In this blog, we will explore Mary Shelley’s legacy through a queer lens—examining her life, friendships, and the underlying queer themes in her work that continue to resonate with LGBTQAI+ audiences today.

The Queer World of Mary Shelley’s Life

Mary Shelley, born in 1797, was no stranger to unconventional and radical ideas. Her parents, Mary Wollstonecraft (a pioneering feminist) and William Godwin (a political philosopher), instilled in her a sense of intellectual freedom that challenged societal norms. These progressive foundations influenced not only her politics but also her approach to personal relationships.

Her relationship with the poet Percy Bysshe Shelley, whom she married, was unconventional for the time. Percy had radical views on free love and polyamory, and their marriage was often marked by non-monogamous tendencies. This openness to alternative relationship structures mirrors contemporary discussions about queerness and fluidity in love.

Additionally, Mary Shelley’s social circle included a number of queer figures, such as Lord Byron, who was openly bisexual, and possibly others who expressed fluid desires and identities. Living in such an environment exposed Shelley to ideas that pushed against rigid gender roles and heteronormativity. This atmosphere may have informed the complex gender dynamics in her work, especially Frankenstein.

Frankenstein: A Queer Text?

Frankenstein, written when Shelley was just 18, has often been interpreted as a story laden with queer subtext. At its core, Frankenstein explores themes of creation, isolation, and otherness—issues that resonate deeply with LGBTQAI+ experiences.

Gender and Creation

In Frankenstein, Victor Frankenstein usurps the role traditionally associated with women: that of giving birth. Victor’s desire to create life without a woman—bypassing traditional procreation—can be seen as a transgression of natural gender roles. His obsession with creating a new life without sexual reproduction may reflect an anxiety about gender norms and the natural order of things, ideas that resonate with contemporary queer theory.

The Creature as a Queer Other

The Creature in *Frankenstein* can also be read as a metaphor for queer identity. Cast out by society, misunderstood, and forced to live on the margins, the Creature’s experience mirrors the historical treatment of LGBTQAI+ individuals. Just as the Creature longs for companionship and acceptance, so too have queer individuals throughout history faced isolation and persecution due to their otherness.

Furthermore, the Creature’s inability to find a mate—paralleling the societal rejection of non-heteronormative relationships—underscores his role as an outcast. His existence challenges the boundaries of what is considered “normal” or “natural,” themes deeply connected to the queer experience.

Queerness in the Gothic Tradition

Mary Shelley’s work exists within the Gothic tradition, which has long been a space for exploring repressed desires, unconventional identities, and the darker sides of human experience. Many Gothic texts can be interpreted as queer, with their focus on transgression, boundary-crossing, and the exploration of taboo subjects. In *Frankenstein*, as well as in later Gothic novels, there is often a fascination with characters who live on the fringes of society, much like queer individuals have historically existed on the margins.

This exploration of repressed or hidden identities is part of what makes *Frankenstein* such a powerful queer text. The novel’s treatment of isolation, difference, and the fear of the “Other” can be read as a reflection of the societal pressures faced by LGBTQAI+ people.

Legacy: Mary Shelley and the LGBTQAI+ Community Today

Though Mary Shelley herself might not have explicitly identified with any contemporary LGBTQAI+ labels, her life and work continue to resonate deeply with the queer community. *Frankenstein* remains a text that invites readings about identity, otherness, and the fluid nature of gender and desire. It challenges the boundaries between “normal” and “abnormal,” “natural” and “unnatural,” in ways that parallel queer theory’s critiques of binary thinking about sex, gender, and sexuality.

Moreover, the open and non-traditional relationships she maintained, the radical social circles she moved in, and her fascination with themes of creation and identity make Mary Shelley an enduring figure for queer readers. Her work offers a rich field for exploring the complexities of identity, marginalization, and the human longing for connection, all of which resonate with LGBTQAI+ individuals today.

