#dr. mary wollstonecraft shelley

[originalartblog]

[Storm Bringer]

“In fact, I was against using Adam for such a frivolous investigation from the very start,” Dr. Wollstonecraft began in a huff as she crossed her arms again. “The government is always like this. They send a mechanical detective, then blow him up once they’re done to keep any secret information from getting out. [..] I suppose this is the government’s way of saying we ought to neglect science in favor of human life!”

Dr. Wollstonecraft, ma'am, I think your ethically-dubious opinions on science are better saved for other audiences.

Dr. Wollstonecraft (aka Mary Shelley) based on @videogamelover99's design!

[dr-spencer-reids-queen]

Corazón: Part One

Pairing: Spencer Reid x Female!Reader

Word Count: ~2.2k

Warnings: canon violence, canon language, canon talk of death, methods of kill

Summary: Spencer's headaches get worse so he turns to medicine to figure out why he is having them. He doesn't take the news well. Meanwhile, you're dispatched to Miami when someone uses religion to justify his killings.

Season Six Masterlist

Author’s Note: I do not own anything from Criminal Minds. All credit goes to their respective owners. If there are any warnings that exceed the normal death/kills from the show, I will list them.

x

"No man chooses evil because it is evil; he only mistakes it for happiness, the good he seeks." - Mary Wollstonecraft Shelley

You haven't seen Spencer this nervous since he wanted to ask you out on a first date. You two have come so far since then, so he knows you're the only one he can trust with this. One of his biggest fears is getting the disease his mother has, especially when it presents itself in people in their twenties, which is what Spencer is. He's been getting more and more headaches recently, most of them caused by bright lights.

It's why he's sitting in the hallway of the doctor's office in the hospital with sunglasses on. He's bouncing his leg up and down nervously, and you're sitting next to him to offer some support without saying a word. He reaches over and grabs your hand, and you run the back of his hand with your thumb.

"Everything is going to be okay, Spencer."

Your words go through one ear and out the other. Unless you're the doctor, he's not gonna listen to anyone. A nurse comes into the hallway with a clipboard, and Spencer winces when he looks up at her.

"We're almost ready for you, Dr. Reid. Just a few questions. Are you having one of your headaches right now?"

"Yeah, I am."

"How long have you had it?"

"Um... Not really that long. I don't know."

"Can you be more specific?"

"Maybe two days."

"Does the light hurt your eyes?" Spencer nods. "Any hallucinations?"

"No."

"Alright. Come with me."

Spencer is taken into the MRI room, and the nurse gives him a few minutes to change into a hospital gown. Spencer gets onto the table and looks at you with fear in his eyes. He doesn't want to be alone.

"Is it alright if I stay here with him? I'll be quiet the whole time."

"Sure, but you need to remove all metal. Let me get you a vest."

You remove every piece of metal that's on you before putting the radiation vest on. Spencer grabs your hand as he is moved into the machine, and you're glad that you're able to hold his hand without inhibiting the results of the test.

"I'm right here, baby. Everything is okay."

Spencer squeezes your hand which is your indicator that he heard you. After the test is done, you two leave the hospital knowing the results won't be in right away. They'll call when they get in but that doesn't stop Spencer from overthinking. You can practically hear his thoughts on the drive to the BAU.

"What if I get my mother's disease?"

You park at the BAU but don't get out just yet. You two are running late but you're going to take care of him before you even think about work. You look at him to see Spencer nervously fiddling with his fingers in his lap. You reach over and cup his chin, moving it so he's forced to look at you.

"It doesn't matter if you do. I love you. We're getting married no matter what those results say."

"Would you still love me even if I forget you?"

"Baby, it doesn't matter if you're young or old. If you forget me, I'll just remind you of who I am," you lean in and kiss him, "and I'll still love you."

You two head into work and see Emily and Penelope with coffees in their hands walking from the break room.

"Hey, you two okay?" Emily asks.

"Yeah, why?"

"You two are never late."

"Have we started the briefing yet?" Spencer asks.

"Just about to."

"Then we're not late."

You walk into the briefing room and take your usual seats.

"Attention, intrepid BAU adventurers. The land of Bermuda shorts, white leisure suits, and sans belt slacks requests your presence," Penelope says.

"Arizona?"

"Vegas?"

"Palm Springs?"

"I was going to say Miami, but a point well made about the dizzying number of locales with unfortunate fashion tendencies. Here we go."

Penelope puts two pictures on the screen that match the ones in the file on your iPad. It's of two victims both with seashells over their eyes and mouth.

"Shells in the eyes and mouth. You don't see that every day, not even in Miami."

"There are three victims, and the last one was found with a decapitated cat. All were found within a mile of each other in a mostly Latino neighborhood in Miami called Allapattah. The first victim is Eduardo Guzman, homeless. He was shot to death seven days ago. The second victim is Yanira Espinal, a prostitute who was bludgeoned to death three days ago. Lastly, Victor Cabrera was an unemployed janitor. He was slashed with a machete yesterday, as was his cat," Penelope explains.

"You know, considering the homeless man lived in that alley, all of the victims essentially were killed in their homes. This took some time."

"You know, cowrie shells and ritual offerings are common to several Afro-Caribbean religions," Spencer explains.

"But the upside-down cross looks like Satanism. The first two victims had fingers missing, but on this one, he took both hands."

"All of this could have been religious?" Penelope asks.

"This could have specific religious meaning or it could just be part of the unsub's signature. Either way, his timetable's accelerating. We have a day, maybe two before the Miami PD has another body on its hands."

Normally, Spencer sits with the rest of the team but this time, he's stuck in the darkest corner. He's sitting on the long couch flush against the wall where the sun can't reach him. You feel so bad for him. He'll try to do his best with this case but you know all he'll be thinking about is his mother and her disease.

"The first victim was frail and an easy target, and yet the unsub shot him from behind and at a distance. By the second victim, the unsub chose not to use a gun anymore. He got up close and personal."

"Four days is a rapid increase in confidence. By the third victim, he was comfortable enough to use a machete."

"Still from behind," Hotch adds. "He's not invested in watching his victims suffer which fits what the ME said about the mutilations being postmortem."

"So, we're back around a religious ritual," Emily sighs.

"Reid?" Everyone looks at Spencer who looks up from the paper file in his hands. He takes off his sunglasses and squints which makes you feel worse. He's in pain and you can't really help him. He looks at you and you nod in encouragement. "Anything helpful?"

