Tag Archive: Mary Shelley


The Birth of a Monster

EXT. Victor Frankenstein’s Residence – NIGHT,

 

The year is 2018, raining, the scene opens with Victor Frankenstein, holding a glass of beer sitting on a chair that reclines with a screeching sound. He appears to be inebriated, but conscious. As the rain continues to pour, it worsens. Lightning strikes begin to emerge, beginning to distortion Victor’s sight. He appears to not be bothered by the noise and brightening light to fills the room. Victor senses he’s not alone as if someone is set to appear tonight. One lighting stroke brights up the room, to invisible proportions. The area clears, Victor, takes one more sip before looking onto his creations eyes. The monster is standing tall, looking down on Victor, with anger, seeming ready to attack. But he continues to stay still, calming down for seconds before opening dialogue.

 

THE MONSTER

You know why I’m here?

 

VICTOR

To be a pest once more and hinder my peace?

 

The monster pushes Victor’s drink from his hand to later deliver a slap to his cheek to come up to his senses.

 

THE MONSTER

Justine you fool, she’s dead.

 

VICTOR

She killed my son, what else did she expect to receive from me? Praise? Fright? Please, let me be in peace to sorrow.

 

THE MONSTER

You know for sure it was her?!

 

VICTOR

I know for sure because she told me. That’s good enough for me to get her arrested and taken to justice.

 

THE MONSTER

She didn’t do it…

 

VICTOR

*in anger* Bullshit.

 

Victor gets up his sit to serve himself some whiskey. Walking past the broken glass, unfazed by it. He gets a cut on his left foot, still unfazed by the damage is done, Victor returns to his seat and continues dialogue.

 

VICTOR

*sigh* I’m never wrong. Don’t ever doubt me when you know I’m right. *sips the glass of whiskey*

 

THE MONSTER

Do you think I’m here to fuck around and mourn the death of your son?

 

VICTOR

I made you, didn’t I? *sip again, the glass of whiskey*

 

THE MONSTER

*in anger* You destroyed me.

 

Frankenstein looks at the pictures that hanged around the home, most torn to shreds, The Monster, and now Justice is off the frames.

 

THE MONSTER

You had Justine prosecuted because that’s what you felt at the time, but I know you. You loved her. And don’t give me fucking excuses that you didn’t because she was more family than I ever was.

 

Victor, in silence. Takes the last sip of his drink and set the glass down. He continues dialogue.

 

VICTOR

Well, she was part of the family after all. Of course, I had to express my gratitude with unconditional love to Justine. It was only far. And how did she repay me? *voice rises* By killing my son!? Disgraceful. Just. Like. You.

 

THE MONSTER

Disgraceful?! Me?! You abandoned me when I needed you the most.

 

VICTOR

I never abandoned you. You just weren’t what I would’ve hoped for, so I let you be free.

 

THE MONSTER

You abandoned me, dad.

 

VICTOR

*slaps THE MONSTER, in exclaims in anger* How many fucking times do I have to tell you?! I am not your father. You’re just a mistake. Pieces of scraps. An imperfect creation. A monster.

 

The Monster pushes Victor in anger, setting Victor flying afar his chair and knocking it over. Victor, in pain, intends to stand back up. But the injured foot hinders him to do so. The rain continues to pour, and the lighting intensifies the scene.

 

THE MONSTER

Is that all I am to you?! A… *in tears* MONSTER!!?!

 

Victor, seems to be suffering from blood loss and becomes unable to stand up and is prevented from movement, he sits still, next to the knocked down chair.

 

THE MONSTER

I still am your son.

 

VICTOR

*in pain* I have no son, he’s dead now.

 

THE MONSTER

Dad… why do you hate me?!

 

VICTOR

I told you to not call me that. *grunts in pain* You don’t belong here. Get out of here, monster.

 

THE MONSTER

*tearful* I have a name.

 

VICTOR

No vile creature deserves a name.

 

The Monster grabs Victor by the neck. Not to strangle, but to pick him up and push him back to the knocked down chair. Dialogue continues.

THE MONSTER

You know my name. Say it.

 

VICTOR

Get out of my house.

 

THE MONSTER

*voice rises* SAY IT!!!