Queering Mary Shelley

Mary Shelley, though writing in the early 19th century, offers a unique voice in discussions of queer literature. Her life and works engage with issues of identity, difference, and non-conformity in ways that align with contemporary LGBTQAI+ concerns. In *Frankenstein* especially, she provides a narrative that speaks to the isolation, alienation, and societal rejection often experienced by queer individuals.

In exploring Mary Shelley’s life and work through a queer lens, we discover a writer whose themes of creation, otherness, and the boundaries of identity remain strikingly relevant in our modern conversations about LGBTQAI+ issues. Whether through the lens of queer theory or simply as a literary ally, Mary Shelley’s contribution to the ongoing dialogue about identity and difference is undeniable, and her legacy continues to inspire new generations of queer readers and writers alike.

**This blog aims to highlight the connections between Shelley’s life, her literary contributions, and how her themes resonate with LGBTQAI+ experiences, offering a nuanced understanding of her lasting influence.

The post Mary Shelley and LGBTQAI+: Exploring Queer Themes in the Life and Works of the Pioneer of Science Fiction appeared first on Storyteller.

Mary Shelley’s **Frankenstein**, published in 1818, is a literary masterpiece that continues to captivate readers with its haunting themes of creation, ambition, and the complex nature of humanity. One of the most compelling aspects of the novel is the character of **Frankenstein’s Creature**. Often referred to as “the monster” or simply “the Creature,” he is a tragic figure misunderstood and mistreated by society. Shelley’s Creature is not just a physical being brought to life by science, but a symbolic representation of deeper questions about what it means to be human.

The Birth of the Creature: A Sin of Ambition

The Creature is created by **Victor Frankenstein**, a scientist obsessed with transcending human limitations. Victor’s ambition leads him to experiment with life and death, ultimately bringing the Creature to life using a patchwork of human body parts. However, the moment his creation opens its eyes, Victor is horrified. His dream of conquering death is replaced by the realization that he has birthed a grotesque and unnatural being.

The Creature, abandoned by his creator, is left to navigate a world where he is shunned due to his terrifying appearance. This rejection sets the stage for his development as a character and the tragedy that unfolds.

The Creature’s Humanity: Nature vs. Nurture

While Frankenstein’s Creature is often portrayed in popular culture as a mindless monster, Shelley’s original portrayal is far more nuanced. The Creature starts life with a childlike innocence, yearning for love and companionship. He is not inherently evil but becomes a reflection of the cruelty he faces from others. The loneliness and constant rejection he experiences from humans who judge him by his appearance drive him into despair and rage.

His intellectual capabilities are also surprising. Throughout the novel, the Creature learns language and philosophy by observing humans. He reads works like **Milton’s *Paradise Lost***, which introduces him to concepts of morality, sin, and justice. His eloquence and introspective thoughts challenge the reader’s assumptions about his monstrosity. Despite his grotesque appearance, the Creature is deeply human in his desire for understanding and connection.

Society’s Role in Shaping the Creature’s Fate

One of the central questions raised by Shelley’s novel is whether the Creature is truly monstrous or if society, in its harsh judgment, has made him so. The theme of **“nature versus nurture”** is prevalent throughout. Had the Creature been met with kindness and acceptance, could he have developed into a compassionate being rather than the vengeful figure he ultimately becomes?

The rejection he faces from everyone he encounters, including his creator, forces the Creature into isolation. He is denied the fundamental elements of human experience: love, companionship, and belonging. His plea for a mate, a companion as hideous as he, is rejected by Frankenstein out of fear that they will procreate and further disrupt society. This final act of denial seals the Creature’s fate, pushing him toward violence and revenge.

The Creature’s Descent: A Product of Neglect

Shelley’s portrayal of the Creature’s descent into violence is a tragic one. His actions, including the murder of Victor’s loved ones, are driven by deep-seated feelings of betrayal and abandonment. These acts of revenge are a desperate cry for attention, a way to force his creator to acknowledge his suffering.

At the heart of the Creature’s tragic story is the responsibility of the creator. **Victor Frankenstein’s refusal to care for or guide his creation** ultimately leads to both their downfalls. The Creature’s story serves as a critique of unchecked ambition and the moral responsibilities that come with creation. Victor’s inability to accept responsibility for his actions reflects a deeper commentary on the consequences of playing God.

