Celebrating in 2025: the 115th anniversary of Edison’s Frankenstein (1910), the 90th anniversary of Bride of Frankenstein (1935), the 80th anniversary of Dick Briefer’s Frankenstein for Prize Comics (1945-54) and the Frankenstein adaptation in Classic Comics #26 (December 1945), the 60th anniversary of Milton the Monster (1965–67), the 50th anniversary of the film version of The Rocky Horror Picture Show, and the 10th anniversary of Graham Nolan and Chuck Dixon’s Joe Frankenstein.

Monday, March 3, 2025

Coming Soon - Oxford World's Classics Edition of Mathilda

Mathilda

Mary Shelley

Edited by Deanna P. Koretsky
Oxford World's Classics

Full details and ordering information at https://global.oup.com/academic/product/mathilda-9780192883049

A new edition of Mary Shelley's second novel, which remained unpublished until 1959 due to its themes of suicide and incest

Offers an original transcription from the only known manuscript copy of Mathilda; one of only three original transcriptions in circulation

Examines how the major themes in the book reflect the political discourse of the time and presents new avenues for understanding Shelley's views on gender and sexuality

Includes appendices such as 'The Mourner,' Shelley's retelling of Mathilda set in the context of transatlantic slavery, and other texts that help readers understand the breadth of Shelley's social consciousness



Paperback

This item is not yet published. It is available for pre-orders and will ship on 13 May 2025.

208 Pages

7.7 x 5.1 inches

ISBN: 9780192883049


Out in 2026 - Oxford World's Classics Combined Edition of The Last Man and The Journal of Sorrow

The Last Man and The Journal of Sorrow
Mary Wollstonecraft Shelley

Edited by Eileen M. Hunt
Oxford World's Classics

Full details and ordering information at https://global.oup.com/academic/product/the-last-man-and-the-journal-of-sorrow-9780198892793.

Presents two of Mary Shelley's most important works, never before published together

Includes a new introduction drawing out connections between Shelley's novel and the journal, and their relationships to political science fiction and life writing

Shelley's groundbreaking The Last Man was the first major modern telling of postapocalyptic pandemic which still resonates 200 years after publication


Paperback

This item is not yet published. It is available for pre-orders and will ship on 13 April 2026.

512 Pages

7.7 x 5.1 inches

ISBN: 9780198892793


Coming Soon History of A Six Weeks' Tour Oxford World's Classics Edition

History of A Six Weeks' Tour: Through a part of France, Switzerland, Germany, and Holland: with Letters Descriptive of a Sail Round the Lake of Geneva, and of the Glaciers of Chamouni

Mary Wollstonecraft Shelley and Percy Bysshe Shelley

Edited by Cian Duffy and Anna Mercer
Oxford World's Classics


Published for the first time in paperback, detailing the account of two journeys made by Mary Wollstonecraft Shelley and Percy Bysshe Shelley

An important and revealing but less well-known work by two of the most famous authors of the Romantic period

Includes a detailed introduction, explanatory notes, appendices, and maps


Paperback

This item is not yet published. It is available for pre-orders and will ship on 13 August 2025.

192 Pages | 3 maps

7.7 x 5.1 inches

ISBN: 9780192858276

Saturday, January 18, 2025

Recent Publication - A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley (2023)

Sorry to have missed this earlier.

Non-Fiction Title: A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley


Publisher site: https://ifwgpublishing.com/non-fiction-title-a-vindication-of-monsters-essays-on-mary-wollstonecraft-and-mary-shelley/.

In 1797 an extraordinary visionary died, leaving behind a grieving husband, a two-year-old daughter, and a newborn. The woman was Mary Wollstonecraft, her daughter Fanny Imlay, and her baby Mary Godwin, who, through many trials and tribulations, grew up to become the remarkable Mary Shelley, creator of one of the most important books in literature: Frankenstein; Or, The Modern Prometheus.

While many books have examined both women’s lives, their remarkable similarities, their passions, joys, and their grief, A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley, delves deeper into the stories behind both women, their connections to historical events, society, their philosophies, and their political contributions to their time. These essays and memoirs explore Mary Wollstonecraft, Mary Shelley, and Shelley’s circle of friends, including her husband, the capricious poet Percy Shelley; the libertine Romantic Lord Byron; the first modern vampire author John Polidori; and other contemporary creatives who continue to be inspired by both women today.

Contents:

Preface by Sara Karloff, actress and Boris Karloff’s daughter
Introduction (‘Examining Frankenstein’) by Leslie S. Klinger (editor of the highly-acclaimed New Annotated Frankenstein)
Foreword by Lisa Morton, six-time Bram Stoker Award® winner
‘In His Eyes Our Own Yearning: Seeing Mary Shelley and Her Creature’ by Nancy Holder
‘The Maker Remade: Mary Shelley In Fiction’ by Matthew R Davis
‘Beauty And The Grotesque’ by Michele Brittany
‘Mary Shelley And The World Of Monsters’ by Rob Hood
‘An Articulation Of Beauty In The Film ‘Mary Shelley’s Frankenstein’’ by Donald Prentice Jr
‘Mapping The Collective Body Of Frankenstein’s Brides’ by Carina Bissett
‘Marys And Motherhood’ and Preamble by Claire Fitzpatrick
‘Don’t Feed The Monsters’ by Hk Stubbs
‘My Mother Hands Me A Book’ by Piper Mejia
‘A Bold Question: Consent And The Experimental Subject In Frankenstein’ by Octavia Cade
‘Mary Shelley And Percy Shelley’s Fascination With The Creation Myth And Sexual Androgyny’ by Ciarán Bruder
‘Mary Shelley’s Frankenstein And Revenge Killers’ by Anthony P Fergusson
‘Medicine And Mary Shelley’ by Grant Butler
‘Frankenstein’s Language Model’ by Jason Franks
‘Mary Shelley: Pandemics, Isolation, And Writing’ by Lee Murray
‘Mary W And Mary S: A Story With Objects’ by Lucy Sussex

A comprehensive essay on the motivations and content of this book by the editor, Claire Fitzpatrick (in Ginger Nuts of Horror).

