Ebook The Annotated Frankenstein

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The Annotated Frankenstein

Ebook The Annotated Frankenstein

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Review

“The Annotated Frankenstein…should appeal to scholars familiar with the novel as well as those exploring it for the first time. The editors, Susan J. Wolfson and Ronald Levao, situate the novel in its philosophical, literary, biographical and historical contexts, and provide apt illustrations and useful appendices (including examinations of the revised edition of 1831 and a timeline which juxtaposes the novel’s episodes with concurrent historical events). Its expansive, cream-coloured pages and generous margins render the volume a world unto itself, while emphasizing the worldly issues Shelley addressed in her uncanny tale.”―Michael Saler, Times Literary Supplement“First published in 1818, very possibly the most famous debut novel in English, Mary Shelley’s Frankenstein: Or, The New Prometheus has never been out of print. Far fewer people have read this somewhat difficult and didactic novel than know, or think that they know, who ‘Frankenstein’ was; long ago, the grotesque figure of Dr. Frankenstein’s Monster became detached from its literary context, as from its creator. Highly recommended is The Annotated Frankenstein, edited by Susan J. Wolfson and Ronald Levao, who seem to know, between them, all that there is to know about Frankenstein, including his myriad cinematic metamorphoses over the decades.”―Joyce Carol Oates, Globe and Mail“The Annotated Frankenstein, edited by Susan J. Wolfson and Ronald L. Levao, brings scholarship to life for the lay reader. This latest volume in the irresistible ‘annotated’ series from Harvard University Press presents the 1818 edition on oversize, creamy-white pages divided into two columns. While the story runs down the inside columns, helpful commentary runs alongside. Every geographical, biographical and literary allusion is explained; themes are highlighted; and obscure words are defined. A hundred color illustrations sprinkled throughout reproduce manuscript pages, works of art, medical etchings, portraits of Shelley and her friends, and scenes from movie treatments of this deathless tale.”―Ron Charles, Washington Post“The Annotated Frankenstein is a well-chosen collection of parts animated by a knowledgeable introduction; beyond that, it is a comprehensive work of breadth, depth, and interest enriched by over one hundred high-quality images. It is a beautiful, amiable companion… The Annotated Frankenstein achieves the editors’ ambitious goals… It offers the pleasures of a gift book while also providing readers with the fruits of decades of scholarship. Images, texts, and annotations together form an edition that is reputable, accurate, and insightful but also something more. Readers can luxuriate in the rich contexts the editors present… In beginning his story, Victor Frankenstein has insisted that intellectual pursuit provides ‘continual food for discovery and wonder.’ The success of The Annotated Frankenstein is that it allows Mary Shelley’s novel to do the same.”―Meoghan Cronin, Essays in Criticism“Mary Shelley’s classic tale of the doctor who awakened a monster gets an expanded treatment in the edition edited by Wolfson and Levao. This new treatment includes notes on Shelley’s life and highlights literary allusions within the book.”―Molly Driscoll, Christian Science Monitor“First published in 1818, Frankenstein, Or, the Modern Prometheus, has fascinated, horrified, alarmed and even enchanted us ever since. In fact, as the editors of this usefully and delightfully annotated and illustrated edition make clear, almost as soon as the book was published, the word ‘Frankenstein’ (so often wrongfully ascribed to the monster and not his creator) became synonymous with anything new, especially disturbing developments in science and technology. This edition will improve greatly one’s understanding of the book’s provenance and its era.”―Globe and Mail“This is a serious work of interpretation. Wolfson and Levao offer the most extensively annotated edition of Mary Shelley’s Frankenstein in print, a book that serves the educated but nonspecialist reader.”―J. T. Lynch, Choice“This new edition of Shelley’s nearly 200-year-old novel is replete with supplements―explanatory notes, scholarly introductions, and other special features―that enhance the text itself. Wolfson and Levao provide useful information on the author’s milieu, including details about her parents, friends, and husband, Percy Bysshe Shelley, focusing on the latter’s contributions to the novel’s birth and development.”―Morris Hounion, Library Journal“An impressive addition to the study of Frankenstein. While ideal for students of English, this book is accessible enough for anyone desiring a deeper reading of the novel, and does just what a well-annotated work should do, shedding a bright light not only on the text in question, but also on its historical moment and literary forebears.”―Publishers Weekly (starred review)“Wolfson and Levao revivify the original 1818 version of Shelley’s classic in this illuminating annotated text. Beginning with a thoroughly researched introduction to the author’s life and the ‘life’ of Frankenstein, Wolfson and Levao draw parallels between the novel’s themes and the losses and turmoil that plagued Shelley. Moving along, their commentary draws from an abundance of criticism, focusing primarily on the novel’s allusions to Paradise Lost, Coleridge’s ‘The Rime of the Ancient Mariner,’ and the myth of Prometheus. At a more local level, the duo dutifully notate Shelley’s ingenious use of language and her husband’s edits. This book is accessible enough for anyone desiring a deeper reading of the novel, and does just what a well-annotated work should do, shedding a bright light not only on the text in question, but also on its historical moment and literary forebears.”―Gabe Habash, Publishers Weekly

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About the Author

Susan J. Wolfson is Professor of English at Princeton University.

