Pubblicato per la prima volta nel 1818 e ormai annoverato tra i classici della letteratura, Frankenstein ha gettato le basi non solo della moderna fantascienza, ma perfino del thriller. Il giovane Viktor Frankenstein si reca all'università di Ingolstadt coltivando l'utopia della creazione di un essere umano più intelligente e longevo. Dopo notti insonni, ripetute ricerche negli ossari e frenetici esperimenti, origina un essere più grande del normale, con sembianze deformi, da cui rifugge non appena quegli prende vita. Colto dal rimorso per quanto generato, Frankenstein cade in preda a un violento esaurimento, rasentando la follia. Tornato a casa, scopre che il fratellino William è stato ucciso proprio dal mostro, deciso a vendicarsi di colui che, pur responsabile della sua sorte, lo aveva cacciato, lasciandolo solo e ignaro del proprio destino. Nella speranza di liberarsene definitivamente, Viktor gli promette di creare un essere femminile a lui eguale, così da far cessare il tormento della solitudine, ma poco prima di ultimare la sua opera, terrorizzato dalla progenie di mostri che la coppia avrebbe potuto generare, decide di distruggerla. Scoperto l'accaduto, il mostro giura vendetta e Viktor è costretto ad assistere, impotente, all'uccisione dei suoi cari, per poi inseguire il demone fino al Polo, senza mai riuscire a trovarlo. Il dramma di uno scienziato che oltrepassa il limite umanamente consentito e l'indicibile solitudine della creatura da lui generata, che sfoga nella violenza.

Shelley's suspenseful and intellectually rich gothic tale confronts some of the most important and enduring themes in all of literture--the power of human imagination, the potential hubris of science, the gulf between appearance and essence, the effects of human cruelty, the desire for revenge and the need for forgiveness, and much more.

A futuristic story of tragic love and of the gradual extermination of the human race by plague, The Last Man is Mary Shelley's most important novel after Frankenstein. With intriguing portraits of Percy Bysshe Shelley and Lord Byron, the novel offers a vision of the future that expresses a reaction against Romanticism, and demonstrates the failure of the imagination and of art to redeem the doomed characters.

About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.

A monster assembled by a scientist from parts of dead bodies develops a mind of his own as he learns to loathe himself and hate his creator.

But my father, my beloved and most wretched father... Would he never overcome the fierce passion that now held pitiless dominion over him?

With its shocking theme of father-daughter incest, Mary Shelley’s publisher—her father, known for his own subversive books—not only refused to publish Mathilda, he refused to return her only copy of the manuscript, and the work was never published in her lifetime.

His suppression of this passionate novella is perhaps understandable—unlike her first book, Frankenstein, written a year earlier, Mathilda uses fantasy to study a far more personal reality. It tells the story of a young woman whose mother died in her childbirth—just as Shelly’s own mother died after hers—and whose relationship with her bereaved father becomes sexually charged as he conflates her with his lost wife, while she becomes involved with a handsome poet. Yet despite characters clearly based on herself, her father, and her husband, the narrator’s emotional and relentlessly self-examining voice lifts the story beyond autobiographical resonance into something more transcendent: a driven tale of a brave woman’s search for love, atonement, and redemption.

It took more than a century before the manuscript Mary Shelley gave her father was rediscovered. It is published here as a stand-alone volume for the first time.

The Art of The Novella Series

Too short to be a novel, too long to be a short story, the novella is generally unrecognized by academics and publishers. Nonetheless, it is a form beloved and practiced by literature's greatest writers. In the Art Of The Novella series, Melville House celebrates this renegade art form and its practitioners with titles that are, in many instances, presented in book form for the first time.

A monster assembled by a scientist from parts of dead bodies develops a mind of his own as he learns to loathe himself and hate his creator.

One man's search for the meaning of life and death and his extraordinary experiments to create life have profound and tragic implications for himself and for those he loves.

Dr. Victor Frankenstein dreamt of achieving great things through science – even create life. But it all went horribly wrong and he turned away from the monster he had created. Now his creation is filled with hatred and roaming the countryside. The horrific tale is captured in this striking graphic novel adaptation.

From the Longman Cultural Editions series, this second edition of Frankenstein presents Mary Shelley's remarkable novel in several provocative and illuminating contexts: cultural, critical, and literary.   

 

Series Editor Susan J. Wolfson presents the 1818 version of Mary Shelley's famous novel in its cultural and historical contexts. Like all great works of fiction, Frankenstein gains depth and dimension from its "conversation" with contemporary texts, especially those by Shelley's own parents, husband, and friends.  A lively introduction is complemented by a chronology coordinating Shelley's life with key historical events and a speculative calendar of the novel's events in the late eighteenth century.  In addition to the 1818 text, this cultural edition features the introduction to and a sample revision of the 1831 version.  New to this Edition is Frankentalk, a section of selected references to Frankenstein in the popular press, and the complete text of Richard Brinsley Peake's Frankenstein, A Romantic Drama, the first stage version of Frankenstein.