David Demchuk, who attended Montreal’s Blue Metropolis festival earlier this year, is the author of a Scotiabank Giller Prize-nominated collection of horror short stories, The Bone Mother. This was quite an accomplishment for a horror writer, especially since writers of horror fiction are so often excluded from the literary mainstream. The Bone Mother, set in the interwar period in Eastern Europe, is inspired by Slavic folklore and the stunning and slightly disquieting photographic archive of Romanian photographer Costică Ascinte.
I won’t say much else about it here except that the book itself seemed to dovetail nicely with my Master’s thesis, which investigated, in part, what the difference between magic realism and fantasy set in the primary world is, if there exists a difference at all. Demchuk’s novel does serve to blur the lines, but at the Blue Metropolis, he was adamant in insisting The Bone Mother is not magic realism but straight-up horror.
This past literary season, I attended several events, including the Blue Metropolis festival and Le Congrès Boreal. Posts on each event are forthcoming. Today’s post is about the panel discussion I attended at Blue Met entitled “The Children of Mary Shelley.”
Frankenstein, which celebrates its 200th publication anniversary this year, has often been called the first science fiction novel. While Frankenstein’s monster is a recognizable figure in pop culture, it has its origin in the nested epistolary narratives of Shelley’s Gothic bildungsroman. To what extent can today’s science fiction trace its roots back to Frankenstein, given the vital, diversified, and increasingly popular genre it is today?
The moderator, Su J. Sokol, asked the panelists what was so groundbreaking about Frankenstein when it first appeared in print in 1818. Was it the first SF novel?
Amal el-Mohtar, the first panelist, responded that it was certainly “a first,” even if not “the first” SF novel. She referenced Awaj bin Anfaq, North African alien contact story written in the thirteenth century, to suggest that science fiction has much earlier, non-Western origins. However, there is something to be gained, she said, in tracing SF’s origins back to Mary Shelley, since women authors tend to be underrepresented in SF, a genre often defined by how “STEM-y” it is.
Cyrano de Bergerac’s Voyages to the Moon and the Sun could qualify as science fiction avant la lettre, so I would concur with Amal: Frankenstein is by no means “the first” SF novel, even in the West. But it remains a politically meaningful gesture to trace the genre’s origin’s back to Mary Shelley.
Melissa Yuan-Innes, the second panelist, made the interesting point that Frankenstein is not terribly “STEM-y” when you look at it closely. Though there is some (pseudo)science in what Victor does to reanimate the dead, he is highly irresponsible ethically. Furthermore, he works in isolation, while scientists typically work in research teams, sharing the results of their knowledge. Perhaps it is this isolation that makes Victor’s experiments with reanimating the dead seem so wrong.
David Demchuk, the third panelist, dissented. He paraphrased Samuel “Chip” Delaney’s observation that Frankenstein isn’t really science fiction at all–it’s Gothic fiction. The book is less about hard scientific inquiry and more about an ethical question: “How do you imbue something with the spark of life, and if you do that, what is your responsibility?”
David also pointed out that Victor tends to look towards past knowledge, such as alchemy and the works of Paracelsus and Galen. However, science fiction is a genre that typically looks toward the future. Thus, Frankenstein exists simultaneously as a past-focused Gothic novel and future-oriented proto-science fiction novel; it stands at a crossroads between old and new ways of understanding nature.
Listening to the panelists, I remembered just how different the novel is from various Frankenstein films. Amal pointed out that the monster’s interiority is mediated through several levels of epistolary narration, which is usually lost on film. (As an aside, I remember that the Frankenstein episode on the 90s children’s TV show Wishbone showed the framing narrative, which takes place in the Arctic.)
The monster’s self-education is another feature of the novel that doesn’t get enough attention. In Shelley’s novel, the monster learns how to speak clearly and in an erudite fashion by reading Milton’s Paradise Lost. Though he may be ugly, he speaks like a rational soul. Melissa underlined this point, stating that the monster’s physical ugliness should not be taken to correspond with an ugly morality, just as Victor’s handsomeness does not mean he is a moral person.
What really interested me was when Amal pointed out that feminist scholars have interpreted the monster’s self-education as an analogy for the reality of women’s education at the time. Mary Shelley was self-taught and read novels on her own because women were denied the full education men received. Furthermore, at the time it was thought that women should be discouraged from reading, because reading novels “inflamed” women’s minds, much like reading Milton “inflames” the monster’s mind. But really, the reason the monster acts violently is because of educational neglect, suggesting how detrimental the neglect of women’s education can also be.
This argument appealed to me because I’d assumed most femininst interpretations of Frankenstein followed the idea that the monster’s story is an allegory of childbirth-gone-wrong. The monster’s education as an analogy for women’s education seems a more authentic analogy for women’s actual experiences, especially the experiences of a self-educated, literary woman like Mary Shelley.
All this goes to show that Victor Frankenstein’s monster is not really a monster, but a creature who has suffered horrendous neglect. And it is Victor’s neglect of his creation that turns him into the true monster.
Overall, “The Children of Mary Shelley” was a highly productive and fascinating panel. Although the Blue Metropolis festival tends to focus more on literary fiction, I hope to attend more science fiction and fantasy-based panels at the festival in the future.