The Many Editions of Frankenstein

Frankenstein; or, the Modern Prometheus was first published on January 1, 1818 without attribution. Only 500 copies were produced by the small publishing house known as Lackington, Hughes, Harding, Mavor, and Jones in London. Little to the publishing house’s knowledge, Frankenstein would end up becoming one of the most influential novels of all time. Four years later, Frankenstein was reprinted after the success of a play created by Richard Brinsley Peake based on the novel which sparked an interest within its audience members. This is the first time Mary Shelley claimed Frankenstein as her own.

Later in 1831, another edition was published. This edition went on to become the standard edition which most people have read. Though it is the most common, this edition was heavily edited by Shelley before publication due to some critiques citing the original as far too radical and vulgar. The Quarterly Review, a literary and political periodical, said the 1818 version of Frankenstein was, “a tissue of horrible and disgusting absurdity,” upon its release. Because of the 1831 edition, there has been controversy as to which edition is most deserving of the spotlight. However, we think both have merit!

The 1818 Edition

The 1818 edition is the original work of Mary Shelley. It’s the one that started it all, and for some, the edition deserving of all the attention. The merit in this edition is in its origin. The 1818 edition was spawned from a friendly writing competition among Shelley’s friends and is loved by scholars and Franken-heads for its rawness and unaltered state. It’s believed this edition contains the original message of Shelley where the 1831 version tatters it. Plus, who wouldn’t love to own one of the original 500? Getting a hold of one may be difficult though, unless you have €350,000 to spend on Lord Byron’s personal copy signed by Shelley herself!

The 1831 Edition

To the chagrin of many, the 1831 version is the most widely read edition of Frankenstein. Anne K. Mellor wrote an essay in the W. W. Norton Critical edition arguing that the 1831 edition of Frankenstein loses Shelley’s tone and doesn’t coincide with her original vision. To understand the outcry of many, the alterations from the 1818 edition to the 1831 edition need to be listed:

  • The 1818 edition’s first chapter was expanded as well as split into two different chapters
  • The 1831 edition had changes made to the origin story of Elizabeth Lavenza
  • The 1831 edition introduces the concept of galvanism, a power thought to be able to reanimate bodies
  • The 1831 edition includes more of Victor’s motivations and thoughts for creating life

But even if some do detest the 1831 version, it still has a merit which might be overlooked. The main one being most people have read the 1831 edition. When we read books, we like to discuss them with others who have read the book. With the 1831 edition being the most popular, that means it’s more likely to come across someone who has read it. This means we readers can fulfill our need to discuss this edition easier than the 1818 edition.

Editions, Editions, and More Editions

Since its creation, Frankenstein has been made into almost 300 editions. Yes, you read that right. 300. Romantic Circles, a scholarly website devoted to the Romantic period, has compiled a list of editions starting from the original 1818 version all the way to a 2000 Spanish translation. Below, we’ve compiled five editions of Frankenstein worth taking a look at. (And maybe even purchasing, if you have the coin.) Which is your favorite?

1931 edition, from Grossett and Dunlap

1) The Grosset and Dunlap Edition

Based solely on the iconic cover, the Grosset and Dunlap edition of Frankenstein makes the list. This edition was printed in 1931 to capitalize on the Frankenstein movie produced by Universal pictures that year, simply titled Frankenstein. This movie became a cult classic, and by 1943, Universal reported the movie made $708,871 with only a $262,007 budget! Unfortunately, you’ll have to be comfortable with shelling out a little over $1,000 for this edition.

 

2016 edition from Puffin Books

 2) The Puffin 8-Bit Edition

If you’re into the 8-bit video game aesthetic, this edition of Frankenstein is for you. Puffin published this retro looking Frankenstein in 2016. This is particularly neat if you’re a video game buff and remember Dr. Franken released on the Game Boy which holds similar artwork.

