preparation for a trip to Geneva with the Dracula Society, organised to mark the bicentenary of the famous wet weekend in the Villa Diodati which gave rise to it (and to Polidori's 'The Vampyre'). I never wrote about the trip here in any detail, because it came half way through my Mum's final illness, and just at the point when we were really starting to realise that it was final. I spent a lot of the time while I was there worrying and checking my phone for updates, and then all the time after I got back just trying to cope while also carrying a pretty heavy load of work commitments. So the trip itself was a rather strained experience; but what I did get out of it was very much enhanced by my pre-holiday reading. I believe in the case of the novel it was my third time reading it, the first and second times being once in my mid-to-late-teens and another in my mid-twenties. Both well pre-date my habit of book-blogging here anyway, so as far as LJ / DW is concerned this is the first time. That makes it a pity that I didn't manage to do so while it was all fresh in my mind, but I did actually make a few notes about this one while reading it at the time, so I can do a slightly better job than with most of these catch-up reviews.
Obviously, it is a great novel. That isn't to say it's perfect. My mental red pen was particularly exercised by the way Justine was introduced: in the middle of a letter from Elizabeth to Victor, where she takes it upon herself to recount the entire story of how Justine came to be part of their household, even though Victor would of course already know all of this. I could see him as he read it turning over the pages in bafflement thinking "Why the hell is she telling me all this? Get onto something I don't know!" But hey, Mary was only 18 when she began writing the thing, and did it all in longhand while on the road through Switzerland and Italy. Let's cut her some slack. What she created here was innovative, genre-defining, gripping and incredibly cleverly put together.
Reading it now, I'm much more aware of its literary and historical context than I think I've been on previous encounters. Previously I think I have just accepted it as a gothic novel because that it how it is usually marketed, and also viewed it through the filters of its many film adaptations. It certainly is in the gothic arena, as you would expect given that Mary started writing the novel as an entry in a ghost story competition. It draws on established gothic tropes like descriptions of wild landscapes and huge, powerful storms; Victor's great moment of inspiration for how to build his creature happens in a charnel-house (what more gothic?); and he later uses a vampire metaphor to describe the effects of the creature on his family, saying that it is as though he himself had risen from the grave to murder them (exactly what Byron's vampire in The Giaour is condemned to do, as Mary must have known). But I think I understand the Romantic movement better now than I did when I first encountered Frankenstein, and I see now that its central themes of man's hubris, the rejection of technology and the nostalgic glorification of nature make it a Romantic novel more than anything else: again, totally unsurprisingly given who Mary was hanging out with while she wrote it. It's also frequently touted as the 'first Sci-Fi' novel, which of course isn't in the least bit incompatible with the other genres: it can be a Romantic novel which draws on gothic tropes while also sowing the seeds of something new. On the SF front, I was struck in particular coming to the book after many years of film adaptations by how very little scientific detail Mary provides about the creation of the creature. All those big set-pieces with sawing-and-stitching montages, lighting storms and of course bubbling equipment are entirely a product of the movie industry; Mary in fact skims very lightly over the creation process and gets on to its consequences instead. But SF-ness doesn't just lie in sciencey-science and techno-babble. I felt that her use of the creature's perspective to consider what our world might look like to an adult intelligence dropped into it without prior knowledge did justify describing it as an SF novel. In any case, certainly speculative fiction.
I think I was also alert to issues around social class this time in a way I haven't been on previous readings. For all Mary's radical family background, she certainly believes in a strong overlap between high social status and inherent worth. It's noticeable that her idealised family in the cottage turn out to be from a fallen 'good' family, rather than just being normal working people, and her account of how the Frankenstein family 'rescue' blonde aristocratic Elizabeth from the dark Italian peasant family who have taken her in practically slides into eugenics. More interestingly, though, there is a lot of anxiety detectable here. The narratives of the cottage family, Elizabeth and Victor's mother are all about people of once-high status who have fallen on hard times; a theme which must have felt potent for Mary after having thrown in her lot with Shelley at the cost of her father's disapproval and constant financial instability.
