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Frankenstein: A Cultural History
A lively history of the Frankenstein myth, tracing its evolution from a Romantic nightmare to its prominence in today's imaginative landscape. Frankenstein began as the nightmare of an unwed teenage mother in Geneva, Switzerland, in 1816. At a time when the moral universe was shifting and advances in scientific knowledge promised humans dominion over that which had been God's alone, Mary Shelley envisioned a story of human presumption and its misbegotten consequences. Two centuries later, that story is still constantly retold and reinterpreted, from Halloween cartoons to ominous allusions in the public debate, capturing and conveying meaning central to our consciousness today and our concerns for tomorrow. From Victorian musical theater to Boris Karloff with neck bolts, to invocations at the President's Council on Bioethics, the monster and his myth have inspired everyone from cultural critics to comic book addicts. This is a lively and eclectic cultural history, illuminated with dozens of pictures and illustrations, and told with skill and humor. Susan Tyler Hitchcock uses film, literature, history, science, and even punk music to help us understand the meaning of this monster made by man. 68 illustrations
400 pages, Hardcover
First published October 9, 2007
18 people are currently reading
475 people want to read
About the author
Susan Tyler Hitchcock
45 books14 followersSusan Tyler Hitchcock is an American author, editor, and former educator whose work spans memoir, biography, cultural history, and science writing. With a Ph.D. in English from the University of Virginia, she began her career in publishing in the 1970s and taught humanities to engineering students at UVA for a decade. Her first book, Gather Ye Wild Things, launched a prolific writing career that includes Coming About, a memoir of a family sailing journey, and Frankenstein: A Cultural History, which explores the enduring legacy of Mary Shelley's monster. Hitchcock has also written acclaimed biographies of figures such as Mary Lamb and Karen Horney.
Since 2007, she has served as a senior book editor at National Geographic, developing titles focused on nature, science, and culture, and contributing her own writing to many of them. Her editorial work includes Geography of Religion, co-edited with John L. Esposito, which received praise for its balanced, richly illustrated approach to world religions.
Hitchcock's writing is distinguished by its depth of research, narrative clarity, and ability to make complex topics accessible to broad audiences. Whether chronicling personal adventures, exploring literary history, or guiding readers through scientific landscapes, she brings curiosity, insight, and humanity to every page. She lives in rural Virginia, where she gardens, explores nearby forests, and continues to write and edit. Her book Into the Forest, published by National Geographic, reflects her deep connection to the natural world and her continued passion for storytelling.
Since 2007, she has served as a senior book editor at National Geographic, developing titles focused on nature, science, and culture, and contributing her own writing to many of them. Her editorial work includes Geography of Religion, co-edited with John L. Esposito, which received praise for its balanced, richly illustrated approach to world religions.
Hitchcock's writing is distinguished by its depth of research, narrative clarity, and ability to make complex topics accessible to broad audiences. Whether chronicling personal adventures, exploring literary history, or guiding readers through scientific landscapes, she brings curiosity, insight, and humanity to every page. She lives in rural Virginia, where she gardens, explores nearby forests, and continues to write and edit. Her book Into the Forest, published by National Geographic, reflects her deep connection to the natural world and her continued passion for storytelling.
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Displaying 1 - 30 of 65 reviews
February 24, 2018
Another great addition to the recent spate of Frankenstein scholarship published on or around the book’s 200 year anniversary.
I’ll be using so much of this stuff in class, as I teach this amazing text; the book’s only drawback is that, for me, it’s a bit a light on analysis. Rather than pursuing depth, the author opts for breadth, proving us with a true survey of all the ways the mysterious cypher that is Frankenstein’s creation has evolved and occupied the hearts, minds and nightmares of generations. To provide an example, Hitchcock explains extensively, the FORMS in which the monster came to be seen during the Vietnam war. But I would have much preferred a sacrifice in number of appearance notations in favor of a deeper exploration of WHY and HOW monster technology reflected the deep rifts undermining the stability of American culture at the time.
I’ll be using so much of this stuff in class, as I teach this amazing text; the book’s only drawback is that, for me, it’s a bit a light on analysis. Rather than pursuing depth, the author opts for breadth, proving us with a true survey of all the ways the mysterious cypher that is Frankenstein’s creation has evolved and occupied the hearts, minds and nightmares of generations. To provide an example, Hitchcock explains extensively, the FORMS in which the monster came to be seen during the Vietnam war. But I would have much preferred a sacrifice in number of appearance notations in favor of a deeper exploration of WHY and HOW monster technology reflected the deep rifts undermining the stability of American culture at the time.
March 25, 2008
This is a well written, well researched, and very interesting tale of the origins of the Frankenstein story that Mary Shelley wrote in 1816, published in 1818, and revised in 1831, and how the concept has evolved through the past two centuries into a worldwide cultural touchstone, instantly familiar to all and used for a variety of purposes, from humorous and horrorific entertainment to a constant gag in political cartoons and speeches to a metaphor for the debate about the limits of scientific inquiry.
The author, Susan Tyler Hitchcock, teaches English Literature at Virginia Tech, and so focuses the first third of her book on the how Mary Shelley came to write her novel, the efforts of her husband and father to publish the work, and how it was quickly adapted to the London stage before Shelley even returned to England. Along the way author Hitchcock sympathetically presents many of the events in the life of Mary Shelley, impressing upon me how remarkable it is that one of the world's most enduring and widely interpreted fictional creations was the genesis of an 18 year old unwed mother, who only lately has come to be recognized as one of the most significant figures in the Romantic period of English literature.
After Shelley's death, the narrative slows down for a couple of chapters as author Hitchcock relates how the well known Frankenstein concept of a man-made creation gone awry was frequently used throughout the 19th and early 20th centuries as a metaphor for concerns about political and social trends. The author also chronicles scientific developments in electricity and biochemistry during this period, both central to the creation myth of the creature.