 

The Monster, again, picks up Victor by the neck and this time holds him against the wall, suffocating Victor.

 

THE MONSTER

*voice rises louder* SAY MY NAME!!! YOUR SON’S NAME!!!

 

VICTOR

*grunts in pain, losing breath* Will…iam.

 

The Monster strangles harder, and Victor begins to lose color, his eye becomes watery. Victor is dying.

 

THE MONSTER

*soft, but with anger* Say it.

 

VICTOR

*grunts of pain, losing breath* No faggot, is a son of mine.

 

The Monster strangles harder.

 

THE MONSTER

*louder, with anger* Say it!

 

VICTOR

*gasping for air, unable to speak a word*

 

THE MONSTER

*all loud as he can speak* SAY IIIIIIIIT!!!!

 

VICTOR

*a stroke of air enables him to speak one word* Sebastian! *eye rolls up his skull*

 

The Monster, now Sebastian, throws Victor across the room. Victor, still alive, tries to regain air but is unable to move. Victor is unable to speak. Sebastian looks down at Victor and speaks.

 

SEBASTIAN

Why does my way to express love anger you, father? It’s my life after all. I can never be like William, nor I ever will be. Don’t force me to be the perfect creation you always dreamed off.

 

Sebastian leans closer to Victor.

 

SEBASTIAN

*whispers to Victor* That angers me.

 

Victor regains the ability to speak but in a soft manner. Almost without a voice, he speaks.

 

VICTOR

*softly* You… are… not… my son.

 

SEBASTIAN

*chuckles* Never was I, huh dad? Don’t you worry, now that you have no sons, you can only worry about yourself. Oh, and Elizabeth too, not that she’ll matter anyway. She’s next.

 

Victor shocked, gains the strength to sit up and look upon Sebastian once more before he departs, he continues dialogue.

 

VICTOR

*weakly* What do you mean?!

 

SEBASTIAN

Oh nothing, just know that I’ll be around in the special moments in your life. Even when you don’t want me to. *walks away* After all, I am a monster to you. Might as well act like one. *chuckles*

 

VICTOR

*in anger* Did you kill my son?!?

 

SEBASTIAN

Never in a million years, dad. I loved him. *stops, pauses and turns slowly to Victor*But… maybe the monster did. *laughter* Love you, dad.

 

VICTOR

*in shock* WAIT!!!

 

The door closes, Sebastian is gone. Victor left alone and in pain. Rain still pour and the lightening subsides.

 

End scene.

 

REVIEW:

Mary Shelley’s novel is where the truth comes to be and where we begin to progress in our ideology of the monster. Sympathizing for such a creation that is not to be feared off. Because its intentions are to never hurt but rather to be accepted. Neglected by society and by his own creator, his murderous rage is simply engulfed by pure revenge towards the ones he felt for. And as the monster is left abandoned, we know that it’s not a threat. It, or as now we should mention, he never was.

The novel compels the truth behind the monster, his emotions, his awareness, and eagerness to feel love is what we, the readers now have learned through Mary Shelley’s novel. Although we are a numerous few, there’s still the vast majority that has yet to know the truth about the monster. Frankly, the monster was never the monster, to begin with. His image being portrayed through ridiculed merchandise for simple consumer satisfaction should be fixated to fully understand the novel’s true intentions. 

The whole Frankenstein novel is primarily contributed to the notion that if someone or something is made in the images one’s true perfection they’re are outcasted as an enigma of imperfection, but when in reality they never were in the first place. We use neo-pronouns for the individuals we apparently can’t understand what they are or decide to be, when ultimately we shouldn’t be asking that in the first place and should accept the indifference of society with open arms.

I decided to take into this more modern approach, that instead of having Justine executed, she is rather sent to trial for the misdeeds done from the monster. Including a scene where instead the monster is held in the shadows prepared to attack once again, the monster confronts Victor for the injustice done to Justine. Victor calls the monster a ‘faggot’ due to the fact that in this scenario, the monster was made a creation within Mary Shelley’s novel, he is one of Victor’s sons, whom of which was neglected for the fact that he was gay. William is still killed, the monster is still the cause of it, just with more of a modern scenario that can fit for both a start and a clearer understanding as to why the monster intends to haunt Victor for life. Victor ruined him. The monster, now Sebastian returns the favor.

