Contents:
THE GAY LEGACY OF FRANKENSTE
Walton is also rarely looked at om a queer perspective, spe the persistent, homoerotic overton of his narrative (which opens and clos Victor’s narrative). His relatnship wh his Creature is well wrten on, aga, and there is some cril theory that sists he is d as homosexual: his sire to create a child whout heterosexual terurse; his fur vlence towards the Monster has been read as an act of ternalised homophobia; his distert Elizabeth and sistence that she is his “child” and “sister” seem very flat, if heterosexual at all. Walton’s relatnship wh Frankenste, however, is not viewed through this lens of homoeroticism.
That’s gay.. To end, here is one of my favoure homoerotic moments om Walton’s letters:. Charlie Fox’s article ‘Why Frankenste’s Monster Hnts Queer Art’ at Goldhammer‘s ‘The Queer and the Creepy: Homosexual Dire Mary Shelley’s Frankenste‘ at Shultz’s article ‘Explorg the Inherent Queer Unrton of Mary Shelley’s Frankenste‘ at Fern Riddle’s article about Mary Shelley’s own bisexualy at you have accs to JSTOR (so jealo, if you do!
Yet there’s somethg about this story of unhallowed arts that mak darkly ronant for queer artists beyond any other you’re gay and grow up feelg like a hio misf, fully nsc that some believe your sir to be wicked and want to kill you for them, intifyg wh the Monster is hardly a stretch: A misunrstood beast fds solace the solu of the woods, but seems to endlsly face the wrath of the torch-bearg, small-md habants the world beyond. ) More recently, on televisn, “Penny Dreadful” (2014) and “The Cleveland Show” (2011) have starred gay versns of Frankenste or his Monster.