A Vindication of Monsters: Essays on Mary Wollstonecraft and Mary Shelley
Edited by Claire Fitzpatrick
Non-Fiction
English language
ISBN: 978-1-922856-40-1 (print)
978-1-922856-41-8 (ebook)
RRP: US$16.99 (US$6.99 ebook)
Publisher: IFWG Publishing International
252 pages – paperback, English
Binding: Perfect bound
Dimensions: 229mm x 152mm
eBook and Print Formats: Amazon, Barnes and Noble, iBook
Key Words: Non-fiction; Mary Wollstonecraft; Mary Shelley; essays; gothic literature; horror; literature;
Publication Date: 15 October 2023 (global release)
Distributor: World-wide through IPG (IPG specific in North America, NewSouth Books (partner) in Australia/New Zealand, and UID(Marsden/Eurospan) in UK/Europe)


Wednesday, January 8, 2025

CFP Mary Shelley Today: *Frankenstein* in the Twenty-First Century (2/1/2025)

Mary Shelley Today: *Frankenstein* in the Twenty-First Century


deadline for submissions:
February 1, 2025

full name / name of organization:
Timothy Ruppert and Danette DiMarco

contact email:
timothy.ruppert@sru.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2024/12/26/mary-shelley-today-frankenstein-in-the-twenty-first-century

Mary Shelley Today: Frankenstein in the Twenty-First Century seeks to reevaluate the influence of Mary Shelley, and particularly her most prominent novel, on literature and imaginative work of the last quarter century (defined as 1999-2024). This project engages with works and authors on whom little has been written to date in the hope of providing exciting new resources for Romanticists and general readers alike.

We seek contributions between 4,500-6,500 words. While we do not wish to delimit authors in terms of focus, we will give special preference to scholarship on undertreated works and writers, for example, Seanan McGuire’s Down Among the Sticks and Bones (2017), Theodora Goss’s The Strange Case of the Alchemist’s Daughter (2017), Kiersten White’s The Dark Descent of Elizabeth Frankenstein (2018), John Kessel’s Pride and Prometheus (2018), Ahmed Saadawi’s Frankenstein in Baghdad (trans. 2018), and Jennifer McMahon’s The Children on the Hill (2022). We are also interested in reinterpretations of Frankenstein in other genres, including works such as the Japanese manga series Fullmetal Alchemist,cinematic products such as Larry Fessenden’s 2019 Depraved or the Doctor Who episode ‘The Haunting of Villa Diodati’ (2020), or stage plays such as Eric Sirota’s musical adaptation of Frankenstein (2017). Please note that we already have a chapter concerning Peter Lovesey’s 1999 novel, The Vault, and so will not accept submissions exclusively concerning that work.

Please submit a 500/1,000-word proposal along with your contact information and a biographical note (up to 200 words) to both co-editors by 1 February 2025. Further details on style and formatting will be provided to prospective contributors upon acceptance.

Accepted contributors should plan to submit complete book chapters (4,500/6,500 words, including references and footnotes) by 1 August 2025.

This volume is already under contract to a leading academic publisher, so the manuscript will likely go for peer review in late 2025. The projected publication date is 2026. Please contact both Danette DiMarco (danette.dimarco@sru.edu) and Timothy Ruppert (timothy.ruppert@sru.edu) with any questions.



Last updated January 2, 2025

Thursday, July 18, 2024

CFP Hideous Progenies: Adulterous Adaptations of Frankenstein in the 21st-Century (7/1/2024)

Hideous Progenies: Adulterous Adaptations of Frankenstein in the 21st-Century


deadline for submissions: 
July 1, 2024
full name / name of organization: 
Kyle William Bishop

With the commercial and critical success of Yorgos Lanthimos’s Poor Things (2023), I am assembling a collection of scholarly essays that will explore additional unfaithful 21st-century adaptations (in various media) of Mary Shelley’s 1818 masterpiece, Frankenstein. Taking a page from Thomas Leitch’s idea of the “Ethics of Infidelity,” I propose that investigating the longevity of Shelley’s essential story (the overreacher plot coupled with an animated or re-animated creature) as translated into a variety of “adulterous adaptations” would demonstrate how the plot, structure, character types, themes, etc. of Frankenstein transcend mere faithful adaptations to become increasingly relevant to different (modern) audiences.

My recent internet and database searches for “unfaithful adaptations of Frankenstein” produced few results, as most popular and scholarly studies of Frankenstein adaptations are more interested in the more faithful (if not most faithful) adaptations. This anthology would thus break new academic ground in terms of both Frankenstein studies and adaptation studies by collecting scholarly approaches to non-faithful adaptations of Frankenstein in all kinds of media that have appeared over the past two decades, the focus being (1) a lack of adaptive fidelity and (2) newer adaptations and texts that may have yet to be given the scholarly treatment.

I see the adulterous adaptations of any work falling into two broad categories: overt and thematic. The overt adaptations, in my mind, use similar if not the same characters as Shelley undertaking tasks and having experiences somewhat similar to the novel, all with an overt in-text reference to “Frankenstein” along the way. These text would include

● The Casebook of Victor Frankenstein (2008) by Peter Ackroyd

● Frankenweenie (2012) from Tim Burton

● Penny Dreadful (2014–2016) from John Logan

● The Frankenstein Chronicles (2015–2017) from Barry Langford and Benjamin Ross

● Destroyer (2018) by Victor LaValle and Dietrich Smith

● The Dark Descent of Elizabeth Frankenstein (2019) by Kiersten White

● Angelika Frankenstein Makes Her Match (2023) by Sally Thorne

● Lisa Frankenstein (2024) from Zelda Williams

The second category of adaptations are even less faithful works, “inspirations” or “essences” based on the themes and some plot points from Frankenstein, such as

● Frankenstein in Baghdad (2013) by Ahmed Saadawi

● Ex Machina (2014) from Alex Garland

● Avengers: Age of Ultron (2015) from Joss Whedon

● Patchwork (2015) from Tyler MacIntyre

● Westworld (2016–2022) from Lisa Joy and Jonathan Nolan

● Blade Runner 2049 (2017) from Denis Villeneuve

● Depraved (2019) from Larry Fessenden

● The Angry Black Girl and Her Monster (2023) from Bomani J. Story

● Poor Things (2023) from Yorgos Lanthimos

These diverse works all demonstrate the ongoing significance of Shelley’s novel—as antecedent, source material, inspiration, or pastiche—and illustrate how her tale has almost become a subgenre of Gothic horror unto itself, evolving and changing to reflect the most pressing cultural anxieties and concerns of the current century.

My goal with this collection is to present breadth and variety, and so I would prefer to have as many texts represented with as little overlap as possible. To that end, I am welcoming proposals on any literary or filmic work with clear thematic ties to Shelley’s original Frankenstein novel (especially those listed above) that have appeared over the past decade or so.