The Creature as a Reflection of the Outsider

The Creature’s story has resonated with readers for centuries because of its exploration of the **outsider experience**. His alienation, rooted in his appearance and difference from others, mirrors the experiences of those marginalized by society for being “other.” Whether due to race, class, disability, or other forms of difference, the Creature’s struggle to find acceptance and identity speaks to the universal human experience of longing for connection.

In a world where outward appearances often dictate treatment, the Creature’s fate reminds us of the dangers of superficial judgment. Shelley invites us to empathize with the Creature, challenging us to look beyond the surface and recognize the humanity in even the most unlikely figures.

A Timeless Warning

Frankenstein’s Creature remains one of the most iconic characters in literary history because he embodies both the potential and peril of human nature. His story is a powerful warning about the consequences of ambition, the responsibilities of creators, and the profound impact of society on shaping individuals.

Mary Shelley’s novel continues to resonate because it reflects the timeless tension between **creator and creation, isolation and connection, and what it means to be truly human**. The tragedy of Frankenstein’s Creature is not that he is born a monster, but that he is made into one by a world unwilling to see past his physical form and offer the love and acceptance he desperately craves.

By examining the Creature’s journey, we are reminded of the importance of empathy, the weight of responsibility, and the dangers of rejecting those who are different from ourselves.

The post The Tragic Figure of Frankenstein’s Creature: A Reflection on Humanity appeared first on Storyteller.

Most people know her as the author of Frankenstein. That is just a small part of her story. Mary Shelley was a woman unlike others of her time. She thumbed her nose at convention. She couldn’t be categorized by the ton. By anyone. She was truly unique in ways we’d still find amazing if she did them right now in this century.

How do I know? Because I’ve been studying Mary Shelley for years now. I’ve always known I’d write about her. Not just about her creation- Frankenstein’s monster, but about Mary Shelley the person. The woman who I feel is a real heroine in so many ways. Was she perfect? Absolutely not. She ran away with a married man. She didn’t care what people thought of her love and eventual husband Percy Shelley who was a vegetarian and atheist.  Her family turned their back on her for a time. Friends betrayed her. Percy, who I have tried so hard to like but just can’t, saw other women while they were together.  The only good thing I can say about Percy is that he didn’t underestimate her uniqueness or talent.

Mary kept Percy’s heart after he died. Mary helped a trans couple escape to France to avoid persecution. Mary wrote books beyond Frankenstein. It is believed by some that she was bi-sexual. It is believed by some that there was some inappropriateness to her relationship with her father. How much of that is true? How much of it speculation?

I have read so many books about Mary. Some written by scholars. Some are accumulated correspondence from her contemporaries. A lot is educated conjecture.  The one thing I can say for sure after reading all these books is that Mary Shelley was ahead of her time and completely amazing!

The post Researching Mary Shelley appeared first on Storyteller.

The year Mary Shelley wrote her now infamous novel – Frankenstein was called “The Year Without Summer”.  It was, in fact, cold and dreary the entire year and even though she began writing the novel in June it’s felt that she was inspired to set the novel in December due to the cold weather when she was writing.

For this reason, Frankenstein; or, The Modern Prometheus is often thought of as a Christmastime book despite its Gothic and horrific tale.

During Mary Shelley’s time Christmas season began December 6th, which is St. Nicholas Day, through January 6th. It was actually on St. Nicholas Day that gifts were exchanged. In 1816 though, the parties and abundance of food for the Christmas season would have been difficult to acquire since “The Year Without Summer” had affected crops and food was not plentiful. Luckily, Mary and Percy were well connected so they had places to go where more affluent hosts could help them.

In 1816 Mary and Percy had a son named William so you can imagine they would celebrate William’s first Christmas.  Also, they would be contending with Claire Clairmont’s (Mary’s step sister) pregnancy which would be in the final months.  That is the year Mary lost her half-sister, Fanny Imlay Godwin who committed suicide in October of 1816. 

