Mary Shelley |
My hero: Mary Shelley by Neil Gaiman
Gothic fiction had been all the rage for some time, but Shelley's Frankenstein still changed everything
Neil Gaiman
Saturday 18 October 2014
Detail of the very first illustration of Frankenstein and his creature, by Theodor von Holst, published in 1831. Photograph: The British Library Board
The cold, wet summer of 1816, a night of ghost stories and a challenge allowed a young woman to delineate the darkness, and give us a way of looking at the world.
They were in a villa on the shores of Lake Geneva: Lord Byron – the bestselling poet, too dangerous for the drawing rooms of England and in exile; his doctor, John William Polidori; Percy Shelley, poet and atheist, and his soon-to-be wife, 18-year-old Mary Shelley. Ghost stories were read, and then Byron challenged everyone in the group to come up with a new story. He started, but did not finish, one about vampires; Polidori completed "The Vampyre"; and young Mary, already the mother of a living child and a dead one, imagined a story about a man who fabricated a living creature, a monster, and brought it to life. The book she wrote over the following year, initially published anonymously, was Frankenstein or, The Modern Prometheus, and it slowly changed everything.
Ideas happen when the time is right for them. The ground had been prepared. Gothic fiction had been all the rage for some time: dark, driven men had wandered the corridors of their ancestral homes, finding secret passages and dead relatives, magical, miserable, occasionally immortal; while the questing urge of science had discovered that frogs could twitch and spasm, after death, when current was applied, and, in an era of change, so much more was waiting to be discovered.
Brian Aldiss points to Frankenstein as the first work of science fiction (which he defines as hubris clobbered by nemesis) and he may be right. It was the place where people learned we could bring life back from death, but a dark and dangerous and untamable form of life, one that would, in the end, turn on us and harm us. That idea, the crossbreeding of the gothic and the scientific romance, was released from into the world, and would become a key metaphor for our times. The glittering promise of science, offering life and miracles, and the nameless creature in the shadows, monster and miracle all in one, back from the dead, needing knowledge and love but able, in the end, only to destroy … it was Mary Shelley's gift to us, and we would be infinitely poorer without it.
THE GUARDIAN
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029 My hero / Colette by Helen Simpson
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024 My hero / Elizabeth Barrett Browing by Sara Paretsky
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027 My hero / Samuel Beckett by Nick Clegg
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029 My hero / Colette by Helen Simpson
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031 My hero / Nicolai Medtner by Philip Pullman
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038 My hero / Charles Schulz by Jenny Colgan
039 My hero / Oliver Knussen by Adam Foulds
040 My hero / Annie Proulx by Alan Warner
041 My hero / David Lynch by Paul Murray
042 My hero / Edwin Morgan by Robert Crawford
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044 My hero / Jane Helen Harrinson by Mary Beard
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047 My hero / Christopher Marlowe by Val McDermid
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053 My hero / Alexander Pushkin by Elaine Feinstein
058 My hero / Cy Twombly by Edmund de Waal
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096 My hero / Isaac Babel by AD Miller
097 Lucian Freud by Esi Edugyan
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283 My hero / Margaret Foster by Valerie Grove
284 My hero / David Cesarini by David Herman
285 My hero / Umberto Eco by Jonathan Coe
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