I took a breath.
I opened my eyes. I did not know this room, this place. I did not know anything. I felt panic rising, until a cool hand rested on my cheek. Mary stared down at me, smiling through her tears. Adam loomed next to her, his tortured face alive with hope. “Welcome back, Elizabeth Frankenstein,” she said.
I was free. And…
“I am alive,” I whispered.
* * *
—
I am alive.
AUTHOR’S NOTE
Two hundred years ago, a teenage girl sat down and created science fiction.
She did it on a dare. The coolest thing I ever did on a dare was ask my now-husband out. Which, granted, changed my world. Mary Shelley? Changed the whole world.
Rarely does a story come along that reshapes the public imagination in such a startling and notable way. The fact that we are still talking about Frankenstein, studying it, remaking it, speaks volumes to the questions Mary Shelley asked. Because it isn’t the answers in stories that are interesting—it’s the questions.
When I sat down to write a retelling of a book that has meant so much to me, I wasn’t sure where I wanted to start. I knew I wanted a female protagonist, but beyond that, I needed direction. I needed my questions.
I found them in Mary Shelley’s own introduction to the book. In it, she deflects focus from herself, talking about her husband, the poet Percy Bysshe Shelley, instead. “My husband,” she said, “was from the first, very anxious that I should prove myself worthy of my parentage, and enroll myself on the page of fame….At this time he desired that I should write, not so much with the idea that I could produce any thing worthy of notice, but that he might himself judge how far I possessed the promise of better things hereafter.” And then in the preface, the only part of the book written by him, Percy makes certain to note that if people knew Lord Byron was writing at the same time Frankenstein was drafted, they would certainly prefer his work.
Mary Shelley adored her husband. She kept his heart wrapped in a sheet of his poetry in her desk until she died. But that passage made me want to break something. Frankenstein wouldn’t exist without Lord Byron and Percy Shelley’s challenge—or Percy Shelley’s encouragement to Mary Shelley to keep writing. But the genius was all Mary’s.
Still, at publication, for decades after, even today, people gave all credit to the men around her. After all, how could a girl—a teenage girl—accomplish something so great?
So my questions began to take shape. How much of who we are is shaped by those around us? What happens when everything we are depends on someone else? And, as always: Where are the girls? Even Mary’s wild and expansive imagination could not put a girl at the forefront of this story. They’re relegated to the background, mere caricatures. And that was where I found my story. With a girl given to a boy as a gift. With a girl whose whole life revolves around the brilliant boy she loves. With a girl who inadvertently helps create a monster.
With a teenage girl, because, as Mary Shelley proved, nothing is more brilliant or terrifying than that.
ACKNOWLEDGMENTS
First and foremost, thanks go to Mary Wollstonecraft Shelley, whose stunning imagination continues to inspire countless stories, including this one. Thank you for being a badass goth genius and showing those poets what a real scary story is. You changed the shape of fiction forever.
Special thanks go to my own badass geniuses, Wendy Loggia and Beverly Horowitz, for asking if I would like to write a Frankenstein retelling. The answer, obviously, was yes. I’m so grateful you two prompted me to discover Elizabeth and her story.
Thank you as well to everyone at Delacorte Press and Random House, particularly Audrey Ingerson for her editorial help, Colleen Fellingham for gently reminding me how much I need a copy editor, and Aisha Cloud, my sublime publicist.
For Regina Flath and her design team, tremendous gratitude and awe. I am astonished by your creativity and ability to dream up a concept and make it into a gorgeous and unnerving cover.
Michelle Wolfson remains my ever-capable and steadfast agent, guiding my career and finding opportunities for me, even when the books are too scary for her. Sorry, Michelle. We both know I’m not getting any less creepy.
The drafting of this book would not have been possible without Natalie Whipple redirecting me, Jon Skovron being my resident Frankenstein expert, and Stephanie Perkins reading each version and helping me craft my own lovely monster. I love you all.
To Lord Byron and Percy Shelley, thanks for being insufferable and thinking there was no way Mary could write something better than you two could. Joke’s on you.
Thank you to Noah for being the foundation of my life, my sounding board, my support, my partner. And finally, to my beautiful children, thank you for sharing me these long months with all the monsters I had to bring to life. You’re still my greatest creations.