– Stephen Muñoz

Advertisements

Victor Frankenstein is a very intelligent human being who is derived by his obsession to create life through science. He and his beautiful wife, Elizabeth, live together in a nice home not so far out of town. They live a very happy life as a marriage and both attend prestigious colleges near the area. In the same way, both of them are financially stable and come from very wealthy families. However, months into their marriage, Victor finds out one of Elizabeth’s darkest secrets. That is, Elizabeth cannot have children of her own due to serious health purposes.They exhaustingly start to use all their resources to remediate this issue, but was of no help. No amount of money was able to solve their problem. Be that as it may, having children has always been one of Victor’s biggest dreams. For years, he wished of having a perfect family of his own given that he was denied that opportunity by his selfish parents. He grew up without a mother and a dad who was never really around. So, he thought of solutions non stop until one day, his interest in science and his obsession to have kids with elizabeth came in to relation.

As a result, Victor Frankenstein begins working on a science experiment to create life in a lab. He becomes dedicated to the idea of birthing a child of whom he and his wife can raise together as a happy family. For this reason he lasts months working on this experiment behind his wife’s back. In like manner, after 1 year of hard work and dedication Victor Frankenstein brought to life his experiment. At first, Victor noticed how disfigure and different  the creature looked given that he was build from different beings body parts. He was afraid his wife would reject the creature as their children due to his abnormal physical looks. But, Victor took a different approach when the first thing the creature did was grab his finger and call him “Dad”. From that point on, Victor grew a connection with his creation and learned to love him in every possible way. Similarly, Elizabeth took the same approach upon meeting the creature and took huge interest in teaching him all he needed to know to survive. Victor Frankenstein could not be any happier.

Correspondingly, Victor and Elizabeth raised the creation by educating and loving it as their own. In the same way, Society viewed the creature as a different abled being, but accepted and respected it like any other person. The creation was referred to as Frankenstein and lived a normal life.  He wandered around the world experiencing life and living day to day. He caused no harm to anyone instead he was always showing affection to those around him. He was immensely grateful to his creator and Elizabeth for always surrounding him with love and affection because that was all he knew. He had the purest heart anyone could ever come across. His heart did not know the word hate. Love was the only thing he received, experienced, knew, and felt in one.

 

Review:

I titled this short piece, Love. It is a Frankenstein myth based of Mary Shelley’s novel that only introduces love, passion, and acceptance all throughout. In the real novel, Mary Shelley tends to relate the creation to continuous negativity such as death, hate, and violence from the moment it is brought to life all the way to the end of the novel. One major twist to my story and Mary Shelley’s novel is the relationship between the creation and his creator. In my story, not only is the creature accepted by his creator but is also introduced to elizabeth and society. He is born into a loving, accepting and welcoming home unlike Mary Shelley’s Frankenstein from 1832 where all he knows of is rejection. I make a different approach because I want my audience to acknowledge how different the creature reacts upon receiving hate versus receiving love. When one gives love, they receive love back but when one gives hate then hate will be the only thing given back. Victor Frankenstein is blind for not seeing what his creature needs.

In like manner, I decided to incorporate Elizabeth in the story, and change her story up into a more positive one too. In the novel Frankenstein, women don’t play a big role in society and are portrayed as weak, and innocent. Meanwhile, In Love, I introduce her as a student and loving wife. Most of Victor’s actions are influenced by his love to Elizabeth and the idea of having a family with her. Victor, too, is more affectionate and caring in terms of his relationship with Elizabeth, and his creation.

In essence, my biggest objective in this creative writing was turning a sad story full of hatred into a loving and learning one. All throughout Mary Shelley’s novel, the creature experienced rejection from everyone and as a result killed many innocent people. I figured that allowing the creature to receive love instead of hate would cause a different reaction in the creature. And Indeed, in my story there was a happy ending.

 

What did I do to people for them to look at me this way?