 

2014 edition from Uber Books

3) The 1818 and 1831 Editions in One Book

This edition of Frankenstein from Uber Books includes both the 1818 edition and 1831 edition all in one book. No more arguing about which one is better! You could use this edition to closely compare the two editions.

 

 

2015 edition from Barnes & Noble

4) The Barnes & Noble Edition

This Barnes & Noble edition of Frankenstein gives off dark castle library vibes with its red and black aesthetic. The pages have gilded red edges, contributing even more to the spooky factor of this edition. And if you have read Frankenstein before, the lightning on the cover is great foreshadowing!

 

Mid-1940s edition of "Frankenstein" from Classic Comics
Mid-1940s edition from Classic Comics

5) The Classic Comics Edition

If you’re looking for a more casual read of Frankenstein, perhaps this Classic Comics edition is for you. Classic Comics set out to turn classic novels into graphic novels and, of course, Frankenstein made it in. What makes this crossover so great is the nicely drawn illustrations alongside a condensed version of the original work.

 

2018 edition of "Frankenstein" from Rockport Publishers
2018 edition from Rockport Publishers

6) The Classics Reimagined Edition

This edition from Rockport Publishers is specially illustrated by graphic artist David Plunkert for the 200th anniversary of Frankenstein. There are illustrations inside as well, including an 8-page insert that shows doctor designs and a full spread of the monster. Frankenstein and his creature have never been so horrifying.

 

Celebrate Franken Fridays with us! Frighteningly fun events are held each Friday to celebrate Frankenstein’s 200th publishing anniversary. Connect with us on social media using the #FrankenFriday tag.

Upcoming Events:

Friday, Oct. 26

  • 11 a.m., Library 134, Gainesville Campus—”Frankenstein and Posthumanism” faculty panel featuring Dr. Lynn Berdanier, Dr. John Hamilton, Dr. Jeanelle Morgan, and Dr. Kristin Yager
  • Noon to 3 p.m., upstairs lobby, Cumming Campus—PoeDown and costume contest
  • Noon, Library 134, Gainesville Campus—“Monster Theory” faculty panel featuring Dr. Jeff Pardue, Dr. Phil Guerty, Dr. Patsy Worrall
  • 3-5 p.m., Mount Hope Cemetery, Dahlonega Campus—“Secrets from the Grave” guided tour of Mount Hope Cemetery.

Frankenstein’s Influence Over Two Centuries

The front cover of the Pennyroyal Edition of "Frankenstein," designed and illustrated by Barry Moser. The monster looks as if he's screaming in pain.While living in Switzerland, Lord Byron (Yes, that Lord Byron) held a writing competition among some close friends. The goal: Write the best horror story. Among the close friends were John Polidori, author of The Vampyre, and Mary Shelley. Unknown to Lord Byron, Shelley would eventually craft one of the most influential books of all time—Frankenstein; or, the Modern Prometheus. Frankenstein’s influence reached not only into the literary world, but also far into pop culture making reader and consumer alike question the power of science.

Frankenstein has always been a ubiquitous book of discussion whenever the science fiction genre comes up in conversation, but that conversation wouldn’t even be possible without Frankenstein. Brian Stableford from the University of Pennsylvania and Brian Aldiss, author of many anthologies and science fiction stories, argue Frankenstein was the first ever science fiction novel. Since Shelley created the catalyst for the science fiction genre, without Frankenstein, we wouldn’t have many of the great stories we do today such as H.G. Well’s The Time Machine and Frank Herbert’s Dune. These stories, much like Frankenstein, rely on science as the literary tool which moves the story along.

Poster for Thomas Edison's film production of "Frankenstein" in 1910, featuring an image of the monster.If you’re familiar with the mad scientist motif, Dr. Frankenstein’s depiction in Shelley’s novel is said to be that of the first mad scientist. And this is where Frankenstein has influenced pop culture the most. Picture all the TV shows and movies that play off the mad scientist motif. There’s a lot. Without Frankenstein, we wouldn’t be able to enjoy movies like The Fly or The Rocky Horror Picture Show. There have also been movies based entirely on the concept of Frankenstein such as Son of Frankenstein, Bride of Frankenstein, The Ghost of Frankenstein, and so many more. Speaking of movies, Frankenstein may have been the first ever horror movie to be filmed. Though its title of first horror film might be only slightly surprising, the creator of the first Frankenstein movie was none other than Thomas Edison.

