Did you know that the idea for Frankenstein came to Mary Shelley in a vivid dream? Or that her many of her loved ones suffered tragic deaths? What are her most famous quotes? And what did she say when rejecting a marriage proposal from actor, poet and playwright John Howard Payne? This fascinating book contains over one hundred facts about Shelley, organised into categories for easy reading. Whether you are studying the author for a project or you are just interested in finding out more about the creator of one of the most enduring monsters of all time, this is the book for you.
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The inspiring story of the girl behind one of the greatest novels -- and monsters -- ever, perfectly timed for the 200th anniversary of the publication of Frankenstein. For fans for picture book biographies such as I Dissent or She Persisted. How does a story begin? Sometimes it begins with a dream, and a dreamer. Mary is one such dreamer, a little girl who learns to read by tracing the letters on the tombstone of her famous feminist mother, Mary Wollstonecraft, and whose only escape from her strict father and overbearing stepmother is through the stories she reads and imagines. Unhappy at home, she seeks independence, and at the age of sixteen runs away with poet Percy Bysshe Shelley, another dreamer. Two years later, they travel to Switzerland where they meet a famous poet, Lord Byron. On a stormy summer evening, with five young people gathered around a fire, Byron suggests a contest to see who can create the best ghost story. Mary has a waking dream about a monster come to life. A year and a half later, Mary Shelley's terrifying tale, Frankenstein: or, the Modern Prometheus, is published -- a novel that goes on to become the most enduring monster story ever and one of the most popular legends of all time. A riveting and atmospheric picture book about the young woman who wrote one of the greatest horror novels ever written and one of the first works of science fiction, Mary Who Wrote Frankenstein is an exploration of the process of artistic inspiration that will galvanize readers and writers of all ages.
A delightful, funny story of friendship, ghost chores, a spooky house and a professional haunter. Meet Sir Simon, Super Scarer. He's a professional ghost who has been transferred to his first house. And just in time! He was getting tired of haunting bus stops and forests and potatoes. And to top it off, this house is occupied by an old lady -- they're the easiest to haunt! But things don't go as planned when it turns out a KID comes with this old lady. Chester spots Simon immediately and peppers him with questions. Simon is exasperated. . . until he realizes he can trick Chester into doing his ghost chores. Spooky sounds, footsteps in the attic, creaks on the stairs -- these things don't happen on their own, you know! After a long night of haunting, it seems that maybe Chester isn't cut out to be a ghost, so Simon decides to help with Chester's human chores. Turns out Simon isn't cut out for human chores either. But maybe they're both cut out to be friends . . .
This book explores how nineteenth-century science stimulated the emergence of weird tales at the fin de siècle, and examines weird fiction by British writers who preceded and influenced H. P. Lovecraft, the most famous author of weird fiction. From laboratory experiments, thermodynamics, and Darwinian evolutionary theory to psychology, Theosophy, and the ‘new’ physics of atoms and forces, science illuminated supernatural realms with rational theories and practices. Changing scientific philosophies and questioning of traditional positivism produced new ways of knowing the world—fertile borderlands for fictional as well as real-world scientists to explore. Reading Robert Louis Stevenson’s Strange Case of Dr Jekyll and Mr Hyde (1886) as an inaugural weird tale, the author goes on to analyse stories by Arthur Machen, Edith Nesbit, H. G. Wells, William Hope Hodgson, E. and H. Heron, and Algernon Blackwood to show how this radical fantasy mode can be scientific, and how sciences themselves were often already weird.
Graham Allen provides both an introduction to and review of the critical responses to Mary Shelley's major fictions, from the Romantic period to the present day, while also pushing debates forward. The book moves beyond Frankenstein, presenting new readings of other texts such as Matilda, Valperga, The Last Man and Lodore.
Features a biographical sketch of English novelist Mary Wollstonecraft Shelley (1797-1851), compiled by Keith Parkins. Discusses her works, particularly "Frankenstein", and the authors she knew and influenced.
Theorizing Muriel Spark is the first serious attempt to engage the writing of Muriel Spark in a sustained theoretical reading. It has a particular emphasis on gender, psychoanalysis, postcolonial and deconstructive reading strategies. Drawing together a range of significant names in the field of contemporary literature and critical theory (including Judith Roof, Susan Sellers, Bryan Cheyette, Patricia Duncker, Nicholas Royle, Willy Maley, Julian Wolfreys, and Helene Cixous) this collection of essays deals with the full range of Spark's literary output. It concludes with a new interview with Muriel Spark.
This is a book about the biographical afterlives of the Romantic poets and the creation of literary biography as a popular form. It focuses on the Lives of six major poets of the period: Byron, Shelley, Wordsworth, Coleridge, Felicia Hemans, and Letitia Landon, published from the 1820s, by Thomas Moore, Mary Shelley, Thomas De Quincey, and others. It situates these within the context of the development of biography as a genre from the 1780s to the 1840s. Starting with Johnson, Boswell, and female collective Lives, it looks at how the market success of biography was built on its representation and publication of domestic life. In the 1820s and 30s biographers 'domesticated' Byron, Shelley, and other poets by situating them at home, opening up their (often scandalous) private lives to view, and bringing readers into intimate contact with greatness. Biography was an influential transmitter of the myth of 'the Romantic poet', as the self-creating, masculine genius, but it also posed one of the first important challenges to that myth, by revealing failures in domestic responsibility that were often seen as indicative of these writers' inattention to the needs of the reader. The Domestication of Genius is the most comprehensive account to date of the shaping of the Romantic poets by biography in the nineteenth-century. Written in a lively and accessible style, it casts new light on the literary culture of the 1830s and the transition between Romantic and Victorian conceptions of authorship. It offers a powerful re-evaluation of Romantic literary biography, of major biographers of the period, and of the posthumous reputations of the Romantic poets.
Curated new collections. Mary Shelley, whose Frankenstein is the foundation of modern SF, fantasy and horror fiction, was born to the writer William Godwin and social campaigner Mary Wollstonecraft. This new, special collection brings together extracts of her novels and short stories, with an emphasis on the supernatural.