It’s 2018 and people still victimize me to this day

They look at me with disgust and as different

Even my own mother looks at me like this

 

You see, I am woman but was once a man

I always knew I was Catwoman and not Batman

But even I was frightened by the thought of this

And once I said it out loud, it terrified everyone else

 

The first person I told was my mother

She was not happy, she got angry and yelled slur

I was kicked out of my home and shunned

When we crossed paths, not a word would be said

 

I get stared at, pointed at and laughed at

What is it? Is there something on me? Is it a rat?

Parents see me, grab their children and walk faster

I wish they would not judge me, I am actually friendly

 

My mother also gets taunted for having a daughter like me

Or should I say “son”? Since that is what I’m supposed to be

She can’t handle all the humiliation and decides to hang

I killed my mother because of who I truly am

 

I have lost a lot of family and friends

Hopefully someday we can all make amends

But for now, I am all on my own

And once they all find out, they all go running

 

I have finally completed the process of transition

For many, though, I look like a failed mutation

Monster, tranny, he-she, and he

Are things I get called almost every day

 

I am human––NO I am a woman

But I am not sure anymore if I can handle this oppression

People are just not accustomed to people like me

However, even the small words hurt

 

Life would just be better if I would just disappear

Sometimes I feel like I don’t belong here

I am an outcast, I am weird because of who I truly am

And now I am ashamed of that, I am ashamed of myself

 

“Ew you nasty tranny, go use the men’s restroom”

Someone in the women’s restroom says, I began to fume

No words come out so I run out, tears running down my cheeks

Why are people so mean and so rude? Words hurt

 

“I can’t do this anymore,” I say to myself over and over

I run to my car and speed home in my Range Rover

Knocking down everything that is in my way, I run to my room

And I open the drawer to my nightstand, there it is

 

Who knew that I would cause so many problems?

I didn’t think it would get to this point, wish this didn’t have to be the outcome

There it was staring back at me, it is the only way out

I know this will make all my troubles go away

 

I grab the cold heavy metal object up to my skull

To everyone who has been cruel, this is for you, hope you are cheerful

All of this pain and suffering because of who I truly am

Hopefully this time my mother welcomes me with open arms.  Continue reading

Acceptance

                             Acceptance

Eyes wide open in an unfamiliar, dingy room

They watch over me murmuring whispers.

I can’t quite understand; something’s wrong I presume.

The chilled air runs down my spine, sending shivers.

 

They called me son, the apple of their eye

Yet they left me there and waved goodbye.

Days….

            Weeks….

                            Months….

                                              I died inside.

Time passed, I lie there.

Lost within my surroundings,

My thoughts, my feelings, unlike any other.

Where is my place? Who am I?

 

Wanting the love from those who want nothing to do with me

Why can’t they accept me as I am.

All I want is to be cared for,

I’ve learned from my past, and

I’m sorry….

I didn’t ask for this.

 

I’ve realized, this is it for me,

It doesn’t get any better.

All I have is me, and that’s all I need.

 

But still,

I do not wish this nightmare upon anyone else

Unaccepted, unloved, uncared-for…

-Alexuz Bejarano

Review: I decided to write a poem, kind of reflecting on the creature being abandoned. I felt it was one of the most emotional parts in the novel, only because the creature was vulnerable. When the creature was created he didn’t know any other feeling than loneliness, being abandoned by the only person he knew. I wanted to also incorporate the 2015 film, Frankenstein, directed by Bernard Rose. I started off the poem reflecting the beginning of the film as it started off with “Adam” in a room that looked much like a hospital room. Confused to where he was, as the creature in Mary Shelley’s novel when he first left Victor’s lair. This poem is in the creature’s perspective, he continues to explain the abandonment he felt, instead of the things he experienced like in the novel from pages 92-128. In the film Victor and Elizabeth portrayed mother and father figures to “Adam” and abandoned him, killing him even more  on the inside because even if he didn’t know what it felt like, he loved them and hated them at the same time. Modern time or not, it’s all the same. People till this day aren’t accepted because they’re different, because they don’t fit the criteria of normal. No one is normal. This poem is what the creature is feeling in the twenty-first century, which is the same as he’s feeling in the novel and in the film, empty and lonely. Still begging for the love and care he won’t get, feeling sorry for others because he was created. Accepting his past and In the end comes to an agreement with himself that he won’t accepted, and the only person he has is himself. At  the moment that’s enough for the creature, until then he’ll keep searching for his happiness, and doesn’t wish this for anyone.