While Thomas Edison’s film may be a thing of the past, Frankenstein is still influencing current pop culture. In more recent history, Frankenstein has influenced dozens of musical works and has been referenced an uncountable amount of times. “Weird Al” Yankovic, a parody artist, has a song titled Perform This Way which references Frankenstein in its lyrics stating, “Don’t be offended when you see my latest pop monstrosity. I’m strange, weird, shocking, odd bizarre. I’m Frankenstein. I’m Avatar.” And who can forget the ever-present-at-every-Halloween-party-song Monster Mash where a mad scientist tries to teach his new creation some groovy dance moves?

Besides music, Frankenstein has entered the airwaves in the form of radio broadcasts since 1931. The first ever broadcast of Frankenstein was a thirty-minute adaptation by Alonzo Deen Cole aired during a segment called The Witch’s Tale. This radio adaptation spawned many other adaptations, with the most recent being a broadcast in 2014. This broadcast featured different voice actors taking on the roles of Dr. Frankenstein, the monster, and Alphonse.

Cover of "The Monster of Frankenstein #1" from Marvel Comics. The monster breaks free of this holdings and a scientist shouts "It's--Alive! Heaven help me--IT'A ALIVE!"On paper, Frankenstein has been the subject for many novels like William A. Chanler’s sequel which picks up in the artic after Victor’s death and Stephen King’s IT where King’s monster takes the form of Frankenstein’s monster. In comics, DC and Marvel have printed issues featuring Frankenstein’s monster or loose adaptations taking part in their universes. DC’s first use of Frankenstein was an eight-page adaptation of the movie Son of Frankenstein, making it an adaptation of a spinoff. That’s a lot of remixing! Marvel has used the monster of Frankenstein in its X-Men series and even created a five-part comic which recreates the original story of Frankenstein.

Though Frankenstein’s use in pop culture is often times gimmicky and playful, there is much we can still learn from the original story, and the snippets we encounter through movies, radio broadcasts, and comics are reminders of Frankenstein’s message. Since Frankenstein’s monster is treated so poorly throughout the novel, we ask ourselves about our own humanity. Are we actually the monsters? Shelley was able to introspectively look at herself and her humanity which provokes us to do the same. Shelley makes the reader confront how they may have changed someone’s life by living our own. While Frankenstein may be rustic at 200 years old, it provides a message that will never fade: be accepting and kind to those around you, and you will change the course of history for the better.

Celebrate Franken Fridays with us! Frighteningly fun events are held each Friday to celebrate Frankenstein’s 200th publishing anniversary. Connect with us on social media using the #FrankenFriday tag.

Upcoming Events:

Friday, Oct. 19:

  • 11 a.m. to noon, Library 134, Gainesville Campus—Visiting artist Drema Montgomery, who creates art by assembling various found objects, will demonstrate her work and correlate it to Dr. Frankenstein’s manufacturing the monster.
  • Noon to 4 p.m., Forsyth County Library and Cumming Campus—Frankenstein-themed rock art by World Literature II students
  • 1 p.m., Library 134, Gainesville Campus—English faculty panel including Dr. Diana Edelman, Anita Turlington and Dr. Kasee Laster
  • TBA, Student Resource Center 311, Oconee Campus—The Many Faces of Frankenstein: media and roundtable discussion with Drs. Dan Cabaniss, Stephanie Rountree and Shane Toepfer

 Friday, Oct. 26

  • 11 a.m., Library 134, Gainesville Campus—”Frankenstein and Posthumanism” faculty panel featuring Dr. Lynn Berdanier, Dr. John Hamilton, Dr. Jeanelle Morgan, and Dr. Kristin Yager
  • Noon to 3 p.m., upstairs lobby, Cumming Campus—PoeDown and costume contest
  • Noon, Library 134, Gainesville Campus—“Monster Theory” faculty panel featuring Dr. Jeff Pardue, Dr. Phil Guerty, Dr. Patsy Worrall
  • 3-5 p.m., Mount Hope Cemetery, Dahlonega Campus—“Secrets from the Grave” guided tour of Mount Hope Cemetery.