The books starts to really take off again with Chapter 6, as the author tells the tale of how the 1931 Universal Pictures movie version, featuring Boris Karloff as the creature, came to "set in stone" the universal idea of what the monster looks like. All that will ever come afterward shall no doubt be compared to the Karloff image, which occupies center stage on the imaginative cover of this book. This is one of the best chapters, as author Hitchcock spends just the right amount of time and attention on how director James Whale and actor Karloff came to appreciate the subtleties and the humanity of the creature in the first two Universal movies. Karloff felt so strongly about his obligations to the cultural image of the character that he says he stopped playing the character after the third (of six) Universal movies, as the studio either portrayed the creature as a total monster or as a comic foil (the last of the Universal featured the creature meeting up with Abbot and Costello).
From there, the last half of the book is a pop culture history of how the story has been depicted in abridged "classics" novels, comic books, other movie series, television, and other media. Author Hitchcock relates lots of interesting anecdotes here, but doesn't spend too much time on any particular one. I feel this is appropriate, as nothing since has really challenged Shelley's original for the basics of the origin story or Karloff's portrayal for the iconic image. But I did learn a few interesting facts, such as:
- Christopher Isherwood once wrote an adaptation of the story for the BBC
- Charles Addams and his literary estate deny that Frankenstein was the genesis for the butler Lurch in the Addams Family cartoons and TV series
- Sara Karloff (Boris's daughter), and the descendants of Lon Chaney and Bela Lugosi successfully sued Universal Pictures for the rights to partial profits on sales featuring the images of their movie-monster fathers
These are just a few of the various tales related herein. During this section of the book I particularly enjoyed the coverage of how various local TV stations in the U. S. came to broadcast midnight monster movies in the 1950's and for decades thereafter, and how Richard O'Brien's Rocky Horror Picture Show became a huge hit on stage and then on film in the 1970's.
However, author Hitchcock intersperses the pop culture history with updates on scientific developments occurring around the same period, and concludes her book with a very good discussion about how the Frankenstein myth has been invoked or avoided in discussions about bioethics, specifically in regard to the possibilities in cloning humans. Hitchcock narrates in an interesting but not too detailed way the scientific history of developments in this field, and is particularly good in relating the experiment the created the famous sheep Dolly, who is the first clone with the ability to give birth to another organism (as I understand it from reading this book. I wasn't aware of that).
The book features a ton of pictures throughout the text that help illustrate exactly what the author is discussing at the time...in fact, I think this book has the most useful and skillful combination of text and pictures for any non-fiction book I have ever read. This really helped me get through the book during the first chapters, as the author related information about early cultural history of the creature that almost no one is familiar with today.
In the end, I enjoyed this book, and would recommend it to anyone who has some interest in the story, the original author Mary Shelley, the history of movies and TV, or pop culture in general. The book is very well researched, as indicated by the many pages of source notes. This is a very well-done and well-written non-fiction book about an interesting and relevant subject.
The author, Susan Tyler Hitchcock, teaches English Literature at Virginia Tech, and so focuses the first third of her book on the how Mary Shelley came to write her novel, the efforts of her husband and father to publish the work, and how it was quickly adapted to the London stage before Shelley even returned to England. Along the way author Hitchcock sympathetically presents many of the events in the life of Mary Shelley, impressing upon me how remarkable it is that one of the world's most enduring and widely interpreted fictional creations was the genesis of an 18 year old unwed mother, who only lately has come to be recognized as one of the most significant figures in the Romantic period of English literature.
After Shelley's death, the narrative slows down for a couple of chapters as author Hitchcock relates how the well known Frankenstein concept of a man-made creation gone awry was frequently used throughout the 19th and early 20th centuries as a metaphor for concerns about political and social trends. The author also chronicles scientific developments in electricity and biochemistry during this period, both central to the creation myth of the creature.
The books starts to really take off again with Chapter 6, as the author tells the tale of how the 1931 Universal Pictures movie version, featuring Boris Karloff as the creature, came to "set in stone" the universal idea of what the monster looks like. All that will ever come afterward shall no doubt be compared to the Karloff image, which occupies center stage on the imaginative cover of this book. This is one of the best chapters, as author Hitchcock spends just the right amount of time and attention on how director James Whale and actor Karloff came to appreciate the subtleties and the humanity of the creature in the first two Universal movies. Karloff felt so strongly about his obligations to the cultural image of the character that he says he stopped playing the character after the third (of six) Universal movies, as the studio either portrayed the creature as a total monster or as a comic foil (the last of the Universal featured the creature meeting up with Abbot and Costello).
From there, the last half of the book is a pop culture history of how the story has been depicted in abridged "classics" novels, comic books, other movie series, television, and other media. Author Hitchcock relates lots of interesting anecdotes here, but doesn't spend too much time on any particular one. I feel this is appropriate, as nothing since has really challenged Shelley's original for the basics of the origin story or Karloff's portrayal for the iconic image. But I did learn a few interesting facts, such as:
- Christopher Isherwood once wrote an adaptation of the story for the BBC
- Charles Addams and his literary estate deny that Frankenstein was the genesis for the butler Lurch in the Addams Family cartoons and TV series
- Sara Karloff (Boris's daughter), and the descendants of Lon Chaney and Bela Lugosi successfully sued Universal Pictures for the rights to partial profits on sales featuring the images of their movie-monster fathers
These are just a few of the various tales related herein. During this section of the book I particularly enjoyed the coverage of how various local TV stations in the U. S. came to broadcast midnight monster movies in the 1950's and for decades thereafter, and how Richard O'Brien's Rocky Horror Picture Show became a huge hit on stage and then on film in the 1970's.