Mary never had it easy, but she was in love and she was hardy. She was grateful for what she had and so you can imagine a subdued Christmas celebration.

The post A Very Mary Shelley Christmas appeared first on Storyteller.

One definition of Gothic is-  of or relating to a style of fiction characterized by the use of desolate or remote settings and macabre, mysterious, or violent incidents – Gothic novels

That’s the definition we like best!

We’ve chosen five of our favorite historical Gothic novels and given you links so you can read them, legitimately of course, for free!

1. Frankenstein– A mad scientist tries to play God by reanimating a man made up of pieces of the dead. The creature comes to life and the battle of who lives and who is the actual monster begins. Originally written in 1818 by author Mary Shelley, this novel is considered the first science fiction to be written.

2. Dracula – A clever and sophisticated vampire terrifies England as he attempts to set up his life there at any cost. A dark castle and ominous landscapes. Written by Bram Stoker.

3. The Castle of Otranto – Considered by many to be the first-ever Gothic novel. Written in 1764 by Horace Walpole. In a faraway medieval realm, Manfred, an arrogant and evil prince, rules with an iron fist. Banishing his wife to the castle dungeon, he confines — and plans to wed — the lovely Isabella, fiancée of his recently deceased son. The prince’s plans are foiled, however, when a well-meaning peasant helps the young woman escape through the castle’s underground passages. Grisly, supernatural events further aid in fulfilling a prophecy that spells doom for the prince and justice for Isabella’s rescuer and rightful heir to the throne.

4. Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson – Another scientist looks to improve upon God’s work as he uses chemistry to alter himself in ways he never imagined. And in ways that bring terror to London.

5. Jane Eyre by Charlotte Bronte – Gothic romance, an old mansion with secrets and a little paranormal this is a classic! Jane is abandoned but makes the best of her education she is given and becomes a governess. The master of the house has many secrets and it is dangerous to love him. When she does, there is a big price to pay.

The post TOP 5 GOTHIC HISTORICAL TO READ FOR FREE appeared first on Storyteller.

I’ve always known the story of how Mary Shelley’s League of Supernatural Hunters came to be.  I’ve written a short story about it and thought that would be the end of it. But my agent had other plans. He wanted readers to fully understand where the League came from, how it started and what the rules were. So, my plan has changed and I’m writing a trilogy to explain all the details, of which there are many, about the League and how it works today.

The challenge in writing anything historical is that you have to immerse yourself in that time period. Mine begins in 1816 which is the Regency and Georgian eras. I had to be careful not to mention items, procedures, events or people that were not of that era. For example, I have a scene where Mary Shelley is being hypnotized by Dr. John William Polidori, but the word “hypnotize” wasn’t used then. So, instead, I talk of Franz Mesmer and get the idea of what Polidori is doing by that reference.

Another example is the scene where Mary is looking at photographs. But, this is 1816 and photographs weren’t readily available until 1822. I had to change the scene and show them as small drawings instead.

I admit that I didn’t follow the dialog of the day exactly. If you have read The Vampyre or Frankenstein you can see why. It’s almost as though you need to learn the language of the time to understand it easily. I wanted my readers to have a seamless time of understanding the story on the written page.  So, please do forgive me for that. I know readers who love historicals like it to be accurate.  Do know that I spent hours and hours researching for the book. I have so many books about Mary Shelley’s life I feel like I actually know her. Side note: I love her!

The books are Gothics and the first one- Mary Shelley’s League of Supernatural Hunters – follows the story of how Frankenstein was written as well as following the story of Frankenstein as written by Mary Shelley. It’s a blend. The real life of Mary Shelley blended with the story of Frankenstein into a new work of fiction where the two are as one.

I’ve read the initial version of Frankenstein (1818) and then the later version with Mary Shelley’s introduction and explanation of how she was inspired to write the novel.

I hope people enjoy it regardless of what they know of Mary Shelley or the novel Frankenstein. I tried to make it as original as possible with my own take on why Mary did the things she did and how she actually met Frankenstein, the creature who she named Adam.