Proposals must include

● a 200–250 word title and abstract of the suggested chapter,

● a loose working bibliography of both primary and secondary sources, and

● a brief statement of qualifications, focusing on relevant scholarly production.

Please email proposals to bishopk@suu.edu no later than July 1, 2024—and I welcome multiple submissions to facilitate breadth and lack of overlap.

Who Am I?

In terms of Frankenstein, I have taught the novel numerous times in upper-division courses on Gothic literature, literary adaptations (dedicating an entire course to the subject for the bicentennial 2018 year), and a study abroad summer program to Ingolstadt, Geneva, and Chamonix in 2016. I have also written and published two articles on Frankenstein:

● “The Subaltern Brides of Frankenstein: Liberating Shelley’s Unrealized Female Creature on Screen.” Creolizing Frankenstein, edited by Michael Paradiso-Michau, Rowman & Littlefield International, 2024, pp. 83–99.

● “The Frankenstein Complex on the Small Screen: Mary Shelley’s Motivic Novel as Adjacent Adaptation.” Adapting Frankenstein: The Monster’s Eternal Lives in Popular Culture, edited by Dennis Cutchins and Dennis R. Perry, Manchester UP, 2018, pp. 111–127.

I also presented “From Prometheus to Pygmalion to Pandora: The Feminist Threat of Frankenstein’s ‘Dark Brides’” at the 2024 Northeast Modern Language Association annual conference, and I am developing that article for publication with Michael Torregrossa.

In terms of editing, I have three co-edited collections under my belt, two scholarly volumes and a special issue of a journal:

● The Post Zombie: The Current and Future State of the Living Dead. Co-edited with C. Wylie Lenz and Angela Tenga, McFarland, 2024. [forthcoming this fall]

● The Written Dead: Essays on the Literary Zombie. Co-edited with Angela Tenga, McFarland, 2017.

● After/Lives: What’s Next for Humanity. Special edition of the Journal of the Fantastic in the Arts, co-edited with Sarah Juliet Lauro, vol. 25, nos. 2–3, 2014.

In addition to being on the Editorial Advisory Board for the Journal in the Fantastic in the Arts, I have also served as a peer reviewer for over two dozen journals, over a dozen book proposals, and two doctoral dissertations for international graduate programs.

Friday, June 28, 2024

CFP Mary Shelley’s The Last Man and Global Issues Collection (7/31/2024)

Call for Book Chapters: “Mary Shelley’s The Last Man and Global Issues”


deadline for submissions: July 31, 2024

contact email: reyam.rammahi@gmail.com



Vernon Press invites book chapter proposals for the forthcoming edited volume “Mary Shelley’s The Last Man and Global Issues”, edited by Reyam Rammahi.


Much research has already been done on many aspects of Mary Shelley’s The Last Man. However, this volume seeks contributions that link the novel with today’s crucial issues like the COVID-19 pandemic. The Last Man is often associated with the apocalypse, proving that the novel speaks to today’s issues, especially the recent pandemic. The volume welcomes discussions from scholars invested in the rapidly growing interest in postcolonial studies, medical humanities, racist discourses in literature, biopolitics, and disability studies. Literary and interdisciplinary contributions are welcome. Topics may include, but are not limited to, the following:

  • Race and notions of racism in the novel
  • The East/West binary
  • The association of the fictional plague and COVID-19 with the “Other”
  • Oppositions between warring political and social factions in the novel
  • Nation and nationalism


Please submit a one-page proposal and a short bio by July 31, 2024 to Reyam Rammahi at reyam.rammahi@gmail.com



Last updated June 25, 2024

Monday, June 3, 2024

New from Bloomsbury Academic - Peggy Webling and the Story behind Frankenstein: The Making of a Hollywood Monster

Peggy Webling and the Story behind Frankenstein: The Making of a Hollywood Monster

Peggy Webling (Author) , Dorian Gieseler Greenbaum (Author) , Bruce Graver (Author)


Ordering information available at https://www.bloomsbury.com/us/peggy-webling-and-the-story-behind-frankenstein-9781350371651/. Available in print (hardcover and paperback) and as an ebook. 


Product details

Published Apr 18 2024

Edition 1st

Extent 344

Imprint Bloomsbury Academic

Illustrations 15 bw illus

Dimensions 9 x 6 inches

Publisher Bloomsbury Publishing


Description

The 1931 Universal Pictures film adaptation of Frankenstein directed by James Whale and starring Boris Karloff as the now iconic Monster claims in its credits to be 'Adapted from the play by Peggy Webling'.


Webling's play sought to humanize the creature, was the first stage adaptation to position Frankenstein and his creation as doppelgängers, and offered a feminist perspective on scientific efforts to create life without women, ideas that suffuse today's perceptions of Frankenstein's monster. The original play script exists in several different versions, only two of which have ever been consulted by scholars; no version has ever been published. Nor have scholars had access to Webling's private papers and correspondence, preserved in a family archive, so that the evolution of Frankenstein from book to stage to screen has never been fully charted.


In Peggy Webling and the Story behind Frankenstein, Dorian Gieseler Greenbaum (Webling's great grandniece) and Bruce Graver present the full texts of Webling's unpublished play for the first time. A vital critical edition, this book includes:


- the 1927 British Library Frankenstein script used for the first production of the play in Preston, Lancashire

- the 1928 Frankenstein script in the Library of Congress, used for productions in UK provincial theatres from autumn 1928 till 1930

- the 1930 Frankenstein Prompt Script for the London production and later provincial performances, held by the Westminster Archive, London

- Webling's private correspondence including negotiations with theatre managers and Universal Pictures, family letters about the writing and production process, and selected contracts

- Text of the chapter 'Frankenstein' from Webling's unpublished literary memoir, The Story of a Pen for additional context

- Biography of Webling that bears directly on the sensibilities and skills she brought to the writing of her play

- History of how the play came to be written and produced

- The relationship of Webling's play to earlier stage and film adaptations

- An exploration of playwright and screenwriter John L. Balderston's changes to Webling's play and Whale's borrowings from it in the 1931 film


Offering a new perspective on the genesis of the Frankenstein movie, this critical exploration makes available a unique and necessary 'missing link' in the novel's otherwise well-documented transmedia cultural history.


