A Bibliography of Texts about or related to Frankenstein by Mary Shelley

Good Inexpensive Edition of Frankenstein

Shelley, Mary. Frankenstein. Dover, 2014. (Uses the 1831 text).

Recommended Critical Editions of Frankenstein

If you want to use a more robust edition of Frankenstein, with commentary and notes and so on, I would recommend:

Eds. Susan J. Wolfson, and Ronald Levao. The Annotated Frankenstein. Belknap of Harvard UP, 2012. (Uses the 1818 text).

Ed. Leonard Wolf.o The Annotated Frankenstein. Clarkson N. Potter, 1977. (Uses the 1818 text).

Ed. J. Paul Hunter. Frankenstein. 2nd ed., W.W. Norton, 2015. (Uses the 1818 text).

Ed. Charles E. Robinson. The Original Frankenstein. Bodleian, 2009. (Uses Shelley’s original unpublished manuscript, supplemented by the 1818 text).

Suggested Further Reading

Adams, Carol J. “Frankenstein's Vegetarian Monster” in The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory (New York, Continuum, 1990), 108-119.

Aesop, “The Ass and the Lap-Dog”.

Beaton, Kate. Hark, A Vagrant.

Behrendt, Stephen. “Language and Style in Frankenstein,” in Approaches to Teaching Shelley’s Frankenstein. Ed. Stephen C. Behrendt. Modern Language Association of America, 1990. 78-84.

Benjamin, Walter. “The Task of the Translator.” Selected Writings Volume 1. Ed. Marcus Bullock and Michael W. Jennings.Cambridge, Mass: Belknap, 1996 .

Blake, William. “London.”

Bowerbank, Sylvia. "The Social Order VS The Wretch: Mary Shelley's Contradictory-Mindedness in Frankenstein." ELH 46, no. 3 (1979): 418-31. doi:10.2307/2872688.

Bugg, John. "“Master of Their Language”: Education and Exile in Mary Shelley's Frankenstein." Huntington Library Quarterly 68, no. 4 (2005): 655-66. doi:10.1525/hlq.2005.68.4.655.

Byron, Lord George. “A Fragment.”

 Cohen, Jeffrey Jerome. Monster Theory : Reading Culture. Minneapolis, Minn.: University of Minnesota Press, 1996.

Coleridge, Samuel Taylor. The Rime of the Ancient Mariner.

Constantin-François Volney, The Ruins: Or, Meditation on the Revolutions of Empires: and the Law of Nature.

Cornelius Agrippa, Three Books of Occult Philosophy

Crimmins, Jonathan. "Mediation's Sleight of Hand: The Two Vectors of the Gothic in Mary Shelley's "Frankenstein"." Studies in Romanticism 52, no. 4 (2013): 561-83. 

de La Fontaine, Jean. “The Ass and the Lap-Dog”.

Dunn, Richard J. "Narrative Distance In "Frankenstein"." Studies in the Novel 6, no. 4 (1974): 408-17. http://www.jstor.org/stable/29531685.

Esther K. Mbithi. "The Significance, for Readers in the Twenty-first Century, of the Character of Safie in Mary Shelley's Frankenstein." Littera Aperta 3, no. 3 (2015): 37-46.

Feldman, Paula. “Probing the Psychologic Mystery of Frankenstein,” in Approaches to Teaching Shelley’s Frankenstein. Ed. Stephen C. Behrendt. Modern Language Association of America, 1990. 67-77.

Forry, Steven Earl. Hideous Progenies : Dramatizations of Frankenstein from Mary Shelley to the Present. Philadelphia: University of Pennsylvania Press, 1990.

Godwin, William. An Enquiry Concerning Political Justice.

Goethe, Johann Wolfgang Von. The Sorrows of Young Werther, trans. Bayard Quincy Morgan. Oneworld Classics, 2010.

Goold, Patrick R. Why the U.K. Adaptation Right is Superior to the U.S. Derivative Work Right, 92 Neb. L. Rev. (2014) Available at: https://digitalcommons.unl.edu/nlr/vol92/iss4/5

Guyer, Sara. "Testimony and Trope in "Frankenstein"." Studies in Romanticism 45, no. 1 (2006): 77-115. doi:10.2307/25602035.

Hayden, Judy A. ed. The New Science and Women’s Literary Discourse: Prefiguring Frankenstein. Palgrave, 2011.

