- Paperback: 166 pages
- Publisher: Dover Publications; 3rd edition (1994)
- Language: English
- ISBN-10: 0486282112
- ISBN-13: 978-0486282114
- Product Dimensions: 5.2 x 0.5 x 8.2 inches
- Shipping Weight: 5 ounces (View shipping rates and policies)
- Average Customer Review: 2,471 customer reviews
- Amazon Best Sellers Rank: #1,294 in Books (See Top 100 in Books)
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Frankenstein 3rd Edition
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Frankenstein, loved by many decades of readers and praised by such eminent literary critics as Harold Bloom, seems hardly to need a recommendation. If you haven't read it recently, though, you may not remember the sweeping force of the prose, the grotesque, surreal imagery, and the multilayered doppelgänger themes of Mary Shelley's masterpiece. As fantasy writer Jane Yolen writes of this (the reviewer's favorite) edition, "The strong black and whites of the main text [illustrations] are dark and brooding, with unremitting shadows and stark contrasts. But the central conversation with the monster--who owes nothing to the overused movie image but is rather the novel's charnel-house composite--is where [Barry] Moser's illustrations show their greatest power ... The viewer can all but smell the powerful stench of the monster's breath as its words spill out across the page. Strong book-making for one of the world's strongest and most remarkable books." Includes an illuminating afterword by Joyce Carol Oates. --This text refers to an out of print or unavailable edition of this title.
From School Library Journal
Grade 3-7-Large print, short chapters, and an abundance of white space provide an attractive, more-accessible option for readers who are not ready to handle the originals. At best, this approach works as a vehicle to deliver the basic elements of the stories while providing an entertaining, simplified version of the classic at a lower reading level. After all, many of our cultural references would be lost on readers who don't know what Jekyll and Hyde represent, or what consequences the creator of Frankenstein faced. At worst, the sometimes-stilted language reads like awkward translations. What is missing, of course, is the very language that makes these classics so evocative of their time. Victorian London, for example, is captured so much more readily with the elegant and dramatic prose of Robert Louis Stevenson. If presenting Classic Starts, do so with a recommendation: when you are ready, read the originals. There can be no substitute.-Elizabeth Fernandez, Brunswick Middle School, Greenwich, CT
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to an out of print or unavailable edition of this title.
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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.