Spencer slides closer to the group and squints more when the sun gets brighter.

"Yeah," he clears his throat, "The Afro-Caribbean syncretic religions began with slaves who mixed their traditional religions with Catholicism in order to camouflage them." He shows pictures of an altar with candles and figures of women and flowers. "The elements in this altar look like Santeria. It's a Yoruban-based religion developed in Cuba. Practitioners worship Orishas which are deities that roughly correspond with Catholic saints."

"What about the shells?" Derek asks.

Spencer flips to another picture of a pumpkin with shells where the eyes and mouth are. "This is Ellegua, the deity of the crossroads who is a trickster and the impartial enforcer of justice."

"So, is the unsub sacrificing his victims to Ellegua?" Ashely wonders.

"None of these religions openly call for human sacrifice, only animals."

"We need to determine whether these killings are part of an existing ritual." Spencer gets up and moves to the bathroom but doesn't go inside of it. You watch with sad eyes when he rubs his eyes. "Or whether he's using religion to cover his own psychopathology."

"The last victim used to frequent a local community center. It might be a good way to get some background," you say.

"Good. Take Reid with you," Hotch says. "Prentiss, Morgan, and I will go to the last crime scene. Dave and Seaver, get set up with the PD."

You get up and approach Spencer who continues to rub his eyes.

"Spencer." He stops and looks at you. "I have some ibuprofen or Tylenol in my bag. Do you want one?"

"Yes, please," he whispers. You turn to leave but he stops you. "What's the weather like in Miami?"

Your face turns grim. "Sunny." He sighs. "You're going to be okay."

You get the medicine for him and he takes it with a grateful smile.

"Thank you."

"You're welcome," you smile.

When you land, you and Spencer head to the local community center that the victims went to. Right off the bat, it's clear that you and Spencer stick out like a sore thumb. Some of the residents don't like newcomers, and others don't like the authorities. You're not wearing your FBI vests but it's clear you're not one of them. Spencer walks next to you with his head down and sunglasses over his eyes.

"What, you're not gonna give me a bunch of facts about the area and the demographics?" you ask.

You need him to think about anything but his headaches.

"The Allapattah neighborhood is named after the native American word for alligator."

"There he is," you grin. You stop walking when you realize you might be in the wrong place. "Alright, this is 5372 Seminole Street." There are only residential houses, not a community center. "This can't be it."

Spencer walks over to a vendor who is cutting up goat meat. He is using aluminum trays that reflect the sun.

"Excuse me, sir. Do you know where the community center is?"

"It's down there. This is Seminole Alley."

Spencer squints from the reflection of the bright sun, and he puts a hand to his temple.

"Spencer, you okay?" you ask.

"Yeah. I'm doing a lot better than that goat."

"You got that right. Thank you."

You two head into the community center which is more like a soup kitchen. There is only one person who is willing to talk to you, a man by the name of Antonio Mercado. You look to the right and see one of the workers behind the counter staring at you and Spencer. He looks away when he sees you watching him.

"Do you know any of these people?"

You show him photos of the deceased and Antonio points to the most recent victim, Victor. The chihuahua in his arms sniff the photos but is otherwise a good dog.

"Victor was my best friend. We were like brothers."

"We're sorry for your loss, Mr. Mercado."

"He was sick for a long time, but he was finally feeling better."

"He was sick?"

"I'm talking about his penis. He had cancer."

"Where was he being treated?" Spencer asks.

"No, he didn't want any doctors. They don't do anything but make you worse. They throw radiation on you and poison you. He did his cleaning every day. That's why he was feeling better."

"What do you mean by cleaning?"

You put a hand on Spencer's thigh from under the table because you can tell he's getting nervous. Thankfully, he doesn't move it.

"He cleaned his head and his body, but he got one of the saints mad. Maybe he forgot to feed Ellegua." A man comes over and clears Antonio's plate away but he doesn't forget to give you and Spencer a hard look. "I must go."

The same man who was staring at you from behind the counter is looking at you again, so you decide to go over to him and talk to him. He looks like he's busy even though you know he's not.

"Excuse me. Do you run the place?"

"I don't talk to cops unless you got a warrant."

Looks like you're not going to get much information here. "Come on, baby, let's go."

Emily, Derek, and Hotch met with Detective Perez at Victor's home. Inside his bedroom is an altar with animal sacrifices laid out to please whatever deity Victor was worshiping. Perez has seen a lot of animal sacrifices in his day--roosters, goats, possums--but never cats. The unsub turned Victor's crucifixes upside down and brought the shells and the murder weapon with him. He must have brought gloves too because the only fingerprints they found belonged to Victor. 

That means he's older and more organized than you originally thought. However, he left behind a footprint which is what an inexperienced unsub would do. It's as if he planned this entire thing very carefully only to realize his imagination is nothing like reality.

That throws him off balance and causes him to make a mistake, hence the footprint.

Still, he's learning from each kill to be more precise and well-executed. In the first killing, he had to saw the finger off so he made sure to bring something sharp for next time. Now, he knows what he needs to bring with him and what the victims already have in their homes.

He's been to Victor's house before but there is no sign of forced entry. Victor must have let him in. There are chalk designs on the floor that were made before the blood spatter, but they're not smudged at all. There was no sign of a struggle so maybe Victor chose to be part of the ritual. After the ritual, the unsub turned Victor over and wiped the blood off his face.

It could be a sign of remorse or the unsub feels conflicted about harming his victims. They could represent someone to him. The placement of the shells reminds you of "see no evil, speak no evil". It's like he's symbolically silencing his victims so they can't tell anyone about him. By posing the bodies, he's sending a message. He may not want the victims to see or hear him, but he wants somebody to.

x

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[laddersofsweetmisery]

So excited to start the books I've picked out for October. I'm especially eager to read this little beauty. Two chapters in and I'm appreciative of the amount of research and care taken to tell the lesser-known elements of the behind-the-scenes narrative of Mary Shelley's masterpiece, Frankenstein. She's so fascinating. More so, I am always floored by anything new I learn regarding her mother, often regarded as the first feminist, Mary Wollstonecraft. Monsters: Mary Shelley and the Curse of Frankenstein, by Dorothy and Thomas Hoobler, is a biography of sorts exploring the lives and work of Mary Shelley’s haunted circle of literary contemporaries—with a particular focus on the four poets and friends with her the stormy night she was inspired to write her gothic tale. Also featured in the book are those who influenced her magnum opus, Frankenstein, but were only in the room with her in spirit.