Table of Contents

List of Illustrations

Acknowledgements

Introduction

Part I History and Commentary


Chapter 1 Peggy Webling's Story


Chapter 2 The Other Woman who Created Frankenstein


Chapter 3 From Peake to Whale, and Webling's Missing Link


Part II Texts of Webling's Frankenstein


1927 Version, registered with the Lord Chamberlain on 25 November 1927


1928 Version, copyrighted with the US Library of Congress on 7 September 1928


1930 Prompt Script, performed in London 10 February–12 April 1930


Appendix 1 Excerpts from Webling Letters concerning Frankenstein


Appendix 2 Excerpt from Webling's Unpublished Memoir, The Story of a Pen


Appendix 3 Contracts


Bibliography General Bibliography

Sources from the Webling Archive

Index



Author Information

Peggy Webling (1 January 1871 – 27 June 1949) was a British playwright, novelist and poet.

Dorian Gieseler Greenbaum is a historian specialising in the history of astrology, cosmology and divination. She is the great-grandniece of Peggy Webling, the playwright, and holds a private archive of her papers. She has lectured on the history of Webling’s Frankenstein for specialists and general audiences.

Bruce Graver is Professor of English at Providence College, USA where is a specialist in British Romantic literature. He edited Wordsworth’s Translations of Chaucer and Virgil (1998), co-edited Wordsworth and Coleridge’s Lyrical Ballads (2003), and contributed many chapters to edited collections as well as writing and lecturing widely about various British Romantic writers, including Mary Shelley.

Sunday, March 24, 2024

Out Now - Afterlives of Frankenstein

The Afterlives of Frankenstein: Popular and Artistic Adaptations and Reimaginings


Robert I. Lublin (Anthology Editor) , Elizabeth A. Fay (Anthology Editor)

Publisher site: https://www.bloomsbury.com/us/afterlives-of-frankenstein-9781350351561/.


Product details

Published Feb 22 2024
Format Hardback
Edition 1st
Extent 248
ISBN 9781350351561
Imprint Bloomsbury Academic
Illustrations Colour images
Dimensions 9 x 6 inches
Publisher Bloomsbury Publishing


Description


An exploration of the treatment of Mary Shelley's Frankenstein in popular art and culture, this book examines adaptations in film, comics, theatre, art, video-games and more, to illuminate how the novel's myth has evolved in the two centuries since its publication. Divided into four sections, The Afterlives of Frankenstein considers the cultural dialogues Mary Shelley's novel has engaged with in specific historical moments; the extraordinary examples of how Frankenstein has suffused our cultural consciousness; and how the Frankenstein myth has become something to play with, a locus for reinvention and imaginative interpretation. In the final part, artists respond to the Frankenstein legacy today, reintroducing it into cultural circulation in ways that speak creatively to current anxieties and concerns.

Bringing together popular interventions that riff off Shelley's major themes, chapters survey such works as Frankenstein in Baghdad, Bob Dylan's recent “My Own Version of You”, the graphic novel series Destroyer with its Black cast of characters, Jane Louden's The Mummy!, the first Japanese translation of Frankenstein, “The New Creator”, the iconic Frankenstein mask and Kenneth Brannagh's Mary Shelley's Frankenstein film. A deep-dive into the crevasses of Frankenstein adaptation and lore, this volume offers compelling new directions for scholarship surrounding the novel through dynamic critical and creative responses to Shelley's original.

Table of Contents

Introduction
Robert I. Lublin and Elizabeth A. Fay

Part 1: Cultural Reinventions

1. “Only from the future”: Frankenstein, The Mummy!, and the Ontology of Revolution, David Baulch (University of West Florida, USA)

2. Frankens-Time: Frankenstein and the Temporal Origins of Artificial Intelligence, Tobias Wilson-Bates (Georgia Gwinnett College)

3. Meiji Japan Responds to Frankenstein: The 1889-90 translation “The New Creator”, Tomoko Nakagawa (University of the Sacred Heart, Japan)

4. Frankenstein Goes Global: Returning the Necropolitical Gaze with Frankenstein in Baghdad, Hugh Charles O'Connell (University of Massachusetts Boston, USA)

Part 2: Frankensteinia

5. Frankenstein in the Popular Imagination, Sidney E. Berger (Simmons College, USA)

6. Frankenstein Mask: Perpetuating the Monster Assemblage, Taylor Hagood (Florida Atlantic University, USA)

7. Victor LaValle and Dietrich Smith's Graphic Novel Destroyer (2020), Andrew Shepherd (University of Utah, USA)

Part 3: Playing Frankenstein

8. Staging Mary Shelley in Contemporary Frankenstein Biodramas, Brittany Reid (Brock University, Canada)

9. The Evolving Myth of Frankenstein in Twenty-First-Century Film, Robert I. Lublin (University of Massachusetts Boston, USA)

10. The Water and the Corpse: Exploring Nature, Shelley's Echoes, and Twenty-First Century Cultural Anxieties in The Frankenstein Chronicles, Lorna Piatti-Farnell (Auckland University of Technology, New Zealand)

11. The Aesthetics of Digital Naturecultures in La Belle Games's The Wanderer: Frankenstein's Creature (2019), Andrew Burkett (Union College, USA)

Part 4: Artists Talk Back

12. A Monstrous Circus on Frankenstein: Mediating Shelley's Novel through John Cage's Multimedia Strategies, Miriam Wallace and R. L. Silver (New College of Florida, USA)

13. Frankenstein in Three Chords, Elizabeth A. Fay (University of Massachusetts Boston, USA) and James McGirr (Independent Scholar, USA)

14. From Frankenstein to Writing SciFi to Collage, Kate Hart (University of Massachusetts Boston, USA)


New Book - Creolizing Frankenstein

Creolizing Frankenstein


EDITED BY MICHAEL R. PARADISO-MICHAU

Publisher site: https://rowman.com/ISBN/9781538176559/Creolizing-Frankenstein.

Rowman & Littlefield Publishers
Pages: 414 • Trim: 6¼ x 9½
978-1-5381-7653-5 • Hardback • December 2023 • $130.00 • (£100.00)
978-1-5381-7655-9 • eBook • December 2023 • $50.00 • (£38.00)

Series: Creolizing the Canon


Creolizing Frankenstein dissects and critically appreciates Mary Shelley’s 200-year old novel. Contributors advance two claims: first, this story is the product of creolization—the intentional conglomeration of a variety of scientific, mythological, political, religious, gender, educational, historical, and racial discourses. Second, they trace the ways in which Frankenstein has creolized itself into modern and contemporary life and culture in such a way as to have become a new mythology and political statement for each generation. The contributors to this book place Frankenstein into productive conversation with such figures and fields as Frederick Douglass and slave narrative, Frantz Fanon and postcolonial theory, Afro-Caribbean Hispanophone and Francophone literature, nineteenth century labor history, the Black Radical Tradition, Trans studies, feminist theory, Marxism and critical social theory, film studies, music and media studies, Afro-futurism and African futurism, political theory, education theory, Gothic literary studies, and Africana philosophy.

