The monster created by Frank N. Stein to eat rubbish pleases everyone but then it loses its appetite and rubbish starts to pile up on the streets. Frank realises th at the monster is love sick but can he create another lady m onster? '
This “thought-provoking and . . . unabashedly entertaining . . . novel defies conventional expectations and exists, brilliantly and defiantly, on its own terms” (Sarah Lotz, New York Times Book Review). Lake Geneva, 1816. Nineteen-year-old Mary Shelley is inspired to write a story about a scientist who creates a new life-form. In Brexit Britain, a young transgender doctor called Ry is falling in love with Victor Stein, a celebrated professor leading the public debate around AI and carrying out some experiments of his own in a vast underground network of tunnels. Meanwhile, Ron Lord, just divorced and living with his mom again, is set to make his fortune launching a new generation of sex dolls. Across the Atlantic, in Phoenix, Arizona, a cryogenics facility houses dozens of bodies of men and women who are medically and legally dead . . . but waiting to return to life. Since her astonishing debut Oranges Are Not the Only Fruit, Jeanette Winterson has achieved worldwide acclaim as “one of the most daring and inventive writers of our time” (Elle). In Frankissstein, she shares an audacious love story that weaves together disparate lives into an exploration of transhumanism, artificial intelligence, and queer love. Longlisted for the Booker Prize
Megan Dunn had lost the plot—in her life and in her art. Her attempt to write a fictional tribute to Fahrenheit 451 wasn’t going well. Her employer, the bookseller Borders, was going bust. Her marriage was failing. Her prospects were narrowing. The world wasn’t quite against her – but it wasn’t with her either. Riffing on Ray Bradbury’s classic novel about the end of reading, Tinderbox is one of the most interesting books in decades about literary culture and its place in the world. More than that, it’s about how every one of us fits into that bigger picture – and the struggle to make sense of life in the twenty-first century. Ironically enough for a book about failures in art, Tinderbox itself is a fantastic achievement: a wonderfully crafted and beautifully written work of non-fiction that is by turns brilliantly funny and achingly sad. Tinderbox is one of the most successful books about failure you will ever read. Praise for Tinderbox: ‘Megan Dunn’s writing is utterly modern, sharp, unsentimental and beautiful; she tells a gripping story laced with humour and pathos. She is a writer to watch.’ - Michèle Roberts ‘Megan Dunn possesses a rare combination of assets – a highly original voice, great subject matter, enormous insight and serious literary ambition. Plus, she’s funny. Her work leaps off the page and makes the reader want more.’ - Kate Pullinger “It’s already one of my favourite New Zealand books.” – Hera Lindsay Bird, The Spinoff “Megan Dunn is a comic genius.” – Susanna Andrew, Metro “A wonderful, restless, formally daring first book” – James Cook, Review 31 Praise for Things I Learned at Art School: “It is, quite simply, a work of brilliance. It is an intelligent, sharp, and incisive body of work.” – Lana Lopesi, Metro “Dunn has an extraordinary facility with tone, an ability to be consistently funny while telling sad stories.” – David McCooey, Sydney Review of Books. “A rich, rewarding, funny and poignant memoir.” – Sally Blundell, Academy of New Zealand Literature “Dunn takes the reader on a digressive, funny and unflinching journey through late-20th-century New Zealand.” – Paula Morris, New Zealand Listener “As Megan Dunn makes clear in her wise, witty and wonderful memoir, the seeds of a creative life will bloom in the most unexpected of places.” – Jennifer Higgie, author of The Other Side
A very funny green book that raises pressing current issues about waste and recycling. When Frank's classmates notice that his name in the register reads Frank N. Stein they insist that he build a monster. The boys make a creature out of rubbish but then a flash of lightning brings the monster alive. However, when they discover that all the monster wants to do is eat rubbish, they quickly realise how useful the monster will be. But try telling that to parents and police, the army and the adult world in general! A very funny green book, that raises pressing current issues of about waste and recycling.
Frankenstein is a novel by Mary Shelley. It was first published in 1818. Ever since its publication, the story of Frankenstein has remained brightly in the imagination of the readers and literary circles across the countries. In the novel, an English explorer in the Arctic, who assists Victor Frankenstein on the final leg of his chase, tells the story. As a talented young medical student, Frankenstein strikes upon the secret of endowing life to the dead. He becomes obsessed with the idea that he might make a man. The Outcome is a miserable and an outcast who seeks murderous revenge for his condition. Frankenstein pursues him when the creature flees. It is at this juncture t that Frankenstein meets the explorer and recounts his story, dying soon after. Although it has been adapted into films numerous times, they failed to effectively convey the stark horror and philosophical vision of the novel. Shelley's novel is a combination of Gothic horror story and science fiction.
For Smith, "lesbian panic" is often a fear of losing one's identity and value within the heterosexual paradigm. This book traces the history of "lesbian panic" through key works: The Voyage Out and Mrs. Dalloway; The Little Girls and Eva Trout; King of a Rainy Country; The Golden Notebook; and The Prime of Miss Jean Brodie.
This lively history of the Frankenstein myth, illuminated by dozens of pictures and illustrations, is told with skill and humor. Hitchcock uses film, literature, history, science, and even punk music to help readers understand the meaning of this monster made by man.
The hugely popular early chapter book series re-emerges -- now in e-book! The Bailey School Kids take a field trip to a science museum, where they meet Dr. Victor and his hulking assistant, Frank. Secrets lurk behind every door in the spooky old museum. What's Dr. Victor doing in his hidden lab? And could Frank be Frankenstein's monster -- even though he loves to plant flowers?
Science fiction, fantasy, comics, romance, genre movies, games all drain into the Cultural Gutter, a website dedicated to thoughtful articles about disreputable art-media and genres that are a little embarrassing. Irredeemable. Worthy of Note, but rolling like errant pennies back into the gutter. The Cultural Gutter is dangerous because we have a philosophy. We try to balance enthusiasm with clear-eyed, honest engagement with the material and with our readers. This book expands on our mission with 10 articles each from science fiction/fantasy editor James Schellenberg, comics editor and publisher Carol Borden, romance editor Chris Szego, screen editor Ian Driscoll and founding editor and former games editor Jim Munroe.