Poets and friends from that stormy night:

Lord Byron was that famous English Poet described in the book as “mad, bad, and dangerous to know.” He’s attractive, intimidating, and has a thing for scaring his guests. After frightening his guests with a reading of Fantasmagoriana, a collection of German horror stories, during a stormy night, he proposed a contest where they all take a shot at writing a ghost story of their own.

Percy Bysshe Shelley, or “Mad Shelley,” was fascinated by the occult and married to our equally fascinating Mary Shelley. He wasn’t as popular for his work during his life, likely because it was cut short when he drowned at 29, but his work gained notoriety after his death. He is considered one of the major English Romantic poets.

Dr. John Polidori is credited for the first and most influential novel about a human vampire: The Vampyre. His haunted figure is likely inspired by Byron himself. The two didn’t really get along. The Vampyre was also written as part of the ghost story contest proposed by Lord Byron.

Claire Clairmont was the mother of Lord Byron’s illegitimate child and Shelley’s stepsister.  

Before we make our way into Mary Shelley’s circle, we are introduced to her immutable parents William Godwin and his wife, who I’m casually obsessed with, Mary Wollstonecraft. No joke, their love story will bring you to literal tears, my god. I felt genuinely sick reading about her death and how those who very clearly despised her feminist views took her death as an example of the weakness of her sex. I hope she haunted those fuckers to madness.

Wanna read with me this October? I'll be reading the following books over this month, feel free to pick them up, too! This year, the classics are calling my name 🎃🕯 Since starting Monsters, I'm really craving more so I’ll be reading and rereading works that relate to it in some way :)

Monsters: Mary Shelley and the Curse of Frankenstein, by Dorothy and Thomas Hoobler (We’re starting here, obviously.)

Frankenstein, by Mary Shelley (We just have to!!!) Available on Kindle Unlimited

An Enquiry Concerning Political Justice, by William Godwin (We just have to read from the parents who raised our beloved Mary Shelley.)

The Wrongs of Woman, or, Maria, by Mary Wollstonecraft (Again, we have to! Plus, it’s one of my favorites. I need to share it with everyone who crosses my path.)

Fantasmagoriana, “Tales of the Dead” (Why not read what inspired that stormy night writing contest?) Available on Kindle Unlimited

Lord Byron: Selected Letters and Journals, edited by Leslie Marchand (I wanna know more about this fella. He is also mentioned in The Wager. This one might be a little hard to find, but I’ll post what I can.)

The Vampyre, by Dr. John Polidori (Let’s end our October reading about a lil vamp and finding the comparisons to Byron.) Available on Kindle Unlimited

I'll be posting my thoughts and pages that stick out to me at the end of each day <3

[marygodwin-bsd]

Canon Mary BSD...

i went and checked the canon Mary shelley bsd wiki and i got... very mad

not because there was a mary shelley in BSD, im just really mad they did her so dirty

like... SOOOOO DIRTY

asagiri when i CATCH YOU for making her a loli scientist i effin SWEAR--

anyway i was mad abt that for like 2, 3 hours??? then i figured out how to make sure i could still have my mary and have her exist alongside Asagiris Dr. Wollstonecraft.

ill probably go on a rant about it sometime soon but i have to update my top post before i do that <3

[burningvelvet]

I love the Romantics (esp 2nd gen) and was wondering where you learn more about them outside an academic setting?

I am by no means an expert, but I will try to answer by using stuff that has helped me!

For books, I highly recommend Young Romantics: The Shelleys, Byron and Other Tangled Lives by Daisy Hay as an introduction to the second generation Romantics. My only complaint is that it leaves out a ton of entertaining stuff imo, but it’s meant to be brief. It isn’t available for free anywhere afaik, but it’s very worth buying. It gives an overview of the movement & explains how all the key figures are interrelated in a very clever way. For biographies imo the best on Byron is Byron: a Portrait by Marchand, most agree the best on Shelley is Shelley: The Pursuit by Richard Holmes, most agree the best on Mary is Miranda Seymour’s Mary Shelley, & the best on Keats is (more arguably?) John Keats by Walter Jackson Bates. For critical analysis on the works, it’s best to research on a case-by-case basis (there are literally thousands of books & papers analyzing Frankenstein… I shudder to think of attempting to read even half of them).

This link to the BARS Blog "Romanticism: online resources list" -- https://www.bars.ac.uk/blog/?p=2900 -- is a fantastic resource list by Dr. Anna Mercer who is an important Romanticist. She wrote a work called The Collaborative Literary Relationship of Percy Bysshe Shelley and Mary Wollstonecraft Shelley (2019) which is also one of my favorites & I highly highly recommend it as well.

Other good resource guides: 1 University of Texas at Arlington Romantic Resources under the internet & lib headings https://libguides.uta.edu/romantic/resources 2 Jack Lynch of Rutgers Romantic resources list https://jacklynch.net/Lit/romantic.html 3 Uni of Pittsburgh Romantic research guide under the links heading https://pitt.libguides.com/romanticism/links 4 Queen's Uni Romantic research guide https://guides.library.queensu.ca/engl340/websites

Having access to databases and libraries really helps, but those are academic (unless you have a public library—if so, pls use it). If I’m researching a broad topic I sometimes start through Wikipedia & go from there, searching for what information I need by “phrase searching” on Google.

IMPORTANT ADVICE: this will all feel very overwhelming and confusing at first! I highly suggest just picking a work or a writer, finding something that really interests you, then learn more about it/them if you’d like, & just continue from there as a starting point. For me: I knew a *little* about these writers, and I’ve always loved Frankenstein, but I didn’t start any heavy Romantic research until I read Childe Harold’s Pilgrimage by Lord Byron, specifically Canto III, which is considered one of his best works and one of the key Romantic works in general. It really shook me to my core. I believe I discovered it from the Wikipedia page on the “Byronic Hero” concept (which stemmed from Childe Harold). I really just went down the rabbit hole from there… and I don’t know how I got here…

Good luck on your journey, and thx for the ask!

Btw — despite being an English Lit major, I haven’t actually studied Romanticism in any of my classes sadly! I just haven’t had the opportunity or it hasn’t come up; my program is mainly based on modern topics though, and so most of us only get to take a few historical classes. But my research on this has been independent. The first gen Romantics have been briefly discussed in one or two of my classes, and Frankenstein has featured in a lot of my classes, but that’s in a league of it’s own really—it’s one of the very few classic novels that most Americans are familiar with tbh!