As for the characters, have I realised on previous readings what self-absorbed whiny little fuck Victor is? I'm not sure, but I found him almost unbearable this time around. He actually claims his suffering is worse than Justine's when she is about to be executed for a murder she didn't commit, on the grounds that at least she knows she's innocent. Fuck off! I've always known the novel was written to explore both sides of the creator / created relationship, inviting our sympathy for the creature as much as Victor, but on this read I massively preferred the creature, in spite of his cottage-burning anger management issues. I'm sure Mary intended us to find them both flawed, but at least the creature seems to start off with basically decent instincts, only to be drive to murderous extremes by the way other people treat him. Victor has no such excuse that I can see, creating his own woes, exacerbating them by behaving like an absolute wanker to everyone who tries to help him, and crying about how hard-done-by he is all the while. No to that, thank you very much.
4. Andrew McConnell Stott (2014), The Poet and the Vampyre: the curse of Byron and the birth of literature's greatest monsters / 4.5. parts of Daisy Hay (2010), Young Romantics: the Shelleys, Byron and other tangled lives
This was the other side of my pre-holiday reading: historical background about the famous Diodati weekend and the authoring of Frankenstein and 'The Vampyre'. The book by McConnell Stott I bought myself after Googling for something to help me understand the context for our holiday, and I definitely chose well. It is very much focused on the Diodati weekend and what came out of it, but includes plenty on the run-up and aftermath as well. The one by Hay was lent to me by the lovely![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
lady_lugosi1313 and offers a broader general take on the Byron / Shelley phenomenon, so I just read one chapter and a few other snippets which dealt with the relevant material.
I hadn't realised before starting on either just how well-documented the movements of the people concerned actually were. More or less everyone involved was busy writing diaries or letters about what they did, which is why such detailed accounts of the events of the Geneva trip are possible. Stott made really good use of these, quoting from them at length and providing proper scholarly notes at the back of the book which I appreciated. His style is far from dry and academic, though – often his book reads almost like a novel in its own right, and I felt very engrossed and involved with all the characters. I won't try to recount everything I learnt from it, but I will note down the one thing which struck me most powerfully: viz. that Claire Clairmont is an absolute bad-ass! She is so often either left out of accounts of the Villa Diodati weekend altogether, or portrayed as the ditzy one who was just there to fuck Byron and wasn't on the same intellectual level as the others. But her surviving letters and memoirs make it very clear indeed that this was far from the case. Yes, she did want to fuck Byron, but for a girl of her age in the early 19th century to conceive of that goal and travel half-way across Europe to make good on it frankly isn't to be sniffed at. As for her intellect, she was brought up alongside Mary in the same radical intellectual household, and she clearly benefitted from it. Just because she didn't become a published poet or novelist doesn't mean she was thick.
Anyway, Mary and Claire got the last laugh in the end, outliving all the ridiculous, self-obsessed men in their lives by several decades each. Claire even wrote a set of memoirs in her old age hauling both Byron and Shelley over the coals, and not without cause. She was absolutely part of it all, and I'll never stand by and let her be erased from the Diodati story again.
That trip to Geneva
As already mentioned above, I never did write this trip up at the time and I can't now in detail, but I may as well include a few notes about it while I am looking back over the relevant reading material. We were there from the 3rd to 5th of June, c. ten days before the 1816 night of the ghost story competition (16th June), and at a time when the full party had all already arrived in the Geneva area. On the first day we went to the Villa Diodati itself, of course, followed by a bicentennial exhibition about its occupants at the nearby Bibliotheca Bodmeriana which was absolutely amazing: they had portraits of all five of the Diodati contingent, practically the whole of Mary Shelley's manuscript for Frankenstein, absolutely loads of other personal documents and effect of those concerned, and tons of fascinating material about the later impact of Frankenstein - e.g. play-bills for early theatrical versions of it. Then on the following days we went to Chillon Castle at the other end of Lake Geneva, which Byron visited and wrote a poem about, and which had its own bicentennial exhibition focused primarily on him, and then to Gruyères, of cheese fame, which also had a very nice castle as well as a festival going on in the medieval village and cows lounging about on the hillside just outside. These are a few pictures, showing all of us at the Villa Diodati, the boat arriving to take us home from Chillon, and me in the castle at Gruyères with a huge downpour bucketing down behind me.