Head-König, Anne-Lise. “Religion Mattered: Religious Differences in Switzerland and Their Impact on Demographic Behaviour (End of the 18th Century to the Middle of the 20th Century).” Historical Social Research / Historische Sozialforschung, vol. 42, no. 2 (160), 2017, pp. 23–58.

Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006.

Koretsky, Deanna P. "“Unhallowed Arts”: Frankenstein and the Poetics of Suicide." European Romantic Review 26, no. 2 (2015): 241-60.

Lamb, Charles and Mary Lamb. Shakespeare for Children.

Lamb, Charles. The Old Familiar Faces.

Lamoureux, Johanne, Nicolas Xanthos, Michelle Côté, Richard Bégin, Bertrand Gervais, and André Habib. "Frankenstein Et Les Ruines De Volney." Protée 35, no. 2 (2007): 65-73.

Marshall, Tim. Murdering to Dissect: Grave-robbing, Frankenstein, and the Anatomy Literature. Manchester UP, 1995.

McQueen, Sean. "Biocapitalism and Schizophrenia: Rethinking the Frankenstein Barrier." Science Fiction Studies 41, no. 1 (2014): 120-35.

Mellor, Anne K. “Making a ‘monster’: an introduction to Frankenstein” in The Cambridge Companion to Mary Shelley. Ed. Esther Schor. Cambridge UP, 2003.

Milton, John. Paradise Lost. Norton, 2005.

Moretti, Franco. Signs Taken for Wonders: Essays in the Sociology of Literary Forms, trans. Susan Fischer, David Forgacs and David Miller (1983) London: Verso, 83-90.

Morton, Timothy, ed. A Routledge Literary Sourcebook on Mary Shelley’s Frankenstein. Routledge, 2002.

Ozolins, Aija. "Dreams and Doctrines: Dual Strands in "Frankenstein"." Science Fiction Studies 2, no. 2 (1975): 103-12. 

Picart, Caroline Joan. “Re‐birthing the monstrous: James Whale's (Mis) reading of Mary Shelley'sFrankenstein,” Critical Studies in Mass Communication, 15:4, 382-404.

Picart, Caroline Joan, and ProQuest. Remaking the Frankenstein Myth on Film : Between Laughter and Horror. SUNY Series in Psychoanalysis and Culture. Albany: State University of New York Press, 2003.

Picart, Caroline Joan. “Visualizing the Monstrous in Frankenstein Films.” Pacific Coast Philology, 35:1 (2000), pp. 17-34.

Plutarch. Parallel Lives, trans. Bernadotte Perrin.

Polidori, John. The Vampyre.

Radcliffe, Ann. The Mysteries of Udolpho.

Shelley, Mary. Frankenstein: Annotated for Scientists, Engineers, and Creators of All Kinds. MIT Press, 2017.

Shelley, Percy. Prometheus Unbound.

Stoker, Bram. Dracula.

Turney, Jon. Frankenstein’s Footsteps: Science, Genetics and Popular Culture. Yale UP, 1998.

Vasbinder, Samuel Holmes. Scientific Attitudes in Mary Shelley’s Frankenstein. UMN Research Press, 1984.

Veeder, William. “Gender and Pedagogy: The Questions of Frankenstein,” in Approaches to Teaching Shelley’s Frankenstein. Ed. Stephen C. Behrendt. Modern Language Association of America, 1990. 38-49.

Vincent, Patrick. "“This Wretched Mockery of Justice”: Mary Shelley’s Frankenstein and Geneva." European Romantic Review 18, no. 5 (2007): 645-61.

Walling, William. “The Context of English Romanticism,” in Approaches to Teaching Shelley’s Frankenstein. Ed. Stephen C. Behrendt. Modern Language Association of America, 1990. 105-111.

Wolf, Leonard. Notes to The Annotated Frankenstein by Mary Shelley. New York: Clarkson N. Potter, 1977.

Wolfson, Susan J. “Feminist Inquiry and Frankenstein,” in Approaches to Teaching Shelley’s Frankenstein. Ed. Stephen C. Behrendt. Modern Language Association of America, 1990. 50-59.

Wolfson, Susan J. and Ronald L. Levao. Notes to The Annotated Frankenstein by Mary Wollstonecraft Shelley. London: Belknap, 2012.

Wollstonecraft, Mary. A Vindication of the Rights of Woman. Arcturus, 2018.

Wollstonecraft, Mary. An Historical and Moral View of the Origin and Progress of the French Revolution.

Wordsworth, William. “I Wandered Lonely as a Cloud.”

Wordsworth, William. Lines Composed a Few Miles above Tintern Abbey, On Revisiting the Banks of the Wye during a Tour.