 

 

 

 

 

 

 

Dear Dr. Frankenstein, I wrote

I know this must be strange as we have never spoke.

It’s hard enough to write such a harrowing email

But I feel as if you must know the tragedies of my tale

 

I pause.

Above me, the thumping of tiny feet scatter across.

I sit on the floor of the musty, old basement.

The kids keep running, I’m waiting and patient.

 

I can only write in complete silence.

Or else my thoughts begin to riot.

I wait for quiet to instill.

Perhaps that’s why the orphanage lady calls me mentally ill.

 

It is cold where I am at, I continue.

So I hope this will only take me an hour, maybe two.

I am writing to you from a basement, you see.

I would do so upstairs but the orphanage lady is rather mean.

 

I’ve been here for as long as I can remember.

From infant to child, now a teenager.

Seventeen and a half years old, I am almost out.

Because at eighteen I will be thrown into a world I know nothing about.

 

Patrons come through hoping to adopt a child they could hold.

They spare me a glance, but opt for the three year old.

Sometimes they pity and consider me, until

The orphanage lady tells them I’m mentally ill.

 

There is a window next to where I sit.

A family of four, I can see from it.

A father, a mother, a daughter, a son.

No words have been exchanged between me and them, but still I love them a ton.

 

I’ve watched for years, their actions and words.

Filling me with a kindness and gratitude I wish to confer.

From them I learned sympathy of the greatest form.

As their gestures and hearts are ever so warm.

 

The father, of benevolence and young age, is smitten with the residents of his home.

Speaking to them in gentle and kind tones.

The mother, she is of a different skin color than her partner.

Which of some odd merit, makes them love her harder.

 

The daughter, of compassion and grace that she inhabits from her mom,

Is as gentle as the skin that lines my palm.

Her brother, the son, is different like me.

Blind is the word, a catalyst for his admirable curiosity.

 

I know I sound crazy, of course I must.

But Dr. Frankenstein, you have to understand, I’ve got no one to trust.

You see, beyond the walls of this horrid orphanage, I know nothing but judgement.

Which is why I find peace in the cold of this basement.

 

I awoke one day searching for an answer as to why I am of such difference.

I found your name in the drawer of the rusty orphanage kitchen.

I came to find that you were the doctor present during the time of my birth.

Which is why I suspect you have answers to the questions that emerge.

 

Please meet me in the place with all the trees.

I would choose a location more public, but I do not want to be seen.

People will hide and shudder, they will.

Because, as I’ve mentioned before, the orphanage lady tells them I’m mentally ill.

 

With the dearest of hearts, I will conclude this email

As you now know the tragedies of my tale.

I hope, Dr. Frankenstein, that you have the decency to amuse the questions my mind fosters

With much love, I will sign off with a name they all call me. Sincerely, Monster.

To the Publisher:

In this modern take of Frankenstein, the creature’s tale is told in the form of a poem. The contents within this poem mimic the moment in which the creature relays his tale to Victor Frankenstein. In the book, he orally relates his story, however in this modern interpretation, he does so through email. In the poem he is a member of the orphanage, isolated and lonely the way he is in the book. The orphanage lady mentioned in the poem is a representation of society in the book as they both see him as different or in the orphanage lady’s terms “mentally ill.” Those coming in to adopt often pity or ignore him, another characteristic of the society Mary Shelley creates. The cottagers make an appearance in the poem this time portrayed as a modern family of four. He watches them from the window of the basement where he spends all of his time. Felix and Safie are portrayed as a mother and father of two children, the daughter, patient and kind like Agatha and the young son blind yet happy like the old man. Just like the cottagers in the book, he learns of sympathy and compassion from the family in this poem as he is not taught by other residents of the orphanage. His attachment to the basement represents the idea that he finds acceptance, or rather isn’t meet with judgement, when he is alone. He reaches out to Frankenstein, just as he does in the book. The reason as to why remains the same as the creature searches for answers from the person who was there during his “creation” or “birth”. Victor Frankenstein being his creator in the book receives a nod from the poem as he finds that Frankenstein is the doctor in charge during the time of his birth. The last major tie between this poem and the book is the fact that in both, the creature does not have a name, symbolism for the fact that he is seen as someone less human despite the fact that he harbors emotions stronger than any of the other characters.