The post Writing Historical Gothic – Research and Challenges appeared first on Storyteller.

Copied with permission from the Gutenberg project.

John William Polidori was among those at Villa Diodati that fateful summer when Mary, Percy and Claire came to visit Lord Byron. Challenged to write a ghost story Polidori started out with some vague story about a woman with a skull head. Luckily he changed it and wrote The Vampyre instead.

I’ve read the book and listened to it on audio. If you check it out keep in mind when it was written. It is an interesting account and a cautionary tale. Obviously, Polidori knew about vampires. So, it was simple enough to include one in my novel and make Polidori, who was not much older than Mary Shelley at the time, a monster hunter in Mary’s league.

You can get an idea of his style of writing and even a glimpse at who he was from this letter that introduces his novel.

Sadly, Polidori suffered from depression and committed suicide in his early twenties. He was an interesting person being chosen as Lord Byron’s personal physician. He graduated from medical school when he was only 19.  He wrote a novel that enjoyed a modicum of popularity. And he hung out with some really cool people.

EXTRACT OF A LETTER

                             FROM GENEVA.
                            ______________

"I breathe freely in the neighbourhood of this lake; the ground upon
which I tread has been subdued from the earliest ages; the principal
objects which immediately strike my eye, bring to my recollection
scenes, in which man acted the hero and was the chief object of
interest. Not to look back to earlier times of battles and sieges,
here is the bust of Rousseau--here is a house with an inscription
denoting that the Genevan philosopher first drew breath under its
roof. A little out of the town is Ferney, the residence of Voltaire;
where that wonderful, though certainly in many respects contemptible,
character, received, like the hermits of old, the visits of pilgrims,
not only from his own nation, but from the farthest boundaries of
Europe. Here too is Bonnet's abode, and, a few steps beyond, the house
of that astonishing woman Madame de Stael: perhaps the first of her
sex, who has really proved its often claimed equality with, the nobler
man. We have before had women who have written interesting novels and
poems, in which their tact at observing drawing-room characters has
availed them; but never since the days of Heloise have those faculties
which are peculiar to man, been developed as the possible inheritance
of woman. Though even here, as in the case of Heloise, our sex have
not been backward in alledging the existence of an Abeilard in the
person of M. Schlegel as the inspirer of her works. But to proceed:
upon the same side of the lake, Gibbon, Bonnivard, Bradshaw, and
others mark, as it were, the stages for our progress; whilst upon the
other side there is one house, built by Diodati, the friend of Milton,
which has contained within its walls, for several months, that poet
whom we have so often read together, and who--if human passions remain
the same, and human feelings, like chords, on being swept by nature's
impulses shall vibrate as before--will be placed by posterity in the
first rank of our English Poets. You must have heard, or the Third
Canto of Childe Harold will have informed you, that Lord Byron resided
many months in this neighbourhood. I went with some friends a few days
ago, after having seen Ferney, to view this mansion. I trod the floors
with the same feelings of awe and respect as we did, together, those
of Shakespeare's dwelling at Stratford. I sat down in a chair of the
saloon, and satisfied myself that I was resting on what he had made
his constant seat. I found a servant there who had lived with him;
she, however, gave me but little information. She pointed out his
bed-chamber upon the same level as the saloon and dining-room, and
informed me that he retired to rest at three, got up at two, and
employed himself a long time over his toilette; that he never went to
sleep without a pair of pistols and a dagger by his side, and that he
never ate animal food. He apparently spent some part of every day upon
the lake in an English boat. There is a balcony from the saloon which
looks upon the lake and the mountain Jura; and I imagine, that it must
have been hence, he contemplated the storm so magnificently described
in the Third Canto; for you have from here a most extensive view of
all the points he has therein depicted. I can fancy him like the
scathed pine, whilst all around was sunk to repose, still waking to
observe, what gave but a weak image of the storms which had desolated
his own breast.

