Chapter 24
Overall: a good ending, despite the sadness, the best they could've hoped for.
Thus concludes Vic’s story. Or rather, he concludes it basically how it might’ve been inferred. He’s spent a long time chasing Adam down. Adam, for his part, is resolved to keep Victor alive so that the chase can continue and Victor will feel more misery. That’s pretty fucking sadistic, gotta say. Vic is resigned to his death at this point. He is only holding onto life out of a sense of kinship with Walton and the possibility of enacting revenge against Adam.
Vic’s attitude is still kinda… well it’s mixed. Now that we’ve returned to Walton’s narration, I think the book allows us to see in some way how pitiful Victor has really become. which I appreciate. He’s haggard, he sleeps a lot (as that’s the only way he can feel happiness), he talks big about how people should have the courage to accomplish their dreams or die trying, but it’s so apparent that he’s about to do the latter that it isn’t much of a surprise that the sailors on Walton’s ship, despite Vic’s protests, ask him to turn the ship around and head back for England. Vic, in his final moments, is kind of delusional about his memory of the events that have proceeded. He says that he always tried to do his best by Adam. That’s bullshit, he only ever even considered Adam’s feelings after Adam told his backstory. He says he refused to make another for the good of humanity. Okay, sure, but there were easy ways to avoid a population of them and in so doing you directly led to the deaths of several innocent people.
For his part, Walton wants to continue, but upon seeing Vic’s death he becomes distraught. Later that night, Adam appears in Vic’s cabin and is distraught over the death of his enemy. Adam here is… really also pretty bad. He talks so much like Vic. About how no one can understand the pain that he feels. How the entirety of existence is conspired against him. Taking the body of Vic, he sets out toward the North pole, where he says he’s going to light a fire and burn himself to death. That way he’ll leave no remains of his body for a person to try to emulate. Adam leaves, and Walton is left to contemplate everything that’s just happened.
So that's Frankenstein by Mary Shelley
Overall, I was surprised by how different the novel is to the popular understanding of the Frankenstein story. Even from the get-go, the positioning of the story starting from a first-person recounting of Vic's childhood shows that the scope is going to be much more broad than the "guy creates monster, monster escapes" narrative. I liked the explorations of nature a lot and the subtle contrasts between Vic, Clerval, and Adam with regard to that. I have since learned that Shelley meant this as a critique of the hubris of science. I think that, if that's the case, it may be rather temporal as it reads more of a critique of God or religion generally, with Vic playing the role of a neglectful/absent creator who leaves Adam to his own devices, struggling in a hostile world. Seriously, if Vic hadn't made Adam ugly or had arsed to stay around his creation, then much of the conflict seems like it would've gone down a different course. I know that's the point, that he doesn't, but like I said I'm just examining this sort of disconnect between a critique of science/critique of religion that jumps out at me within the book.
As for what I'll be reading next: I'll be jumping forward a bit in time to the late 1800's and going with a much shorter story. I was originally going to read Jules Verne's "A Journey to the Center of the Earth" but realized through reading some of it that I really knew much of the story already and that the book wasn't really grabbing me. So instead I'll tackle two works by his counterpart: HG Wells! Starting with The Time Machine and then probably doing War of the Worlds before moving into the 20th century.
Showing posts with label Mary Shelley. Show all posts
Showing posts with label Mary Shelley. Show all posts
Sunday, July 3, 2016
Frankenstein - Chapter 23
Overall: Well here we are
I suppose this comes with any of these sort of precursors to a genre. I know that Frankenstein is considered the first sci-fi book by many, although precursors to the genre are certainly found in older work: More’s Utopia, Cavendish’s The Blazing World, hell even The Tempest shows some shades of what would later turn into pretty standard sci-fi tropes. I’ve heard it described that sci-fi is what makes the improbable possible, as opposed to fantasy, which makes the impossible probable. I take this to mean that sci-fi is generally concerned with things which could potentially, under some circumstance, occur and puts them into a scenario in which we could easily imagine and examine their occurrence. That examination is also key, I think. I remember back in middle school I began reading some of the more pop sci-fi out there. By that I mean the sci-fi that’s so often associated with space operas. Full of byzantine military descriptions, incalculably dense (and probably entirely impracticable) battle scenes, and characters fit more for the military than for the worlds which they inhabited. Particularly I remember the novelizations that came with the original Halo games. These books weren’t very good. It wasn’t until a good bit later that I made the connection that the dystopian novels which I loved--1984, Oryx and Crake, Brave New World, Fahrenheit 451, Watchmen--would fall under the pale of sci-fi by many metrics. Thus, when I was in undergrad and began taking some creative writing classes, I was taken somewhat aback when my instructor said that genre fiction was categorically incapable of being literature. That we shouldn’t write it and expect to be good writers in the same career. At once, I understood the claim, based on the teeming amounts of pulp works that seem to permeate the genre then and now (though certainly I’ll be reading more of those as a part of this project) but I also began to question what he was on about. I referenced books like Brave New World and The Handmaid’s Tale and he said that those didn’t count as sci-fi, they were “speculative fiction”.
I guess, what I’m trying to get at here, is that although Frankenstein is considered the progenitor of the genre, I shouldn’t expect it to have all of the things that I do love in sci-fi. I love the moments where sci-fi ponders what it is to be human, to exist, to wonder where we are headed based on where we are. Seeing at times whether it’s tinged with a sort of optimism about humankind, or if it’s more cynical based on the issues that are presently affecting the world. In some works, going to Mars is seen as a continuation of manifest destiny, of a spirit of adventure and romance that I’m sure may’ve been present in the age of exploration. In other works, Mars is seen as an example of class disparity, a sort of metaphor for segregation. The manner in which sci-fi approaches its subjects largely depends on the politics of the writer and the message they hope to convey.
Frankenstein, meanwhile, is steeped not only in sci-fi, but in gothic horror, revenge tales, and family drama. I think, perhaps, that were I more a fan of those genres I’d be a bit more charitable toward these parts of the book. However, there’s a reason this is ‘Temra reads sci-fi’ and not Temra reads ‘fantasy’ or ‘temra reads horror’. While those projects may emerge out of this, and of course genres tend to blend together, I’ve always liked sci-fi above fantasy, and while I enjoy horror, I tend to think it works better visually than in paper form. At least the sort of horror that I prefer. As I noted last time, the kind of horror Frankenstein seems to work with comes upon a sort of presumed revulsion/abhorrence to the creature and his murders. If that’s the extent of it, though, then I’d as well read Poe. I think he did this sort of gothic horror at the heart of a grisly tale better. Shelley does do wonderfully in what would later become science fiction’s examinations of humanity, consciousness, nature, etc. but that is all just tied down at times by this pretty standard fare enemies narrative.
Vic and Elizabeth have their honeymoon, it is cut short by Elizabeth’s murder. Vic is somehow still bewildered that this could possibly have happened. The only characters in this novel seem to be Vic, Captain Walton (only perfunctory), Adam, and perhaps the De Lacey family. Clerval, Elizabeth, William, Justine, Papa Frank, Caroline, Ernest, M. Krempe and M. Waldman, Mr. Kerwin, they all seem more like props that have one personality trait which they spout so that Vic or Adam can regard/murder them. What was Elizabeth ever getting out of the relationship with Victor? We only ever see her framed in relationship to him and his story about Adam. Given how central she is, and how Shelley was willing to devote an entire chapter to the financial woes of the De Lacey family, I feel like we could’ve spent more time getting to know her. Learn about her struggles after Justine’s execution, about her sticky situation with the Lavenza family, something! Instead, Elizabeth and basically everyone else are just objects used to advance the plot of Vic and Adam. It’s kind of repugnant when I look at it that way. It wouldn’t be so bad if the narrative didn’t seem to particularly favor Victor. He's only ever briefly called out for his behavior, though, instead, the narrative really seems to frame him as our protagonist who, since he’s basically right about everything, is totally justified in assuming that his pain is in some way unique. Which is just pretty gross over all.
Vic attempts to persuade the local authorities to hunt Adam, but they basically refuse him. From there, he becomes resolved to figure out some other way to continue the hunt.
Frankenstein - Chapter 22
Overall: a denouement before a final showdown. One more go around with the fam.
Maybe I’m just approaching this book the wrong way. Frankenstein seems sort of divided in what it wants to be in many ways. On the one hand you’ve got a story concerned with human nature, nature nature, and what the relation is between a being and its creator. On the other hand is a fairly routine melodrama about the relationship between Victor Frankenstein and his reluctance/inability to relate easily to his family. Which could also be a compelling story, Kafka did wonders with this theme, but the way it’s written in Shelley just doesn’t seem to click with me.
I think some of it has to do with how little the characters seem to progress throughout this. Vic has undergone some slight change, but there really isn’t much that distinguishes the Vic we found up in the Arctic from the one who’s lamenting his situation in Switzerland. Characters like Clerval and Elizabeth, likewise, are pretty static. Maybe they’ve got something going on by way of growth internally, but Victor does not seem particularly interested in finding out what that is. There’s only so many times I can hear people worry about Victor and he turns them away with the same schtick before it starts to get old and I wonder whether these people would actually stick around Vic. I’m not saying that they should leave him, but so many times in our world people who go through this kind of depression wind up isolated and it feels a little disingenuous of Shelley to present such an unconditionally supportive network for Vic. They’re all kind of props to support his story rather than people.
Vic and his father return to Switzerland, where Vic decides that, since Adam might decide to murder more people during the interim between now and his marriage, he’ll just go ahead and get married.