– Kaylin Insyarath

By ~ Amber Loper
Fall decorated the house with yellows and oranges that drifted from the old oak trees. This, Margaret Saville believed, would be the last she would ever look upon its walls. Only furniture remained, covered in white sheets. This house had birthed many generations beneath its thatch roof. Five generations before her, and now she would be the last. Many memories lived here. Her own were filled with summers playing in the fields with her brother. However, those memories no longer brought her joy, but grief.

“Dear, are you ready?” Mr. Saville asked, placing one hand on her shoulder.

Tears overwhelmed Margaret as she threw her face into her husband’s chest. He pulled her in tight, daring not to say a word.

Life had dealt her hardship after hardship. First in the winter of 17— her father died of a fever. Not six months later her mother followed him to the grave. The following year she lost a baby, after which she scarcely left her bed. Workers in the town were laid off, including her husband, who had to make due at a local mill that didn’t pay as well but worked him twice as hard. The manor suffered greatly, but for a while they kept it in their name through an allowance from her brother, Robert, who sailed overseas. Margaret was kept in high spirits from the letters her brother sent her. They painted pictures of a frosty other world, seeking a land where snow and frost are banished. She dreamed of that land, and hoped it to be true. Were it so, it gave her hopes that her sweet little one could be in such a paradise as well.

Those years, she lacked any energy to respond to her brothers letters, but she kept them close, rarely parting with them as if they were an extension of Robert    .

“I thought I should die before seeing this house no longer under my families name.” Margaret bellowed with tears smearing her powdered cheeks. “It isn’t fair.”

Mr. Saville kissed her forehead. “We’ll make due where we’re going. We mustn’t dwell.”

Margaret dabbed her tears with a kerchief, then folded it neatly back into her bag. “That’s the last box there.”

Mr. Saville lifted the box and as he did so, a crumpled yellowing paper fell out. “Is that important?”

Margaret bent down, unfolded the paper delicately. It was covered in manic scribbles and ink blots. It began with:

September 12th,

It is past; I am returning to England…

 

It was the last letter she ever received from her brother, the last she heard from him as well. This letter was the ravings of a mad man about monsters and daemons. She thought she had lost it when upon reading the letter she threw the pages, enraged that the sea had claimed her brothers mind.

He never did return home, but a funeral was held in spring when his ship was found drifting the sea. It’s written in the letter that they had cleared the ice, but winter was harsh that year and every year since. The seasons even seemed to skip summer, becoming one long season of mourning.

Margaret looked up at the gray autumn sky, clouds as far as the eye could see.

“Darling?” Mr. Saville asked.

Margaret had nearly forgotten he had asked a question.

She dazedly crumpled the manic letter and let it fall from her hands. Her brothers memory was better left untarnished.

“Nothing of value. Tomorrow will be the twelfth, won’t it?”

“September twelfth, yes, why do you ask?”

“It’s just peculiar, don’t you think? Here we are, standing on England’s soil, and tomorrow we’ll be aboard a ship to St. Petersburg.”

“I’ve been promised work out there, but don’t worry. We’ll be back. This shouldn’t be goodbye forever.”

Margaret straightened her jacket. “Who knows, we may run into that abominable snow man you told me about.”

“You know that’s just a bunch of  drunkards tales, don’t you?”

Smiling keenly, Margaret nodded. “Of course, what else could it be.” With that, they boarded their stagecoach and began their journey.


Review:

Knowing that Mrs. Saville never has a voice, despite being an important character in the novel, felt like a missed opportunity. She acts as an outside character that holds the story to reality. This being so, I felt like it was time she got a voice. I wanted to add an epilogue where Margaret’s side of things were explained. In order to do so, I needed to figure out why might she not reply in the first place, and how might a woman of that era feel about these outlandish claims made by her brother in his letters. Having her life fall apart, and surrounded by death, seemed like the right path and would also explain why her brother never talked about their parents in the letters as well. The way the novel starts, with Robert writing in detail of what his new world looks like, is fantastical and seems like something someone would read who is bored of their own life or wished of being somewhere else, so seemed appropriate that his letters were what kept Margaret from falling off the deep end. Also, because I feel like she is the main connection to reality for the novel, she needed to be appalled that her brother would “invent” such a wild story about Frankenstein’s monster. It is something that no one would believe unless they saw it themselves.

