Dr. Victor Frank is a brilliant neurosurgeon who has developed an incredible new plastic substance that is stronger than bone and is bulletproof. He wants to build a man using bionics and his plastic that will advance the medical world. However, what is meant for noble purposes takes an unexpected turn. The college grant committee refuses him the funds he is counting on, and he becomes hell-bent on revenge. Victor is the great-great-grandson of the original Dr. Frankenstein. Victor discovers his grandfather’s journal for reanimating life. He tries to maintain order, even with his fiancée, but the accidents cause a lust for revenge. This noble cause becomes a tale of horror and vengeance. A monster like never before is loose, and no one is safe, not even the good doctor. Murder and fright have a heyday. The tale is horrific; the consequences are unbelievable.
A gothic horror story that imagines what happens to Frnkenstein's monster after the death of his creator, Victor. What becomes of a monster without its maker? At the end of Mary Shelley’s classic novel, the creator dies but his creation still lives, cursed to a life of isolation and hatred. Frankenstein’s Monster continues the creature’s story as he’s compelled to discover his humanity, to escape the ship captain who vowed to the dying Frankenstein to hunt him down—and to resist the woman who would destroy them all. This is a tale of passion, revenge, violence, and madness—and the desperate search for meaning in an often meaningless world.
This edited collection explores the afterlife of Mary Shelley's Frankenstein in theatre and film, radio, literature and graphics novels, making a substantial contribution to the field of adaptation studies.
Includes Mary Shelley's Frankenstein—two gothic novels in one! In this chilling sequel to Mary Shelley's famous horror classic, Hilary Bailey imagines what might have happened if Dr. Frankenstein had created a female companion for his monster. Years after he inadvertently set in motion the events that caused a series of deranged murders, Dr. Frankenstein, now living a happy and privileged life, sets to work on restoring the voice of beautiful young opera singer Maria Clementi. But things are not always as they seem, and soon the rumors about Victor Frankenstein begin to worry his new assistant, Jonathan Goodall. When Jonathan spies a mysterious figure lurking near Maria's theatre, and later discovers his own wife and child murdered in cold blood, he knows he'll do anything to uncover the truth of Frankenstein and his newest experiments—a truth he knows will change everything... For more than two hundred years, Mary Shelley's Frankenstein; or, The Modern Prometheus has kept readers enthralled. Shelley brought to life not only Frankenstein's monster, but also a masterpiece that authors have reimagined again and again. Frankenstein's Bride is perfect for seekers of the supernatural, classic horror fans, and readers of gothic fiction.
For all the scholarship devoted to Mary Shelley's English novel Frankenstein, there has been surprisingly little attention paid to its role in American culture, and virtually none to its racial resonances in the United States. In Black Frankenstein, Elizabeth Young identifies and interprets the figure of a black American Frankenstein monster as it appears with surprising frequency throughout nineteenth- and twentieth-century U.S. culture, in fiction, film, essays, oratory, painting, and other media, and in works by both whites and African Americans. Black Frankenstein stories, Young argues, effect four kinds of racial critique: they humanize the slave; they explain, if not justify, black violence; they condemn the slaveowner; and they expose the instability of white power. The black Frankenstein's monster has served as a powerful metaphor for reinforcing racial hierarchy—and as an even more powerful metaphor for shaping anti-racist critique. Illuminating the power of parody and reappropriation, Black Frankenstein tells the story of a metaphor that continues to matter to literature, culture, aesthetics, and politics.
Delving beneath Southern California’s popular image as a sunny frontier of leisure and ease, this book tells the dynamic story of the life and labor of Los Angeles’s large working class. In a sweeping narrative that takes into account more than a century of labor history, John H. M. Laslett acknowledges the advantages Southern California’s climate, open spaces, and bucolic character offered to generations of newcomers. At the same time, he demonstrates that—in terms of wages, hours, and conditions of work—L.A. differed very little from America’s other industrial cities. Both fast-paced and sophisticated, Sunshine Was Never Enough shows how labor in all its guises—blue and white collar, industrial, agricultural, and high tech—shaped the neighborhoods, economic policies, racial attitudes, and class perceptions of the City of Angels. Laslett explains how, until the 1930s, many of L.A.’s workers were under the thumb of the Merchants and Manufacturers Association. This conservative organization kept wages low, suppressed trade unions, and made L.A. into the open shop capital of America. By contrast now, at a time when the AFL-CIO is at its lowest ebb—a young generation of Mexican and African American organizers has infused the L.A. movement with renewed strength. These stories of the men and women who pumped oil, loaded ships in San Pedro harbor, built movie sets, assembled aircraft, and in more recent times cleaned hotels and washed cars is a little-known but vital part of Los Angeles history.