Contributors: Kyle William Bishop, Persephone Braham, Alan M. S. J. Coffee, Emily Datskou,Garrett FitzGerald, Jeremy Matthew Glick, Jane Anna Gordon, Lewis R. Gordon, Raphael Hoermann, Elizabeth Jennerwein, Corey McCall, David McNally, Thomas Meagher, Michael R. Paradiso-Michau, Borna Radnik, Lindsey Smith, Amy Shuffelton, Jasmine Noelle Yarish, Elizabeth Young, Paul Youngquist.




Contents


Acknowledgments

Introduction: One Woman’s Text and a Critique of Colonialism

Michael R. Paradiso-Michau


Part I: Race, Gender, and Media

Chapter 1. Black Frankenstein at 200

Elizabeth Young

Chapter 2. Gender, Race, and Frankenstein’s Creature: A Creolized Reading and Decolonial Challenges

Lewis R. Gordon

Chapter 3. The Creation of Identity in Frankenstein and Man Into Woman

Emily Datskou

Chapter 4. Revolutionary Responsibility: Mothering a Monster

Jane Anna Gordon and Elizabeth Jennerwein

Chapter 5. The Subaltern Brides of Frankenstein: Liberating Shelley’s Unrealized Female Creature on Screen

Kyle William Bishop

Chapter 6. Creolization between Horror and Science Fiction: Get Out and the Era of a Third Reconstruction

Jasmine Noelle Yarish

Chapter 7. Funking with Victor: Toward a Genealogy of Revolutionary Desire

Paul Youngquist


Part II: Politics and History

Chapter 8. “You Call These Men a Mob”: Irish Rebels, Slave Insurrectionists, Luddite Martyrs, and the Monstrous Rebirth of the Wretched of the Earth

David McNally

Chapter 9. Frankenstein and Slave rrative: Race, Revulsion, and Radical Revolution

Alan M. S. J. Coffee

Chapter 10. “I have undertaken this vengeance”: Echoes of Race and Specters of Slave Revolt

Raphael Hoermann

Chapter 11. The Creature’s Creole Education

Amy B. Shuffelton

Chapter 12. Hideous Aspects: Decolonial Barbarism and the Epistemic Politics of Mary Shelley’s Frankenstein

Garrett FitzGerald


Part III: Literature, Theory, and Culture

Chapter 13. Galvanic Awakenings: Frankenstein in the Spanish Caribbean

Persephone Braham

Chapter 14. Monstrous Hybridity: Transformative Readings in Who Slashed Celanire’s Throat?

Lindsey Leigh Smith

Chapter 15. Victor Frankenstein and the Crisis of European Man

Thomas Meagher

Chapter 16. “Thinking that liberates itself from the anatamo-critical”: Some Notes on Frankenstein, Fanon, and the Combinatory Prometheus

Jeremy Matthew Glick

Chapter 17. Misinterpellated Monsters

Corey McCall and Borna Radnik


Index

About the Contributors



About the Editor


Michael R. Paradiso-Michau is lecturer in the Department of Liberal Arts at the School of the Art Institute of Chicago. Editor of Reflections on the Religious, the Ethical, and the Political , Paradiso-Michau has published in Continental Philosophy Review; Ethics; Listening: Journal of Communication Ethics, Religion, and Culture; Journal of Scriptural Reasoning; Atlantic Journal of Communication; Radical Philosophy Review; and Shofar. He has also contributed chapters to Listening to Edith Stein: Wisdom for a New Century , Neither Victim Nor Survivor: Thinking toward a New Humanity, and Shifting the Geography of Reason: Gender, Science, and Religion .

Friday, March 1, 2024

Frankenstein Sessions at NeMLA 2024

They Live: Female Monsters and Their Impact on the Frankenstein Tradition and Elsewhere 

Sponsored by the Monsters & the Monstrous Area of the Northeast Popular Culture Association 

Organized by Michael A. Torregrossa


55th NeMLA Convention

Boston, MA

7-10 March 2024


Friday
Mar 8 Track 11
04:45-06:15

11.20 They Live: Female Monsters and Their Impact on the Frankenstein Tradition and Elsewhere (Part 1)
Chair: Michael Torregrossa, Bristol Community College
Location: Gardner B (Media Equipped)
British & Cultural Studies and Media Studies

"From Prometheus to Pygmalion to Pandora: The Feminist Threat of Frankenstein’s 'Dark Brides'" Kyle Bishop, Southern Utah University

"Hypertext, the Female Monster, and Other Boundary Creatures in Shelley Jackson's Patchwork Girl" Callie Ingram, University at Buffalo, SUNY

"'I am no one’s': Subverting the ‘Bride of Frankenstein’ in The Frankenstein Chronicles " Sophie-Constanze Bantle, Albert-Ludwigs-Universität Freiburg


Saturday
Mar 9 Track 14
10:00-11:30

14.18 They Live: Female Monsters and Their Impact on the Frankenstein Tradition and Elsewhere (Part 2)
Chair: Michael Torregrossa, Bristol Community College
Location: Hampton B (Media Equipped)
British & Cultural Studies and Media Studies

"The Bride Who Survived: Shelley Jackson’s Patchwork Girl (1995) and its Female Monster" Jonathan Rose, University of Passau

"'No more let Life divide...': Serial Brides in Penny Dreadful and The Frankenstein Chronicles " Federica Perazzini, Sapienza-Università di Roma

Sunday, October 1, 2023

CFP Romantic Boundaries (Special Issue of Romantic Textualities) (10/10/2023)


CFP–Romantic Boundaries (Special Issue of Romantic Textualities)
Tien, Yu-hung

Source: https://www.romtext.org.uk/romantic-boundaries/

Posted on 08 September 2023


This June, the BARS Early Career and Postgraduate Conference gathered researchers from around the globe to celebrate and to appreciate Romanticism and its legacies at the University of Edinburgh by exploring the theme of ‘boundaries’ within the context of Romantic-period literature and thought. The Oxford English Dictionary defines the term ‘boundary’ as: ‘That which serves to indicate the bounds or limits of anything whether material or immaterial; also the limit itself.’ Such a term seems at odds with the spirit of Romanticist thought, which has long been associated with mobility and boundlessness. Conference delegates aptly addressed the complexity of the concept through various representations of boundaries—both tangible and intangible—from a wide range of viewpoints. To continue such a diverse critical dialogue, in collaboration with Romantic Textualities: Literature and Print Culture, 1780–1840, they plan to produce a special ‘Romantic Boundaries’ edition of the journal. To widen the scope of our scholarly conversation, not only do they welcome all the conference delegates to consider expanding their conference papers for publications, but they also invite researchers and scholars in general for submissions.