Mary Shelley: Her Life and Works

Mary Shelley was born on August 30th, 1797, to Mary Wollstonecraft and William Godwin. Her mother, a renowned philosopher and feminist, died only a month after her birth. Raised by her father and a stepmother that she was not fond of, Mary’s early years were dark and lonely ones. Despite this, she distinguished herself by her thirst for knowledge and her love of writing. Throughout her childhood and adolescence, she kept a journal in which she composed short stories about the grounds of her father’s estate and philosophical concepts from her education.

When she was seventeen years old, Mary met Percy Shelley. What followed was a tumultuous affair that resulted in Percy leaving his wife and Mary running away from her father. Her stepsister, Claire Clairmont, accompanied them. For the next two years, Mary suffered greatly as she endured poverty and ostracism from society due to her relationship with Percy. The greatest tragedy, however, came when her first child was born prematurely and died on February 22nd, 1815. In a deep depression, she withdrew from Percy and began to ruminate on what would become the theme of her greatest work: the idea of bringing the dead back to life.

Portrait of Mary Shelley by Richard Rothwell, from Wikimedia CommonsIn an effort to repair relationships with family members, the couple decided to marry in 1816. During this time, Mary returned to writing. Her first published work was a travel narrative, History of a Six Week’s Tour, which detailed two journeys that the couple took: one to Europe in 1814 and another to Geneva in 1816. During their stay at Byron’s estate in Geneva, an eerie incident gave Mary the inspiration she needed to start work on her most famous novel, Frankenstein.

After a year of feverish work, she finished writing her story in May 1817. Due to her gender and the nature of the work, she chose to publish anonymously to avoid censure. Initially titled Frankenstein; or, the Modern Prometheus, it was published in January 1818 with a small run of only 500 copies. Despite this, it sold extremely well and gave Mary ample motivation to continue writing.

During this time, Mary Shelley’s life was in a constant state of upheaval. Percy, having run through most of his funds, was in danger of being sent to debtor’s prison. Her stepsister Claire was now pregnant with Byron’s illegitimate child. Facing the very real threats of prison and the potential loss of their remaining children, the Shelleys and Claire decided to move to Italy.

Their time in Italy was comprised of both light and darkness. Mary’s second child, a boy named William Shelley, contracted malaria and died in 1819. This, combined with the loss of her third child Clara just a few weeks after birth, threw Mary into an even deeper state of depression. During this time, she focused entirely on her writing as her only source of solace. Her relationship with Percy, already strained due to their financial insecurity and his womanizing, could offer her no comfort.

Her first longer work after Frankenstein was a Gothic novella called Mathilda, which she worked on from August 1819 to February 1820. She sent the completed manuscript to her father with the hope that he would praise it and submit it for publication. However, he was so disturbed by the theme (a father’s incestuous love for his daughter) that he refused and the work was only published posthumously in 1959.

In the summer of 1822, Mary Shelley moved with her husband and her stepsister to an isolated villa near the sea. It was here that Percy revealed to her that Claire’s child, sent to live in a convent by Byron, had died from typhus. Mary was so horrified by the news that she had a miscarriage, which prompted her to once again withdraw from Percy. In response, he chose to pursue a relationship with Claire and to spend the remainder of his free time with his new sailboat. In the midst of Percy’s return from a trip down the coast, there was a violent storm. Waiting anxiously for any correspondence to indicate that all was well, Mary felt the specter of death hover over her once more. Ten days after the storm, his body washed up on the shore. He was cremated on the beach with select portions of his remains taken as mementos by Mary and his close friends. From that point, Mary resolved to sustain both herself and her infant son, Percy Florence, on income from her writing.