I read this in preparation for a trip to Geneva with the Dracula Society, organised to mark the bicentenary of the famous wet weekend in the Villa Diodati which gave rise to it (and to Polidori's 'The Vampyre'). I never wrote about the trip here in any detail, because it came half way through my Mum's final illness, and just at the point when we were really starting to realise that it was final. I spent a lot of the time while I was there worrying and checking my phone for updates, and then all the time after I got back just trying to cope while also carrying a pretty heavy load of work commitments. So the trip itself was a rather strained experience; but what I did get out of it was very much enhanced by my pre-holiday reading. I believe in the case of the novel it was my third time reading it, the first and second times being once in my mid-to-late-teens and another in my mid-twenties. Both well pre-date my habit of book-blogging here anyway, so as far as LJ / DW is concerned this is the first time. That makes it a pity that I didn't manage to do so while it was all fresh in my mind, but I did actually make a few notes about this one while reading it at the time, so I can do a slightly better job than with most of these catch-up reviews.
Obviously, it is a great novel. That isn't to say it's perfect. My mental red pen was particularly exercised by the way Justine was introduced: in the middle of a letter from Elizabeth to Victor, where she takes it upon herself to recount the entire story of how Justine came to be part of their household, even though Victor would of course already know all of this. I could see him as he read it turning over the pages in bafflement thinking "Why the hell is she telling me all this? Get onto something I don't know!" But hey, Mary was only 18 when she began writing the thing, and did it all in longhand while on the road through Switzerland and Italy. Let's cut her some slack. What she created here was innovative, genre-defining, gripping and incredibly cleverly put together.
Reading it now, I'm much more aware of its literary and historical context than I think I've been on previous encounters. Previously I think I have just accepted it as a gothic novel because that it how it is usually marketed, and also viewed it through the filters of its many film adaptations. It certainly is in the gothic arena, as you would expect given that Mary started writing the novel as an entry in a ghost story competition. It draws on established gothic tropes like descriptions of wild landscapes and huge, powerful storms; Victor's great moment of inspiration for how to build his creature happens in a charnel-house (what more gothic?); and he later uses a vampire metaphor to describe the effects of the creature on his family, saying that it is as though he himself had risen from the grave to murder them (exactly what Byron's vampire in The Giaour is condemned to do, as Mary must have known). But I think I understand the Romantic movement better now than I did when I first encountered Frankenstein, and I see now that its central themes of man's hubris, the rejection of technology and the nostalgic glorification of nature make it a Romantic novel more than anything else: again, totally unsurprisingly given who Mary was hanging out with while she wrote it. It's also frequently touted as the 'first Sci-Fi' novel, which of course isn't in the least bit incompatible with the other genres: it can be a Romantic novel which draws on gothic tropes while also sowing the seeds of something new. On the SF front, I was struck in particular coming to the book after many years of film adaptations by how very little scientific detail Mary provides about the creation of the creature. All those big set-pieces with sawing-and-stitching montages, lighting storms and of course bubbling equipment are entirely a product of the movie industry; Mary in fact skims very lightly over the creation process and gets on to its consequences instead. But SF-ness doesn't just lie in sciencey-science and techno-babble. I felt that her use of the creature's perspective to consider what our world might look like to an adult intelligence dropped into it without prior knowledge did justify describing it as an SF novel. In any case, certainly speculative fiction.
I think I was also alert to issues around social class this time in a way I haven't been on previous readings. For all Mary's radical family background, she certainly believes in a strong overlap between high social status and inherent worth. It's noticeable that her idealised family in the cottage turn out to be from a fallen 'good' family, rather than just being normal working people, and her account of how the Frankenstein family 'rescue' blonde aristocratic Elizabeth from the dark Italian peasant family who have taken her in practically slides into eugenics. More interestingly, though, there is a lot of anxiety detectable here. The narratives of the cottage family, Elizabeth and Victor's mother are all about people of once-high status who have fallen on hard times; a theme which must have felt potent for Mary after having thrown in her lot with Shelley at the cost of her father's disapproval and constant financial instability.
