It’s 2pm Australian Eastern Daylight savings time on the 27th of October 2018 which means The Frankenpod season two starts in just four days on the 31st of October!
Not really intentional it just seemed as good a time as any.
We have some amazing episodes coming with Melissa of The Brook Reading podcast on a particularly divisive and controversial book and I don my tinfoil hat with the ladies of Wives Tales to talk about a cinematic adaptation of one of the most popular conspiracies based novels of the 20th Century.
But for the first episode of season two Brent and I tackle a little true crime by examining a masterpiece of “literary non-fiction”, some of the controversies surrounding it and it’s cinematic adaptations.
We’ve recorded a short promo just to keep everyone in the loop and you can find the initial relaunch blog post here.
This season we will be featuring creepy stories submitted by listeners and some classic gothic short stories you may not have heard before. It doesn’t have to be frightening, it doesn’t have to be dramatic, just a little something that can be read in 5 minutes. If you like you can send it to us as the text for us to read or you can read it yourself and send us an audio file. If writing isn’t your thing we are also happy to accept music.
Make sure you let us know if you want us to promote your project, podcast, writing or anything. It is literally the least we could do.
If you want to come on the podcast and have a chat about your favourite gothic book, movie, television show, graphic novel, poem, character or author you can email us at firstname.lastname@example.org.
Image: A digitized image of the original painting American Gothic that Grant Wood, a master artist of the twentieth century, created in 1930 and sold to the Art Institute of Chicago in November of the same year.
In this episode of The FrankenPod, we talk a little bit about one of Mary Shelley’s works written for the literary annual The Keepsake. We already covered the ‘Mortal Immortal’ and Shelley published 7 or 8 stories in The Keepsake.
The Keepsake was produced with a particular audience in mind, the relatively new reading demographic or young women. The increased literacy of women in the 19th century, despite the fact that their wandering wombs might be affected by scandalous novels and stories.
But basically, it was still considered relatively dangerous to be exposing women to literature, particularly literature that was scandalous, scary or not completely pious and religious.
Basically historically society has had a pretty dim view of educating women and allowing them to read. Because god knows what they might do if they gained an alternate world view from the ones prescribed by their husbands, fathers and brothers.
Back to keepsake. Because it was aimed at young women it was bound in red dress silk and had lots of pictures.
It was published between 1828, so 10 years after Frankenstein, until 1857, so 10 years after Sweeney Todd on The FrankenPod timeline
The publication was founded by Charles Heath who was actually an engraver, so those amazing pictures?
It took some work but he was able to get Hurst, Chance, & Co to publish the first volume in 1828. It was edited by William Ainsworth who created Dick Turpin the highwayman and very unhelpfully does not list the authors of the stories and poems. We do know that one of the contributions was made by Percy Shelley, William Ainsworth and Felicia Heman who wrote the poem ‘Casablanca’ which starts
The boy stood on the burning deck,
Whence all but he had fled;
The flame that lit the battle’s wreck,
Shone round him o’er the dead.
Which is this gut punch of a poem about a kid who dies on a burning ship, but that I encountered as a child by my eternally classy father teaching me this version:
The boy stood on the burning deck
Picking his nose like mad,
Rolling it into little balls
And throwing them at his dad.
Anyway there a good 10 or twenty stories and poems in the 1828 The Keepsake that don’t have clear authorship which is a shame. The engravings, however, are all attributed, mostly to Charles Heath.
The Percy Shelley contribution was published posthumously presumably by Mary Shelley, he had drowned 6 years previously.
We do have the authors for the second edition in 1829.
They included Sir Walter Scott, Coleridge who wrote my favourite piece of Albatross inspired literature this is the last bit from Part 1 of ‘The Rime of the Ancient Mariner‘
‘God save thee, ancient Mariner!
From the fiends, that plague thee thus!—
Why look’st thou so?’—With my cross-bow
I shot the ALBATROSS.
But he hadn’t written that yet, that was 5 years away.
Other attributed authors included Felicia Hemon (Listed as Mrs Hemon) Wordsworth, Southey, so some pretty big names.
The 1829 edition also brings us the first 2 contributions by Mary Shelley – Ferdinando Eboli (pronunciation?) and The Sisters of Albano
There is much more information on Ferdinando Eboli.
It follows the story of Count Ferdinando Eboli who is saying farewell to his loved ones before leaving for the Napoleonic Wars.