However, author Hitchcock intersperses the pop culture history with updates on scientific developments occurring around the same period, and concludes her book with a very good discussion about how the Frankenstein myth has been invoked or avoided in discussions about bioethics, specifically in regard to the possibilities in cloning humans. Hitchcock narrates in an interesting but not too detailed way the scientific history of developments in this field, and is particularly good in relating the experiment the created the famous sheep Dolly, who is the first clone with the ability to give birth to another organism (as I understand it from reading this book. I wasn't aware of that).
The book features a ton of pictures throughout the text that help illustrate exactly what the author is discussing at the time...in fact, I think this book has the most useful and skillful combination of text and pictures for any non-fiction book I have ever read. This really helped me get through the book during the first chapters, as the author related information about early cultural history of the creature that almost no one is familiar with today.
In the end, I enjoyed this book, and would recommend it to anyone who has some interest in the story, the original author Mary Shelley, the history of movies and TV, or pop culture in general. The book is very well researched, as indicated by the many pages of source notes. This is a very well-done and well-written non-fiction book about an interesting and relevant subject.
July 12, 2022
This book was so much fun! Susan Tyler Hitchcock creates a book that answers all your Frankenstein questions and so much more. The life story of Mary Shelley, her friendship with Lord Byron and her husband Percy Shelley, the scientific revolution and the rebellious spirit of the age . . . and that's just the beginning! The easy to read chapters just keep flowing and the narrative covers all the classic movies, up to and *including* Mel Brooks' YOUNG FRANKENSTEIN. A must-have book for all true monster fans!
March 3, 2013
This is a well-written and fairly comprehensive survey of the enduring cultural resonance of the Frankenstein story. What surprised me was how quickly Mary Shelley's original story (1818) was adapted (and highly distorted) for the stage. A stage version had even reached America by 1825!
It's no surprise, of course, that the famous Universal Pictures version from 1931 shares more in common with the various stage versions than it does with the novel. In the novel, the Monster moves like the wind; he is brilliant, noble, and articulate. Much of the story is narrated by the Monster himself. In the 1931 film, the Monster is clumsy, grunts inarticulately and can barely speak.
The film is usually viewed as a "cautionary tale" about how humans should not presume to "play god" through scientific tinkering with life. (And yet, if Fritz had not fouled up and had brought Dr. F the "normal" brain, might not things have turned out differently?) The novel is far more complex and open-ended, so it's not as easy to dramatize.
Still, it's the Universal Pictures version of the Monster that has sunk the deepest into our cultural consciousness. It's hard to compete with Tesla coils, lightning, and a fantastic make-up job. The only thing that comes close to rivaling Karloff and Universal, in my opinion, is Berni Wrightson's illustrated version of Shelley's novel, which gets no mention whatsoever in Hitchchock's book!
There's a little something for everyone in "Frankenstein: A Cultural History." History, science, feminism, theater, late-night T.V., literary criticism, camp, comics, etc. In spite of all that, I felt a bit let down. Perhaps that's because the Monster has been part of me for so long that his power will always be archetypal and not communicable through language alone.
Perhaps my favorite takeaway from this book is on page 182-83, where Hitchcock makes an account of Universal's October, 1938 revival of Frankenstein in U.S. theaters (a double-bill with Dracula):
"Even in Salt Lake City, the Victory Theatre was sold out by ten in the morning. 'Four thousand frenzied Mormons milled around outside, finally broke through the police lines, smashed the plate glass box office, bent the front doors and tore off one of the door checks in their eagerness to be frightened.'" (Internal quote from The New York Times, 16 Oct. 1938.) A photograph of a thick crowd and a huge pile of bicycles on the sidewalk in front of the Victory Theatre is printed on page 183!
It's no surprise, of course, that the famous Universal Pictures version from 1931 shares more in common with the various stage versions than it does with the novel. In the novel, the Monster moves like the wind; he is brilliant, noble, and articulate. Much of the story is narrated by the Monster himself. In the 1931 film, the Monster is clumsy, grunts inarticulately and can barely speak.
The film is usually viewed as a "cautionary tale" about how humans should not presume to "play god" through scientific tinkering with life. (And yet, if Fritz had not fouled up and had brought Dr. F the "normal" brain, might not things have turned out differently?) The novel is far more complex and open-ended, so it's not as easy to dramatize.
Still, it's the Universal Pictures version of the Monster that has sunk the deepest into our cultural consciousness. It's hard to compete with Tesla coils, lightning, and a fantastic make-up job. The only thing that comes close to rivaling Karloff and Universal, in my opinion, is Berni Wrightson's illustrated version of Shelley's novel, which gets no mention whatsoever in Hitchchock's book!
There's a little something for everyone in "Frankenstein: A Cultural History." History, science, feminism, theater, late-night T.V., literary criticism, camp, comics, etc. In spite of all that, I felt a bit let down. Perhaps that's because the Monster has been part of me for so long that his power will always be archetypal and not communicable through language alone.
Perhaps my favorite takeaway from this book is on page 182-83, where Hitchcock makes an account of Universal's October, 1938 revival of Frankenstein in U.S. theaters (a double-bill with Dracula):
"Even in Salt Lake City, the Victory Theatre was sold out by ten in the morning. 'Four thousand frenzied Mormons milled around outside, finally broke through the police lines, smashed the plate glass box office, bent the front doors and tore off one of the door checks in their eagerness to be frightened.'" (Internal quote from The New York Times, 16 Oct. 1938.) A photograph of a thick crowd and a huge pile of bicycles on the sidewalk in front of the Victory Theatre is printed on page 183!
August 10, 2024
you are so beautiful.. learning more about what we already see constantly in our lives of her work is just so beautiful i remembered so much from the bibliography of her life while reading this cultural connection afterward it will always be heartbreaking but i do feel grateful here i am pleased that others do too 🚞 they will always be famous :)
September 28, 2024
4.5 stars
I learned so much about Frankenstein history, among other things, in this book! Frankenstein is my favorite novel. I recommend this to any Frankenstein or monster lover.
I learned so much about Frankenstein history, among other things, in this book! Frankenstein is my favorite novel. I recommend this to any Frankenstein or monster lover.