Dracula Adaptations

Bram Stoker’s Dracula has been a popular best-seller since it was first published in 1897. It was immediately considered for adaptation. Bram Stoker himself was a friend and business manager of one of the most famous actors of his day, Sir Henry Irving. Stoker wanted Irving to perform as Dracula in a stage adaptation of the book. You can read more about Sir Henry Irving here.

Sir Henry Irving, actor and Bram Stoker’s friend, who Stoker wanted to be in a Dracula adaptation on the stage

Sir Henry Irving, actor and Bram Stoker’s friend, who Stoker wanted to be in a Dracula adaptation on the stage

Henry Irving never did play Dracula, and there was no stage Dracula adaptation while Bram Stoker was alive. However, the book was adapted into a play starring Bela Lugosi in 1924. Bela Lugosi, of course, went on to star in the 1931 film adaptation which is still the most lasting popular idea of who Dracula is.

Bela Lugosi as Dracula in the 1931 dracula adaptation from Universal Studios.

Bela Lugosi as Dracula in the 1931 dracula adaptation from Universal Studios.

Since then Dracula has been adapted to film more than 200 times, and each new adaptation re-imagines Bram Stoker’s original book for a new context. How successful are these adaptations? That’s a loaded question that depends on the assumptions you have about what constitutes a successful adaptation. Is it faithfulness to the original? Or is it bringing something new to the old material? Or is it simply the quality of the final product, judged on its own merits?

No matter how many adaptations of Dracula exist, the original novel by Bram Stoker will still exist as well. No adaptation can erase its source material. So why not spend some time with the original, and read Bram Stoker’s Dracula with me? You can register for the course here, and when you’ve spent some time studying the book with me, be sure to let me know what your favourite adaptation is!

Online Courses

What is the advantage of online courses over physical courses? I don’t want to advertise my courses here, I want to think for a second about what online courses do and what they’re for. A part of that, of course, is who they’re for. Who takes online courses? And who should? They are not all created equal. Some are just the online version of on-campus courses. I’ve taught that kind of course at Memorial University. The advantage of these is that they allow students who can’t physically be in the classroom to still take the course, experience the material, and even somewhat experience the community of a campus. You take an online course through a university, and you get credit towards your degree even if you can’t bring your body to the physical space of the classroom. The downside of that is that typically the instructors try to recreate the community of a physical classroom and fail. Students are required to take part in online discussions, and the required nature of the discussions makes them stilted and stiff.

The second major category of is free online courses. These are great for what they are, but it’s a cliche that you get what you pay for, and in the case of free courses it’s mostly true. An in-depth course requires time. No matter how insightful or knowledgable an instructor is, an in-depth course takes time to make, and it’s a rare person who is able to donate that time. Mostly instructors need to be paid by someone for their time in order to spend it.

Online courses that really cost money allow you to get the depth that can’t be generated for free. You don’t get anything from the course except the experience of taking it. That might seem like a downside, but I really believe that it is an advantage. Education can be an end in itself, not just a means towards an end. Paradoxically, education, like community, achieves more when it’s not trying to achieve anything.

Click here to sign up for my courses on Frankenstein, Dracula, Werewolves, Beowulf, Zombies, and more.

Online Courses

Online Courses

Frankenstein Book

More people know the movie Frankenstein than know the book, but of course even people who know the movie best should be aware that Frankenstein is a book. Frankenstein was written by Mary Shelley in the early eighteen hundreds. Since it was first published, Frankenstein has attracted attention and admiration from readers of all kinds. Mary Shelley’s book Frankenstein is often considered a foundational text in the history of science fiction; it changed the course of horror literature; it is one of the most unique books about monsters ever written. Mary Shelley’s Frankenstein has enjoyed massive popularity ever since it was first published in 1818, and more than two hundred years later it still delights and horrifies readers. There are many aspects that make Frankenstein memorable and influential. One surprising fact is that author Mary Shelley was only nineteen years old when she wrote it! The success of her Frankenstein would be the envy of most nineteen year old authors. Many people know that the central character, for whom the book is named, is not the monster, but its creator, Victor Frankenstein. Just as Victor Frankenstein created a monster, Mary Shelley also created something: she created the book which has lasted for two centuries now. We can expect it to last even longer! Find out more about Mary Shelley’s Frankenstein by taking my eight-week course, in which I will go much more in depth, teach you facts about writing of Frankenstein, and also provide university-level analysis. You can sign up for the course here.

Frankenstein Book

Frankenstein Book