Elizabeth writes a letter wondering whether or not Victor loves her or not. Again, this feels like we’re rehashing stuff. Vic already had this conversation with Papa Frank and it was the same conclusion reached. Yes, Vic does love Elizabeth.
The two are wed and go to Elizabeth’s family’s villa for their honeymoon. It seems to be going fine, but Vic is concerned that things will soon become much much worse. His narrative also confirms this when he says that this was the last time he felt happiness. I’m predicting Elizabeth is going to die next chapter, and we’ll find out how Vic came to be chasing Adam up in the Arctic.
Maybe I’m just approaching this book the wrong way. Frankenstein seems sort of divided in what it wants to be in many ways. On the one hand you’ve got a story concerned with human nature, nature nature, and what the relation is between a being and its creator. On the other hand is a fairly routine melodrama about the relationship between Victor Frankenstein and his reluctance/inability to relate easily to his family. Which could also be a compelling story, Kafka did wonders with this theme, but the way it’s written in Shelley just doesn’t seem to click with me.
I think some of it has to do with how little the characters seem to progress throughout this. Vic has undergone some slight change, but there really isn’t much that distinguishes the Vic we found up in the Arctic from the one who’s lamenting his situation in Switzerland. Characters like Clerval and Elizabeth, likewise, are pretty static. Maybe they’ve got something going on by way of growth internally, but Victor does not seem particularly interested in finding out what that is. There’s only so many times I can hear people worry about Victor and he turns them away with the same schtick before it starts to get old and I wonder whether these people would actually stick around Vic. I’m not saying that they should leave him, but so many times in our world people who go through this kind of depression wind up isolated and it feels a little disingenuous of Shelley to present such an unconditionally supportive network for Vic. They’re all kind of props to support his story rather than people.
Vic and his father return to Switzerland, where Vic decides that, since Adam might decide to murder more people during the interim between now and his marriage, he’ll just go ahead and get married.
Elizabeth writes a letter wondering whether or not Victor loves her or not. Again, this feels like we’re rehashing stuff. Vic already had this conversation with Papa Frank and it was the same conclusion reached. Yes, Vic does love Elizabeth.
The two are wed and go to Elizabeth’s family’s villa for their honeymoon. It seems to be going fine, but Vic is concerned that things will soon become much much worse. His narrative also confirms this when he says that this was the last time he felt happiness. I’m predicting Elizabeth is going to die next chapter, and we’ll find out how Vic came to be chasing Adam up in the Arctic.
Frankenstein - Chapter 21
Overall: Yeah it was Clerval.
So Vic’s… well he’s still Vic after all this time. Upon hearing that someone’s been murdered he regards the tale with disinterest until he hears that the method of murder was strangulation. At which point, suddenly, he realizes that this could potentially be related to the guy who just left him swearing vengeance on him and his family. Is murder such a common occurrence around Vic that it only arouses interest if the method shows that it might be related?
When Vic sees Clerval’s body, well he’s not in a good way. He immediately begins shouting in French and is taken by a fever for the next two months while he lives in a cell. The local magistrate is kind enough, but rather convinced that Vic murdered Clerval. Once Vic has sufficiently recovered, his mind still in a tumult, he begins talking to the magistrate about the upcoming trial. Vic’s father arrives and the two have a happy reunion. Good on you Papa Frank, traveling all the way out to who knows where to see your son when he’s in a jam. Especially since the book has told us that he’s been getting up there in his age and travel may not really be for him anymore.
Vic goes to his court date and is acquitted without much fuss. A letter from the people of the island Vic was living on provides him with a solid alibi for the night of the murder. After this, Vic is released from his holding and wants to just return to Switzerland. I said earlier that Vic is still Vic, but I will say there’s a very clear shift in the man described in the earliest chapters of the book and him now. While he’s still quite dramatic and sensitive, he’s much more sickly in a physical sense. He needs to take medication to get to sleep now, he’s consumed with anxiety over Adam. It’s a rather humanizing scene of Vic just silently crying to himself on a boat one night. I feel for the guy, his life sucks at this point. He may be selfish but that doesn’t mean I wish this on him.
So Vic’s… well he’s still Vic after all this time. Upon hearing that someone’s been murdered he regards the tale with disinterest until he hears that the method of murder was strangulation. At which point, suddenly, he realizes that this could potentially be related to the guy who just left him swearing vengeance on him and his family. Is murder such a common occurrence around Vic that it only arouses interest if the method shows that it might be related?
When Vic sees Clerval’s body, well he’s not in a good way. He immediately begins shouting in French and is taken by a fever for the next two months while he lives in a cell. The local magistrate is kind enough, but rather convinced that Vic murdered Clerval. Once Vic has sufficiently recovered, his mind still in a tumult, he begins talking to the magistrate about the upcoming trial. Vic’s father arrives and the two have a happy reunion. Good on you Papa Frank, traveling all the way out to who knows where to see your son when he’s in a jam. Especially since the book has told us that he’s been getting up there in his age and travel may not really be for him anymore.
Vic goes to his court date and is acquitted without much fuss. A letter from the people of the island Vic was living on provides him with a solid alibi for the night of the murder. After this, Vic is released from his holding and wants to just return to Switzerland. I said earlier that Vic is still Vic, but I will say there’s a very clear shift in the man described in the earliest chapters of the book and him now. While he’s still quite dramatic and sensitive, he’s much more sickly in a physical sense. He needs to take medication to get to sleep now, he’s consumed with anxiety over Adam. It’s a rather humanizing scene of Vic just silently crying to himself on a boat one night. I feel for the guy, his life sucks at this point. He may be selfish but that doesn’t mean I wish this on him.
Sunday, June 19, 2016
Frankenstein - Chapter 20
Overall: Well I didn’t expect that. An interesting introduction to the final stretch
I guess it was inevitable in some ways that Vic would have another encounter with Adam on the island. Although, now that I’m reading it, I have to wonder what the purpose of the whole journey to the island was. Nothing about Vic’s revelation and decision here came from his trip to the British isles, it’s actually a lot of the same things he had been saying. Just a thought.
One night while he’s working on constructing Eve, he notices that Adam is watching him and, deciding that he can’t go and inflict another one of these creatures onto the world, he destroys all of his work right in front of Adam.
While in some ways his reasoning is altruistic, it’s one of those things where I again must question the logistics. Vic is worried that his creations might breed, and specifically that their children, as a race, might become an enemy to society. I’m going to ignore the fact that the creations probably wouldn’t be able to breed, given that they’re made of cadaver flesh, as the book’s already kind of waved this sort of thing away on Vic’s account once. Also I’m not going to fault Shelley for a misunderstanding of genetics, so what’s left to critique? Well… I mean... Vic, some women can’t have children. Hell, some women don’t have a uterus, some have their fallopian tubes blocked, some may not have ovaries. This isn’t an insurmountable problem when you’re constructing this being piece by piece.
This said, I do like Vic’s sudden fridge moments about this whole process. What if this second creature thinks the first one is ugly? What if she prefers humans? What if she doesn’t want anything to do with romance or this whole ‘travel to South America’ plan? They seem like such obvious questions and I’m actually kind of surprised Vic tore himself away from his dramatics to consider these much more apparent scenarios.
After Vic destroys his work, Adam shows up and begins barking threats at Vic again. Vic is resolute though, and Adam swears to make Victor’s life miserable. He tells Vic that he’ll see him on his wedding night. Somehow Vic doesn’t realize what he’s talking about until well after Adam has left. Even then, Vic (unsurprisingly) thinks that Adam specifically means to kill him on his wedding night. He doesn’t really consider that Elizabeth might not be safe. Oh Vic… some things never change.
Sailing back to (I think we’re still in Scotland) where he’s met by a crowd of upset Irish people. Are we in Ireland now? The crowd of folks says that there’s been a murder and they suspect Victor of it. Taking him to the magistrate, Vic tells the good captain that he didn’t expect the horror to come. It’s Clerval, isn’t it?
I guess it was inevitable in some ways that Vic would have another encounter with Adam on the island. Although, now that I’m reading it, I have to wonder what the purpose of the whole journey to the island was. Nothing about Vic’s revelation and decision here came from his trip to the British isles, it’s actually a lot of the same things he had been saying. Just a thought.
One night while he’s working on constructing Eve, he notices that Adam is watching him and, deciding that he can’t go and inflict another one of these creatures onto the world, he destroys all of his work right in front of Adam.
While in some ways his reasoning is altruistic, it’s one of those things where I again must question the logistics. Vic is worried that his creations might breed, and specifically that their children, as a race, might become an enemy to society. I’m going to ignore the fact that the creations probably wouldn’t be able to breed, given that they’re made of cadaver flesh, as the book’s already kind of waved this sort of thing away on Vic’s account once. Also I’m not going to fault Shelley for a misunderstanding of genetics, so what’s left to critique? Well… I mean... Vic, some women can’t have children. Hell, some women don’t have a uterus, some have their fallopian tubes blocked, some may not have ovaries. This isn’t an insurmountable problem when you’re constructing this being piece by piece.
This said, I do like Vic’s sudden fridge moments about this whole process. What if this second creature thinks the first one is ugly? What if she prefers humans? What if she doesn’t want anything to do with romance or this whole ‘travel to South America’ plan? They seem like such obvious questions and I’m actually kind of surprised Vic tore himself away from his dramatics to consider these much more apparent scenarios.
After Vic destroys his work, Adam shows up and begins barking threats at Vic again. Vic is resolute though, and Adam swears to make Victor’s life miserable. He tells Vic that he’ll see him on his wedding night. Somehow Vic doesn’t realize what he’s talking about until well after Adam has left. Even then, Vic (unsurprisingly) thinks that Adam specifically means to kill him on his wedding night. He doesn’t really consider that Elizabeth might not be safe. Oh Vic… some things never change.