[jennyviviandee]

"The most perfect education, in my opinion, is such an exercise of the understanding as is best calculated strengthen the body and form the heart. Or in other words, to enable the individual to attain such habits of virtue as render it independent."

On this day in 1797, English poet and author Mary Shelley (Wollstonecraft was her original last name: her father was political philosopher William Godwin and her mother was feminist Mary Wollstonecraft) was born. She became Shelley after marrying Romantic poet and philosopher Percy Bysshe Shelley in 1816. She edited and promoted the works of his. In 1818, at the age of 18 she'd anonymously publish Frankenstein; or The Modern Prometheus, a genius novel. Shelley's name appeared on the second edition of the first true science fiction story five years later (1823). 1831 would bring the most widely read version of Frankenstein that included a new and longer preface from Shelly herself.

In 1822, Percy drowned when his sailing ship sank during a storm in Viareggio, Italy. In 1823, Shelley would return to England with her son Percy Florence Shelley (after three other attempted children ended with death prior to Percy's birth in her life) with her focus on raising him whilst being a professional writer. Alas, the final decade of her life was full of strife (illness) likely caused by the brain tumor that killed her at age 53 (1851).

The book image I posted was the cover of the version I read many years ago now. To the best of my knowledge, I've read at least two published versions of Shelly's Frankenstein. The 1831 and 1818 ones, I think. I have unfortunately misplaced the book somewhere. Still haven't found it...

Even though Dr. Victor Frankenstein is the scientist's name, his creation actually has no name. I believe Shelley chose Victor in reference to John Milton's Paradise Lost that frequently labels God as "the Victor". Not to mention there's a quote from Paradise Lost serving as the book's epigraph as well.

Did I request thee, Maker, from my clay

To mould Me man? Did I solicit thee

From darkness to promote me?

-John Milton, Paradise Lost

Victor's decision to "play God" would lead to his creation being made. Dr. Frankenstein displays hubris in thinking he could generate life like God. Then feigns responsibility for his own creation after giving it life.

Erroneously the name Frankenstein has been associated with Victor's creation. Even in some official play adaptations and films despite being incorrect. The closest to a name Dr. Frankenstein's creation receives is when he calls himself "the Adam of your labours", and elsewhere as someone who "would have" been "your Adam", but is instead "your fallen angel." Her word usage of "Adam" is in probably a reference to the story of Adam and Eve. The rest of the time he's identified as a "wretch", "creature", "monster", "demon", and "it" in Shelley's groundbreaking influential novel that is a horror, science fiction, and a tragedy all at once. Similar to Clint Eastwood's Man Without a Name, Dr. Victor Frankenstein's creation is An Entity Without a Name.

It is a tale I absolutely recommend checking out (that is one of my favorites from one of my favorite authors). Same applies to the 1931 film adaptation of Shelley's famous Frankenstein (based more on a 1927 play from Peggy Webling and John D. Balderston than her novel) from openly gay Hollywood director James Whale. Boris Karloff gives an impeccable performance in it.

[sairenecomics]

My rendition of Dr. Mary Wollstonecraft Shelley from Bungou stray dogs Stormbringer stage play since she had no canon art yet- I just tried to copy the stage play and it's not really very good but it's okay for me tho- well yeahhh

[carigmonier]

-La mujer del astronauta. (La cara oculta) Rand Ravich

Los monstruos

1 - Bebés muertos

Un verano, un verano bizarro como pocos, me pescó leyendo el trabajo de Allouch sobre el duelo. Se trataba sobre “Ajó, el monstruo del cielo”, el relato de Kenzaburo Oé. Ese mismo verano cayó en mis manos una copia en video de “Gothic”, la película de Ken Russel, y esa sola y larga imagen que ofrece la clave del monstruo. El bebé, tal vez el feto, que se balancea lentamente en el agua. Ojos y boca hinchados, sellados, casi cosidos, el bebé muerto se mece suavemente entre las plantas acuáticas, en el fondo del río. Esa es, en la versión de Russel, la razón de la escritura de Frankenstein.

La pregunta entonces se presentó así: ¿Cómo es que un bebé muerto -en la Inglaterra del siglo XIX y en el Japón actual-, da por resultado un monstruo?

Y un monstruo no es una cosa frecuente.

“Ajó, el monstruo del cielo”, es uno de los tantos relatos de Oé que rondan sobre la paternidad y la monstruosidad de su hijo, nacido con un tumor en la cabeza tan gigantesco que parecía una “segunda cabeza”. En el relato, el padre -en idéntica situación que el autor- deja morir al niño que necesitaría una extensa cirugía para sobrevivir convertido en un vegetal. Ese monstuo-bebé innominado persigue desde el cielo al padre alucinado.

También el monstruo de Mary Shelley persigue al Dr. Frankenstein hasta el polo norte, reclamándole la paternidad y no haberle dado siquiera un nombre.

En ambos casos el monstruo no tiene nombre, en ambos casos ejerce una extensa e implacable persecución de un padre en falta.

A los 17 años de edad, prófuga junto a un hombre casado, Mary Wollstonecroft -que sólo años después sería Mary Shelley- dio a luz a un bebé. La situación no era precisamente confortable. Harriet, la esposa legítima de Shelley, había dado a luz unos meses antes que ella. La pareja estaba en fuga de sus familias, escondiéndose de los acreedores, y sosteniendo la relación entre ellos en unas inestables configuraciones triangulares. No debía carecer de resonancias allí la otra Mary Wollstonecraft, madre de Mary, mujer renombrada tanto por su brillo intelectual como por lo escandaloso de su vida. El primer embarazo de la madre de Mary también cursó en plena fuga con un hombre que, si bien no era casado, la abandonó para casarse con otra mujer durante los primeros meses de pregnancia. Su segundo embarazo la mató -aparentemente por una septicemia- tras el nacimiento de Mary.

La bebé que Mary (hija) dio a luz se llamó Clara, y tenía alrededor de diez días de vida la noche del episodio que Ken Russell no relata pero al que alude. Mary se levanta en mitad de la noche, y se acerca silenciosamente a la cuna, con una lámpara en la mano, para amamantar al bebé. Pero algo la detiene. No toca al bebé ni le da de mamar. Vuelve a su cama y se acuesta sin haber visto lo que había que ver dentro de la cuna. Algo “evidente por su apariencia”, que ella, mirando, no puede ver.