Furthermore, I killed off the Captain and his crew to spare the world from finding out about the creature, but there was that one letter that made it to Margaret that held the secret. However, she’s too ashamed of the end of her brothers life that she’d rather it be forgotten entirely, and so the story of Doctor Frankenstein dies with him. Or does it? The novel leaves the reader thinking that the creature left to commit suicide, but you never see him do so, and by this point he has probably already been seen by more than just Walton’s crew. I like the idea, that whether he died or not, the sightings of Frankenstein’s monster led to the myths of the abominable snow man, aka Bigfoot, to mix our own real world folklore with the fictional world.

The Creature inside the Fire

By~Amber Loper

Image result for Frankenstein fire

Frankenstein’s Monster, if cared for, can be controlled for good.  But Frankenstein faces the issue of man’s negligence, causing a problem where it could have otherwise been avoided. Although, there are outside forces that made this inevitable: Man’s unquenchable desire to uncover the secrets of life. The Monster kills, not because it is in its nature, but because it can’t control itself and by the time Victor tries to do something about it, it is too late. In the Novel, blame is placed, by authorities, not on the cause of the problem (the monster), but on other reasons not connected to Victor’s Creation, like poor Justine. In the end, this isn’t about a monster that has gone out of control. This is about waiting too long to solve an issue that has been around for years, but ignorance has led to unnecessary deaths and destruction.

Related image

Fire, if cared for, can be controlled for good. But California faces the issue of man’s negligence, causing a problem where it could have otherwise been avoided. Although, there are outside forces that made this inevitable. Nature’s un-quinched thirst for rain spanning years. Fire kills, not because it is in its nature, but because it can’t control itself and by the time man tries to do something about it, it is too late. In California, blame is placed, by our president, not on the cause of the problem (no rain), but on other reasons not connected to global warming, like poor state management. In the end, this isn’t about a fire that has gone out of control. This is about waiting too long to solve an issue that has been around for years, but ignorance has led to unnecessary deaths and destruction.

One As Nature

An ecocritical interpretation of Mary Shelley’s Frankenstein teaches us that although climate change can be the result of environmental processes, we, as natural beings, must acknowledge ourselves as part of the natural world and recognize the power of our activities that disrupt and change the state of the earth in order to prevent its destruction. While the climate conditions described in the novel and during Shelley’s production of the text were likely the result of the eruption of Mount Tambora in 1815, and not a man-made dilemma, the creation of the Creature was because of Victor and manipulation of the natural world. The monster who, while put together by a man, is an amalgamation of various bits of humans, a biological product of the natural world, is not distressed by the icy conditions facing Europe in the summer, unlike Victor who often describes the natural world as intimidating, like the Alps just as he does with his creation and classifies these dangers as innate qualities, rather than the possible result of his actions. It is through this dissociation from the natural world that some individuals in the present, when faced with environmental crises like recent megafires in California, refuse to consider the effects the human population has had on the nature for these disasters to arise, just as Victor affected nature in his mistreatment of the monster, despite scientific evidence of it. Because these people reject to realize they themselves are natural components of the environment and evade their role in its declining status, like Victor runs from his fear of the monster, they do not see their actions to be blamed for the chaos that goes around them and, as a result, do not find need to change their practices to correct these issues. Mary Shelley’s Frankenstein teaches that we, as products of nature, have influence on it’s well-being, as much as volcanic eruptions or other inevitable phenomena, and must become like Frankenstein’s monster in acknowledging that link in order to realize when we have caused the world damage to mend it and our own faults.

-Wendy Gutierrez

Barriers and Identity

Bianca Lopez Munoz

Safie’s tale is not only about her uncertainty and rejection but also her determination. “The prospect of marrying a Christian and remaining in a country where women were allowed to take a rank in society, was enchanting to her” (112). Because of her mother, Safie is not only curious about the world beyond her servitude, but she also wishes and aspires for a better situation than she is currently at. The same sort of aspirations go for Safie’s father, though shady, he does aspire to be in a better place than incarcerated. Both these individuals are criminalized and rejected by Western society because they are foreigners. Felix sees the injustice they experience and decides to help. The creature, who has been rejected by humanity this whole time, craves acceptance and he seeks that acceptance in Victor. The creature sees Victor as a possible gateway for acceptance and stability in his nomadic life.