Sailing back to (I think we’re still in Scotland) where he’s met by a crowd of upset Irish people. Are we in Ireland now? The crowd of folks says that there’s been a murder and they suspect Victor of it. Taking him to the magistrate, Vic tells the good captain that he didn’t expect the horror to come. It’s Clerval, isn’t it?
Frankenstein - Chapter 19
Overall: Roadtrip!
So we’re kinda getting on toward the end of the book… I mean, I know that somehow Vic ends up chasing Adam around in the Arctic circle, so that’s still got to happen. We’re moving north! So that may be leading up to it. I don’t know, the book seems like it doesn’t quite know what to do with itself right now.
Look, I’m not opposed to narrative divergences. I think a lot of the point of Frankenstein might be about the sort of observations and attitudes regarding nature that the various characters make and hold. However, the book seems to sometimes maybe overdo this some? Like the plot doesn’t necessarily lend itself to that sort of novel, I suppose.
Most of this chapter is really a travelogue, “Vic and Clerval take the British Isles”. The two start in London and proceed to visit various places on the island, heading northward toward Scotland. Vic apparently sends off some letters of introduction to the philosophers he wanted to meet, but he never seems to follow up on them. Also, we find out that Clerval is interested in signing on to help with the colonization of India.
It’s also a chapter consisting of Shelley kind of comparing the English hills with the Alps. Which, while Cherval seems to love all of the caves and ethereality of the English hills, Vic is more a fan of the raw majesty of the Swiss Alps. I know I’ve mentioned this before, but I do like how consistent Shelley is with the preferences of her characters.
Eventually the two make their way up to Edinburgh, where Vic leaves Clerval so he can go complete his task. He takes up residence in a hut on a small island and begins to set to work, not hearing from the monster and taking walks on the beach at night… where’s he getting the parts for this now?
Frankenstein - Chapter 18
Overall: A solid chapter… who are these philosophers?
Well, at least Vic has some forethought into how he’s going to enact his plans this time around. He’s been hearing about some philosophers up in England who have been doing some writing that might be helpful to him (about what, I wonder) and so he’s going to go visit them. In doing so he gets some new info to potentially go about the whole endeavor a bit more smoothly, and he also gets Adam, who had said he’ll be watching, away from his family.
Papa Frank (considered calling him Alphonse… I like Papa Frank more) wonders about why his son is so melancholy, and begins to think it’s about his betrothal to Elizabeth which.. well news to me? Didn’t she get adopted into their family when she was like, 2? Papa Frank says they’ve been betrothed that whole time. This whole thing is maybe some hard values dissonance, but jeez, Elizabeth isn’t even a factor here. Papa Frank’s concerned that maybe Vic’s come to see Elizabeth more like a sister (RIGHT?) and may not want to marry her as a result. But Vic assures him so quickly that this isn’t the reason that it’s almost sort of unintentionally funny in a craughing kind of way.
Vic convinces his dad to allow him to go to England for up to a year, on the pretense of trying to just get out and see the world some more before coming home and marrying Elizabeth. While Vic’s there though he’s going to try to complete the task Adam’s requested of him. Also! He’s bringing Clerval along!
Oh Clerval. He’s so gung-ho about the whole thing. If there’s one thing this book is good at, it’s commentary on nature. Clerval in particular brings a new perspective. He isn’t dramatic like Vic, nor is he full of this subtle wonderment of Adam. Instead, he’s full of admiration and adventure. The whole thing seems to fill him with so much joy. Hell, Shelley even interjects a poem by William Wordsworth to complement Clerval’s commentary.
It’s kind of a joy to have him back. Sad, though, that at the end of the chapter Vic basically says that Clerval is dead now, and only his spirit lives on. Clerval was indeed too good for this world.
Well, at least Vic has some forethought into how he’s going to enact his plans this time around. He’s been hearing about some philosophers up in England who have been doing some writing that might be helpful to him (about what, I wonder) and so he’s going to go visit them. In doing so he gets some new info to potentially go about the whole endeavor a bit more smoothly, and he also gets Adam, who had said he’ll be watching, away from his family.
Papa Frank (considered calling him Alphonse… I like Papa Frank more) wonders about why his son is so melancholy, and begins to think it’s about his betrothal to Elizabeth which.. well news to me? Didn’t she get adopted into their family when she was like, 2? Papa Frank says they’ve been betrothed that whole time. This whole thing is maybe some hard values dissonance, but jeez, Elizabeth isn’t even a factor here. Papa Frank’s concerned that maybe Vic’s come to see Elizabeth more like a sister (RIGHT?) and may not want to marry her as a result. But Vic assures him so quickly that this isn’t the reason that it’s almost sort of unintentionally funny in a craughing kind of way.
Vic convinces his dad to allow him to go to England for up to a year, on the pretense of trying to just get out and see the world some more before coming home and marrying Elizabeth. While Vic’s there though he’s going to try to complete the task Adam’s requested of him. Also! He’s bringing Clerval along!
Oh Clerval. He’s so gung-ho about the whole thing. If there’s one thing this book is good at, it’s commentary on nature. Clerval in particular brings a new perspective. He isn’t dramatic like Vic, nor is he full of this subtle wonderment of Adam. Instead, he’s full of admiration and adventure. The whole thing seems to fill him with so much joy. Hell, Shelley even interjects a poem by William Wordsworth to complement Clerval’s commentary.
It’s kind of a joy to have him back. Sad, though, that at the end of the chapter Vic basically says that Clerval is dead now, and only his spirit lives on. Clerval was indeed too good for this world.
Frankenstein - Chapter 17
Overall: I did not expect this. Huh.
So, Vic agreed.
I mean, it took him a while, and even Vic pointed out that the whole last part of the story kinda soured him, but in the end he agrees to go about making a new being to keep Adam company—conditionally.
Adam agrees that after Victor creates this second creature, he’ll leave Europe altogether and go to the wilderness of South America, where, apparently, there are no humans… not gonna touch that one right now. It takes some bargaining and cajoling, but eventually Victor agrees and the whole thing is settled.
Victor sure got over the death of two people close to his family pretty quickly. I guess he’s in some way doing it because Adam threatens to keep hurting more and more of Vic’s family if he doesn’t agree, but still, Victor’s main concern seems to be the wrongness of creating a new monster, rather than avenging his brother, which, as I recall, he had stated back around chapter 9 as being his desire.
Anyways, Vic sees the reason in the story overall and while he still sees Adam as contemptible, at least he seems a little more aware of his own part in the whole situation beyond how it relates to how he feels.
As Adam leaves and Vic departs, we get another moment of him shouting at nature. Oh Vic, some things just won’t change, will they? Still apparently kind of despondent around your family, still convinced that the entirety of nature is mocking you.
So, Vic agreed.
I mean, it took him a while, and even Vic pointed out that the whole last part of the story kinda soured him, but in the end he agrees to go about making a new being to keep Adam company—conditionally.
Adam agrees that after Victor creates this second creature, he’ll leave Europe altogether and go to the wilderness of South America, where, apparently, there are no humans… not gonna touch that one right now. It takes some bargaining and cajoling, but eventually Victor agrees and the whole thing is settled.
Victor sure got over the death of two people close to his family pretty quickly. I guess he’s in some way doing it because Adam threatens to keep hurting more and more of Vic’s family if he doesn’t agree, but still, Victor’s main concern seems to be the wrongness of creating a new monster, rather than avenging his brother, which, as I recall, he had stated back around chapter 9 as being his desire.
Anyways, Vic sees the reason in the story overall and while he still sees Adam as contemptible, at least he seems a little more aware of his own part in the whole situation beyond how it relates to how he feels.
As Adam leaves and Vic departs, we get another moment of him shouting at nature. Oh Vic, some things just won’t change, will they? Still apparently kind of despondent around your family, still convinced that the entirety of nature is mocking you.
Monday, June 13, 2016
Frankenstein - Chapter 16
Overall: Well that was a whirlwind of a chapter. Yeesh. Some good, some bad.
Adam is consumed with emotion over the incident at the De Lacey’s. First it isn’t sadness, though, but rage. He goes into the woods and exerts himself to collapsing by just raging against the entire situation he’s found himself in.
Then the next day, he begins to console himself, thinking that maybe he took off from the De Lacey’s house too quickly. After all, M. De Lacey had seemed to be coming around before Felix, Safie, and Agatha came back. Then, when he comes back to perhaps try again, he finds that Felix and his family have all basically decided to move out after the incident. It’s so blunt and painful. Adam never saw them again.
Taken into a rage again, Adam burns down the De Lacey’s house one night and decides that all of humanity is his enemy to some degree. In particular, however, he decides to seek out Vic in order to exact some kind of revenge upon him. He has to figure out where to go, though, and so eventually he heads southwest toward Geneva.
Along the road he’s overcome by a momentary compassionate impulse when he witnesses a young girl about to drown in a river. Taking her out and failing to resuscitate her, he’s set upon by some other person who presumably knows the girl. After following and being shot for it, Adam goes back into his rage and continues with his hatred for humanity renewed.
Eventually he comes upon Geneva and when he grabs a young boy who turns out to be William, specifically when William lets Adam know his last name is Frankenstein, Adam does the deed and strangles the child. Gotta say I’m pretty torn on this bit. From what little I know of the movies I’ve heard that they try to keep the monster more innocent in his behavior. If I recall, he accidentally drowns a child in that one, which is what causes the angry mob we all know and love. Here, it’s really complicated. On the one hand, I totally understand Adam’s utter misanthropy, he’s still a young being who’s convinced that he should be human but just can’t in some capacity. He has that sense of isolation that’s removing him from any sort of identification with people. But at the same time, I mean, he probably knows that William is not Victor. None of this excuses his actions, of course. I don’t think it’s supposed to. It does a very good job of making the situation very grey, though, with respect to whether his fury is justified, and more particularly if it’s justifiable to hate all of humanity.