Echoing our conference theme, topics of interest may include, but are not limited to:
  • Geographical and spatial boundaries; transnationalism
  • Borders, liminal spaces, and boundary crossing
  • Temporal boundaries
  • Dialogues between genres and disciplines
  • Translations and transgressions
  • Lived boundaries (including those pertaining to identity, such as gender, race, or sexuality)
  • Digital boundaries
  • Human and nonhuman boundaries
  • Boundaries and reception; public versus private writings
  • Past, present, and future limits of the field of Romantic studies and its canon

Successful abstracts will suggest articles that broaden our understanding of Romantic boundaries by illuminating the elasticity and multiplicity of their meanings. For those who are interested, please submit 500-word abstracts with 5 keywords. Abstracts are due by 10 October 2023. The result will be announced by mid-November.

Essays (5000–8000 words, including footnotes) that grow out of accepted abstracts will undergo peer review and are due by 31 January 2024.

Please email submissions to Yu-hung Tien (yuhung.tien@ed.ac.uk), with a subject line (Romantic Boundaries, ‘Paper Title’, Author Name).

Papers will be published in a special issue of Romantic Textualities (Summer 2024), guest edited by Professor Li-hsin Hsu, Professor Andrew Taylor, and Yu-hung Tien.

Please note that the essay submission date and publication schedule are tentative and subject to change, depending on the reviewing progress.

Sunday, September 3, 2023

CFP In Other Wor(l)ds: Romanticism at the Crossroads, a special issue of Romantic Textualities: Literature and Print Culture, 1780-1840 (9/15/2023)

In Other Wor(l)ds: Romanticism at the Crossroads, a special issue of Romantic Textualities: Literature and Print Culture, 1780-1840


deadline for submissions:
September 15, 2023

full name / name of organization:
Romantic Textualities

source: https://call-for-papers.sas.upenn.edu/cfp/2023/08/25/in-other-worlds-romanticism-at-the-crossroads-a-special-issue-of-romantic

contact email:
CStampone@SMU.edu



In Other Wor(l)ds: Romanticism at the Crossroads, a special issue of Romantic Textualities: Literature and Print Culture, 1780-1840­


Note: The deadline for submissions has been extended to 9/15/23.

Jhumpa Lahiri’s In Altre Parole / In Other Words (2015) describes switching from one language to another as crossing from one side of a body of water to its opposite shore. Inspired by this metaphor, this special issue invites essays that examine Romanticism’s movements across oceans and seas, as well as languages, genres, and genders. This special issue seeks to reevaluate popular conceptions of Romantic aesthetics, recover authors who continue or call into question Romanticism’s continued salience, detail the circulation of texts across oceans and borders, and strike connections between authors of different countries and cultures. Joselyn Almeida, Manu Chander, Bakary Diaby, Tim Fulford, Paul Giles, Evan Gottlieb, Samantha Harvey, Nikki Hessell, Kevin Hutchings, Peter Kitson, Deanna Koretsky, Tricia Matthew, Omar Miranda, César Soto, Helen Thomas, The Bigger 6 Collective, and others have reassessed traditional conceptions of Romanticism(s) and Romantic figures by challenging hitherto limited aesthetic, cultural, and geographical borders. Rather than view Romanticism primarily as an insulated phenomenon born out of a few European countries—as has generally been the case—this edition seeks to offer transatlantic, transpacific, and even transnational Romanticisms. Taken as a whole, this special issue will stretch the bounds and time period of Romanticism, better reflecting the development of Romantic aesthetics and their manifestations and subversions across the globe.

Topics of interest include, but are not limited to:
  • Revisionary analyses that account for a global framework and decolonise texts, authors, and Romanticism as a field of study;
  • Romantic networks connecting authors and ideas across space and time;
  • Critical race theory and non-binary & genderqueer readings of underrepresented and canonical texts, art, music, performances, and oral traditions;
  • BIPOC and LGBTQIA2S+ authors and artists;
  • History of the book and transnational reception histories of underrepresented as well as canonical works of literature, specifically works that reached different parts of the globe by either book, newspaper, broadsides, handbills, and other print ephemera; and
  • Comparative analyses connecting authors using similar forms (e.g., ballad romance), genre (e.g., Gothic), or allusions (e.g., Paradise Lost) across nations and languages.

Successful proposals will suggest articles that enrich our understanding of Romanticism by expanding its literal and metaphorical borders. Abstracts are due by August 15, 2023 and should be no longer than 600 words in length. Essays that grow out of accepted abstracts will undergo peer review and are due by January 31, 2024. Please email submissions to Christopher Stampone (CStampone@SMU.edu). Papers will be published in a special issue of Romantic Textualities(Winter 2024), guest edited by Christopher Stampone and Joel Pace.



Note: The deadline for submissions has been extended to 9/15/23.



Last updated September 1, 2023

Saturday, September 2, 2023

Bain on ‘Frankenbitch[es]’: Adapting Frankenstein’s Female Monster in Literature and Film


Sorry to have missed this earlier. New scholarship on female Frankenstein monsters:



Bain, Gracie. “ ‘Frankenbitch[es]’: Adapting Frankenstein’s Female Monster in Literature and Film.” Literature/Film Quarterly, vol. 50, no. 4, Fall 2022, https://lfq.salisbury.edu/_issues/50_4/frankenbitches_adapting_frankensteins_female_monster_in_literature_and_film.html.

Sunday, August 27, 2023

Out Now - New Edition of The Frankenstein Legend


First published in 1973, The Frankenstein Legend: A Tribute to Mary Shelley and Boris Karloff, written by Donald F. Glut, has recently been re-issued in a second edition (published by Strange Particle Press in 2022). The work covers Shelley's novel and its adaptation on stage and screen (both film and television), for radio, in fiction, and as comics. 

Comprising over 400 pages, much of the content is repeated from the original edition, but Glur has included new and/or updated images to accompany the text. In addition, Glut adds a new illustrated afterword that provides updates to various sections of the text. 


I couldn't find a direct link for Strange Particle Press, but the book can be purchased from various online booksellers as print-on-demand and electronic versions. 