Al día siguiente escribe:

“ Mi querido Hogg mi bebe está muerto - vendrás tan pronto como puedas? - quisiera verte - Estaba perfectamente bien cuando me fui a la cama - desperté en la noche para darle de mamar, parecía estar durmiendo tan quieto que no lo desperté - estaba muerto entonces pero no lo descubrimos hasta la mañana - por su apariencia evidentemente murió de convulsiones. - Ven - eres una criatura tan calma y Shelley teme la fiebre de la leche - por mí que ya no soy madre ahora”.

Este episodio, poderosamente siniestro, se sitúa en los cimientos de su larga construcción, letra tras letra, del monstruo del Dr. Frankenstein. Pearcy y Mary Shelley fueron, hasta la muerte del primero, una pareja tan prolífica en literatura como en niños muertos.

El niño de Kenzaburo Oé, por su parte -a diferencia del de su personaje en “Ajó, el monstruo del cielo”-, no murió de manera efectiva. Sin embargo, en la disyuntiva entre dejarlo morir o lanzarlo a una vida de vegetal, hay, en efecto, una muerte ineludible. El bebé de Kenzaburo era directamente y efectivamente un monstruo. El escribe:

“Como una planta acuática en la penumbra, tumbado con los ojos abiertos e inexpresivos, no era más que una presencia callada. (...). Ni siquiera lloraba. A veces dudada de que estuviera vivo.”

Cuando fueron a buscarlo tras un mes de internación el bebé estaba tan cambiado que apenas lo reconocieron: “Es como si le hubieran hecho algo horrible. Me sentí más alejado de él que si hubiera muerto. Total, que nos volvimos con las manos vacías”.

Es claro que se trata de un bebé muerto, tanto como en el personaje del padre del monstruo del cielo.

2 - Un monstruo cinematográfico

Las extrañas relaciones entre bebé y monstruo están bastante bien establecidas en los clásicos temores de la pregnancia, e incluso en el lenguaje común: el monstruo es una “criatura”; de alguien particularmente feo y deforme se dice que es “un feto”.

Es muy difícil en esta circunstancia no verse invadido por los grandes monstruos cinematográficos de nuestra época que apuntan, precisamente, en esa misma dirección. Una monstruosidad que mostró eficacia masiva no hace una década lo muestra claramente. ¿A quién no se le cortó la respiración cuando el Alien, perforando el tórax de su portador, saltó chillando hasta la mesa donde el desayuno transcurría amablemente?

Veamos brevemente qué sabemos de ese monstruo. Hay primero que nada un episodio de inseminación, por vía oral. El monstruo se desarrolla lenta y sigilosamente dentro del cuerpo de su anfitrión, alimentándose pacientemente en sus entrañas hasta que está en condiciones de sobrevivir por su cuenta. Entonces irrumpe desgarrando huesos, bañado en sangre, listo para matar.

Este relato es ni más ni menos que una teoría bizarra sobre la concepción y el alumbramiento que -como para darle el gusto a Freud- ignora la existencia de la vagina. Es lo más parecido a una teoría sexual infantil.

Por si a alguien le quedan dudas sobre las resonancias del octavo pasajero, las siguientes películas de la saga se ocupan de explicitarlo más y más. En la tercera película la Teniente Rippley debe hacerse una ecografía para definir si porta un alien o está embarazada. En la cuarta ella -que entretanto ha adquirido un ligero aire monstruoso- enuncia con claridad: “I’m the mother´s monster”.

Sin embargo, y curiosamente, la segunda película de la saga del Alien, presenta una inversión. El monstruo se devela en la imagen de una abeja reina que comanda el horror rodeada por sus huevos. La identificación es indudable: Eso es una madre. Para confirmarlo, como casualmente, aparece allí una niña, atrapada en su telaraña babosa, en pleno proceso de degradación orgánica, de disolución.

Pero en este caso también se da otra inversión. No sólo la “criatura” perseguirá a la Teniente Rippley hasta el último confín de la galaxia, sino que también la Teniente Rippley perseguirá a la “criatura”.

De más está decir que el Alien, como los monstruos literarios con que tropezamos más arriba, tampoco tiene nombre.

Estas son, como mínimo, unas convergencias curiosas tratándose de monstruos tan diferentes.

3 - La forma

Esto nos tienta a seguir explorando en algunas constantes del género cinematográfico. Género, por otra parte, repleto de constantes. Y la primera que salta a la vista es la cuestión de la forma del monstruo. La monstruosidad incluye por implicación a lo de-forme. Sin embargo la literatura cinematográfica va más allá. Incluye un slogan clásico que tiene el valor casi de una definición:

“Terror has no shape”

Este es el anuncio de un gran clásico del Terror: La Mancha

La incidencia de esta persistente fatalidad en el poeta, Pearcy Shelley, se presenta también en el registro de lo siniestro. Luego de la pérdida del cuarto bebé -en este caso nonato- Shelley sucumbió a extraños sueños angustiosos y alucinaciones. Mary y Edward Williams dan testimonio de algunas de estas visiones:

“Mientras andaba por la terraza, su propia imagen le salió al paso y le dijo: ¿Cuanto tiempo piensas estar satisfecho?”

[thirdthoughtz]

Having taught Frankenstein in college W. Civ/Humanities - this very much tracks. One of Shelley's big themes was deconstructing the hyper-rationalization of men, because her Father was a hard-core utilitarian who ignored his emotions and tried to over-rationalize everything.

Now add in the fact that her mother, the one who died in childbirth, was freaking Mary Wollstonecraft - aka one of the earliest advocates of civil rights for women, essentially the mother of first wave feminism. But who wrote in the context of the utilitarian scientific-rational debates of the time.

Shelley, as a romantic author who wrote the book in a probable (or at least quite possible) poly-triad with Percy Shelley and Lord Byron, was much more focused on the naive triumphalism of hyper-rationalization during the enlightenment. i.e. Men who suppressed their emotions and implode because of it.

TL;DR: It isn't just MPreg. It's about why men can't handle mpreg. Their very social conditioning to be triumphant hyper-rationalistic assholes makes them far more fragile than women.

had a fascinating english class that resulted in the notes header “the forcefeminization of victor frankenstein”

[readdeadreader]

Frankenstein in RDR2

Other than Wuthering Heights, Frankenstein is the only work by a woman that RDR2 uses in a substantial way.