‘Re-balancing China’ addresses three key sets of issues in China’s political economy. Part One provides an analysis of the profound effect of the global financial crisis upon China’s economy, as well as the positive impact of the massive rescue package that was implemented in response to the crisis. Part Two focuses on the challenge of globalization for China’s industrial policy. After more than two decades of industrial policy, China still has a negligible number of large firms that are competitive in global markets. China’s experience presents a fundamental challenge to traditional concepts of industrial policy and development. Part Three examines China’s international relations – in particular, its relationship with the US and the interactions between the two countries in the East and South China Seas.
In November 2010, a small but growing group of Victorian Alternate Historians, often referred to as Steampunk, met for the first conference of its kind. There was music, fashion, merchants, and all the other trappings of the Victorian time period set in a venue of “what if.” What set this conference apart was the academic nature of the presentations. Utilizing the internet and scholarly publications, a call for papers was sent out and the response was impressive. Faculty, graduate students, specialists, and general interest writers wrote, prepared, and presented on a wide array of subject matters. This publication is the culmination of those presentations. Before, during, and after the conference, Steampunk became a much debated and discussed subject on our list servers and emails. While some had no idea what Steampunk was and others had an idea that they thought was correct, there was no “one size fits all” definition to this new genre. It was at that point that a number of us that had been at the conference sat down and tried to describe the phenomenon. This is what we came up with: Steampunk is a juxtaposition of science fiction, fantasy, and Victorian alternate history. Its roots are in the literature and architecture of the late 19th century while having its branches reach into the future. It is The League of Extraordinary Gentlemen, the music of Abney Park, the engineering of Nikola Tesla, and the aviation of helium and hot air. In the 1980s a subculture of science fiction found a foothold in literature and science fiction conventions. These “paths not taken” alternative histories gave the cyberpunk and Goth followers at the conventions a new path to follow. There were the works of H. G. Wells, the undersea submersible of Captain Nemo in Verne’s 20,000 Leagues Under the Sea, and the Victorian work of Mary Shelley’s Frankenstein to start with. Add to that the architecture of the Victorian age as a gentrification in many of the inner cities of America and England, and you have a breeding ground for something not quite realized but possibly attainable.
Finance Fictions takes the measure of what it means to live in a world ruled by high finance by examining the tension between psychosis and realism that plays out in the contemporary finance novel. When the things traded at the center of the economy cease to be things at all, but highly abstracted speculations, how do we come to see the real? What sorts of narrative can accurately approach the actual workings of a neoliberal economy marked by accelerating cycles of market crashes, economic and political crisis, and austerity? Revisiting such twentieth-century classics of the genre as Tom Wolfe's Bonfire of the Vanities and Bret Easton Ellis’s American Psycho, De Boever argues that the twenty-first century is witnessing the birth of a new kind of realistic novel that can make sense of complex financial instruments like collateralized debt obligations, credit default swaps, and digital algorithms operating at speeds faster than what human beings or computers can record. If in 1989 Wolfe could still urge novelists to work harder to “tame the billion-footed beast of reality,” today’s economic reality confronts us with a difference that is qualitative rather than quantitative: a new financial ontology requiring new modes of thinking and writing. Mobilizing the philosophical thought of Quentin Meillassoux in the close reading of finance novels by Robert Harris, Michel Houellebecq, Ben Lerner and less well-known works of conceptual writing such as Mathew Timmons’ Credit, Finance Fictions argues that realism is in for a speculative update if it wants to take on the contemporary economy—an “if” whose implications turn out to be deeply political. Part literary study and part philosophical inquiry, Finance Fictions seeks to contribute to a new mindset for creative and critical work on finance in the twenty-first century.
From the author of dozens of #1 "New York Times" bestsellers and the creator of many unforgettable movies comes a vivid, intelligent, and nostalgic journey through three decades of horror as experienced through the eyes of the most popular writer in the genre.
