Comparing Women's and Men's Fears in Frankenstein and Pet Sematary
Childbirth and the resulting mother/child relationship are realities for women that leave plenty of room for anxiety. It is no wonder, then, that these themes of birth and motherhood should be featured prominently in women's horror. In contrast, men's horror tends not to focus on these fears, but, instead, focuses on the act of intercourse (the nuts and bolts of making a baby) and the man's fear of the woman's strange childbearing power. In comparing women's and men's fears on these subjects, one can see what fuels resulting horror texts.
In Frankenstein by Mary Shelly a man gives birth which is very curious when considering Frankenstein as a feminist text. The male mother in this text can be read in different ways. One reading of the phenomena could be man's attempt to control nature can have dire consequences. Upon closer reading, however, one can see that by having a male protagonist in the situation of life-giver, Shelly was allowed to make her fears known to her male contemporaries and at the same time explore her own fears concerning birthing and raising a healthy, productive child.
Mary's focus on the birth process allowed men to understand female fears about pregnancy and reassured women that they were not alone with their anxieties. The story expresses Mary's deepest fears; What of my child is born deformed? Could I still love it or would I wish it were dead? What if I can't love my child? Am I capable of raising a healthy, normal child? Will my child die? Could I wish my own child to die? Will my child kill me in childbirth? Mary was expressing her fears related to the death of her first child, her abilit...
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... of making a child-the aspect of child bearing that they are most directly responsible for. For men birthing and the relationship between mother and child are foreign and consequently characterize what men are afraid of: "the Other."
Works Cited and Consulted
Abrams, M. H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 1. New York: Norton, 1993
Botting, Fred. Making monstrous. Frankenstein, criticism, theory. Manchester University Press, 1991.
Boyd, Stephen. York Notes on Mary Shelley's Frankenstein. Longman York Press, 1992.
King, Stephen. Pet Sematary. New York: Signet, 1984.
Mellor, Anne K. Mary Shelley. Her Life, her Fiction, her Monsters. Methuen. New York, London, 1988.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
The idea for the novel of Mary Shelley’s Frankenstein came to her one night when she was staying in the company of what has been called ‘her male coterie’, including Lord Byron and her husband, Percy Shelley. Mary Shelley’s whole life seems to have been heavily influenced by men. She idolised her father, William Godwyn, and appears to have spent a good part of her life trying very hard to impress both him and her husband. There seems to have been a distinct lack of female influence, her mother, Mary Wollstonecraft, having died weeks after her birth, being replaced by a neglectful step-mother. These aspects of her life are perhaps evident in her novel. The characters and plot of Frankenstein were perhaps influenced by Shelley’s conflicting feelings about the predominately masculine circle which surrounded her, and perhaps the many masculine traits that we see in novel were based upon those of the male figures in Shelley’s own life. In this essay I will attempt to show some of these traits.
Women throughout time have been compelled to cope with the remonstrances of motherhood along with society’s anticipations
Works Cited Shelley, Mary. Frankenstein: A Norton Critical Edition. ed. J. Paul Hunter. New York: W. W. Norton, 1996.
Mary Shelley’s Frankenstein is ‘one of the pioneering works of modern science fiction’, and is also a frightening story that speaks to the ‘mysterious fears of our nature’. Mary Shelley mocks the idea of “playing God”, the idea that came from the Greek myth of Prometheus, of the Greek titan who stole Zeus’ gift of life. Both the story of Frankenstein and Prometheus reveal the dark side of human nature and the dangerous effects of creating artificial life. Frankenstein reveals the shocking reality of the consequences to prejudging someone. The creature’s first-person narration reveals to us his humanity, and his want to be accepted by others even though he is different. We are shown that this ‘monster’ is a ‘creature’ and more of a human than we think.
Within Frankenstein, the level at which a female is portrayed is quite low. Like we have heard in class, women were not necessarily respected as much as men were when the novel was written. Published in 1818 by Mary Shelley, her story tells of the adventure of young Victor Frankenstein and the creation of his creature. Though deep within this narration of Frankenstein’s life, there seems to be an underlying theme seeping through Shelley’s writing. Shelley seems to venture into the idea of feminism and grotesquely show how men are treated much better than women. Her novel includes various concrete examples to support this hypothesis.
The above quote by Bloom is an explanation of the view that all the gothic novels are interpretation of psychological and social factors and this is especially true in the case of Mary Shelley. Shelley began her novel at the age of 18 when the most prominent materials in the consciousness and unconsciousness of Shelley were concerned with the conflicts stemming from the death of her mother. Frankenstein is the outcome of Shelley’s unresolved grief for the death of her mother which was the crisis she needed to work through to forget her own adult identity.
Abrams, M.H., et al. ed. The Norton Anthology of English Literature. 6th ed. 2 Vols. New York: Norton, 1993.
Shelley, Mary. Frankenstein or the Modern Prometheus. The 1818 Text. New York: Oxford UP, 1998.
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited by: D.L. Macdonald & Kathleen Scherf. Broadview Editions. 3rd Edition. June 20, 2012
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Smith begins her essay by looking at the historical factors that may have contributed to this seemingly sexist book. Shelley, writing in the first half of the 19th Century, was in a period in which a woman "was conditioned to think she needed a man's help" (Smith 275). In the novel itself, no women speak directly. The book has three basic narrators: Robert Walton, Victor Frankenstein, and Frankenstein's monster. The female characters are very weak in this novel, especially Elizabeth, Victor's cousin/fiancé (no they aren't from Arkansas). She is portrayed as the perfect woman, especially after Victor's mother, Caroline dies. She takes the place of the mother figure in the household. But just like all the female characters in the story, her character has little substance. Victor's character is described in detail, as is that of the monster, and Henry Clerval. When Henry gets killed, sympathy is really felt toward Victor, because he has just lost his lifetime friend. When Elizabeth is murdered, the reader finds it hard to connect with what Frankenstein is feeling. Elizabeth (and the other main female characters: Justine and Caroline) are there to reflect the men characters. Professor Smith states in her essay that "women function not in their own right but rather as signals of and conduits for men's relations with other men" (283). This is especially clear when the monster kills Elizabeth on their wedding night. The monster is upset with Victor, so instead of hurting him, he kills his wife. Elizabeth is used as a sort of ruler to measure the relationship between Victor and his monster.
Shelley, Mary. Frankenstein. Ed. D.L. Macdonald and Kathleen Scherf. Orchard Park, NY: Broadview Press, 1999.
outcome of their health and ability. I remember giving birth to a child for the first time. I was afraid as
Shelley, Mary. Frankenstein or the Modern Prometheus. Edited with an Introduction and notes by Maurice Hindle. Penguin books, 1992
Abrams, M.H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 2. New York: Norton, 1993.