I do think it’s a bit too convenient for Adam to do the whole picture-planting job in order to frame Justine. Like, that really worked out for him, huh? Really could’ve easily bungled that whole thing if Justine hadn’t happened to have taken the day off that day and to have had some connection to William and no alibi.
I also do kind of wonder at this from a writing perspective. Because I really think it kind of absolves Victor too easily. I mean, why should others critique him for his behavior, now? He was right about the whole thing. Not through any sort of deductive power, just through a series of hapless coincidence and chance. It kind of manages to just make it so that all of Victor’s concerns are at least somewhat more justified without him having had to come to any sort of personal transformation about it at all.
Anyways, by the end of the chapter, Adam demands that Victor make a female companion for him. An Eve? Is she going to have the weird hair? Umm… Adam, you maybe should've led with that before you got to the whole "I murdered your brother" bit. Maybe you didn't learn this part very well, but generally humans don't like hearing that you've killed their kin. I guess Adam may’ve thought that the whole truth needed to be told. But I mean, you started off with giving Victor the option to kill you if he didn’t like your story and you kinda didn’t stick the landing, there.
Adam is consumed with emotion over the incident at the De Lacey’s. First it isn’t sadness, though, but rage. He goes into the woods and exerts himself to collapsing by just raging against the entire situation he’s found himself in.
Then the next day, he begins to console himself, thinking that maybe he took off from the De Lacey’s house too quickly. After all, M. De Lacey had seemed to be coming around before Felix, Safie, and Agatha came back. Then, when he comes back to perhaps try again, he finds that Felix and his family have all basically decided to move out after the incident. It’s so blunt and painful. Adam never saw them again.
Taken into a rage again, Adam burns down the De Lacey’s house one night and decides that all of humanity is his enemy to some degree. In particular, however, he decides to seek out Vic in order to exact some kind of revenge upon him. He has to figure out where to go, though, and so eventually he heads southwest toward Geneva.
Along the road he’s overcome by a momentary compassionate impulse when he witnesses a young girl about to drown in a river. Taking her out and failing to resuscitate her, he’s set upon by some other person who presumably knows the girl. After following and being shot for it, Adam goes back into his rage and continues with his hatred for humanity renewed.
Eventually he comes upon Geneva and when he grabs a young boy who turns out to be William, specifically when William lets Adam know his last name is Frankenstein, Adam does the deed and strangles the child. Gotta say I’m pretty torn on this bit. From what little I know of the movies I’ve heard that they try to keep the monster more innocent in his behavior. If I recall, he accidentally drowns a child in that one, which is what causes the angry mob we all know and love. Here, it’s really complicated. On the one hand, I totally understand Adam’s utter misanthropy, he’s still a young being who’s convinced that he should be human but just can’t in some capacity. He has that sense of isolation that’s removing him from any sort of identification with people. But at the same time, I mean, he probably knows that William is not Victor. None of this excuses his actions, of course. I don’t think it’s supposed to. It does a very good job of making the situation very grey, though, with respect to whether his fury is justified, and more particularly if it’s justifiable to hate all of humanity.
I do think it’s a bit too convenient for Adam to do the whole picture-planting job in order to frame Justine. Like, that really worked out for him, huh? Really could’ve easily bungled that whole thing if Justine hadn’t happened to have taken the day off that day and to have had some connection to William and no alibi.
I also do kind of wonder at this from a writing perspective. Because I really think it kind of absolves Victor too easily. I mean, why should others critique him for his behavior, now? He was right about the whole thing. Not through any sort of deductive power, just through a series of hapless coincidence and chance. It kind of manages to just make it so that all of Victor’s concerns are at least somewhat more justified without him having had to come to any sort of personal transformation about it at all.
Anyways, by the end of the chapter, Adam demands that Victor make a female companion for him. An Eve? Is she going to have the weird hair? Umm… Adam, you maybe should've led with that before you got to the whole "I murdered your brother" bit. Maybe you didn't learn this part very well, but generally humans don't like hearing that you've killed their kin. I guess Adam may’ve thought that the whole truth needed to be told. But I mean, you started off with giving Victor the option to kill you if he didn’t like your story and you kinda didn’t stick the landing, there.
Frankenstein - Chapter 15
Well that was heartbreaking.
I feel in some ways like this is two chapters that were sort of jammed together. The first half is more akin to the previous chapters describing Adam’s journey and burgeoning consciousness/education. While the latter half actually stings a bit more because it doesn’t even get a whole chapter to itself.
Adam is walking one day when he finds several books: Plutarch’s Lives, Goethe’s The Sorrows of Young Werther, and Paradise Lost. Luckily they are in French (the De Lacey family speaks French it turns out, not German), and Adam sets about reading them. While reading he begins to develop a sort of sense of identification with and apart from humankind. In Werther, he seems fond for the main character, but can’t quite comprehend all of his struggles. Similarly, he comes to admire certain people from Plutarch over others. He favors more pacifistic historical figures than martial heroes like Romulus. It’s around this time that I remembered reading that Shelley had experimented with vegetarianism, and that Adam also has never eaten meat. Finally, he reads Milton and finds himself at once identifying with Adam and Satan. Like Adam, he figures, he is the first of his kind and somewhat alone in a strange world. However, unlike Adam, he does not have anyone he can turn to for advice or help. Instead, he feels envy for humans like Satan does for God. Later on, he discovers one of Vic’s journals that was in an article of clothing that Adam had managed to take with him. In it, Victor records the months leading up to his creating Adam.
Wow, Adam really calls Victor out here and it’s pretty wonderful. He is angry at Victor for creating a being if he was only going to abandon it for being ugly. I hope Vic takes some of this to heart. After all, it isn’t Adam’s fault by any means that he’s not living up to human beauty standards. Something tells me Vic’s going to be too stuck in his own feelings about this too, though.
From here, Adam decides one day that he’s going to go try to introduce himself to the De Lacey’s. Specifically, he’s going to wait until Safie, Felix, and Agatha have gone one day so that he can talk to M. De Lacey, who, being blind, is less likely to react negatively upon seeing him.
Adam begins speaking to De Lacey and it’s so sad already. He’s evasive about the “friends” he has nearby, and is unable to particularly communicate the entirety of his situation without letting on that he isn’t human. Just when he bursts into a fit of emotion, pleading for De Lacey to take him in, the three younger members of the house burst in.
From here it’s just sadness again. Agatha faints, Safie runs off, and Felix begins to immediately beat Adam into submission. Adam, although he knows he’s stronger than Felix, just takes it before running away back to his hovel. He was so close (assuming De Lacey continued to just be an awesome person), and then it was snatched away with the same amount of ceremony as every other encounter he’s had with people.
I feel in some ways like this is two chapters that were sort of jammed together. The first half is more akin to the previous chapters describing Adam’s journey and burgeoning consciousness/education. While the latter half actually stings a bit more because it doesn’t even get a whole chapter to itself.
Adam is walking one day when he finds several books: Plutarch’s Lives, Goethe’s The Sorrows of Young Werther, and Paradise Lost. Luckily they are in French (the De Lacey family speaks French it turns out, not German), and Adam sets about reading them. While reading he begins to develop a sort of sense of identification with and apart from humankind. In Werther, he seems fond for the main character, but can’t quite comprehend all of his struggles. Similarly, he comes to admire certain people from Plutarch over others. He favors more pacifistic historical figures than martial heroes like Romulus. It’s around this time that I remembered reading that Shelley had experimented with vegetarianism, and that Adam also has never eaten meat. Finally, he reads Milton and finds himself at once identifying with Adam and Satan. Like Adam, he figures, he is the first of his kind and somewhat alone in a strange world. However, unlike Adam, he does not have anyone he can turn to for advice or help. Instead, he feels envy for humans like Satan does for God. Later on, he discovers one of Vic’s journals that was in an article of clothing that Adam had managed to take with him. In it, Victor records the months leading up to his creating Adam.
Wow, Adam really calls Victor out here and it’s pretty wonderful. He is angry at Victor for creating a being if he was only going to abandon it for being ugly. I hope Vic takes some of this to heart. After all, it isn’t Adam’s fault by any means that he’s not living up to human beauty standards. Something tells me Vic’s going to be too stuck in his own feelings about this too, though.
From here, Adam decides one day that he’s going to go try to introduce himself to the De Lacey’s. Specifically, he’s going to wait until Safie, Felix, and Agatha have gone one day so that he can talk to M. De Lacey, who, being blind, is less likely to react negatively upon seeing him.
Adam begins speaking to De Lacey and it’s so sad already. He’s evasive about the “friends” he has nearby, and is unable to particularly communicate the entirety of his situation without letting on that he isn’t human. Just when he bursts into a fit of emotion, pleading for De Lacey to take him in, the three younger members of the house burst in.
From here it’s just sadness again. Agatha faints, Safie runs off, and Felix begins to immediately beat Adam into submission. Adam, although he knows he’s stronger than Felix, just takes it before running away back to his hovel. He was so close (assuming De Lacey continued to just be an awesome person), and then it was snatched away with the same amount of ceremony as every other encounter he’s had with people.
Frankenstein - Chapter 14
How did Adam find this out!?