Like Wuthering Heights, it has plenty to say about the themes the game borrows from Paradise Lost: obedience and freedom, what fathers and sons owe to each other, what laws of god and man should be followed or broken. So what does RDR2 make of this wealth of material? well,,,,,,,,

(no new post from me this week as I have chronic health things acting up and the next post requires quite a bit of work, still. I'll hopefully get the tl;dr updated, though!)

[biromanticwritergal]

2025 Owned TBR Shelves Reading Challenge: January 16th

I have read 4 books so far this year and I'm currently reading 3 books!

I've read Nana volumes 10, 11 and 12 by Ai Yazawa and Seducing The Demon: Writing for My Life by Erica Jong

I'm currently reading Moshi Moshi by Banana Yashimoto, Cowboys are My Weakness by Pam Houston, and Come as You are by Dr. Emily Nagoski.

The following books are still on my TBR shelf for 2025:

Nana volumes 13 and 14 by Ai Yazawa (I plan on buying further volumes)

One Good Dog by Susan Wilson

Fall of Poppies: Stories of Love and The Great War by various authors (short story collection)

Astrophyics For People in a Hurry by Neil Degrasse Tyson

The Hitchhiker's Guide to the Galaxy by Douglas Adams

One Day by David Nichols

Rebecca by Daphne Du Mauier

Lillian Boxfish Takes a Walk by Kathleen Rooney

Mobituaries: Great Lives Worth Reliving by Mo Rocca

Interview with a Vampire by Anne Rice

Genocide of The Mind: New Native American Writing by various authors (a collection), edited by MariJo Moore

Love Medicine by Louise Erdrich

Cinnamon and Gunpowder by Eli Brown

Gluck: 1895-1978: Her Biography by Diana Souhami

I Kissed Shara Wheeler by Casey McQuinston

Z: A Novel of Zelda Fitzgerald by Therese Anne Fowler

The Dutch House by Ann Patchett

She's Come Undone by Wally Lamb

Confessions of an English Opium Eater by Thomas De Quincey

On Beauty by Zadie Smith

On Reading Well by Karen Swallow Prior

Camp Damascus by Chuck Tingle

Jane Austen: A Life by Claire Tomalin

Miss Austen by Gill Hornby

Silas Marner by George Eliot

The Warden by Anthony Trollope

The Book of Speculation by Erika Swyler

Working by Studs Turkle

Romantic Outlaws: The Extraordinary Lives of Mary Wollstonecraft and her Daughter Mary Shelley by Charlotte Gordon

Young Romantics: The Tangled Lives of English Poetry's Greatest Generation by Daisy Hay

The Twelfth Enchantment by David Liss

Byron, Walk with Me by Robert Brall

The Death of Ivan Ilych by Leo Tolstoy

Airs Above The Ground by Mary Steward

Of Human Bondage by W. Somerset Maugham

Strange Meeting by Susan Hill

Anne of Green Gables by L. M. Montgomery

White Noise by Don Delillo

Talking to Strangers by Malcolm Gladwell

The Bostonians by Henry James

The Night Watch by Sarah Waters

The Unlit Lamp by Radclyffe Hall

The Cemetary Boys by Aiden Thomas

The Liar by Stephen Fry

Kids These Days: Human Capital and The Making of Millenials by Malcolm Harris

Hear us Out!: Gay and Lesbian Stories of Struggle, Progress and Hope from 1950 to The Present by Nancy Garden

Extremely Loud and Incredibly Close by Johnathan Safran Foer

Scanty Particulars: The Scandalous Life and Astonishing Secret of James Barry, Queen Victoria's Most Eminent Military Doctor by Rachel Holmes

Walden by Henry David Thoreau

All Passion Spent by Vita Sackville-West

The Lost Apothecary by Sarah Penner

Sharp: The Women Who Made an Art of Having an Opinion by Michelle Dean

Edie in Between by Laura Sibson

Too Fat, Too Slutty, Too Loud: The Rise of The Unruly Woman by Anne Helen Petersen

Women in Their Beds by Gina Berriault

Go Tell it on The Mountain by James Baldwin

Under The Net by Iris Murdoch

Bittersweet by Nevada Barr

This Monstrous Thing by Mackenzi Lee

Disappearing Moon Cafe by Sky Lee

The Secret Diaries of Charlotte Bronte by Syrie James

Tales of Angria by Charlotte Bronte

I Wrote This For You by pleasefindthis

The May Queen: Women on Love, Work, and Pulling it all Together in Your 30s by Various Authors (a collection)

I have a lot of classics on here. I don't really follow the reading trends either so most of my books are least a few years old. I'll update this list as I read through or DNF these books. My goal for this year was to read at least 50 books this year and I'm going to try to use my TBR to try to reach that goal.

[onlinecasinopolski]

Kto był inspiracją dla postaci Dr. Frankenstein stworzonej przez Mary Shelley?

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Kto był inspiracją dla postaci Dr. Frankenstein stworzonej przez Mary Shelley?

Mary Shelley była brytyjską pisarką, która urodziła się w 1797 roku w Londynie. Jest znana głównie jako autorka kultowej powieści grozy "Frankenstein, czyli nowy Prometeusz", która była publikowana po raz pierwszy w 1818 roku. Jednak życie Mary Shelley było równie burzliwe i fascynujące jak jej dzieła literackie.

Mary Shelley była córką słynnego pisarza i filozofa Williama Godwina oraz feministki i pisarki Mary Wollstonecraft. Po śmierci matki w wyniku powikłań po porodzie, Mary została wychowywana przez ojca, który zaszczepił w niej pasję do literatury i filozofii. W wieku 16 lat poznała poety i filozofa Percy’ego Bysshe Shelley'ego, za którego wyszła za mąż pomimo jego ówczesnego małżeństwa.

W 1816 roku para udała się w podróż do Szwajcarii, gdzie spotkali Lorda Byrona. To właśnie wtedy podjęli wyzwanie napisania opowiadań grozy, co doprowadziło Mary do stworzenia swojego najsłynniejszego dzieła "Frankensteina". Powieść ta nie tylko zmieniła oblicze literatury grozy, ale także porusza ważne tematy filozoficzne, takie jak granice nauki, moralności czy odpowiedzialności twórcy za stworzenie.