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Product details

Hardcover: 400 pages

Publisher: Belknap Press: An Imprint of Harvard University Press; Critical ed. edition (October 31, 2012)

Language: English

ISBN-10: 0674055527

ISBN-13: 978-0674055520

Product Dimensions:

9.5 x 1.5 x 10.8 inches

Shipping Weight: 3 pounds (View shipping rates and policies)

Average Customer Review:

4.5 out of 5 stars

12 customer reviews

Amazon Best Sellers Rank:

#788,175 in Books (See Top 100 in Books)

Meant for serious scholars of this work or of any of it's peripheral texts and papers. Contains a plethora of original documents, manuscripts, film stills, paintings, and tons of Shelly's personal writings. A great book for someone who wants to dig deeper into Frankenstein than just textual knowledge.

The point of an edition like this is the annotations. On the one hand, any explanatory notes are interesting, but the notes here are disappointing on two counts. First, there aren't enough of them. There are numerous 2-page spreads with no notes at all. There are any number of interesting subjects that should get notes and don't. Second, more than half of the notes are attempts to validate the editors' interpretation of Frankenstein (which I happen to agree with). Far too many notes consist of "Look! Look! She wrote 'wretch' again!!" and "Percy changed this to 'being,' but Mary changed it back to 'wretch' in 1831." Easily a quarter of the notes show that Mary was thinking about Paradise Lost when she wrote the book. Well, duh. And yes, most people capable of reading Frankenstein only need to be reminded once or twice who Adam, Eve, and Satan are.Getting the negatives out of the way: The quality of the book is shocking. It's easy to get used to getting beautiful books from Harvard and the Belknap Press. This isn't one of them. The notes are printed in a brown ink not very contrasty with the off-white paper and worse, the boards of my copy were so warped, out the packing box, that the cover hovers a good 10 degrees above the book. I have the book under about 20 pounds of other books in hopes that it will flatten. This is the risk of buying on-line, by the way. This copy would never have left a brick and mortar store in this condition.That said, the book is an interesting read. With the editors pointing and waving, it's easier to see how distorted the story has been by its popular acceptance. We've all grown up with the idea that the monster is, well, a monster. We've had evil monsters, vicious monsters, monsters who were unfortunately given bad-guy brains. Even "Mary Shelley's Frankenstein" (which isn't, the editors remark with wry accuracy) by Kenneth Branagh gives us an evil monster. And it adds insult to injury by making the plot a "love story" (one thing it emphatically is NOT) that results in Victor trying his reanimation stunt, with predictably bad results, on the dead Elizabeth. We've had crazy Victors, criminal Victors, Byronic Victors (on the bizarre notion that because the Shelleys knew Byron, they must have worshiped him), and well-meaning Victors, but the key to Shelley's vision was the monster, and he's never had his chance to defend himself, except in the novel, where his defense is eloquent. Those few chapters in which the Creature (as the editors call him) tells his own story (however compromised by the multiple narrative layers) make him the most sympathetic character in the novel.The Creature is presented in the novel as an abandoned child. It spends its first two years trying to make sense of a world it knows nothing about (while Shelley uses its experience to critique Rousseau on education; a matter I wish the editors had examined in more detail), to learn language without a teacher, and to find a place in a world where it is the only one of its kind and afflicted with the two unforgivable deformities of ugliness and poverty. When it tells its story, in one of the narrative Russian dolls of the novel, it has already killed Victor's younger brother, but Shelley makes the two years that lead up to this violence lead to it almost inevitably.The novel is about the danger of science pursued without a moral foundation ("for its own sake"). The issue is not so much that Victor shouldn't have created "life," but that creating a living thing places on us responsibilities we cannot avoid. It is Victor (as he histrionically insists) who is responsible for the Creature's crimes. The Creature is "born" as a tabla rasa, with no language, no history, no biography, no morality, and no guidance, no parental foundation. Shelley makes it clear that Victor failed, as God or mother, by refusing to accept responsibility for his "monster" once it came to life. (Yes, I realize that Young Frankenstein manages to make delicious fun of even this aspect of the story.) The editorial notes elaborate on the biographical facts of Mary Shelley's life that point to this interpretation.Frankenstein has its flaws as a novel. It is difficult, sometimes, to tell whether Victor and Walton are speaking for the author or being satirized. Victor tells the story, as his "journal" is recorded by Walton, who admires him (more technically, in a move worthy of Conrad, Walton tells the story, since he "owns" the narrative). Within it, Victor lets the Creature tell HIS story, and it's pretty clear that Shelley is not worrying too much about the POV problems this triple mirror creates. We only see the Creature once without the mediating voice of Victor, and that for less than a minute, through the highly prejudiced eyes of Walton.The great failure of the novel is the failure of so many first-person narratives: over the generations, readers have been seduced by the narrative voice. Just as we forget Marlow is not Conrad, James is not the Governess, Shakespeare is not Hamlet, and Mary Shelley is not Victor Frankenstein. But the reader quickly falls into the fallacy. When Victor calls the Creature evil, we nod and read on. The Creature becomes evil, by any human standard. But no one judges Victor. Except Mary Shelley, and we can thank the editors for letting us see the woman behind the mask. She knew the locus of evil, if she did not fully grasp the power of owning the narrative.

