- Hardcover: 256 pages
- Publisher: Dark Horse Books; Hardcover edition (April 19, 2011)
- Language: English
- ISBN-10: 1595822003
- ISBN-13: 978-1595822000
- Product Dimensions: 9.4 x 1.1 x 12.2 inches
- Shipping Weight: 3.8 pounds
- Average Customer Review: 2,470 customer reviews
- Amazon Best Sellers Rank: #186,502 in Books (See Top 100 in Books)
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Bernie Wrightsons Frankenstein Hardcover – November 18, 2008
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Shelley's prose is often very powerful. There are shades of Dostoevsky in Crime and Punishment. Shelley makes extensive use of symbolism--breaking ice, the escape from science into nature, Frankenstein's relation with his monster analogized to God's relationship with man. It doesn't have much of the suspense modern horror so heavily relies upon. It's the kind of book that should make you think long and hard, and much of what you should think long and hard about is not entirely pleasant.
Shelley does sometimes writes in convoluted sentences: "She was tranquil, yet her tranquility [sic] was evidently constrained; and as her confusion had before been adduced as a proof of her guilt, she worked up her mind to an appearance of courage." But that's par for the course with Victorian writing.
I read the Kindle version of Frankenstein offered free through Amazon. I noticed few, if any, errors. This version contains Shelley's 1831 edits (e.g., Elizabeth is a Milanese orphan).
I got this as a gift after I asked for it because I wanted to see what the original story was and how it differed.
It is much more of a human story in this book and it is much slower moving that most adaptations you've seen. The cool this was to see where a lot of the tropes are drawn from. Still a slow moving story but interesting all the same to see where it started.
No one had ever published anything like this before when Mary Shelley wrote Frankenstein. A reader tends to be unaware of the implications of cliches in a seminal work until he or she realizes that the author is inventing those cliches in the course of writing, and that they have been used over and over again in subsequent works of others - sometimes creatively and sometimes not so much.
I suggest tossing aside all the derivatives that have come of young Mary Wollstonecraft's work in the past two hundred-odd years and getting to know this monster of a book on its own peculiar terms.