November 6, 2018
Really enjoyed this book. Frankenstein is my favorite monster, so it was a joy to learn about Mary Shelley's conception of the novel and the many ways and reasons its characters and myth have permeated our culture.
My only quibble with the book are a couple of factual inaccuracies I noticed near the end. At one point she notes that Alice Cooper disappeared from the music scene between 1971 through the mid-80s, which is wholly untrue. He released some of his most classic albums during those years. On the same page she says that 80s goth was a safe facade. Didn't she hear about the Satanic Panic of that era?? However safe goth was in reality, it certainly wasn't viewed or treated that way by most parents and authority figures. Both of these inaccuracies could have been easily rectified with a small amount of research.
These two glaring errors gave me pause about the information stated in the rest of the book. From what I know about the Frankenstein films and Mary Shelley, however, it seemed the information was accurate. My feeling is this is probably a better jumping-off point into deeper Frankenstein/Shelley studies than a comprehensive end-point. The author includes an extensive bibliography that will be useful for further reading.
Despite the above caveat, this is a fun read, especially during the year of Frankenstein's 200th anniversary.
My only quibble with the book are a couple of factual inaccuracies I noticed near the end. At one point she notes that Alice Cooper disappeared from the music scene between 1971 through the mid-80s, which is wholly untrue. He released some of his most classic albums during those years. On the same page she says that 80s goth was a safe facade. Didn't she hear about the Satanic Panic of that era?? However safe goth was in reality, it certainly wasn't viewed or treated that way by most parents and authority figures. Both of these inaccuracies could have been easily rectified with a small amount of research.
These two glaring errors gave me pause about the information stated in the rest of the book. From what I know about the Frankenstein films and Mary Shelley, however, it seemed the information was accurate. My feeling is this is probably a better jumping-off point into deeper Frankenstein/Shelley studies than a comprehensive end-point. The author includes an extensive bibliography that will be useful for further reading.
Despite the above caveat, this is a fun read, especially during the year of Frankenstein's 200th anniversary.
January 22, 2012
I loved reading this. I started reading just before Halloween, but to give an example of the range of subject matter, here is a quotation that author Susan Hitchcock includes, from a book published in October 1931 by I. Maurice Wormser:
"...the modern Prometheus, who artifically created a vitalized monster which became the terror of 'all living things' and threatened the security and well-being of mankind. The fable is not without its application to the corporate business organization of to-day. Corporations are not natural living persons, but artificial beings, corporta ficta. They are created by the nation or state, which endows them with distinct personality in the eyes of the law, special privileges and comprehensive powers. Frankenstein's creature developed into a deadly menace to his creator."
To repeat - this was published in 1931. The book is a lot of fun, as well as enlightening.
"...the modern Prometheus, who artifically created a vitalized monster which became the terror of 'all living things' and threatened the security and well-being of mankind. The fable is not without its application to the corporate business organization of to-day. Corporations are not natural living persons, but artificial beings, corporta ficta. They are created by the nation or state, which endows them with distinct personality in the eyes of the law, special privileges and comprehensive powers. Frankenstein's creature developed into a deadly menace to his creator."
To repeat - this was published in 1931. The book is a lot of fun, as well as enlightening.
May 26, 2018
This is a fun if somewhat surface level look at nearly 200 years of Frankenstein, from the original novel to modern adaptations like the Kenneth Branagh film. I read this largely for the sake of finding out about adaptations and interpretations I hadn't heard of, and in that I wasn't disappointed. Hitchcock discusses the first Frankenstein film, a 1910 version made my Thomas Edison's film company. She briefly explores Frankenstein and his monster in comics, which lead me to learn there was a Marvel series I need to track down. She discusses some of the B-movies and even more subpar films, not to mention campy Frankensteins in Rocky Horror, the Munsters, and the Addams Family. I really enjoyed the stuff about nineteenth century uses of Frankenstein, both in the way that scientist and monster proliferated on stage (constantly mutating with each new version) and the way political cartoonists latched on to the monster. There's a great cartoon reprinted from the 1800s with the monster made out of munitions, reflecting views on Britain's war with Russia. I did know a lot of what Hitchcock discusses in regards to the early genesis of the novel, though I did like the discussion she has about early 19th century science, and the way that the exploration of science's relationship to the novel comes back towards the end when genetic engineering and other biotechnology is developed. I also loved the discussion of the beginning of the late night movie hosts, and it makes me want to learn more about them. I'm sure there's a good book out there I could find.
I do wish that there had been more in-depth analysis of what the changing face of Frankenstein's monster means - it's obvious that, just as the novel is hard to pin down, the monster it spawned is equally fluid in meaning. But Hitchcock doesn't spend enough time exploring why these meanings change to reflect the times, and what different ways we've responded to this text over the past two centuries reveal about ourselves. In that way, I feel that the book is a bit weak, and I'd love to see a work that does the in-depth analysis that would reveal not just the cultural history of one of our favorite monsters, but what that history says about our culture. Also, I would've enjoyed some speculation on where the monster might go next. Then again, Hitchcock does do enough exploration of the creature's history to show why it remains such a popular figure that haunts our imaginations, and seeing how the monster moves through history was interesting. In that I now have even more versions of Frankenstein to look for, I think reading this was a success, and certainly it's not a bad starting point for anybody who wants to get a better understanding of one of the most iconic literary figures out there. I wouldn't go so far as to say this is an essential text for any Frankenstein aficionado, but it's probably worth giving it a read at some point, and I could see adding a copy to my personal library someday so I can have it on hand for easy reference to the various Frankenstein developments it mentions.