Mary Shelley zmarła w 1851 roku, pozostawiając po sobie nie tylko arcydzieło literatury grozy, ale także inspirując kolejne pokolenia pisarzy i czytelników do refleksji nad ludzką naturą oraz konsekwencjami postępu naukowego. Jej życie i twórczość pozostaną na zawsze ważnym elementem historii literatury światowej.

Twórca literacki to osoba, która tworzy dzieła literackie, takie jak powieści, opowiadania, wiersze czy sztuki teatralne. Proces twórczy wymaga pasji, pomysłowości i zdolności do wyrażania myśli i emocji w sposób artystyczny. Twórca literacki może mieć różne cele - chce może inspirować innych, wywołać określone emocje czy po prostu podzielić się swoim osobistym światem w formie pisanej.

Jedną z kluczowych cech twórcy literackiego jest również umiejętność obserwacji i analizy otaczającego nas świata. Autorzy często czerpią z własnego doświadczenia, ale także potrafią przeanalizować zachowania, relacje społeczne czy zjawiska kulturowe, aby wzbogacić swoje teksty i sprawić, że będą one bardziej uniwersalne i zrozumiałe dla czytelnika.

Twórczość literacka może być formą relaksu, sposobem na wyrażanie własnych myśli i emocji, a także narzędziem do rozwoju osobistego. Dla niektórych jest również sposobem na zarabianie pieniędzy czy zdobywanie rozgłosu. Niezależnie od motywacji, twórczość literacka od wieków pełni ważną rolę w kształtowaniu kultury i dziedzictwa narodowego.

Twórczość literacka może przyjmować różne formy i gatunki, dlatego każdy autor ma możliwość znalezienia swojego własnego stylu i tematyki. Ważne jest, aby być autentycznym i wiernym swoim ideałom, ponieważ to właśnie dzięki nim można wykreować dzieła, które zostaną zapamiętane na długo i zainspirują kolejne pokolenia czytelników.

Mitologia grecka to fascynujący obszar starożytnej kultury, który jest nadal inspiracją dla wielu dziedzin sztuki i literatury współczesnej. W mitologii greckiej bogowie mieli ludzkie cechy, a ich historia była spleciona z losami śmiertelników. Na Olimpie zasiadali potężni bogowie, tacy jak Zeusz - władca niebios, Atena - bogini mądrości czy Afrodyta - bogini miłości. Każde z bogów miało swoje cechy i dziedziny, którymi opiekowało się nad ludźmi.

Mitologia grecka obfituje w liczne opowieści o herosach, takich jak Herakles czy Achilles, którzy swoimi czynami zdobywali sławę i zaszczyty. Herosi ci, mimo swojej odwagi i potęgi, niejednokrotnie byli poddawani próbom przez samych bogów, co sprawiało, że ich historia była niezwykle emocjonująca i pełna nieoczekiwanych zwrotów akcji.

Mitologia grecka zawiera również opowieści o tragicznych losach bohaterów, takich jak Odyseusz czy Medea, których decyzje i czyny przynosiły zarówno chwałę, jak i zgubę. Te opowieści ukazują złożoność ludzkiej natury oraz konflikty moralne, jakie często towarzyszą ludziom w ich życiu.

Dzięki mitologii greckiej możemy poznać nie tylko świat starożytnych Greków, ale również odkryć uniwersalne prawdy o ludzkiej naturze i relacjach międzyludzkich. To fascynujące źródło wiedzy, które nadal inspiruje artystów i badaczy na całym świecie, ukazując bogactwo i głębię starożytnej mitologii greckiej.

Literatura gotycka to fascynujący gatunek literacki, który narodził się w Europie w XII wieku i trwał aż do XVII wieku. Charakteryzuje się tajemniczym klimatem, mrocznymi opowieściami oraz baśniowym elementem. Główne motywy literatury gotyckiej to zamki nawiedzone przez duchy, tajemnicze przepowiednie, nieumarli oraz zakazane miłości.

Jednym z najbardziej znanych przykładów literatury gotyckiej jest powieść "Frankenstein" autorstwa Mary Shelley, która opowiada historię szaleńczego naukowca stworzyciela potwora. Innym znanym dziełem jest "Drakula" Brama Stokera, gdzie czytelnik zagłębia się w świat wampirów i mrocznych splotów.

Literatura gotycka odzwierciedlała fascynację społeczeństwa duchami, przesądami oraz niewytłumaczalnymi zjawiskami. Dzięki niej czytelnicy mogli doświadczyć emocji strachu, zdumienia i ekscytacji. Gatunek ten wpłynął na kulturę popularną, inspirował twórców filmowych, muzycznych oraz gier komputerowych.

Mimo że literatura gotycka nie jest już tak popularna jak kiedyś, wciąż pozostaje ważnym elementem historii literatury. Jej tajemniczy urok i ciemna atmosfera nadal przyciągają czytelników z całego świata, zachęcając ich do odkrywania niezwykłych opowieści i tajemniczych światów literackich.

Natchnienie twórcze, to fenomen, który od wieków intryguje artystów, pisarzy, kompozytorów oraz twórców wszelkich dziedzin sztuki. To chwila, w której pomysły zaczynają płynąć nieprzerwanie, kiedy każdy ruch dłoni jest precyzyjny, a każde słowo idealnie dobrane. Natchnienie twórcze jest niczym złoty środek dla artysty, pozwalając mu stworzyć dzieło, które porusza i inspiruje innych.

Jednym z elementów, które sprzyjają natchnieniu twórczemu, jest umiejętność skupienia. Zdolność do całkowitego zagłębienia się w proces tworzenia, pozwala na oderwanie się od codzienności i przeniesienie w zupełnie inny wymiar.

Ważne jest również otwarcie na inspiracje z zewnątrz. Czasem to zwykły spacer, rozmowa z przyjacielem czy nawet szum drzew mogą stać się iskrą, która zapali ogień twórczej pasji.

Natchnienie twórcze często przychodzi w najmniej spodziewanych momentach, dlatego warto zawsze mieć przy sobie notatnik, aby zatrzymać efemeryczne myśli i pomysły.

Brak presji czasu również sprzyja natchnieniu. Tworzenie bez pośpiechu pozwala na głębsze zanurzenie się w procesie twórczym i eksplorowanie różnych możliwości.

