ARTICLES ABOUT MARY SHELLEY
A GOTHIC WRITER WOMAN
As early as the 1790's Ann Radeliffe firmly set
the Gothic in one of the ways it would go ever after: a novel in which the
central figure is a young woman who is simultaneously persecuted victim and
courageous heroine. But it was a woman, a generation later, who turned the
Gothic tradition brought about. Mary Shelley's Frankenstein, in 1818,
made the Gothic Novel over into what today we call science fiction. Frankenstein
brought a new sophistication to literary terror, and it did so without a
heroine, without even an important female victim. Paradoxically, however, no
other Gothic work by a woman writer, perhaps no literary work of any kind by a
woman, better repays examination in the light of the sex of its author. For Frankenstein
is a birth myth and one that was lodged in the novelist's imagination by the
fact she was herself a mother.
Mary Shelley was a unique case, in literature as in life. She brought birth to
fiction not as realism but as Gothic fantasy, and thus contributed to
Romanticism a myth of genuine originality: the mad scientist who locks himself
in his laboratory and secretly, guiltily works at creating human life, only to
find that he has made a monster. That is very good horror, but what follows is
more horrid still: Frankenstein, the scientist, runs away and abandons the
newborn monster, who is and remains nameless. Here is
where Mary Shelley's book is most interesting, most powerful and most feminine:
in the motif of revulsion against new-born life and the drama of guilt, dread
and flight surrounding birth and its consequences. Most of the novel, roughly
two of its three volumes, can be said to deal with the retribution visited upon
monster and creator for deficient infant care. Frankenstein seems to be
distinctly a woman's mythmaking on the subject of birth precisely because its
emphasis is not upon what precedes birth, not upon birth itself, but upon what
follows birth: the trauma of the afterbirth.
Frankenstein represents an entirely new
vision of the Female Gothic. And while Mary Shelley's story certainly has
implications for a multitude of literary themes (religion, science, colonialism
and myth, just to name a few), the horrific depiction of the monster's
creation suggests a link to the most feminine of activities: childbirth. The
excerpts here explore that link, between Shelley's myth of
"motherhood" and the new Female Gothic it engendered.
© Ellen Moers
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Academic year 2008/2009
© a.r.e.a./Dr.Vicente Forés López
© Lorena Levy Ballester
lolevyba@alumni.uv.es