Most of this chapter is concerned with the De Lacey family. Particularly, it’s about how they came to live in this small town in Germany, and fell upon such hard times. I’ve got to say, I’m actually not terribly a fan of it. I know it’s sort of like disliking a book’s characters for what is essentially just a given for them, but… I mean, here are my thoughts on the matter:
-What does this add? It seems like the De Laceys were fine characters anyway as just working class townsfolk with some land to their name that weren’t particularly rich. Safie’s appearance doesn’t even need that much explanation, I think. She could’ve just been someone Felix had met at some point, maybe on military service or something. I don’t know.
Instead we get this… really strange narrative about how Safie’s father had been captured and Felix tried to help him get out of his punishment. However, Felix gets himself into trouble toward this end and his family, consisting of Agatha and their father, who’s just called De Lacey, are arrested. Felix turns himself in and despite this good gesture, the family is still kept imprisoned for five months, and eventually exiled from France, losing their money in the process. They take up residence in Germany and Safie’s father, who said that he would repay Felix’s kindness, reneges on the agreement before heading back to Turkey. As for Safie herself, she decides to go find and live with Felix, who she’d fallen in love with.
The whole plot just feels contrived to give them some melodrama to work through. It wouldn’t be so apparent if the De Lacey’s hadn’t already been presented as the only characters who weren’t well-off in the narrative so far. This kind of takes away that aspect of their character and makes them more of displaced wealthy people. Maybe I’m overlooking some part of the socioeconomic strata on why this was needed in this novel, but for now it mostly seems like a way to just eke out some sort of tension. AS though the tension of just living while poor isn’t enough.
There’s also remarkably little of Adam in this chapter. He briefly interjects to say that he copied down some of the letters surrounding Safie that he had found, but really this is more the De Lacey’s story than his, which is pretty disappointing. Also, there seems like there’d be a bit of a logistics problem to Adam figuring out this entire scenario.
The letters must’ve been very expository, because otherwise it doesn’t seem likely he’d’ve learned this. I know this is pre-naturalist writing, and so maybe that in some way justifies things like this, but it still feels a bit divergent from what the core of the story really is.
Most of this chapter is concerned with the De Lacey family. Particularly, it’s about how they came to live in this small town in Germany, and fell upon such hard times. I’ve got to say, I’m actually not terribly a fan of it. I know it’s sort of like disliking a book’s characters for what is essentially just a given for them, but… I mean, here are my thoughts on the matter:
-What does this add? It seems like the De Laceys were fine characters anyway as just working class townsfolk with some land to their name that weren’t particularly rich. Safie’s appearance doesn’t even need that much explanation, I think. She could’ve just been someone Felix had met at some point, maybe on military service or something. I don’t know.
Instead we get this… really strange narrative about how Safie’s father had been captured and Felix tried to help him get out of his punishment. However, Felix gets himself into trouble toward this end and his family, consisting of Agatha and their father, who’s just called De Lacey, are arrested. Felix turns himself in and despite this good gesture, the family is still kept imprisoned for five months, and eventually exiled from France, losing their money in the process. They take up residence in Germany and Safie’s father, who said that he would repay Felix’s kindness, reneges on the agreement before heading back to Turkey. As for Safie herself, she decides to go find and live with Felix, who she’d fallen in love with.
The whole plot just feels contrived to give them some melodrama to work through. It wouldn’t be so apparent if the De Lacey’s hadn’t already been presented as the only characters who weren’t well-off in the narrative so far. This kind of takes away that aspect of their character and makes them more of displaced wealthy people. Maybe I’m overlooking some part of the socioeconomic strata on why this was needed in this novel, but for now it mostly seems like a way to just eke out some sort of tension. AS though the tension of just living while poor isn’t enough.
There’s also remarkably little of Adam in this chapter. He briefly interjects to say that he copied down some of the letters surrounding Safie that he had found, but really this is more the De Lacey’s story than his, which is pretty disappointing. Also, there seems like there’d be a bit of a logistics problem to Adam figuring out this entire scenario.
The letters must’ve been very expository, because otherwise it doesn’t seem likely he’d’ve learned this. I know this is pre-naturalist writing, and so maybe that in some way justifies things like this, but it still feels a bit divergent from what the core of the story really is.
Frankenstein - Chapter 13
Jeez, Adam’s learning a lot from just skulking outside of a house. I guess houses weren't very well insulated back in the day.
Most of this chapter is actually framed more around the family which Adam continues to observe. Felix seems to have arranged for an.. adoption?... of a foreign woman named Safie into the family. I’m not sure for what purpose. But whatever the reason, Safie is brought into the house and Adam learns that in fact there are more languages than just… German I’m going to assume?
Adam also begins to remark upon the need for humans to learn from one another. How they are inextricably bound together. It’s actually rather touching and sad, as he realizes that he, by contrast, has no others like him. He’s an outsider and seems afraid of making contact with the people.
Finally, Adam seems to begin holding a different opinion of humankind after learning some of Western history. He’s at once astounded at how marvelous humans can be, and at how awful they’ve been. He holds humans in such high regard that he seems unable to reconcile the two. He begins to recognize his own difference from humans, particularly his size, greater agility, and ability to subsist on rougher diet and withstand the elements more easily. He realizes that he’s a monster by some definition.
He also begins to understand what an odd thing “knowing” or “awareness” is, and how it is a hard thing to shake off when someone knows something. Yay for education, although it’s something I’ve sometimes struggled with in educating students in the critical paradigm.
This chapter feels more like build-up in some ways. Adam’s clearly building to some inevitable confrontation with the family and is trying to set it up. That said, while this chapter is basically a continuation from last chapter, the last chapter was fine and so this one is too.
Most of this chapter is actually framed more around the family which Adam continues to observe. Felix seems to have arranged for an.. adoption?... of a foreign woman named Safie into the family. I’m not sure for what purpose. But whatever the reason, Safie is brought into the house and Adam learns that in fact there are more languages than just… German I’m going to assume?
Adam also begins to remark upon the need for humans to learn from one another. How they are inextricably bound together. It’s actually rather touching and sad, as he realizes that he, by contrast, has no others like him. He’s an outsider and seems afraid of making contact with the people.
Finally, Adam seems to begin holding a different opinion of humankind after learning some of Western history. He’s at once astounded at how marvelous humans can be, and at how awful they’ve been. He holds humans in such high regard that he seems unable to reconcile the two. He begins to recognize his own difference from humans, particularly his size, greater agility, and ability to subsist on rougher diet and withstand the elements more easily. He realizes that he’s a monster by some definition.
He also begins to understand what an odd thing “knowing” or “awareness” is, and how it is a hard thing to shake off when someone knows something. Yay for education, although it’s something I’ve sometimes struggled with in educating students in the critical paradigm.
This chapter feels more like build-up in some ways. Adam’s clearly building to some inevitable confrontation with the family and is trying to set it up. That said, while this chapter is basically a continuation from last chapter, the last chapter was fine and so this one is too.
Frankenstein - Chapter 12
I’m really enjoying this!
It’s not like I wasn’t enjoying Victor’s chapters. They were fine, but in general I find the sort of melodrama to be tiresome. As if it’s serving the point that violence and character deaths seem to serve in a lot of modern media. Give me these cogitations any day over that.
Adam has taken to observing the family from the last chapter over a period of months. The family, consisting of an older blind man, and his children Felix and Agatha, are a fine sort of family. They aren’t quite the Cratchetts in terms of how doggedly good-spirited they are, but they’re fine. Adam watches them and learns about communication, mostly.
Adam’s concerns about communication remind me of one of my favorite books: Speaking into the Air by John Durham Peters. It’s an account of the history of the idea of communication, and how that idea has never been a particularly agreed-upon concept throughout history. Adam marvels at the strangeness not only of language, but of writing, which he acknowledges as far beyond his comprehension.
Also, also, Adam is just adorable with his helping around the house. He goes out at night to pick up timber and clear the snow out from around the family’s house so that Felix can do other tasks during the day. When he notes that the family is poor, he recognizes that his filching of their food is doing harm to them, and so he sticks to eating roots and berries from the forest.
Adam spends months in his shack watching the family, as I’d said. Winter passes to spring (come to think of it, while we had a sort of rough timeline from the start of the narrative to Vic’s creating Adam, we sort of stopped keeping time after that), and the village they are in begins to teem with life again. Adam, as I’ve mentioned, is wonderful. I really love his appreciation of the world around him as contrasted against Vic’s. Whereas Victor, who by all accounts seems to be a rather diminutive and sickly person, is astounded and loves the sublime parts of nature – mountains, storms, great lakes. Adam, meanwhile, seems to take so much appreciation in very subtle aspects of the world around him – birds singing, the phases of the moon, seasons changing. It’s really quite beautiful the balance that’s struck between the two of them. I’m not sure that one is necessarily better than another, but it feels like Shelley is very deliberately making a sort of commentary about the romantic movement and its sort of fascination with the sublime and wondering if perhaps it takes more subtle aspects of nature for granted.
Really enjoying this. Adam wants to talk to the family. I hope this goes okay, but I expect it won’t
It’s not like I wasn’t enjoying Victor’s chapters. They were fine, but in general I find the sort of melodrama to be tiresome. As if it’s serving the point that violence and character deaths seem to serve in a lot of modern media. Give me these cogitations any day over that.
Adam has taken to observing the family from the last chapter over a period of months. The family, consisting of an older blind man, and his children Felix and Agatha, are a fine sort of family. They aren’t quite the Cratchetts in terms of how doggedly good-spirited they are, but they’re fine. Adam watches them and learns about communication, mostly.