  The sky is changed!--and such a change; Oh, night!
  And storm and darkness, ye are wond'rous strong,
  Yet lovely in your strength, as is the light
  Of a dark eye in woman! Far along
  From peak to peak, the rattling crags among,
  Leaps the lire thunder! Not from one lone cloud,
  But every mountain now hath found a tongue,
  And Jura answers thro' her misty shroud,
  Back to the joyous Alps who call to her aloud!

  And this is in the night:--Most glorious night!
  Thou wer't not sent for slumber! let me be
  A sharer in thy far and fierce delight,--
  A portion of the tempest and of me!
  How the lit lake shines a phosphoric sea,
  And the big rain comet dancing to the earth!
  And now again 'tis black,--and now the glee
  Of the loud hills shakes with its mountain mirth,
  As if they did rejoice o'er a young; earthquake's birth,

  Now where the swift Rhine cleaves his way between
  Heights which appear, as lovers who have parted
  In haste, whose mining depths so intervene,
  That they can meet no more, tho' broken hearted;
  Tho' in their souls which thus each other thwarted,
  Love was the very root of the fond rage
  Which blighted their life's bloom, and then departed--
  Itself expired, but leaving; them an age
  Of years all winter--war within themselves to wage.

I went down to the little port, if I may use the expression, wherein
his vessel used to lay, and conversed with the cottager, who had the
care of it. You may smile, but I have my pleasure in thus helping my
personification of the individual I admire, by attaining to the
knowledge of those circumstances which were daily around him. I have
made numerous enquiries in the town concerning him, but can learn
nothing. He only went into society there once, when M. Pictet took him
to the house of a lady to spend the evening. They say he is a very
singular man, and seem to think him very uncivil. Amongst other things
they relate, that having invited M. Pictet and Bonstetten to dinner,
he went on the lake to Chillon, leaving a gentleman who travelled with
him to receive them and make his apologies. Another evening, being
invited to the house of Lady D---- H----, he promised to attend,
but upon approaching the windows of her ladyship's villa, and
perceiving the room to be full of company, he set down his friend,
desiring him to plead his excuse, and immediately returned home. This
will serve as a contradiction to the report which you tell me is
current in England, of his having been avoided by his countrymen on
the continent. The case happens to be directly the reverse, as he has
been generally sought by them, though on most occasions, apparently
without success. It is said, indeed, that upon paying his first visit
at Coppet, following the servant who had announced his name, he was
surprised to meet a lady carried out fainting; but before he had been
seated many minutes, the same lady, who had been so affected at the
sound of his name, returned and conversed with him a considerable
time--such is female curiosity and affectation! He visited Coppet
frequently, and of course associated there with several of his
countrymen, who evinced no reluctance to meet him whom his enemies
alone would represent as an outcast.

Though I have been so unsuccessful in this town, I have been more
fortunate in my enquiries elsewhere. There is a society three or four
miles from Geneva, the centre of which is the Countess of Breuss, a
Russian lady, well acquainted with the agrémens de la Société, and who
has collected them round herself at her mansion. It was chiefly here,
I find, that the gentleman who travelled with Lord Byron, as
physician, sought for society. He used almost every day to cross the
lake by himself, in one of their flat-bottomed boats, and return after
passing the evening with his friends, about eleven or twelve at night,
often whilst the storms were raging in the circling summits of the
mountains around. As he became intimate, from long acquaintance, with
several of the families in this neighbourhood, I have gathered from
their accounts some excellent traits of his lordship's character,
which I will relate to you at some future opportunity. I must,
however, free him from one imputation attached to him--of having in
his house two sisters as the partakers of his revels. This is, like
many other charges which have been brought against his lordship,
entirely destitute of truth. His only companion was the physician I
have already mentioned. The report originated from the following
circumstance: Mr. Percy Bysshe Shelly, a gentleman well known for
extravagance of doctrine, and for his daring, in their profession,
even to sign himself with the title of ATHeos in the Album at
Chamouny, having taken a house below, in which he resided with Miss M.
W. Godwin and Miss Clermont, (the daughters of the celebrated Mr.
Godwin) they were frequently visitors at Diodati, and were often seen
upon the lake with his Lordship, which gave rise to the report, the
truth of which is here positively denied.