At this point, I should probably tell you that the publication The Keepsake was said to showcase second-rate fiction from first-rate authors…
As I was looking for resources through the hit and miss machine that is Google, I kept coming across goth dating sites… this is not relevant, I just thought you should know the level of people in pseudo-Victorian garb staring whimsically off into space that I had to endure to research this was relatively high compared with other topics I have written about.
Romanticism and the Gothic overlap so much that it is probably easier to define was isn’t Romantic Gothic and it might take less time. So rather than go over a definition of Gothic Romanticism that is so similar to the millions of others out there, not to mention our introductory episode, I thought I would give you a list of a few of my favourite stories that deal in Gothic Romanticism that we haven’t covered on The FrankenPod podcast:
The Murders in The Rue Morgue by Edgar Allan Poe (1841)
Falling into the category of both the genius detective (pre-Holmes I might add) and urban gothic, and with at least one very clear example of gothic excess (that is the fate of the victims in the story and their killer). Dupain is a delight and in my opinion far more likeable and intriguing than his successor Holmes.
The Murders in the Rue Morgue is as much fun as you can possibly have with a corpse shoved up a chimney.
There is also an excellent dramatisation of Murders in the Rue Morgue that was released as part of The Rivals Audio drama on BBC Radio 4 with the eternally adorable James Fleet inserted into the narrative as Inspector Lestrade, who is an Arthur Conan Doyle creation. The thread of the series is that Lestrade, of Sherlock Holmes fame, is basically offering examples of detectives who are better than Holmes, and Dupain played by the incomparable Andrew Scott is his first example.
The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (1886)
This was the first gothic novel I ever read and it has a very special place in my heart to rival Frankenstein. Pop culture has entirely ruined the ending for new readers unless they are 10 like I was. If you do let a 10-year-old read it, maybe go for a kid’s edition to minimise nightmares. Still worth a read despite the spoilers. Doubling you guys! More Doubling!
I know that there are other vampire stories that pave the way to Dracula (some of which we will talk about on the podcast), but none of them quite achieve the drama and the sense of formidable invasion the way the Bram Stoker does. He has brought together a lot of ideas surrounding vampires and made them into an incredibly compelling novel that still holds up. It is also insanely problematic as most novels of its time are so easily outraged should tread carefully as with all these books really.
The Hound of the Baskervilles by Arthur Conan Doyle (1902)
Another childhood favourite of mine of which you are less likely to know the big twist. And you know what, like a lot of Arthur Conan Doyle’s Sherlock Holmes novels even if you have read it, the solutions are either so complicated and outlandish or unexpectedly pedestrian that the reader often has difficulty recalling the exact circumstances of the crime and the solution to the riddle. But that is a genius detective novel for you, their leaps of inductive reasoning (not deductive as any first-year critical thinking student will tell you) are incredibly entertaining but often don’t stand up to scrutiny. A fantastic story though, possibly the best in the Holmes canon.
Du Maurier, I would hazard to say is one of the great geniuses of gothic romanticism. Often eclipsed by her predecessors, the Bronte’s (for there are more than cursory similarities) she crafts books that paint a bleak, yet compelling picture of the world surrounding a young girl who is generally a damsel in distress. Her damsels in distress are often isolated without a clear ally. She uses tropes artfully, without letting them becomes cliches, and creates a few new narrative devices that will be deployed often and with great enthusiasm by her successors.
This is stretching the definition of gothic I know, and most people would turn to Collins’ other, more conventionally romantic gothic novel The Woman in White. I am ashamed to say I haven’t read it yet. The Moonstone is part detective novel, part romance, part scathing indictment on contemporary society and colonialism.
Yes, Jane Austen. This is possibly one of the most cleverly crafted gothic novels and yet, it started life as a parody of one of the most influential stories of gothic romanticism of its time; The Mysteries of Udolpho by Ann Radcliffe. Catherine Morland, the hero of the piece, encounters many tropes of gothic fiction, but they are all overcome with a practicality and wit that is so uniquely Austen.
Lady Audley’s Secret by Mary Elizabeth Braddon (1862)
We could easily call this sensation fiction narrative a proto-detective novel. If the style of dress and manner of speech were 70 years in the future you could easily see this novel fitting in with the detective noir genre. There is double-crossing, murder, mistaken identity, a femme fatale and private investigator of a kind.
If you are going to read a Bronte novel, might I humbly suggest this epistolary novel by possibly the least appreciated Bronte aside from Branwell? There are remarkably less awful people who you are supposed to sympathise with and decidedly less harmful relationships. It’s not a hugely popular opinion but I’ll take Anne Bronte over her sisters (and obviously Branwell) any day.