This book is fantastic. It's obvious that this was well researched. It is packed with in-depth notes and a lot of illustrations. The book has a thorough introduction and a timeline in the back. Frankenstein is one of my favorite books, and I will enjoy reading this version which I'm sure will provide new insight and thought to one of the greatest books ever written. This book must have been a labor of love, but one that will be treasured.

So glad I purchased this book. It has been a tremendous asset while developing essays and themes for my course work.

From the stunning dust jacket to the beautifully presented text, footnotes and period art, this Annotated really delivers. I wish the "Dracula" was this good.

Excellent detail - I've heard but not verified there may be some factual errors - that's why I'm not giving it a 5 star rating - see other reviews here for more on that. The quality of the book, binding, paper and illustrations is top-notch.

Yes, I was shocked to learn that Lord Byron was only five feet tall, according to an allegedly authoritative annotation on page 110 of English professor Susan Wolfson's and associate professor of English Ronald Levao's THE ANNOTATED FRANKENSTEIN. And I never realized that amongst the trio that visit Colin Clive's Henry Frankenstein in Universal's 1931 film FRANKENSTEIN is an actor playing Henry Clerval, a character from the original novel! I also never knew that it was Lon Chaney Jr. who played the Monster in ABBOTT AND COSTELLO MEET FRANKENSTEIN! Wow! It is so great when annotations enlarge one's knowledge about any given topic in a main text. That is the entire purpose of annotations - to shed Promethean, professorial light on whatever the light of further knowledge is aimed at.The trouble is, in this case the annotations need further annotations to illumine them correctly. Alas, "mad, bad, dangerous to know" Lord B. was NOT a dwarf and was actually five foot eight and a half. And John Boles was NOT playing Clerval in James Whale's FRANKENSTEIN. His character was actually named Victor Moritz. And apart from one or two stand-in scenes shot from a distance (after the actual actor playing the Monster injured his ankle on set), Lon Chaney Jr. did NOT play the Monster in ABBOTT AND COSTELLO MEET FRANKENSTEIN. 'Twas Glenn Strange in his third go at the Monster whilst Lon played Larry Talbot, a.k.a. the Wolfman, in that frankly fabulous and funny film.Here is the point: a Professor of English and an Associate Professor of English helmed this annotated effort which is published by the prestigious Belknap Press of the Harvard University Press. Did no one, therefore, proof-read the annotations before this book was, indeed, printed and put on the market? A five foot Lord Byron is unthinkable! And it is wrong! How could two luminaries of literature NOT have checked this annotation before the ink dried? And what of the other two erroneous annotation listed above? Those are simply three I netted - how many more are there amongst all the other annotations? It is a troubling and sobering thought. Shaky scholarship is always a troubling and sobering thought.But... the thing about this edition is that there really are not all that many annotations in this edition at all. Page after page I felt like as I was Walton or Frankenstein going snow-blind with the Arctic white and waste of so much page space! Surely so much more could have been explored and expounded upon on the often vast emptiness of too many pages. Leonard Wolf, in his admirable 1977 THE ANNOTATED FRANKENSTEIN fleshed out the pages much more enthusiastically with much more information and many more illustrations. Anyway, the cover of this current book is visually arresting and Gothically gripping. The trouble is, the lightening and the castle are more out of Universal Studios than Mary Shelley's novel.

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