Among other things which the lady, from whom I procured these
anecdotes, related to me, she mentioned the outline of a ghost story
by Lord Byron. It appears that one evening Lord B., Mr. P. B. Shelly,
the two ladies and the gentleman before alluded to, after having
perused a German work, which was entitled Phantasmagoriana, began
relating ghost stories; when his lordship having recited the beginning
of Christabel, then unpublished, the whole took so strong a hold of
Mr. Shelly's mind, that he suddenly started up and ran out of the
room. The physician and Lord Byron followed, and discovered him
leaning against a mantle-piece, with cold drops of perspiration
trickling down his face. After having given him something to refresh
him, upon enquiring into the cause of his alarm, they found that his
wild imagination having pictured to him the bosom of one of the ladies
with eyes (which was reported of a lady in the neighbourhood where he
lived) he was obliged to leave the room in order to destroy the
impression. It was afterwards proposed, in the course of conversation,
that each of the company present should write a tale depending upon
some supernatural agency, which was undertaken by Lord B., the
physician, and Miss M. W. Godwin.[1] My friend, the lady above
referred to, had in her possession the outline of each of these
stories; I obtained them as a great favour, and herewith forward them
to you, as I was assured you would feel as much curiosity as myself,
to peruse the ebauches of so great a genius, and those immediately
under his influence."



[1] Since published under the title of "Frankenstein; or, The Modern
Prometheus."

The post John William Polidori – His Words of that Fateful Event appeared first on Storyteller.

Though often referred to as a “myth” it is actually a fact that Mary Shelley kept her husband, Percy Shelley’s heart, until the day she died.

Percy died in a storm out on a lake. When his body finally washed ashore it was routine to burn bodies that were decomposing. It was considered a health issue. So a pyre was set and Percy’s body set aflame. But, his heart had calcified and it did not burn. It was pulled out of the ash and taken by one of Percy’s friends.

Mary wasn’t there when Percy’s body was found and burned. When she discovered his heart had survived the pyre she insisted it be given to her since she was his wife. Though some back and forth arguing occurred, the friend finally relented and gave Percy’s heart to Mary.

Upon her death, her son found the heart in a desk drawer wrapped in brown paper. She’d kept it all that time.

Sometimes truth really is stranger than fiction!

The post Giving…and Getting Your Entire Heart – A Mary Shelley Factoid appeared first on Storyteller.

Writing the comic book for Mary Shelley’s League of Supernatural Hunters I always knew Adam Frankenstein, the creature, would get his origin story. Not just the story of how the creature was created, which loosely follows the novel written by Shelley, but where the body parts came from.

In the novel, we know the creature is disfigured. He’s made from different parts of dead bodies and then animated to life.  In my comic book I tell the story of how those body parts came into the possession of Dr. Frankenstein and how those people lived before they became parts to create the whole of Adam.

I hint at his story in the comic book cover. And you get the feel of the comic on how Mary and Adam are together. Mary is a strong figure, a fighter. And you can clearly see she’s not fearful of the brutish Adam who stands behind her.

I hope people will enjoy the extra details of the creature’s life and how it came to be!

The post Mary Shelley Comic- The Creation of Adam appeared first on Storyteller.

Most people know who Mary Shelley is or at least they’ve heard of her book – Frankenstein. But, fewer people know who she actually was. She was an amazing woman who had so many hardships in her life.  She was a real-life heroine who did so many things most women would never have even imagined back in the early 1800s.

Researching Mary Shelley I’ve found so many interesting things about her life. She was a pregnant teenage runaway who fell in love with married man. She lost three children in her lifetime, all of whom were with that same married man – Percy Shelley.

Mary retained Percy’s calcified heart in brown wrap paper until the day she died.

Mary helped a couple, a transgender married couple, escape persecution.

She was romantically interested in Washington Irving (Sleep Hollow author),

She overcame tragedy and adversity holding strong to her convictions. All of that is true.

Making her a monster hunter wasn’t actually much of a stretch.

The post Mary Shelley Research appeared first on Storyteller.