I do wish that there had been more in-depth analysis of what the changing face of Frankenstein's monster means - it's obvious that, just as the novel is hard to pin down, the monster it spawned is equally fluid in meaning. But Hitchcock doesn't spend enough time exploring why these meanings change to reflect the times, and what different ways we've responded to this text over the past two centuries reveal about ourselves. In that way, I feel that the book is a bit weak, and I'd love to see a work that does the in-depth analysis that would reveal not just the cultural history of one of our favorite monsters, but what that history says about our culture. Also, I would've enjoyed some speculation on where the monster might go next. Then again, Hitchcock does do enough exploration of the creature's history to show why it remains such a popular figure that haunts our imaginations, and seeing how the monster moves through history was interesting. In that I now have even more versions of Frankenstein to look for, I think reading this was a success, and certainly it's not a bad starting point for anybody who wants to get a better understanding of one of the most iconic literary figures out there. I wouldn't go so far as to say this is an essential text for any Frankenstein aficionado, but it's probably worth giving it a read at some point, and I could see adding a copy to my personal library someday so I can have it on hand for easy reference to the various Frankenstein developments it mentions.
April 13, 2024
A wonderful and informative work on a major figure from pop culture that goes back two centuries…
Frankenstein: A Cultural History by Susan Tyler Hitchcock is a look back of the development and popularity of the Modern Prometheus.
Just as a child is to a parent, the novel Frankenstein is intrinsically linked to its “mother” Mary Shelley (though she was unmarried when she wrote it originally). The first third of the novel opens our eyes to the young creator of the entire science genre, the world she grew up in (and the significant influence various imposition had on her work), as well as the effect the novel’s success had on her.
This section is wonderful in the way it covers its initial publication…and later going out of print relatively early. This was followed by stage play adaptations of dubious accuracy, parody or pastiche stories trying to mimic the popularity, and even the use of Frankenstein in political cartoons. Fortunately, the book went back into print and established Mary as the writer (as previously it was anonymous…because of…bad reasons).
The next “wave” of Frankenstein’s popularity would be in moving pictures, but far earlier than you may think. In fact the first known “movie” was due to the work of a scientist about as bad as Victor Frankenstein himself, Thomas Edison. This was followed by other minor films before the universal film set the standard that we all know and love. Of course this only gave rise to MORE Frankenstein movies…and off brand rip offs. Oddly, Frankenstein also returned to being used in police cartoons (with the monster sadly always being portrayed as “bad”). There were even scientific debates associating Frankenstein with the cloning debate and other “science run amok”, even though the “Monster” was hardly at fault since the true culprit was Victor his creator (the true Monster if you ask any Frankenstein-o-phile out there).
Naturally the book also covers his popularity in other mediums and genres, notably comics (such as the one published by Marvel) and comedy (courtesy of the Munsters and Young Frankenstein).
While the creature may have long been misunderstood and the novel often up for debate regarding its “true meaning” (with many theories suggested depending on what generation was discussing it), it remains a major and influential work…even if folks only know it from one of its MANY (MANY!!!) adaptations.
Highly recommend for those with an interest in science fiction history, universal monsters, or the way a creation can sometimes take on a life of its own and become something else (much like the Creature).
Frankenstein: A Cultural History by Susan Tyler Hitchcock is a look back of the development and popularity of the Modern Prometheus.
Just as a child is to a parent, the novel Frankenstein is intrinsically linked to its “mother” Mary Shelley (though she was unmarried when she wrote it originally). The first third of the novel opens our eyes to the young creator of the entire science genre, the world she grew up in (and the significant influence various imposition had on her work), as well as the effect the novel’s success had on her.
This section is wonderful in the way it covers its initial publication…and later going out of print relatively early. This was followed by stage play adaptations of dubious accuracy, parody or pastiche stories trying to mimic the popularity, and even the use of Frankenstein in political cartoons. Fortunately, the book went back into print and established Mary as the writer (as previously it was anonymous…because of…bad reasons).
The next “wave” of Frankenstein’s popularity would be in moving pictures, but far earlier than you may think. In fact the first known “movie” was due to the work of a scientist about as bad as Victor Frankenstein himself, Thomas Edison. This was followed by other minor films before the universal film set the standard that we all know and love. Of course this only gave rise to MORE Frankenstein movies…and off brand rip offs. Oddly, Frankenstein also returned to being used in police cartoons (with the monster sadly always being portrayed as “bad”). There were even scientific debates associating Frankenstein with the cloning debate and other “science run amok”, even though the “Monster” was hardly at fault since the true culprit was Victor his creator (the true Monster if you ask any Frankenstein-o-phile out there).
Naturally the book also covers his popularity in other mediums and genres, notably comics (such as the one published by Marvel) and comedy (courtesy of the Munsters and Young Frankenstein).
While the creature may have long been misunderstood and the novel often up for debate regarding its “true meaning” (with many theories suggested depending on what generation was discussing it), it remains a major and influential work…even if folks only know it from one of its MANY (MANY!!!) adaptations.
Highly recommend for those with an interest in science fiction history, universal monsters, or the way a creation can sometimes take on a life of its own and become something else (much like the Creature).
March 18, 2018
First of all, the cover really put me off. If I hadn’t noticed it on a special Frankenstein display at the local library I’d have ignored it. No cover title or author name, just a montage of images that create an impression contrary to the spirit of the book. But overall, a very well written and thorough discussion of Mary Shelley’s novel and its impact across media and society. It’s a serious study--it is not played for laughs, it is not campy like so many other pop culture 'monster' histories. The details of Shelley’s bohemian adolescence and early adulthood would make a Kardashian blush. The author follows the birth of the novel and the literary and moral controversy it generated from publication to Hollywood, and the halls of modern genetic sciences, with stops for television, comics, and other forms of popular culture.
In second grade, a nun confiscated my Classic Comics copy of FRANKENSTEIN because it was not ‘Approved by the Comics Code Authority.’ I didn’t see the movie itself until a year or two later and I have to say that Frankenstein was not my favorite monster. I much preferred the Wolfman, and Dracula. I didn’t read Shelley’s novel until high school and as far as entertainment goes, didn’t think it could hold a candle to Stoker’s DRACULA. But I can’t deny that the themes of FRANKENSTEIN have had a more profound impact on the world.