Friday, August 18, 2023

CFP Critical Insights on Mary Shelley's Frankenstein: Or, The Modern Prometheus (8/9/2023)

Sorry to have missed this earlier. It should serve as a great companion to the publisher's volumes on Mary Shelley and Stoker's Dracula.



Mary Shelley's Frankenstein: Or, The Modern Prometheus UNDER CONTRACT


deadline for submissions:
August 9, 2023

full name / name of organization:
Critical Insights Series: Salem Press

contact email:
lauranicosia@gmail.com



DEADLINE FOR PROPOSALS: Monday, August 7, 2023



We seek submissions for a Critical Insights volume, under contract with Salem Press, on Mary (Wollenstonecraft) Shelley’s, Frankenstein: Or, The Modern Prometheus. Amidst rapid technological advancements, moral dilemmas, and ethical questions surrounding scientific progress, Shelley’s iconic 1818 novel, Frankenstein, still resonates in contemporary society. The novel continues to captivate readers with its timeless themes and cautionary lessons about scientific ambition and the consequences of playing God. The frame-tale novel, often overshadowed by subsequent film versions, is groundbreaking by giving a voice to the monster via its epistolary embedded-narrative form.



In today's world, where advancements like gene editing and human augmentation are becoming a reality, Shelley's novel urges us to reflect on the ethical boundaries humanity should set for itself and the potential consequences of crossing them. The novel also has compelled readers for over two centuries for its insight into the consideration of alienation and Otherness. Victor’s monster, as an outsider, brings to light the question of what is a human as he grapples with his own isolation, a concept humans increasingly identify with in the twenty-first century. The novel also remains pertinent for its environmental concerns, as ecological critics remind readers of the responsibility humans have toward the environment.



Submissions should be representative of current critical discourse about the novel and conceptually within reach of current students at the secondary and undergraduate levels. Essays that attempt to articulate the novel’s major themes and successes especially will be appreciated, as well as those that compare her work to other compelling writers.



Submissions should be tailored to one of the following categories:
  • A COMPREHENSIVE BIOGRAPHICAL essay (this essay is limited to 2500 words);
  • A CRITICAL RECEPTION essay that traces the reception of Shelley’s novel from publication to today (~5000 words);
  • CRITICAL LENS essays that offer a close reading of the novel from a particular critical standpoint (~5000 words);
  • COMPARATIVE ANALYSIS essays that analyze the work or author in the light of another work or author(~5000 words);
  • CRITICAL READING essays that focus on contemporary readings of a Shelley’s novel, with emphasis on ways readers (i.e. students in secondary and university settings) might be able to appreciate or problematize the text(s) with new eyes and current literary theories (~5000 words).



By August 7, please submit a 250-350-word abstract, a 75-word biographical statement (including your affiliation), and contact information to the acquiring editor, Dr. Laura Nicosia: lauranicosia@gmail.com.



Submissions of approximately 5000 words (inclusive of Works Cited) will need to be completed by November 13, 2023.



Honoraria will be awarded by the publisher to contributors after publication.



Last updated June 27, 2023
This CFP has been viewed 1,333 times.

Wednesday, August 9, 2023

CFP The Shelley Conference 2024: 'Posthumous Poems', Posthumous Collaborations (1/29/2024; London 6/28-29/2024)

The Shelley Conference 2024: 'Posthumous Poems', Posthumous Collaborations


deadline for submissions:
January 29, 2024

full name / name of organization:
The Shelley Conference

contact email:
shelleyconference@gmail.com



The Shelley Conference 2024


Posthumous Poems, Posthumous Collaborations

Keats House Museum, London, 28-29 June 2024



Two years after the death of Percy Bysshe Shelley in the summer of 1822, Mary Shelley, after a painstaking editorial process, published Posthumous Poems (1824). The volume contained much of Shelley’s major poetry, including the hitherto unpublished ‘Julian and Maddalo’, together with translations of Goethe and Calderón, and unfinished compositions such as ‘The Triumph of Life’ and ‘Charles the First’.



The Shelley Conference 2024 celebrates the first collected volume of Shelley’s poetry. Posthumous Poems is the product of collaborations. The most significant of these is between Mary Shelley as editor and Shelley as poet, but they also occur between Shelley and the guarantors of the volume, including Bryan Waller Procter (‘Barry Cornwall’) and Thomas Lovell Beddoes. The conference also addresses ideas of posterity and reception more generally in Shelley scholarship, the range of literary forms collected in a single volume, and the complex collaborative literary relationships that shaped Shelley’s life and endured after his death.



The conference will be held at Keats House Museum in Hampstead, London. Proposals should be in the form of 200-word abstracts for 15-minute papers. Please include a 100-word biography with your proposal.



Papers are invited on themes including, but not limited to:



● Posthumous Poems, its texts and history

● New readings of key poems and of Posthumous Poems as a collection

● Mary Shelley as editor

● Posterity and futurity as themes in Shelley’s work

● Texts in dialogue with Shelley’s work, particularly by those in his circle who survived him

● Shelley’s engagement with Europe and European literature

● The nature and limits of the collaborative process

● Shelley’s reception outside of Britain or in languages other than English

● Shelley and Byron

● Shelley and piracy



Deadline: Please email proposals in Word to shelleyconference@gmail.com by Monday 29 January 2024.



Bursaries: Several bursaries will be available for postgraduate and early-career researchers presenting papers. Please visit the conference website for details. To apply, please add ‘Bursary’ to your email subject.



Keynote Speaker: Dr Ross Wilson (Cambridge)

Plenary Speakers: Professor Nora Crook (Anglia Ruskin); Dr Bysshe Inigo Coffey (Oxford);

Dr Madeleine Callaghan (Sheffield)

Pre-Conference Lecture (27 June): Professor Mark Sandy (Durham)



Conference Website: theshelleyconference.com / facebook.com/shelleyconference / Twitter: @shelleyconf





Conference Organisers: Dr Amanda Blake Davis (Derby); Dr Andrew Lacey (Lancaster); Dr Merrilees Roberts (QMUL);

Dr Paul Stephens (Oxford). Postgraduate Helpers: Lydia Shaw (Durham); Keerthi Vasishta (Durham).



Advisory Board: Dr Will Bowers (QMUL), Dr Bysshe Inigo Coffey (Oxford); Dr Anna Mercer (Cardiff);

Dr Mathelinda Nabugodi (UCL); Professor Michael Rossington (Newcastle).