As for the characters, have I realised on previous readings what self-absorbed whiny little fuck Victor is? I'm not sure, but I found him almost unbearable this time around. He actually claims his suffering is worse than Justine's when she is about to be executed for a murder she didn't commit, on the grounds that at least she knows she's innocent. Fuck off! I've always known the novel was written to explore both sides of the creator / created relationship, inviting our sympathy for the creature as much as Victor, but on this read I massively preferred the creature, in spite of his cottage-burning anger management issues. I'm sure Mary intended us to find them both flawed, but at least the creature seems to start off with basically decent instincts, only to be drive to murderous extremes by the way other people treat him. Victor has no such excuse that I can see, creating his own woes, exacerbating them by behaving like an absolute wanker to everyone who tries to help him, and crying about how hard-done-by he is all the while. No to that, thank you very much.
4. Andrew McConnell Stott (2014), The Poet and the Vampyre: the curse of Byron and the birth of literature's greatest monsters / 4.5. parts of Daisy Hay (2010), Young Romantics: the Shelleys, Byron and other tangled lives
This was the other side of my pre-holiday reading: historical background about the famous Diodati weekend and the authoring of Frankenstein and 'The Vampyre'. The book by McConnell Stott I bought myself after Googling for something to help me understand the context for our holiday, and I definitely chose well. It is very much focused on the Diodati weekend and what came out of it, but includes plenty on the run-up and aftermath as well. The one by Hay was lent to me by the lovely
lady_lugosi1313 and offers a broader general take on the Byron / Shelley phenomenon, so I just read one chapter and a few other snippets which dealt with the relevant material.I hadn't realised before starting on either just how well-documented the movements of the people concerned actually were. More or less everyone involved was busy writing diaries or letters about what they did, which is why such detailed accounts of the events of the Geneva trip are possible. Stott made really good use of these, quoting from them at length and providing proper scholarly notes at the back of the book which I appreciated. His style is far from dry and academic, though – often his book reads almost like a novel in its own right, and I felt very engrossed and involved with all the characters. I won't try to recount everything I learnt from it, but I will note down the one thing which struck me most powerfully: viz. that Claire Clairmont is an absolute bad-ass! She is so often either left out of accounts of the Villa Diodati weekend altogether, or portrayed as the ditzy one who was just there to fuck Byron and wasn't on the same intellectual level as the others. But her surviving letters and memoirs make it very clear indeed that this was far from the case. Yes, she did want to fuck Byron, but for a girl of her age in the early 19th century to conceive of that goal and travel half-way across Europe to make good on it frankly isn't to be sniffed at. As for her intellect, she was brought up alongside Mary in the same radical intellectual household, and she clearly benefitted from it. Just because she didn't become a published poet or novelist doesn't mean she was thick.
Anyway, Mary and Claire got the last laugh in the end, outliving all the ridiculous, self-obsessed men in their lives by several decades each. Claire even wrote a set of memoirs in her old age hauling both Byron and Shelley over the coals, and not without cause. She was absolutely part of it all, and I'll never stand by and let her be erased from the Diodati story again.
That trip to Geneva
As already mentioned above, I never did write this trip up at the time and I can't now in detail, but I may as well include a few notes about it while I am looking back over the relevant reading material. We were there from the 3rd to 5th of June, c. ten days before the 1816 night of the ghost story competition (16th June), and at a time when the full party had all already arrived in the Geneva area. On the first day we went to the Villa Diodati itself, of course, followed by a bicentennial exhibition about its occupants at the nearby Bibliotheca Bodmeriana which was absolutely amazing: they had portraits of all five of the Diodati contingent, practically the whole of Mary Shelley's manuscript for Frankenstein, absolutely loads of other personal documents and effect of those concerned, and tons of fascinating material about the later impact of Frankenstein - e.g. play-bills for early theatrical versions of it. Then on the following days we went to Chillon Castle at the other end of Lake Geneva, which Byron visited and wrote a poem about, and which had its own bicentennial exhibition focused primarily on him, and then to Gruyères, of cheese fame, which also had a very nice castle as well as a festival going on in the medieval village and cows lounging about on the hillside just outside. These are a few pictures, showing all of us at the Villa Diodati, the boat arriving to take us home from Chillon, and me in the castle at Gruyères with a huge downpour bucketing down behind me.
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