Adam’s concerns about communication remind me of one of my favorite books: Speaking into the Air by John Durham Peters. It’s an account of the history of the idea of communication, and how that idea has never been a particularly agreed-upon concept throughout history. Adam marvels at the strangeness not only of language, but of writing, which he acknowledges as far beyond his comprehension.
Also, also, Adam is just adorable with his helping around the house. He goes out at night to pick up timber and clear the snow out from around the family’s house so that Felix can do other tasks during the day. When he notes that the family is poor, he recognizes that his filching of their food is doing harm to them, and so he sticks to eating roots and berries from the forest.
Adam spends months in his shack watching the family, as I’d said. Winter passes to spring (come to think of it, while we had a sort of rough timeline from the start of the narrative to Vic’s creating Adam, we sort of stopped keeping time after that), and the village they are in begins to teem with life again. Adam, as I’ve mentioned, is wonderful. I really love his appreciation of the world around him as contrasted against Vic’s. Whereas Victor, who by all accounts seems to be a rather diminutive and sickly person, is astounded and loves the sublime parts of nature – mountains, storms, great lakes. Adam, meanwhile, seems to take so much appreciation in very subtle aspects of the world around him – birds singing, the phases of the moon, seasons changing. It’s really quite beautiful the balance that’s struck between the two of them. I’m not sure that one is necessarily better than another, but it feels like Shelley is very deliberately making a sort of commentary about the romantic movement and its sort of fascination with the sublime and wondering if perhaps it takes more subtle aspects of nature for granted.
Really enjoying this. Adam wants to talk to the family. I hope this goes okay, but I expect it won’t
Sunday, June 5, 2016
Frankenstein - Chapter 11
This was so cool!
So first off—Vic apparently has an eidetic memory for what people said! I kid, of course, but there are times where the “person recounting a story” narrative does raise a bit of a logistical question. I thought this a lot in Heart of Darkness, with my thought mostly being that the people who Marlow spoke to must’ve had the wind let out of their sails by the time it was all over.
Adam begins recounting his journey starting with (I think) when he left Vic’s place. The narration seems to imply that he pretty much wasn’t conscious until he was already out in this forest. Even to a certain point, he’s barely able to make sense of what’s around him. Still, there are some apparent instincts which drive him. For one, he still needs to eat and drink. I’m kind of surprised by this, actually. I didn’t think a person made from a bunch of cut-up cadavers and animated by electricity would feel hunger like we do, since the material of his body is already dead. I know it’s probably just Shelley playing loose with biology, but there’s certainly an interesting posthuman claim toward human ontology in this sequence. Adam finds certain noises and visuals innately pleasurable, and some to be harsh. There’s definitely a sort of nature/nurture thing here, with some of the argument seeming to favor nature. “Yes, sparrows are just annoying. Yes, blackbirds sound pretty to everyone” here.
From here, Adam begins a basic exploration of the world around him. He observes the phases of the moon and the passage from day to night. He becomes fascinated by fire and tries to figure it out to use it for cooking and warmth and light. Quite a liberty Hollywood took there!
Eventually, Adam decides to leave the forest and begin wandering. He scares some shepherd out of his hut one night, totally unintentionally, and begins eating his food and understanding the concept of a constructed shelter. From here, he goes to a village and.. well it doesn’t go well, but not nearly as poorly as I’d’ve thought. The villagers aren’t nice to ol’ Adam, they either shriek or run away or attack him. But they aren’t coming out in a full-on mob at him, they seem content to just turn him away from their village.
Afterward he takes up residence in a shack and observes, what I think, is supposed to be a family at their work. He is fascinated by the whole scenario he watches unfold and is really quite a sensitive creature.
I liked this chapter a lot. We’re really getting into a good exploration of what it is to be human and of consciousness! This is the stuff that so much of sci-fi still delves into almost two centuries later!
So first off—Vic apparently has an eidetic memory for what people said! I kid, of course, but there are times where the “person recounting a story” narrative does raise a bit of a logistical question. I thought this a lot in Heart of Darkness, with my thought mostly being that the people who Marlow spoke to must’ve had the wind let out of their sails by the time it was all over.
Adam begins recounting his journey starting with (I think) when he left Vic’s place. The narration seems to imply that he pretty much wasn’t conscious until he was already out in this forest. Even to a certain point, he’s barely able to make sense of what’s around him. Still, there are some apparent instincts which drive him. For one, he still needs to eat and drink. I’m kind of surprised by this, actually. I didn’t think a person made from a bunch of cut-up cadavers and animated by electricity would feel hunger like we do, since the material of his body is already dead. I know it’s probably just Shelley playing loose with biology, but there’s certainly an interesting posthuman claim toward human ontology in this sequence. Adam finds certain noises and visuals innately pleasurable, and some to be harsh. There’s definitely a sort of nature/nurture thing here, with some of the argument seeming to favor nature. “Yes, sparrows are just annoying. Yes, blackbirds sound pretty to everyone” here.
From here, Adam begins a basic exploration of the world around him. He observes the phases of the moon and the passage from day to night. He becomes fascinated by fire and tries to figure it out to use it for cooking and warmth and light. Quite a liberty Hollywood took there!
Eventually, Adam decides to leave the forest and begin wandering. He scares some shepherd out of his hut one night, totally unintentionally, and begins eating his food and understanding the concept of a constructed shelter. From here, he goes to a village and.. well it doesn’t go well, but not nearly as poorly as I’d’ve thought. The villagers aren’t nice to ol’ Adam, they either shriek or run away or attack him. But they aren’t coming out in a full-on mob at him, they seem content to just turn him away from their village.
Afterward he takes up residence in a shack and observes, what I think, is supposed to be a family at their work. He is fascinated by the whole scenario he watches unfold and is really quite a sensitive creature.
I liked this chapter a lot. We’re really getting into a good exploration of what it is to be human and of consciousness! This is the stuff that so much of sci-fi still delves into almost two centuries later!
Frankenstein - Chapter 10
Well this should offer up a change
Vic, after having departed for a nearby village in the Alps, decides to go on a multi-day hike over a glacier. Again, he’s rather dramatic in his whole approach to nature, marveling on it apparently out loud as he goes on his hikes. Suddenly, he sees a figure running up on him. It’s his creation, who we finally have speaking.
The creation, who I’ll now refer to as Adam since he seems to have become his own character, is really bent out of shape in confronting Victor. He’s angry and confused and upset all at once over Victor’s apparent abandonment of him. He wonders why Victor didn’t just kill him, and he asks that Victor at least listen to his story of how he came to be here before he decides whether or not he’ll continue in attempting to kill Adam. Adam, for his part, seems really reasonable about the whole thing. He’s rather fond of the religious metaphor of their relationship (which… yeah that’s fair). And he’s.. actually quite a bit like Victor. Both very dramatic and concerned with their pain.
Victor is trying to not have any of Adam’s complaints and questions though. Which is totally unfair! Adam is pretty blameless in this exchange so far. Eventually though, Victor agrees to go hear Adam out in a nearby shack.
A few things: Adam’s initial charge at Victor is accompanied by a rather extreme threat against not only Victor but his family as well. So, is the book actually lending credence to the possibility that, against all odds, Adam somehow made it out to Geneva and then found Vic’s specific family and murdered his brother? I mean, where they are now is even further from Ingolstadt, so I guess so. Don’t know how I’ll take it if I found out he killed William intentionally.
Also (total fake question) so how did Vic know a poem that Shelley’s husband wrote in 1816 when the story takes place in the 1700’s? Mysteries abound!
Vic, after having departed for a nearby village in the Alps, decides to go on a multi-day hike over a glacier. Again, he’s rather dramatic in his whole approach to nature, marveling on it apparently out loud as he goes on his hikes. Suddenly, he sees a figure running up on him. It’s his creation, who we finally have speaking.
The creation, who I’ll now refer to as Adam since he seems to have become his own character, is really bent out of shape in confronting Victor. He’s angry and confused and upset all at once over Victor’s apparent abandonment of him. He wonders why Victor didn’t just kill him, and he asks that Victor at least listen to his story of how he came to be here before he decides whether or not he’ll continue in attempting to kill Adam. Adam, for his part, seems really reasonable about the whole thing. He’s rather fond of the religious metaphor of their relationship (which… yeah that’s fair). And he’s.. actually quite a bit like Victor. Both very dramatic and concerned with their pain.
Victor is trying to not have any of Adam’s complaints and questions though. Which is totally unfair! Adam is pretty blameless in this exchange so far. Eventually though, Victor agrees to go hear Adam out in a nearby shack.
A few things: Adam’s initial charge at Victor is accompanied by a rather extreme threat against not only Victor but his family as well. So, is the book actually lending credence to the possibility that, against all odds, Adam somehow made it out to Geneva and then found Vic’s specific family and murdered his brother? I mean, where they are now is even further from Ingolstadt, so I guess so. Don’t know how I’ll take it if I found out he killed William intentionally.
Also (total fake question) so how did Vic know a poem that Shelley’s husband wrote in 1816 when the story takes place in the 1700’s? Mysteries abound!
Frankenstein - Chapter 9
Well, it was about time someone called Vic out.
Not much really occurs this chapter in a plot sense. It’s mostly spent with Vic and the two main members of his family (poor Ernest) each kind of telling him off in their own way. Vic’s father’s advice, while coming at Vic from an angle steeped in patriarchal ideas of expression, does kind of tap into a problem that Vic seems to face. He can’t recognize that other people feel pain too. While I’m annoyed that Alphonse shames Victor for apparently grieving, it is irritating because his advice is actually kind of spot on. Just for the wrong reasons.