For the next two decades, she edited Percy’s poetry, submitted short stories to magazines, and published four novels. The first of these, titled The Last Man, was published in 1826 and focused on a world that has been almost entirely wiped out by a plague. Her second novel, The Fortunes of Perkin Warbeck, was historical fiction set during the War of the Roses. Her third novel, Lodore, illustrated the precarious situation of women in a patriarchal society as the wife and daughter of Lord Lodore struggle to stay afloat after his death. Her fourth novel, Falkner, further explored the theme of family as the heroine negotiates a reconciliation between her father and the man she loves.

In 1831, she returned to Frankenstein and published the edition that is most commonly used today. In an effort to make her work less controversial and more acceptable for a mainstream audience, she made a significant number of changes. One notable change is that the characters were now presented as being victims of fate rather than exercising free will. She also changed certain controversial elements, such as Victor’s love interest, Elizabeth, being his blood cousin.

For the last decade of her life, Mary Shelley’s health continued to decline. Debilitating headaches and bodily paralysis largely prevented her from reading and writing. Her last work was a travelogue, Rambles in Germany and Italy, detailing a trip she took with her son and his friends from the university. She died on February 1st, 1851 at the age of 51 and was buried at St. Peter’s Church in Bournemouth.

Although her life was marred by tragedy, she nevertheless left behind a rich legacy as a writer. Throughout her literary career, she emphasized the importance of cooperation and compassion in order to create the best possible world. As her most famous work, Frankenstein perfectly illustrates the responsibility that we have as humans for ourselves, for those around us, and for whatever we choose to bring into this world. For these reasons, Mary Shelley’s writing will remain relevant for centuries to come.

Celebrate Franken Fridays with us! Frighteningly fun events are held each Friday to celebrate Frankenstein’s 200th publishing anniversary. Connect with us on social media using the #FrankenFriday tag.

Upcoming Events:

Friday, Oct. 12:

  • 1 p.m., Library 134, Gainesville campus—”The Many Faces of Frankenstein” film presentation by Dr. Candice Wilson of UNG and Dr. Tobias Wilson-Bates of Georgia Tech
  • TBA, Student Resource Center 311, Oconee Campus—From “Frankenstein” to Fake News: A brief history of science fiction by UNG instructor Derek Thiess
  • Film screenings of 1931 “Frankenstein” and selections from Films on Demand by Drs. Melissa Schindler and Ann Marie Francis and co-sponsored with the Student Government Association, Forsyth County Library (1931 film) and classroom on Cumming Campus

 

Thursday, Oct. 18:

  • 3:30 p.m., front of Library, West End Art Exhibit in Library, Dahlonega Campus—Birthday Party for Mary Shelley’s Creature. Reading by Scott Fugate

 

Friday, Oct. 19:

  • 11 a.m. to noon, Library 134, Gainesville Campus—Visiting artist Drema Montgomery, who creates art by assembling various found objects, will demonstrate her work and correlate it to Dr. Frankenstein’s manufacturing the monster.
  • Noon to 4 p.m., Forsyth County Library and Cumming Campus—Frankenstein-themed rock art by World Literature II students
  • 1 p.m., Library 134, Gainesville Campus—English faculty panel including Dr. Diana Edelman, Anita Turlington and Dr. Kasee Laster
  • TBA, Student Resource Center 311, Oconee Campus—The Many Faces of Frankenstein: media and roundtable discussion with Drs. Dan Cabaniss, Stephanie Rountree and Shane Toepfer

 

Friday, Oct. 26

  • 11 a.m., Library 134, Gainesville Campus—”Frankenstein and Posthumanism” faculty panel featuring Dr. Lynn Berdanier, Dr. John Hamilton, Dr. Jeanelle Morgan, and Dr. Kristin Yager
  • Noon to 3 p.m., upstairs lobby, Cumming Campus—PoeDown and costume contest
  • Noon, Library 134, Gainesville Campus—”Monster Theory” faculty panel featuring Dr. Jeff Pardue, Dr. Phil Guerty, Dr. Patsy Worrall
  • 3-5 p.m., Mount Hope Cemetery, Dahlonega Campus—”Secrets from the Grave” guided tour of Mount Hope Cemetery.