Ostatnią, ale nie mniej istotną kwestią jest wiara we własne możliwości. Twórcze natchnienie często pojawia się wtedy, kiedy artysta ma absolutną pewność, że może stworzyć coś wyjątkowego i niepowtarzalnego.

Podsumowując, natchnienie twórcze jest jak tajemniczy gość, który zjawia się niespodziewanie, ale zawsze w odpowiednim momencie. Dbając o odpowiednie warunki sprzyjające inspiracji, każdy może odczuć magię chwili, gdy pomysły same spływają, a tworzenie staje się łatwe i przyjemne.

[marygodwin-bsd]

Hi there! Welcome!

I am a level 22 category she/her human 💞💞

This is a secondary blog. so if i respond to comments itll be with a different acc (@cupidthewriter but I'll let you know. )

Writing Masterlist This is a blog dedicated to the anime Bungo Stray Dogs and the OCs I’ve made for it. Expect a lot of Kunikida content- I like him.

Here’s a guide to Mary for now. I’ll add to this post as I work on more ocs.

Note: I’m aware there’s already technically a Mary Shelley in the world of BSD but there’s barely anything on her and I didn’t know that until after I’d done a ton of oc work so it’s too late now lemme introduce you to Mary Godwin enjoy

Here's a short guide, its from my other blog

Mary Godwin (she/her)(reference to Mary Shelley, author of Frankenstein). She is the cousin of Dr. Wollstonecraft. Age: 22 (Birthday is Aug. 30) Height: 5’0 ft (152.4 cm), with her platforms it’s 5’5 Personality: a little hard-headed and bold. She tries to be as independent as possible, and is very devoted to those she loves. She’s goth. Very private. Ability: “Modern Prometheus”- the ability to animate non living things (this includes severed limbs and dead bodies, but also inanimate objects such as lamps). This power has a range of 20 meters. It’s purple. Affiliation: Europle(previous), The Armed Detective Agency (current). She works as a forensic biologist. Family: Victor Godwin (son), Dr. Wollstonecraft (cousin) Mr. Godwin (father) Pets: They have 2 cats. Their names are Beans and Toast. Friends: The ADA, Kunikida Doppo (private romantic partner), Dazai Osamu, Yosano Akiko, Dr.W. Hobbies: watching thriller movies, experimenting with her ability, just hanging out with her kid, bug taxidermy

Victor Godwin (he/him)(a reference to Victor Frankenstein) Age: 3 or 4 (Birthday is March 30th ) Height: Personality: A very bright little boy who's a little too curious. Loves math.(COMING SOON) Ability: Reuse. He is able to drain people's strength and put it out towards other objects. this is temporary. Affiliation: the ADA, although only through his mother. I haven’t yet explored his future. Family: Mary Godwin (mother), Percy Shelley (biological father, has never met him), Mr. Godwin (grandfather, has also never met him), Dr. Wollstonecraft (cousin once removed) Pets: Frank, a rat he kept that used to be a class pet in pre-k but his teacher gave him away. Every time Frank dies, they get a new pet Frank. Friends: Children from daycare, he believes his mother’s adult friends are his friends (this includes Kunikida Doppo and Dazai Osamu) Hobbies: Junior Mathletes, “designing experiments”, trying to teach Frank tricks

Percy Shelley (they/he)(reference to Percy Shelley, romantic poet) Age: about 27 (birthday is August 4th) Height: 5'6 Personality: Loyal, flirtatious, fragile mental state. Bold only when it comes to protecting the ones who matter. Ability: "Mont Blanc," they can grow plants out of their body or the environment, but it comes out far too strong and it drains Percy of their strength. It has resulted in something close to chronic illness. Affiliation: Decay of Angels, specifically under Fyodor. kind of Fyodor's lapdog. Will follow any order given to him by Fyodor out of loyalty and wanting to be useful, even if it will hurt themself or other people. This will be expanded as I develop them more!

[xavicuevas]

Sobre la película "Pobres Criaturas" del director Yorgos Lanthimos

Por mi antiguo profesor: David de Los Reyes

En esta gran cinta se reunieron varios elementos maravillosos para lograr una magia cinematográfica insuperable en su estilo. El director, Yorgos Lanthimos, ha utilizado la estética fílmica del gran director norteamericano Tim Burton, quien es un maestro del surrealismo en el 7mo arte y en darle un giro fantástico a sus historias filmadas. Otro elemento importante es quién hizo el guión, que es nada más y nada menos que el veterano y reconocido escritor y director Tony Mcnamara. Y, por último, la historia, que es de uno de los escritores más interesantes y controversiales de la literatura escocesa, el narrador Alasdair Gray, que además de ser un original escritor es un excelente artista plástico…Su entrada al mundo literario lo hizo hace ya unas cuantas décadas, con una novela río y monumental, "Lanark" (tardó 30 años en escribirla; es toda una propuesta experimental de la literatura inglesa, poco conocida y menos leída…); "¡Pour Things!" es de sus últimas obras. En "¡Pour Things!" ("¡Pobres cosas!", debería ser la real traducción y no "Pobres criaturas"…), nos encontramos indirectamente (¡y directamente a la vez!), con un homenaje a la vida de otra gran escritora inglesa, admirada por este escocés, Mary Shelley, (¿se acuerdan de Frankenstein?). Tiene toda una simbología con el entorno de esa gran mujer. Sobre todo una mirada muy cercana a las propuestas de su madre, Mary Wollstonecraft, una destacada escritora y filósofa feminista del siglo XVIII. Y luego, ¡y no menos!, con su hijo literario monstruoso del Prometeo moderno, creado con partes humanas, sacadas de los cadáveres del cementerio…forjado por el genial, obsesivo y trágico Doctor Frankenstein, además de referencias a varias experiencias sacadas de la propia vida de esta inolvidable escritora romántica. En fin, la película se las trae. Es de lo mejor que he visto desde hace mucho tiempo. Emma Stone es una diosa en su actuación como Bella Baxter y Willem Dafoe es, lo que siempre ha sido, uno de los mejores actores que nunca recibirá ningún premio de la academia, aunque no creo que le haga falta…insuperable como el Dr. Godwin Baxter, el científico implacable en sus fines personales… habrá que volverla a ver…¡No se la pierdan!

[videogamelover99]

"You sure?" "I am. I determined that you would never order me to do anything unwise."

-Stormbringer

[runboybeneaththemoon]

Since Agatha Christie and the other english poets are probably gonna be the next big villains, I hope we're gonna see Mary Shelley again