I mean hell, Elizabeth tells him that she’s been really shaken in her faith by the conviction of Justine, Vic makes it entirely about himself. She goes to worrying about him because he is so overwrought in everything about his expression that she has to wonder about his safety (which I’ll get to in a moment) during her own grief.
Here’s the thing though. Vic seems like he’s genuinely really rattled by the whole experiment thing. He needs to talk to someone about this. He contemplates suicide via drowning (which… yikes) to just remove himself from other people’s lives… I mean, I feel like he’s approaching this whole thing wrong. But I can’t deny that, whether or not he’s projecting the whole “monster murdered my brother” thing, he’s still so obviously out of sorts about the whole creating an abomination, thing.
I actually didn’t know that Frank in the book would be so torn up about this. Again, popular version of Vic seems to imply that he was rather proud of his creation, or at least proud of himself for having created it. We’re nearly halfway through the book and we’re still kind of on Vic’s trauma about the whole thing. It’s really cool though
[Later edit: I had this review typed out more fully and then my computer restarted without saving it, so I had to mostly retype it from memory. I think I've gotten most of it recounted, but I had already read the next chapter when I had to do the rewrite. guh.]
Not much really occurs this chapter in a plot sense. It’s mostly spent with Vic and the two main members of his family (poor Ernest) each kind of telling him off in their own way. Vic’s father’s advice, while coming at Vic from an angle steeped in patriarchal ideas of expression, does kind of tap into a problem that Vic seems to face. He can’t recognize that other people feel pain too. While I’m annoyed that Alphonse shames Victor for apparently grieving, it is irritating because his advice is actually kind of spot on. Just for the wrong reasons.
I mean hell, Elizabeth tells him that she’s been really shaken in her faith by the conviction of Justine, Vic makes it entirely about himself. She goes to worrying about him because he is so overwrought in everything about his expression that she has to wonder about his safety (which I’ll get to in a moment) during her own grief.
Here’s the thing though. Vic seems like he’s genuinely really rattled by the whole experiment thing. He needs to talk to someone about this. He contemplates suicide via drowning (which… yikes) to just remove himself from other people’s lives… I mean, I feel like he’s approaching this whole thing wrong. But I can’t deny that, whether or not he’s projecting the whole “monster murdered my brother” thing, he’s still so obviously out of sorts about the whole creating an abomination, thing.
I actually didn’t know that Frank in the book would be so torn up about this. Again, popular version of Vic seems to imply that he was rather proud of his creation, or at least proud of himself for having created it. We’re nearly halfway through the book and we’re still kind of on Vic’s trauma about the whole thing. It’s really cool though
[Later edit: I had this review typed out more fully and then my computer restarted without saving it, so I had to mostly retype it from memory. I think I've gotten most of it recounted, but I had already read the next chapter when I had to do the rewrite. guh.]
Frankenstein - Chapter 8
Goddamn Vic, get over yourself!
Justine has her trial, and (surprise surprise) it doesn’t go as Liz and Victor thought it would. Justine is pretty much convicted on the spot by her judges, as there is no evidence to contradict her alibi. She calls on friends to testify to her character, but they all refuse to be of any help. Which… wow, that's cold, people.
Once again, Vic’s family shows themselves to be a bastion of doe-eyed cherubs when Elizabeth begins to defend the person who her family is kind of the plaintiff against; because she’s so distraught at how unfair it is that Justine’s friends abandoned her like that. I have to say that if Elizabeth isn’t actually one of those porcelain angels I’m shocked.
Later, Vic and Elizabeth visit Justine in her cell (or wherever they held the condemned back then) and Vic is just insufferable. The entirety of the narration is Vic just remarking on how much the anguish that Elizabeth and a person who is LITERALLY CONDEMNED TO DIE pales in comparison of him totes knowing for absolute suresies that Justine wasn’t the murderer, but he can’t tell anyone that it was really his creation. Like… Vic, you don’t even know if it was your creation. Hell, your entire idea is actually entirely self-serving! You think that your creation was so awesome that it could make it 300 miles, find out who your family was, kill your brother, and then plant evidence to throw the investigators off the case? Jeez dude, it’s impressive that it can even walk at all. All in all, while I kind of understand the dilemma that Vic is in somewhat, his attitude really is just making the entire thing about his own pain in the situation with pretty much no empathy for the person who is literally condemned to die or the person who is basically having all of her rosy-eyed ideas of the world destroyed entirely. I mean, it’s not like any of this is out of character for Victor either. He’s just very self-absorbed. He’s not quite Humbert Humbert yet, but I’d put him at about Hamlet levels.
Justine has her trial, and (surprise surprise) it doesn’t go as Liz and Victor thought it would. Justine is pretty much convicted on the spot by her judges, as there is no evidence to contradict her alibi. She calls on friends to testify to her character, but they all refuse to be of any help. Which… wow, that's cold, people.
Once again, Vic’s family shows themselves to be a bastion of doe-eyed cherubs when Elizabeth begins to defend the person who her family is kind of the plaintiff against; because she’s so distraught at how unfair it is that Justine’s friends abandoned her like that. I have to say that if Elizabeth isn’t actually one of those porcelain angels I’m shocked.
Later, Vic and Elizabeth visit Justine in her cell (or wherever they held the condemned back then) and Vic is just insufferable. The entirety of the narration is Vic just remarking on how much the anguish that Elizabeth and a person who is LITERALLY CONDEMNED TO DIE pales in comparison of him totes knowing for absolute suresies that Justine wasn’t the murderer, but he can’t tell anyone that it was really his creation. Like… Vic, you don’t even know if it was your creation. Hell, your entire idea is actually entirely self-serving! You think that your creation was so awesome that it could make it 300 miles, find out who your family was, kill your brother, and then plant evidence to throw the investigators off the case? Jeez dude, it’s impressive that it can even walk at all. All in all, while I kind of understand the dilemma that Vic is in somewhat, his attitude really is just making the entire thing about his own pain in the situation with pretty much no empathy for the person who is literally condemned to die or the person who is basically having all of her rosy-eyed ideas of the world destroyed entirely. I mean, it’s not like any of this is out of character for Victor either. He’s just very self-absorbed. He’s not quite Humbert Humbert yet, but I’d put him at about Hamlet levels.
Saturday, May 28, 2016
Frankenstein - Chapter 7
TW for discussion of murder
Okay so we get some big news in this chapter
Vic’s youngest brother was murdered!
In a letter Vic receives from his father (whose name is Alphonse, it turns out!), he learns that while out on the town one day, Vic’s two younger brothers wandered off, and while Ernest returned in the afternoon, William never did. After papa Frank goes off and searches for him, he finds William’s body splayed out and apparently strangled to death.
Elizabeth is pretty wracked with guilt over this, considering that William was carrying around a picture of his mother that day which Elizabeth had given him, and when they found the body the picture had gone missing. This makes Liz think that the murderer must’ve wanted it. (I think it was in some kind of locket).
Upon receiving this news, Vic becomes distraught and sets to travel to Geneva right away. For a moment it seemed like Clerval would be coming with, which, while it would continue his characterization of being literally the too-perfect friend, would also have been sort of hilarious with its continuation of the idea that he’ll just kind of throw away everything for Vic at a moment’s notice. But no, Vic makes this journey alone.
On the road to Geneva, Vic has several really great melodramatic moments. Several times in particular he screams at nature. “Dear mountains! my own beautiful lake! how do you welcome your wanderer? Your summits are clear; the sky and lake are blue and placid. Is this to prognosticate peace, or to mock at my unhappiness?” and later he shouts that at an absent William that a storm is his funeral dirge. It reminds me a lot of this list I found online a while back called “how to tell if you’re in a Dostoevsky novel” where one of the entries is “At least once each day you stop in a stairwell to clutch the banister and yell out ‘My God, how loathsome it all is!’”
While at an inn one night in the mountains, Vic thinks he sees his creation in the shadows. The figure quickly disappears but Vic is convinced not only that it was the skaab that he saw, but that his creation is in fact the real murderer of his brother… like, okay? Vic just kinda ignores any and all logistics of this and is like “Yeah, my monster traveled 700 km over mountains, made it to my hometown, murdered my brother and took a picture of my mother away, then traipsed back to around Mont Blanc so that I could see it in the shadows… sounds about right.”
It’s not just that Vic thinks this to himself either. When he gets home he starts telling everyone that he knows who the real murderer is. When his family tells him that Justine has been arrested for it and is being tried that day, he’s distressed that there’s such an apparent miscarriage of justice. “no your honor, my monster from Ingolstadt killed my brother!” Vic is convinced that, because the courts are just, and because Justine is totes innocent, that she’ll get off and then they can set about doing some monster hunting. Of course, I will say that it’s kinda suspicious that some other member of the household staff just happened to find the photo in Justine’s room. Currently I’m suspicious of Justine and this other staff member, but we’ll see where this goes. I don’t think this book will linger here long, as I don’t believe it’s a murder mystery novel.
Okay so we get some big news in this chapter
Vic’s youngest brother was murdered!
In a letter Vic receives from his father (whose name is Alphonse, it turns out!), he learns that while out on the town one day, Vic’s two younger brothers wandered off, and while Ernest returned in the afternoon, William never did. After papa Frank goes off and searches for him, he finds William’s body splayed out and apparently strangled to death.
Elizabeth is pretty wracked with guilt over this, considering that William was carrying around a picture of his mother that day which Elizabeth had given him, and when they found the body the picture had gone missing. This makes Liz think that the murderer must’ve wanted it. (I think it was in some kind of locket).