Bringing Horror to Life: The Origin of Frankenstein

The story of Frankenstein started during a rainy summer night in 1816. After a year marked by an extremely long and bitter winter, Mary Shelley and her lover, Percy Bryce Shelley, sought to escape the weather by visiting Lord Bryon’s villa in Switzerland. The three friends wandered around the vast expanse of the lake on Byron’s property, searching for inspiration in the serenity of the natural world around them. Unfortunately, frequent rain showers confined the group to the house.

Victor Frankenstein looks at his creation in horror and disgust. Illustration from the frontispiece of the 1831 edition of Frankenstein.
Illustration from the frontispiece of the 1831 edition of Frankenstein.

Sitting in Bryon’s library by the dim light of assorted candles, cradled by the dull roar of the storm outside, the three writers turned to ghost stories to pass the time. Both terrified and enlivened by the tales of monstrous apparitions and cursed households, Bryon proposed an idea: Each of them should write a ghost story and share it with their peers. From that point on, Mary Shelley pushed herself to write a story that would chill the blood, haunt the mind, and set itself apart from all other works of supernatural fiction that had come before it.

Inspiration did not come quickly or easily for her. The loftiness of her goal and the immense pressure she placed upon herself to see it through forced her into a state of writer’s paralysis. As Percy and Bryon shared the results of the previous night’s work, Mary repeatedly had nothing to show. During this time, Bryon and Percy spoke at length about philosophy; specifically, the concept of life and whether it could be created using current scientific technology and methods. Of special interest to Mary Shelley was the concept of galvanism.

Luigi Galvini introduced the idea of galvanism through a series of experiments on the remains of dissected frogs. Holding a copper probe at one end of the frog’s legs and a piece of iron at the other end, he was shocked to find that the legs twitched as if they were still alive. His nephew, Giovanni Aldini, took his research a step further and applied it to the human body. In a public demonstration in 1803, Aldini subjected the body of an executed criminal to a series of electrical shocks. The result was bone-chilling. The corpse moved as if he were still alive. His muscles spasmed, his jaw opened, his hands clenched, and one eye actually opened due to the electrical shocks.

The men eventually lost interest in the topic and went to bed. Mary, however, remained haunted by the horrific potential of science to give humans power over life and death. She tossed and turned in her bed, finally falling asleep in the middle of the night, but her sleep was far from peaceful. She had a singularly vivid and horrifying nightmare which impressed itself on her mind, described here in her introduction to Frankenstein:

I saw the pale student of unhallowed arts kneeling beside the thing he had put together. I saw the hideous phantasm of a man stretched out, and then, on the working of some powerful engine, show signs of life, and stir with an uneasy, half vital motion.

She finally had come up with the perfect ghost story: A man who, in trying to test the boundaries of scientific potential, creates a monster. Her protagonist, named Dr. Victor Frankenstein, is so hungry for knowledge about life and the human body that he turns to charnel houses and grave robbery in order to experiment on the bodies of the dead. After cobbling together a makeshift human from the remains of deceased criminals, Dr. Frankenstein uses the electricity from a lightning storm to give the monstrous creature life. Horrified by what he has created, Dr. Frankenstein flees from it and sets into a motion of series of tragic events for both his creation and those around him.