The borderlands that Gloria E. Anzaldúa talks about are invisible that are placed on individuals wether they be language barriers or geographical border lines. Safie faced a language barrier with Felix and physical barriers while moving through different countries. Similarly, the creature also faced language barriers as well as geographical barriers, they climbed mountains and walk through forests with not much knowledge of the area! Safie’s mother was a christian arab and her father was not. This, added to her connection with Felix, adds to her ‘creolization’ or the mixing of her culture with Felix’s and is some form of mestizaje. The creature is a mix of different individual’s body parts, as well as what they learned through reading and observing humanity so that in itself is a form of mixing of perspectives.

The marginalization in Mary Shelley’s Frankenstein is not limited to the monster as discourse on other peoples, like the Turkish Safie, are also presented. This inclusion demonstrates how the the subaltern crosses cultures and lands, both figuratively and literally, and is constructed by the view of the body or people in power, distorting a subject’s view of themselves.

The stem from the philosophies of W.E.B. DuBois and Ngũgĩ wa Thiong’o. According to W.E.B. DuBois, the “veil” or “double consciousness” is the idea that individuals, especially that of minorities and disenfranchised people, are seen from the view of those in power, usually white, colonizing people, and from their own view perspective. As a result, marginalized subjects are insiders, by inhabiting a society and existing as singular beings, but also outsiders, since they do not and are, therefore, outsiders. The problem with this is that the perspective of the ruling becomes the dominant one that is pressed onto the subjected as truth, hindering the individual subject from realizing their own subjectivity because of governing interference, which Thiong’o terms internal colonialism. As a result of internal colonialism, the way of colonized or subjugated people is seen as flawed or inferior. By adopting the values and beliefs of those in power, people abide by the “proper,” “civil” social ideals established by dominant forces, despite the civility already present in their old ways that simply weren’t an exact reproduction of the dominant.

These theories are presented in Frankenstein through the relationship of the monster and Safie to the communities they inhabit and oppress them. Both characters are placed into societies in which they are expected to abide by, especially as members of marginalized people like women and the deformed. Safie is “sickened at the prospect of…being immured within the walls of a haram, allowed only to occupy herself with infantile amusements, ill suited to the temper of her soul, now accustomed to grand ideas and noble emulation for virtue” (Shelley 111). While the ideals set on women in the Turkish society Safie comes from is considered the proper life for women to follow, as determined by the men in power in the patriarchal society, it’s not the case of Safie. This would undoubtedly be the faith of Safie if she were to have stayed in her homeland in which she falls within society as a Turk but, through the eyes of the powerful, is also an outsider for being a woman with virtually no power or authority to dictate social protocol. While Safie is able to leave this society and migrate to Europe, she is still acknowledged as an outsider as a result of her place of origin, and consequential difference in appearance, and as a woman. The monster’s experience is similar as he inhabits a society in which one must abide by certain appearances and manners. While he, like Safie, attempts to gain knowledge of Western thought, the dominating philosophy, and intellect in order to assimilate and become fully integrated into the community, he will always be viewed as an outsider because of his inhuman appearance and origin from the dead. Nevertheless, the reigning European values and ideals is still held as the proper one. Safie and the monster can’t be full insiders of the society and are subjected to the ruling consciousness, despite the tension with their own individual consciousness as people who have been no different from those in power whose perceptions have internally colonized, nor less civilized. For this reason, Safie and the monster weep over “the hapless fate” of the Native Americans (108). Although North America was Native land, European colonization asserted power over the natives and established their ideals of beauty, civilization, and government onto the people, despite already being established. The Native Americans become a minority and foreigners in their own land and submit to the governing consciousness and colonizing ideals Safie and the monster have been convinced of. While all these groups are expected to follow the tenets of the societies that dominate them, they can never truly be a part of them and they know it.

-Wendy Gutierrez