Upon receiving this news, Vic becomes distraught and sets to travel to Geneva right away. For a moment it seemed like Clerval would be coming with, which, while it would continue his characterization of being literally the too-perfect friend, would also have been sort of hilarious with its continuation of the idea that he’ll just kind of throw away everything for Vic at a moment’s notice. But no, Vic makes this journey alone.
On the road to Geneva, Vic has several really great melodramatic moments. Several times in particular he screams at nature. “Dear mountains! my own beautiful lake! how do you welcome your wanderer? Your summits are clear; the sky and lake are blue and placid. Is this to prognosticate peace, or to mock at my unhappiness?” and later he shouts that at an absent William that a storm is his funeral dirge. It reminds me a lot of this list I found online a while back called “how to tell if you’re in a Dostoevsky novel” where one of the entries is “At least once each day you stop in a stairwell to clutch the banister and yell out ‘My God, how loathsome it all is!’”
While at an inn one night in the mountains, Vic thinks he sees his creation in the shadows. The figure quickly disappears but Vic is convinced not only that it was the skaab that he saw, but that his creation is in fact the real murderer of his brother… like, okay? Vic just kinda ignores any and all logistics of this and is like “Yeah, my monster traveled 700 km over mountains, made it to my hometown, murdered my brother and took a picture of my mother away, then traipsed back to around Mont Blanc so that I could see it in the shadows… sounds about right.”
It’s not just that Vic thinks this to himself either. When he gets home he starts telling everyone that he knows who the real murderer is. When his family tells him that Justine has been arrested for it and is being tried that day, he’s distressed that there’s such an apparent miscarriage of justice. “no your honor, my monster from Ingolstadt killed my brother!” Vic is convinced that, because the courts are just, and because Justine is totes innocent, that she’ll get off and then they can set about doing some monster hunting. Of course, I will say that it’s kinda suspicious that some other member of the household staff just happened to find the photo in Justine’s room. Currently I’m suspicious of Justine and this other staff member, but we’ll see where this goes. I don’t think this book will linger here long, as I don’t believe it’s a murder mystery novel.
Frankenstein - Chapter 6
Dang, Vic’s good at remembering what letters say.
Elizabeth writes to Victor and… I’ve gotta confess, the letter was kind of boring to me. Elizabeth basically writes that not much has changed back home, except that one of Victor’s little brothers, Ernest, wants to pursue a job with the Swiss military; and one of their servants, Justine, has returned to their house after some time away at her home visiting her mother.
After the letter is finished, Vic decides he’ll (finally) write back. He then starts showing Clerval around Ingolstadt, but hates any mention of his old studies in natural philosophy. I’m honestly not sure why Vic “had to” go visit Waldman and Krempe. He does though, and Waldman and Krempe both are their usual selves: complimentary of Vic and pleasant/irritating respectfully.
After this, Vic spends some time studying literature with Clerval, trying to get out of the funk caused by this whole reanimating the dead business. In particular, the two are interested in literature from Persian and Arabic literature. It’s very steeped in orientalism, but hey, at least Shelley seems rather fond of the aesthetic she ascribes to that literature (which, I know, is part of the point of orientalism). Throughout all of this, Clerval still remains too good for everyone around him. He’s constantly trying to make Vic feel better, to tell him stories and jokes and go on hikes. The two of them return one day from some sojourn and Vic is finally really happy again.
Which, I think, is surprising given that there’s still a giant skaab on the loose (I’m going to use the term that Magic: the Gathering uses for a stitched together, animated corpse-beast in addition to “the creature” or “the monster” from now on, just for specificity sake).
Elizabeth writes to Victor and… I’ve gotta confess, the letter was kind of boring to me. Elizabeth basically writes that not much has changed back home, except that one of Victor’s little brothers, Ernest, wants to pursue a job with the Swiss military; and one of their servants, Justine, has returned to their house after some time away at her home visiting her mother.
After the letter is finished, Vic decides he’ll (finally) write back. He then starts showing Clerval around Ingolstadt, but hates any mention of his old studies in natural philosophy. I’m honestly not sure why Vic “had to” go visit Waldman and Krempe. He does though, and Waldman and Krempe both are their usual selves: complimentary of Vic and pleasant/irritating respectfully.
After this, Vic spends some time studying literature with Clerval, trying to get out of the funk caused by this whole reanimating the dead business. In particular, the two are interested in literature from Persian and Arabic literature. It’s very steeped in orientalism, but hey, at least Shelley seems rather fond of the aesthetic she ascribes to that literature (which, I know, is part of the point of orientalism). Throughout all of this, Clerval still remains too good for everyone around him. He’s constantly trying to make Vic feel better, to tell him stories and jokes and go on hikes. The two of them return one day from some sojourn and Vic is finally really happy again.
Which, I think, is surprising given that there’s still a giant skaab on the loose (I’m going to use the term that Magic: the Gathering uses for a stitched together, animated corpse-beast in addition to “the creature” or “the monster” from now on, just for specificity sake).
Frankenstein - Chapter 5
TW for brief mention of oedipal horror dream.
Well alright then
So Vic’s gone and done it.. He brought his monster to life. It’s actually surprisingly unceremonious. He just kinda says, in as laconic a manner as I think we’ll get out of Vic, that one night he just up and animated this patchwork of dead bodies.
This said, I think Vic’s behavior here is actually really bizarre. So let me see if I can run myself through this.
1)Vic is displeased with the fact that he couldn’t stitch together body parts well and his monster doesn’t look like Adonis
2)Vic awakens the monster. Rather than being happy about literally defying all the laws of nature, he’s pissed off that the monster looks ugly
3)Rather than deal with the thing he’s just made, even if it is in a negative fashion, his inclination is to just call it a night, just kinda… leaving the monster there, I guess?
During the night, Vic has a disturbing dream in which he kisses Elizabeth, who then turns into his mother’s corpse. It’s almost like Vic’s got issues surrounding the thought of other people dying.
He wakes up and finds his creation at the foot of his bed. Freaking out, Vic runs out of his house and into the courtyard, where he waits all night. That morning, he walks into town and runs into Henry Clerval of all people! The two agree to go catch up, but Vic’s really on edge. At first, he’s afraid of going back to his house and facing his creation. Then when he arrives and finds that Adam is nowhere to be found, he becomes jittery thinking that he’s going to pop out at any moment. Again, I think this actually shows that Victor’s become very selfish in this. He sees that his creature isn’t around and his first thought isn’t “OH MY GOD THAT THING COULD BE OUT AMONG PEOPLE!” instead it’s “that thing must be lurking around here somewhere!”
Amidst this rambling talk, Vic faints and finds himself in bed with Clerval tending to him. Apparently Vic spends the next several MONTHS in bed with Clerval helping him out. Jeez, Clerval’s kinda... more than just friendly to Vic, no? I mean, I know that my read on this is influenced by my more modern readers lens (I’ve learned that homosocial relationships were considered much more acceptable back then) but nursing a guy to health for MONTHS is really quite much. I also wonder if Captain Walton is realizing that hanging around this dude may be toxic at this point… Like, Vic seems like he’s the sort that charges himself into the ground and then just hopes others will help him back up, but he doesn’t really seem like he’d offer the same support to them.
Clerval is really kind of a saint, it feels like. After all of this care, Vic asks him if he can do anything to repay him. Clerval just asks Vic to write to his family. Like… wow Vic must feel like an ass now.
Well alright then
So Vic’s gone and done it.. He brought his monster to life. It’s actually surprisingly unceremonious. He just kinda says, in as laconic a manner as I think we’ll get out of Vic, that one night he just up and animated this patchwork of dead bodies.
This said, I think Vic’s behavior here is actually really bizarre. So let me see if I can run myself through this.
1)Vic is displeased with the fact that he couldn’t stitch together body parts well and his monster doesn’t look like Adonis
2)Vic awakens the monster. Rather than being happy about literally defying all the laws of nature, he’s pissed off that the monster looks ugly
3)Rather than deal with the thing he’s just made, even if it is in a negative fashion, his inclination is to just call it a night, just kinda… leaving the monster there, I guess?
During the night, Vic has a disturbing dream in which he kisses Elizabeth, who then turns into his mother’s corpse. It’s almost like Vic’s got issues surrounding the thought of other people dying.
He wakes up and finds his creation at the foot of his bed. Freaking out, Vic runs out of his house and into the courtyard, where he waits all night. That morning, he walks into town and runs into Henry Clerval of all people! The two agree to go catch up, but Vic’s really on edge. At first, he’s afraid of going back to his house and facing his creation. Then when he arrives and finds that Adam is nowhere to be found, he becomes jittery thinking that he’s going to pop out at any moment. Again, I think this actually shows that Victor’s become very selfish in this. He sees that his creature isn’t around and his first thought isn’t “OH MY GOD THAT THING COULD BE OUT AMONG PEOPLE!” instead it’s “that thing must be lurking around here somewhere!”
Amidst this rambling talk, Vic faints and finds himself in bed with Clerval tending to him. Apparently Vic spends the next several MONTHS in bed with Clerval helping him out. Jeez, Clerval’s kinda... more than just friendly to Vic, no? I mean, I know that my read on this is influenced by my more modern readers lens (I’ve learned that homosocial relationships were considered much more acceptable back then) but nursing a guy to health for MONTHS is really quite much. I also wonder if Captain Walton is realizing that hanging around this dude may be toxic at this point… Like, Vic seems like he’s the sort that charges himself into the ground and then just hopes others will help him back up, but he doesn’t really seem like he’d offer the same support to them.
Clerval is really kind of a saint, it feels like. After all of this care, Vic asks him if he can do anything to repay him. Clerval just asks Vic to write to his family. Like… wow Vic must feel like an ass now.
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