In second grade, a nun confiscated my Classic Comics copy of FRANKENSTEIN because it was not ‘Approved by the Comics Code Authority.’ I didn’t see the movie itself until a year or two later and I have to say that Frankenstein was not my favorite monster. I much preferred the Wolfman, and Dracula. I didn’t read Shelley’s novel until high school and as far as entertainment goes, didn’t think it could hold a candle to Stoker’s DRACULA. But I can’t deny that the themes of FRANKENSTEIN have had a more profound impact on the world.
November 25, 2024
I am fairly easy to please when it comes to "Frankenstein." I am already interested in the subject, and it's usually fun to see what others have to say about it. This book in particular was nice, because it wasn't analyzing the text or making statements that another reader might disagree with. It was simply telling the cultural history of the novel and how it has evolved over time.
My favorite part of this book was learning more about the various "Frankenstein" adaptations that have been created, from the staged production in the 1820s to the series of Universal films in the 1930s and 1940s. As much as I love "Frankenstein" the novel, I haven't gotten invested in many adaptations ("Frankenstein: A New Musical" being the glaring exception). In part, this is because so much of what I love about the novel isn't carried over into the adaptations. ("If Walton isn't there framing the story, then what's even the point?" I say jokingly.)
This means that hearing about the changes that each adaptation made rather than watching them myself is actually the ideal scenario. Plus, there are so many "Frankenstein" adaptations out there that it'd be difficult for any one person to know them all first-hand. I'm grateful for books like these that compile many retellings into one volume.
My favorite part of this book was learning more about the various "Frankenstein" adaptations that have been created, from the staged production in the 1820s to the series of Universal films in the 1930s and 1940s. As much as I love "Frankenstein" the novel, I haven't gotten invested in many adaptations ("Frankenstein: A New Musical" being the glaring exception). In part, this is because so much of what I love about the novel isn't carried over into the adaptations. ("If Walton isn't there framing the story, then what's even the point?" I say jokingly.)
This means that hearing about the changes that each adaptation made rather than watching them myself is actually the ideal scenario. Plus, there are so many "Frankenstein" adaptations out there that it'd be difficult for any one person to know them all first-hand. I'm grateful for books like these that compile many retellings into one volume.
February 2, 2024
A really fun history that starts with how Mary Shelley came to write Frankenstein, then tracing the influence of the book on our culture, through plays, comics, commercials, cartoons and movies. This well-researched book traces how the monster is used as a metaphor or symbol for different things depending on what our society is dealing with at any one time. The nameless creature has been used as a figure of pure horror, a symbol of the dangers of hubris, a warning against science run amuk, and a slapstick clown.
It was interesting to learn how quickly the influence of the book spread through Western society, with "creating a Frankenstein" becoming a common term for many perceived dangers within a few decades. The author notes how the 1931 movie, with Karloff's portrayal of the monster while in Jack Pierce's iconic make-up, reshaped our view of Frankenstein's creation and helped cement him as a creature that elicits both sympathy and terror.
It was interesting to learn how quickly the influence of the book spread through Western society, with "creating a Frankenstein" becoming a common term for many perceived dangers within a few decades. The author notes how the 1931 movie, with Karloff's portrayal of the monster while in Jack Pierce's iconic make-up, reshaped our view of Frankenstein's creation and helped cement him as a creature that elicits both sympathy and terror.
February 14, 2018
I knew that the story of Frankenstein was popular but I didn't realize just how ingrained it was in our culture. It's a 200 year old story so it has had plenty of time to grow and mutate. And it has. Frankenstein and his creation have been the subject of play, movies, books (both fiction and non-fiction, comics, cartoons, art, and so forth. Hitchcock digs deep into the phenomenon of Frankenstein. Telling us about Mary Shelly and her inspirations. It is a well written book about a popular subject and has plenty of references and pictures. It really ought to be more popular.
P.S. Yes, Frankenstein is the name of the creator and not the creation. But continuously mentioning that now is like beating a dead horse.
P.S. Yes, Frankenstein is the name of the creator and not the creation. But continuously mentioning that now is like beating a dead horse.
July 26, 2022
This is super interesting! Highly recommend if you love Frankenstein or Halloween!
Also if you don't want spoilers for any of the following movies and books, watch/read them first and then read this book. Also watching/reading them first gives context but if you don't care, don't worry. I've only seen the beginning of Young Frankenstein
Frankenstein by Mary Shelley
Great Expectations by Charles Dickens
Any movie with Frankenstein in the title (specifically featuring Boris Karloff and Young Frankenstein)
Rocky Horror Picture Show
An episode or two of the Munsters and the Addams Family
Also if you don't want spoilers for any of the following movies and books, watch/read them first and then read this book. Also watching/reading them first gives context but if you don't care, don't worry. I've only seen the beginning of Young Frankenstein
Frankenstein by Mary Shelley
Great Expectations by Charles Dickens
Any movie with Frankenstein in the title (specifically featuring Boris Karloff and Young Frankenstein)
Rocky Horror Picture Show
An episode or two of the Munsters and the Addams Family
June 10, 2023
(3.75 stars) I had a really fun time with this one. I love Frankenstein so it was fun to look at how quickly it became Something Else to the Public. There is just something so interesting about how this story grabbed the mind of the public and still hasn't let go to this day. Frankenstein was adapted to other mediums almost immediately and continues to be adapted and re-adapted again and again. Each take is different from the last and some are barely connected but still contain the essence of the original novel. I thought this was a really fun book and I had a great time going through the decades.
April 27, 2022
Came across this at the public library and I loved it. As a huge fan of the Frankenstein mythos, this was a really great way to see how the meaning of Mary Shelly’s original tale has changed and evolved over the years. Also crazy to learn more about the author herself and the crazy life she led. Highly recommend.