On that night in Byron’s villa, Mary Shelley took her worst nightmare and fashioned it into a living and breathing monster that would haunt readers for centuries to come. This Halloween, celebrate the 200th anniversary of Frankenstein’s release by visiting this classic. Find a dark corner, settle down, and see for yourself just why Mary Shelley’s “midnight specter” has chilled the blood and haunted the mind from the moment it took its first lumbering step in her dreams.

Celebrate Franken Fridays with us! Frighteningly fun events are held each Friday to celebrate Frankenstein’s 200th publishing anniversary. Connect with us on social media using the #FrankenFriday tag.

 Upcoming Events:

 Friday, Oct. 5: “Frankenstein’s Originality” by Anne Williams, University of Georgia professor and Gothic Writer

  • 11 a.m. to noon – Cleveland Ballroom, Nesbitt 3110, Gainvesville Campus
  • 2-3 p.m. – Hoag Auditorium, Dahlonega Campus (reception to follow)
  • 2-3 p.m. Student Resource Center 581, Oconee Campus (broadcast from Dahlonega)
  • 2-3 p.m. Cumming Campus (broadcast from Dahlonega)

 Thursday, Oct. 11:

  • 5:30p.m., Library Lobby, Dahlonega campus—David Plunkert, artist and illustrator for The New Yorker will present his creative process of illustrating the gothic novel and 200th anniversary edition of Frankenstein with modern influences. There will be a book signing before the event and afterward in the Library lobby.
  • 6 p.m., Rare Books Collections, Library 382, Dahlonega Campus—“The Monster in the Music of Mary Shelley’s Romantic Period.” Aria Performance by Benjamin Schoening, UNG Department Head of Music.

Friday, Oct. 12:

  • 1 p.m., Library 134, Gainesville campus—”The Many Faces of Frankenstein” film presentation by Dr. Candice Wilson of UNG and Dr. Tobias Wilson-Bates of Georgia Tech
  • TBA, Student Resource Center 311, Oconee Campus—From “Frankenstein” to Fake News: A brief history of science fiction by UNG instructor Derek Thiess
  • Film screenings of 1931 “Frankenstein” and selections from Films on Demand by Drs. Melissa Schindler and Ann Marie Francis and co-sponsored with the Student Government Association, Forsyth County Library (1931 film) and classroom on Cumming Campus

Thursday, Oct. 18:

  • 3:30 p.m., front of Library, West End Art Exhibit in Library, Dahlonega Campus—Birthday Party for Mary Shelley’s Creature. Reading by Scott Fugate

Friday, Oct. 19:

  • 11 a.m. to noon, Library 134, Gainesville Campus—Visiting artist Drema Montgomery, who creates art by assembling various found objects, will demonstrate her work and correlate it to Dr. Frankenstein’s manufacturing the monster.
  • Noon to 4 p.m., Forsyth County Library and Cumming Campus—Frankenstein-themed rock art by World Literature II students
  • 1 p.m., Library 134, Gainesville Campus—English faculty panel including Dr. Diana Edelman, Anita Turlington and Dr. Kasee Laster
  • TBA, Student Resource Center 311, Oconee Campus—The Many Faces of Frankenstein: media and roundtable discussion with Drs. Dan Cabaniss, Stephanie Rountree and Shane Toepfer

Friday, Oct. 26

  • 11 a.m., Library 134, Gainesville Campus—”Frankenstein and Posthumanism” faculty panel featuring Dr. Lynn Berdanier, Dr. John Hamilton, Dr. Jeanelle Morgan, and Dr. Kristin Yager
  • Noon to 3 p.m., upstairs lobby, Cumming Campus—PoeDown and costume contest
  • Noon, Library 134, Gainesville Campus—”Monster Theory” faculty panel featuring Dr. Jeff Pardue, Dr. Phil Guerty, Dr. Patsy Worrall
  • 3-5 p.m., Mount Hope Cemetery, Dahlonega Campus—”Secrets from the Grave” guided tour of Mount Hope Cemetery by Thomas Scanlin