bettyehollands
Written on Jan 1, 2022
A masterpiece.
Although on one level this book is a story in the Gothic horror tradition, it is also a philosophic novel influenced by the ideas of Godwin and Shelley and the rationalist Enlightenment.
- ISBN10 0451527712
- ISBN13 9780451527714
- Publish Date 1 January 2001 (first published 1 January 1818)
- Publish Status Transferred
- Out of Print 11 October 2023
- Publish Country US
- Imprint Signet Classics
- Format Paperback
- Pages 240
- Language English
Reviews
lyx
Written on Nov 28, 2021
I did not enjoy this as much as I thought I would.
I know neither of the main characters are meant to be likeable, but I had to force myself to get through the pages sometimes, utterly annoyed by the Creatures black-and-white thinking and rage-fueled ramblings, and Frankensteins lack of attempt to even try to detain the Creature or prevent it from harming the people he cares about, or anyone else (still #teamfrankestein tho).
It is beautifully written and does discuss or rather lead to discussions about humanity, nature vs nurture, alienation, societal prejudice, etc. and I appreciate it for that and for being one of the first and/or most renowned works of "horror"/genre fiction to do so (I really wouldn't call this a horror novel in any sense, but well it is typically regarded as such). The story itself and a lot of the twists and turns were just.. predictable? Still, I understand why this classic is so beloved, it might just not be for me. In the end, I'm far more interested in the thoughts and discussions it provides and encourages than the story itself, which certainly isn't a bad thing, but I would have liked to love it more.
Nessa Luna
Written on Jul 30, 2016
Briana @ Pages Unbound
Written on Feb 12, 2013
Frankenstein is one of those classics that I find presents readers with some interesting themes to consider, but which is not necessarily a “good read.” The story opens slowly. Shelley employs letters and a narrative frame in order to introduce Frankenstein’s story of his creation. Because the frame is not particularly entertaining in itself and only emphasizes some of the themes raised in Frankenstein’s narrative instead of introducing its own themes, it seems to be mostly Shelley’s clumsy way of getting Frankenstein into a position where he can tell his story and where it will be recorded.
If this is her intention, the transition from the frame to Frankenstein’s tale is still awkward. Frankenstein’s story is in chapters, which are all presumably in a very long letter that someone else is writing. The jump from recognizable letters into narrative and back into letters is disconcerting, drawing readers out of Frankenstein’s story. I am, in general, not a fan of narrative frames, but this is one of the most attention-grabbing frames I have encountered.
Frankenstein’s story, once one can get into it, is intriguing, but certainly not the horror-filled version that has been put onto screen. Here, the monster is somewhat civilized, just looking for love. The scary part is not that the monster is going to come for you, the reader, or destroy the world at large. Indeed, only Frankenstein himself has much to fear, as the monster is primarily bent on destroying his life. What is scary for Shelley, then, is not violence or even the “unknown;” it is having to watch terrible things happen, being unable to prevent them, and even being in some way responsible for them. It is being in the shoes of Frankenstein himself, and not just an observer, that is horrifying.
So, in short, this is not a scary reading experience. Nor is it a particularly realistic one. Even ignoring the part where Frankenstein manages to create life, too much of the story is implausible and contrived. Everyone just happens to be in the right spot at the right moment for important plot issues to develop. For example, the monster learns to read by looking through a crack in a wall, where a family just happens to have taken in a foreigner who needs to learn to read. Really? Kudos to Shelley for realizing she ought to offer an explanation for things like this, such as how the monster learns (instead of creating him with the intelligence of a wise middle-aged man from the start), but I personally find too much of her explanations ridiculous.
The interest, then, for me, must be theme-wise because not much of it comes from the plot. Shelly essentially suggests that knowledge can be dangerous. How much knowledge, and what type of knowledge is open for interpretation, but I personally see the story as a warning about going “too far,” rather than one criticizing all searches for knowledge. Shelley did, after all, come from an intellectual family and was clearly interested in science and literature herself. The story also suggests that, as a balance to knowledge, one should build strong bonds with family and community in order to stay grounded and connected to things (people) that are truly important.
The book is worth reading for its exploration of what constitutes “science gone wrong” and how personally responsible each of us might be for that, as well as for its influence on later horror stories and science fiction. It is unlikely to do much for readers looking to be personally terrified or to experience a wild and surprising plot.
Michael @ Knowledge Lost
Written on Aug 18, 2011
‘The Modern Prometheus’ tells the story of the Monster Frankenstein, confused and unsure from the very first day of life, found himself hiding in the woods watching people and learning how to find food, create a fire and how to differentiate between the feelings of happiness and sadness. Watching a family in poverty taught Monster Frankenstein many things and he started chopping wood and shoveling snow for the family while they slept. His loneliness finally drove him to show himself to this family who ended up running away in fear. With a mixture of loneliness and anger, he seeks out his creator, finding his way to William where he decides to kidnap him for companionship and ends up accidentally strangling him.
This is where the two stories meet and monster Frankenstein pleads with Victor saying he’s ‘a good creature turned bad by unforgiving humans who scoffed at friendship’. The monster pleads with Victor to make him a companion which he would take and never be heard from again. Victor reluctantly agrees but found it harder and harder to do, even though his family was in danger. Victor began to realize the female companion could wreck much havoc by giving birth to more monsters and refusing to be with the monster as a mate altogether.
Monster Frankenstein swears revenge and goes about killing everyone close to Victor in attempt to show Victor what it feels like to be alone. As Frankenstein dies, the monster appears in his room and begs his dead body for forgiveness.
In the end the story has no true villain or hero. Monster Frankenstein and Victor Frankenstein were both portrayed as hero and villain. The story also leaves you wondering on how you treat others, do our actions end up turning people into a ‘monsters’? Overall this was a brilliant story, although the language was at times hard to understand, it is still worth the read.
This review originally appeared on my blog; http://www.knowledgelost.org/book-reviews/genre/gothic/frankenstein-or-the-modern-prometheus-2/
Eve1972
Written on Jan 27, 2009