July 13, 2017
Read in preparation for long discussion with my daughter about her thesis topic. Well researched and with lots of pointers to other discussions for further study.
October 14, 2019
A very interesting overview of the progression of the monster from the book versus the character we know today. Plus she mentions Frankenberry and Count Chocula ;-)
April 3, 2024
Interesting but definitely geared for a minute audience. I enjoyed but there were some very dry spots and about 3 chapters I could have skipped.
February 5, 2018
When I was around 8 or 9 years old I had an interest in movie monsters - never mind that I hadn't even seen the movies. This was back in the mid to late 70s before VCRs and "On Demand." I remember trying to stay up late Friday nights to watch "Nightmare Theater" but usually too afraid to stay up alone. As a teenager I read some of the books that inspired those movies and I recall being disappointed with Mary Shelley's Frankenstein - not so much like the movie's story. But what makes Mrs. Hitchcock's cultural history interesting is that she presents all the different iterations of the story, how they changed the story, and how it's become a part of our culture.
Starting with the author, Mary Wollstonecraft Godwin, who was 18 years old and pregnant with her second child by author Percy Shelley (who had abandoned his wife and 2 children - he finally married Mary after his wife killed herself), Mrs. Hitchcock explains the background of the story, how it began and the influences that shaped it: Milton's Paradise Lost, a growing knowledge of anatomy, the popular experiments using electricity to animate dead bodies, etc. The various stage productions that soon followed modified it by adding the creepy assistant and the idea of lightning bringing the creature to life. Soon politicians were evoking the name, and it didn't take long before the name had become blurred in the public conscious: was Frankenstein the doctor or the monster? But actor Boris Karloff gave us the most enduring image in Universal's tremendously successful 1931 film and spawned a whole host of sequels.
A very interesting book, filled with photos and illustrations that discuss the ways Frankenstein has become a part of our culture, right up to today when the name is invoked in scientific issues such as cloning and genetically-modified foods ("Frankenfoods"). Should be of interest to those interested in literature (the book finally gained literary respect in the 1970s and 80s), modern culture, or just the monster himself.
Starting with the author, Mary Wollstonecraft Godwin, who was 18 years old and pregnant with her second child by author Percy Shelley (who had abandoned his wife and 2 children - he finally married Mary after his wife killed herself), Mrs. Hitchcock explains the background of the story, how it began and the influences that shaped it: Milton's Paradise Lost, a growing knowledge of anatomy, the popular experiments using electricity to animate dead bodies, etc. The various stage productions that soon followed modified it by adding the creepy assistant and the idea of lightning bringing the creature to life. Soon politicians were evoking the name, and it didn't take long before the name had become blurred in the public conscious: was Frankenstein the doctor or the monster? But actor Boris Karloff gave us the most enduring image in Universal's tremendously successful 1931 film and spawned a whole host of sequels.
A very interesting book, filled with photos and illustrations that discuss the ways Frankenstein has become a part of our culture, right up to today when the name is invoked in scientific issues such as cloning and genetically-modified foods ("Frankenfoods"). Should be of interest to those interested in literature (the book finally gained literary respect in the 1970s and 80s), modern culture, or just the monster himself.
November 2, 2012
A very interesting account of the beginnings of the story of Mary Shelley's Frankenstein's creation. It is important to separate the two as it is the creation that has captured the imagination whether in book form or other visuals as opposed to the scientist that created the being. Indeed as the author points out the creation has taken on both myth and legendary porportions to a very extrodinary manner over three centuries. The creation as gone through more identity changes than possibly anything else in the history of humanity except for Dracula. Of course the creation became inadvertantly kin with the first full length film, called Frankenstein, actor Boris Karloff. In many ways the creation, inaccurately called Frankenstein, is so much more than a superb actor in make-up or some kind of horror icon for Halloween, rightly or wrongly he is associated with social, economical and political spectrums and for some a picture for aspects of humanity's deeper nature. Many films, pictures, music and other visuals and audios have been made from this story, whether directly from the book or the movie(s) and so he has endured whatever individual people may think of the idea, story or first full length film and he will more than likely do so even into the fourth century since his conception. Very well done even though curiously there was no mention of the once and possibly still popular song The Monster Mash by Bobby "Boris" Pickett and his Cryptkickers. As well that if Boris Karloff was six foot three without the boots as the creation of Frankenstein then Bela Lugosi (who was mention as 6 foot one and therefore taller than Boris Karloff) would have to be six foot five, Vincent Price would have to be six foot eight and Christopher Lee (taller still at 6 foot 5 now 6 foot four) would have to be six foot nine or 7 foot! Last heard before this book Boris Karloff was five foot eleven.
October 16, 2012
That great shambling, lovable monster we call Frankenstein is arguably the most potent, recognizable literary figure to stalk the past two centuries and will no doubt leave its asphalt-spreader boot imprints on the current century. Clomping through the pages of literature, film and pop culture, the neck-bolted creature casts a shadow unmatched by others.
All of it born from the imagination of a girl barely out of her teens, fleeing across Europe with her poet husband, flouting convention and tradition at every turn. During a summer without sun and ensconced under the roof of the exiled poet Lord Byron, it all came about as a challenge to tell each other ghost stories.
Author Susan Tyler Hitchcock unearths the romantic and tragic life of Mary Shelley and follows the path of her tortured creation as it blazes a path from 1818 through to our current era, elaborating and celebrating this most enduring and beguiling of tales. The first and only true myth of the modern era.
Hitchcock's book is a fascinating read for not only any Frankenstein/horror nut (guilty!) but any reader with an interest in cultural shift, storytelling and myth. Highly, highly recommended.
All of it born from the imagination of a girl barely out of her teens, fleeing across Europe with her poet husband, flouting convention and tradition at every turn. During a summer without sun and ensconced under the roof of the exiled poet Lord Byron, it all came about as a challenge to tell each other ghost stories.