Last updated August 8, 2023

Tuesday, August 8, 2023

CFP They Live: Female Monsters and Their Impact on the Frankenstein Tradition (9/30/2023; NeMLA Boston 3/7-10/2024)

They Live: Female Monsters and Their Impact on the Frankenstein Tradition



Sponsored by the Monsters & the Monstrous Area of the Northeast Popular Culture Association

Organized by Michael A. Torregrossa


Call for Papers - Please Submit Proposals by 30 September 2023

55th Annual Convention of Northeast Modern Language Association

Sheraton Boston Hotel (Boston, MA)

On-site event: 7-10 March 2024


See the shared Google Doc for the full call with a list of bibliographic resources on the topic: https://tinyurl.com/They-Live-NeMLA-2024.


Session Information


In this session, we seek to engage with and to build upon the work of Erin Hawley in “The Bride and Her Afterlife: Female Frankenstein Monsters on Page and Screen” in order to develop a more complete picture of the roles of the Bride of Frankenstein and her analogues within the Frankenstein tradition.


In 2025, James Whale’s film Bride of Frankenstein will celebrate its 90th anniversary. This is an important milestone, but it has a larger impact beyond the world of film. In both Frankenstein (1931) and Bride of Frankenstein, Whale and make-up artist Jack Pierce gave life to two iconic figures of modern popular culture: the Monster (played by Boris Karloff) and the Bride (played by Elsa Lanchester).


The creation of the Bride was especially significant since in the source, Mary Shelley’s Frankenstein, the mate of the creature is destroyed while still in progress. There is no meeting of Victor Frankenstein’s creations. In the film, however, the Bride is completed, brought to life, and briefly interacts with her intended. Unfortunately, the pair fail to connect, and, by the film’s end, the Bride is destroyed again.


Despite this, once having encountered her in the flesh through Lanchester’s portrayal, it was impossible for creative artists to let the Bride stay dead. For at least six of her almost nine decades, the Bride of Frankenstein has been revived time and again in a diverse variety of media, including artwork, cartoons, children’s books, comics, films, games, prose fiction, and television programs. Each new text offers an innovative contribution to the ongoing Frankenstein tradition through the ways the Bride and her analogues forge new narratives as they act with and react to other characters within the base story.


Submissions might explore


  • The ways the Bride of Frankenstein and her analogues transform the story through their roles as wives and mothers as they bring to fulfillment many of the hopes expressed by the creature in Shelley’s novel
  • The ways versions of female Frankensteins that take a darker turn bring about the bleaker visions Victor Frankenstein has for his creation(s)
  • How the existence of female Frankensteins (even when absent) reshapes many of their male counterparts by moving them from menaces to husbands and fathers


See the shared Google Doc for the full call with a list of bibliographic resources on the topic: https://tinyurl.com/They-Live-NeMLA-2024. Further resources about the Frankenstein tradition can be found at our website Frankenstein and the Fantastic at https://frankensteinandthefantastic.blogspot.com/. Do connect with any ideas for additional references and/or resources.


Thank you for your interest in our session. Please address questions and/or concerns to the organizers at popular.preternaturaliana@gmail.com.


For more information on the Monsters & the Monstrous Area of the Northeast Popular Culture Association, please visit our website at https://popularpreternaturaliana.blogspot.com/.



Submission Information


All proposals must be submitted into the CFPList system at https://cfplist.com/nemla/Home/S/20362 by 30 September 2023. You will be prompted to create an account with NeMLA (if you do not already have one) and, then, to complete sections on Title, Abstract, and Media Needs.


Notification on the fate of your submission will be made prior to 16 October 2023. If favorable, please confirm your participation with chairs by accepting their invitations and by registering for the event. The deadline for Registration/Membership is 9 December 2023.


Be advised of the following policies of the Convention: All participants must be members of NeMLA for the year of the conference. Participants may present on up to two sessions of different types (panels/seminars are considered of the same type). Submitters to the CFP site cannot upload the same abstract twice.(See the NeMLA Presenter Policies page, at https://www.buffalo.edu/nemla/convention/policies.html, for further details,)


Thank you for your interest in our session. Please address questions and/or concerns to the organizers at popular.preternaturaliana@gmail.com.


Sunday, April 30, 2023

CFP British Romanticism in 1823 (5/31/2023; PAMLA Portland 10/26-29/2023)


British Romanticism in 1823


deadline for submissions:
May 31, 2023

full name / name of organization:
L. Adam Mekler/PAMLA

contact email:
adam.mekler@morgan.edu

source: https://call-for-papers.sas.upenn.edu/cfp/2023/03/03/british-romanticism-in-1823



PAMLA 2023: October 26-29, 2023
Portland, Oregon

This panel invites paper that explore the decades of the 1820s, focusing especially on the year 1823, with regards to the shifting perspectives both on and of the writers of the Romantic period. The greatest works of William Wordsworth and Samuel Coleridge, and all of the novels of Jane Austen, had been published years, if not decades earlier, while John Keats, Percy Bysshe Shelley, Lord Byron, and William Blake would all die by the end of the decade. Nevertheless, 1823 saw the publication of several notable works, including the second edition of Mary Shelley’s Frankenstein; Shelley’ second novel, Valperga; William Hazlitt’s important essay “My First Acquaintance with Poets;” Charles Lamb’s Essays of Elia; and Cantos VI-XIV of Lord Byron’s masterpiece, Don Juan. While the more canonical writers of the period offer substantial material to consider, discussions of lesser-known writers or texts of the period are also certainly encouraged.

Please submit your 250-word abstract by May 31 through the PAMLA portal: https://pamla.ballastacademic.com/




Last updated March 7, 2023

Wednesday, July 13, 2022

Out Now: Frankenstein and Its Legacy in the Comics

Good news to share.

I just received my contributor's copy of the International Journal of Comic Art, vol. 23, no. 2 (Fall/Winter 2021), which includes my bibliography of scholarship on Frankenstein in the comics. The listing was created as a resource distributed at a presentation on the novel's bicentennial in 2018 and delivered at Bristol Community College in Fall River, Massachusetts, where I'm working as an adjunct.


The full citation is listed below if anyone needs to track down a copy. Copies of the volume can be purchased from IJoCA's website; there was talk recently of digital copies of the journal, but that information does not seem listed yet.

Here's the full citation: 

Torregrossa, Michael A.“Frankenstein and Its Legacy in the Comics.” International Journal of Comic Art, vol. 23, no. 2, Fall/Winter 2021, pp. 432-40.