Frankenstein or The Modern Prometheus (Norton Critical Edition)

Widely considered to be the first SF work, Frankenstein deals with the "responsibility and consequences of human creation (Bomarito & Whitaker, 2006)." This theme is underscored by Shelley's references to Paradise Lost and Prometheus. Today, many mistakenly think the central theme is a warning against going too far with science, however, that was not Shelley's intention. The story attempts to show what can occur when someone "violates the natural order (Bomarito & Whitaker, 2006) and also, the anguish endured when the creation is rejected by its creator.

Frankenstein is soft-SF as Shelley does not provide a detailed description of the science behind the creation of the monster and it certainly deals more with social issues. My previous exposure to this book was a course on Weimar Germany in which Frankenstein was discussed to gain a better understanding of Europe prior to WWI. Looking at it now through the lens of SF only added to my appreciation of the book.

Frankenstein is one of those "you may think you know the story" books ... the idea of this book sort of gets ingrained at some point, but reading it you discover it's not really like that at all. The story is much less ridiculous than the caricature of it; Shelley's tale is much more sinister and more philosophical, and makes for absolutely gripping reading. The monster is no awkward, shambling zombie-type, but something much more ambiguous and, at times, even sympathetic.

The contextual essays, notes on the text, and other material made available in the Norton Critical edition are, as usual, both useful and enlightening. The pieces on the composition and publication of the book, and the evolution of the text, were particularly handy. The text, of the 1818 first edition, is kept mostly clean and free of obstructions. Overall, certainly a good way to experience this classic. ( )

I don't think I had any idea how much I would enjoy this book. Of course, the films focus on the monster terrorizing the village, but the book is more about the creator's internal struggles and remorse. Great Gothic novel. The style reminds me in many ways of Wilkie Collins's Woman in White, somewhat because of the letters and different frames of reference, but also because of the slow, steady building of the story. The plot takes hold of you and you cannot put it down, but the writing is also beautiful. ( )

A Fantastic Story.
Fantastic, filled with both vivid emotions and exciting action, Mary Shelley's story of the haunted Victor Frankenstein, and his creation who does the haunting, still stirs the soul. Just as Goethe's Faust sought the secrets of arcane knowledge, Victor Frankenstein engages in the secrets of both licit and illicit science to bring a being to life. Once this is accomplished he immediately rues his action and spends the rest of the novel trying through a variety of means to atone for his mistake.
The novel is a classic tale of the uncanny which, according to the novelist and critic David Lodge, invariably use "I" narrators, imitating documentary forms of discourse like confessions, letters and depositions to make events more credible. Beginning with letters from Robert Walton, whose own search for the source of the magnetic north pole mirrors Victor Frankenstein's quest, the first book of the novel relates Victor Frankenstein's narrative of his youth and education. It surely was more than coincidental that Victor attended University at Ingolstad which was heralded as the original site of the Faust legends that Goethe adapted for his immensely influential drama.
'Monster' or 'Creature'?
The center of the novel continues Victor's story and that of his creation, the monster. At least that is what he calls his creation. While it is monstrous in the sense that it is larger than normal human size it is a creature made of human parts and, we find after some intervening events in Victor's life that the creature has some very human traits like the need for companionship -- one that is not met by his creator. Victor's emotions seem to swing from the the heights of elation to the depths of despair coloring his actions and clouding his reason. I found the monster's narration to be the most persuasive of the two. He pleads with Victor, " Remember, that I am thy creature: I ought to be thy Adam; but I am rather the fallen angel, whom thou drivest from joy for no misdeed."(p 66) Victor is unable to satisfy him and the monster who searches for acceptance throughout attempts to exert power over his creator as he tells him, "You are my creator, but I am your master; -obey!"(p 116) His words and actions only serve to speed the descent of Victor.
I saw the monster as a classic example of "the other", a precursor to modern images much as those found in Kafka. The action builds effectively through the third book of the novel building suspense and leading to an ending that involves a triangle of relationships between Victor, the creature, and Robert Walton whose narrative in letters bookends the tale. The power of the book, however, remains in the questions it raises; questions that we are dealing with to this day. ( )

Norton Critical editions are almost always amazing. This is no exception. The supplementary reading adds so much to the experience of this wonderful novel on the human condition and it's relationship to the "other." This is recommended for readers of all levels, especially those interested in early science fiction.