Author Susan Tyler Hitchcock unearths the romantic and tragic life of Mary Shelley and follows the path of her tortured creation as it blazes a path from 1818 through to our current era, elaborating and celebrating this most enduring and beguiling of tales. The first and only true myth of the modern era.
Hitchcock's book is a fascinating read for not only any Frankenstein/horror nut (guilty!) but any reader with an interest in cultural shift, storytelling and myth. Highly, highly recommended.
October 20, 2010
The chapters about the conception of the story, Mary Shelley's life and early reception of the book are really fascinating, as are the chapters about the early films depicting the changed story of Frankenstein. I felt that the book fell off at the end though, or maybe I just wasn't as interested in the barely-related stories of political references to Frankenstein or cloning. All in all, a very fascinating read.
"She dared to approach the forbidden, ignoring conventional laws of good and evil; she went to the heart of the matter, to the secret of life. She wrote the story humankind had been waiting to hear and, having written it, sent it out into the world - her "hideous progeny", as she called it - to be heard, read, enacted, viewed, analyzed, interpreted, remembered, rebuffed, and, yet again, retold."
And that's the gist of it.
"She dared to approach the forbidden, ignoring conventional laws of good and evil; she went to the heart of the matter, to the secret of life. She wrote the story humankind had been waiting to hear and, having written it, sent it out into the world - her "hideous progeny", as she called it - to be heard, read, enacted, viewed, analyzed, interpreted, remembered, rebuffed, and, yet again, retold."
And that's the gist of it.
June 8, 2015
Interesting recap and survey of the Frankenstein story, retelling, and mythification since its creation as a challenge in 1818 by teenaged and pregnant Mary Wollstonecraft (not yet Shelley).
Hitchcock (prime name for a topic like this!) recounts the origins of the story, its early reception and publishing history, then tracks it through to its universal appeal and appearance as assumed common knowledge. She talks about the story and its ideas (often distorted and filtered two or three times removed from the original) into politics, science, culture and other art forms.
Divorced from its conflicted roots in the story, the metaphor can diverge quite easily to simple humor or horror "both a joke and a profound ethical dilemma"). But the enduring metaphor prompts "some vague sense that human enterprise, detached form its moral mooring, has gone monstrously awry."
Hitchcock (prime name for a topic like this!) recounts the origins of the story, its early reception and publishing history, then tracks it through to its universal appeal and appearance as assumed common knowledge. She talks about the story and its ideas (often distorted and filtered two or three times removed from the original) into politics, science, culture and other art forms.
Divorced from its conflicted roots in the story, the metaphor can diverge quite easily to simple humor or horror "both a joke and a profound ethical dilemma"). But the enduring metaphor prompts "some vague sense that human enterprise, detached form its moral mooring, has gone monstrously awry."
July 29, 2015
I put this book aside while I was reading another and I wasn't going to finish it, but last night I picked it up and read the last few chapters. This was an interesting history and a great exploration of how a cultural icon develops. And while I am a fan of classic Hollywood and appreciate the art and interpretation of the Frankenstein monster through the years, I loved the first part of the book the most! Mary Shelly is one of the most interesting women in literary history. It reminded me of a play I saw some years back called "The Yellow Leaf" that told the story of the conception of the novel and the unique relationships between the Shelly's and their friends and neighbors during their time in Switzerland. Great read!
November 30, 2008
The cover of the hardcover edition of this book is deceptive. The bright colors and variety of pictures led me to believe it would be a fairly lightweight pop-culture love-fest with lots of pictures.
It's not. It's a thoughtful, well-researched and quite scholarly history of the Frankenstein myth, from its origins during a summertime thunderstorm through the various stage and film adaptations, to its contemporary political and cultural meanings. Frankenstein is one of my very favorite books (the original by Mary Shelley) and two of my favorite movies (Bride of Frankenstein and Young Frankenstein), so this book was my perfect cup of tea.
It's not. It's a thoughtful, well-researched and quite scholarly history of the Frankenstein myth, from its origins during a summertime thunderstorm through the various stage and film adaptations, to its contemporary political and cultural meanings. Frankenstein is one of my very favorite books (the original by Mary Shelley) and two of my favorite movies (Bride of Frankenstein and Young Frankenstein), so this book was my perfect cup of tea.
November 7, 2011
"Leftover" Halloween reading... a really interesting and entertaining survey of why and how Mary Shelley's monster still has such a grip on our imagination. One of the most interesting things I learned was that the novel didn't gain acceptance as a "classic" worthy of serious study until the early 1970s... and I was reading it as required reading in tenth grade English just over a decade later! It's also inspired me to finally get around to watching the rest of the Universal Frankenstein films (as well as Kenneth Branagh's version, although the author doesn't seem to think too much of it). Very quick reading, but also very well done.
December 15, 2012
A fascinating history of the Fraknestein genesis and the story's ongoing presence in literary, film and general culture. Beginning with the writing of the story and the circumstances surrounding that to the first films and the ongoing adaptation of the name to fit different circumstances, the influence of the name "Frankenstein" is examined. Never overwhelmingly academic in style but clearly thoroughly researched, this is definitely a good read. (And in the fun fact area....the first parody of Frankenstein was a performed on stage on October 20, 1823. The name of the lead character? Frankinstitch who is a tailor rather than a physician. Take that, Mel Brooks!)
April 20, 2015
Purporting to be a "cultural history" of Frankenstein, this text starts out a little heavy on the influence of Milton and all the men in Mary Shelley's life on her masterwork and then moves into a overly-descriptive history of early film adaptations of the novel. If you're looking for a book about the development of the "Frankenstein" monster - this is a decent enough starting place. If you're looking for a scholarly study of Mary Shelley's novel, this has some info but nothing you can't find in other more academic work. An easy and somewhat entertaining read, this is definitely aimed a popular audience, not for academics.
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