In the novel, the creature finds itself with little solace in anyone or anything. From the very start, it is ostracized heavily and shunned by everyone it encounters. Human hostility, and more specifically Victor’s own hostility, to the creature is an example of a deeply entrenched social hierarchy– a group with material possessions; family; friendship; essentially, features that reinforce their status as the dominant class (Victor/humanity) over a weaker group that is much less benefited in society (the creature). The dynamic between Victor and the creature defines this class struggle most clearly, as Victor is a well-educated middle class capitalist with a middle class family he loves and middle class friends, like Henry Clerval, he cherishes (and weeps heavily for when Clerval and several family members are murdered by the creature). Compare this relative assortment of riches to the creature, who unfortunately has absolutely none of what Victor has, not even basic compassion nor respect from anyone. The novel makes a connection between the urban lower-class proletariats of the era and the creature and concurrently devotes little narrative focus and few depictions to the former in order to magnify the grotesque nature of the latter (grotesque features = the lower-class of society). When Warren Montag states that the creature is “not so much the sign of the proletariat as of its unrepresentability” (395), I agree because of the gross oversimplification the novel makes in caricaturing a whole class of people into a repulsive figure, as well as how it makes the connection and representation through a blatant omission of any focus/attention at all towards that whole class of people. It is unrepresented through what is supposed to be its representation.

As Montag writes in “The ‘Workshop of Filthy Creation’: A Marxist Reading of Frankenstein,” the aforementioned dynamic in the novel is driven by how the novel chooses to focus and overlook certain features of society. The urban proletariat underclass of society, as well as lower-class urban life in general, is barely mentioned, and this magnifies the creature’s plight because he most identifies with the disadvantaged urban proletariat lower-class. “Frankenstein’s monster is finally not identified with the working class of Mary Shelley’s time but with its absence” (395), Montag states, and this is reinforced by the novel’s focus on Victor’s middle-class lifestyle, family, love of education, time spent at universities, and “frequent portraits of natural vistas and rural scenes” (394). “No significant descriptions of the urban world” (394) are given, most glaringly concerning London, a city going through “a time of explosive growth and development [but] is not described at all although [Victor] and Clerval passes ‘some months’ there” (394). The fact that these guys spend months in such a booming city with no descriptive imagery, nothing even close to how the novel lushly depicts rural landscapes, indicates that this is an intentional oversight of detailing urban proletariat life. We as readers live in and follow Victor’s bubble of middle class living and the middle class friends, family, aspirations, interests, and lifestyle that are all associated with him. That is, until the creature comes along who, in the midst of our near-total absorption into Victor’s middle-class perspective, is “the sole embodiment of the industrial in an otherwise rural world, and this is the source of his monstrousness” (394). The creature even “makes explicit his identification with the working class” (394) at certain points in the novel to affirm the embodiment. The creature is so monstrous due to how different it is to Victor’s middle class world, which is, as previously stated, the main focus and viewpoint of the novel. Montag couldn’t have said it any better: “The narrative precisely suppresses all that is modern in order to render [the creature] inexplicable and unprecendented” (395). If the urban proletariat underclass was given any significant narrative attention in the novel, it would make the creature less grotesque due to more grotesque ilk like him around; this conclusion is reached purely based on how the novel “links the image of the monster to the industrial proletariat: an unnatural being, singular even in its collective identity, without a genealogy and belonging to no species” (395). The creature is thus almost like a dehumanizing figure with respect to the lower-class proletariats, with it simply representing “the mass [of urban industrial lower-class people] reduced to the absolute singularity of Frankenstein’s creation, which is therefore not so much the sign of the proletariat as of its unrepresentability” (395). The lower class is not truly represented here because of the way it is portrayed.