Blue Lily
KIERSTEN WHITE is the New York Times bestselling author of the And I Darken and Paranormalcy series, Slayer, The Dark Descent of Elizabeth Frankenstein, and many more novels. She lives with her family near the ocean in San Diego, which, in spite of its perfection, spurs her to dream of faraway places and even further-away times.
kierstenwhite.com
@kierstenwhite
TEACHER GUIDE, ARRANGED BY THEME
The following questions are arranged by theme and may be used as writing prompts or as questions for class discussion and reflection.
IDENTITY
Elizabeth’s past is often juxtaposed with her present through flashbacks to childhood moments. What effect does her childhood have on her current conflicts and circumstances?
Elizabeth notes that Victor’s mother “present[ed her] to Victor as his special gift” (this page). Why does she accept being gifted to this stranger? What does this reveal about Elizabeth’s character? How does this affect the development of Elizabeth’s identity? How might it affect her future?
When Victor is killing a deer, Elizabeth stands by and watches without trying to stop him. She then takes in the scene and says,“Red leaves. Red knife. Red hands. But white dresses always” (this page). What does this reveal about the relationship between Victor and Elizabeth? What is the understanding between them? Why does Victor always want Elizabeth to wear white, and why does she mention this in this particular flashback? What else might Elizabeth be trying to show about the way Victor wants to see her? Does she create her identity to please him?
After Henry proposes, Elizabeth is conflicted about how she would behave as his potential wife, saying, “Who I truly was remained a mystery even to me” (this page). What does Elizabeth mean by this? Who is Elizabeth Lavenza?
As Elizabeth realizes she cannot save Justine, she laments, “I would lose my Justine for nothing. Would lose the one person I had tried to save in the midst of a life spent selfishly trying to make certain I stayed safe myself. The one person I love because she made me happy, rather than because my security depended on her” (this page). How does this showcase a shift in Elizabeth’s character? Why is she so affected by the death of Justine and her inability to prevent it?
As she is developing her plan to help Victor, Elizabeth says that “in helping to destroy the monster, I would no longer be able to feign innocence, and [Victor] could no longer deny the truth. Once it was dead, Victor would have nothing further to hide from me….We would only have each other….I yearned for the freedom I anticipated….Freedom from the fear of having nothing” (this page). Is this the reason Elizabeth wants so badly to aid in the destruction the monster? Does Elizabeth truly desire the truth? Once the truth is shared between Elizabeth and Victor, will this provide her freedom? How is she de
fining freedom? Is this really what freedom means?
During her stay at the asylum, Elizabeth ponders, “Who was I when I was not performing for someone else?” (this page) and continues to share that “It was so hard, sorting through what was left of me when I cut off the parts that existed for others” (this page). What is Elizabeth realizing about herself when she is in this forced isolation? Why is it that she feels she does not understand herself, and that is this her fault? What is left of Elizabeth once she removes those pieces of herself that “existed for others”?
In reflecting on Victor’s development, Elizabeth notes that “He had never been able to feel things as deeply as he should; he had been raised in a home where everything was pretense and no one spoke the truth” (this page). Based on Elizabeth’s belief, what is the effect onVictor of his parents’ lack of nurturing, especially as he gets older? Is the inability to feel deeply the reason for Victor’s quest for perfection? How does the lack of truth affect the people in the Frankenstein household?
GENDER
When Victor returns, he tells Elizabeth, “You are mine. You have been since the first day we met. You will be mine forever,” leading her to reflect that she “was still safe, then” (this page). How does Victor’s statement lead her to this conclusion? Does Victor’s response ensure her safety? How does Elizabeth define safety in this circumstance, and should this be her primary concern? What does Victor imply here about the way he sees Elizabeth, and the way she sees herself? What is revealed about their relationship? Do they see each other in the same way?
As they discuss Henry’s proposal, Victor notes that “Men will ever strive for that which is out of reach. For that which is higher than themselves. For that which is divine” (this page). How does this statement apply to Henry’s proposal? How might this statement apply to Victor? What is Victor revealing about his understanding of gender dynamics?
Once she is placed in the asylum, Elizabeth divulges that “[The institution] had stripped [the women] of everything we were taught made us women, and then told us we were mad.” What had they been “taught made [them] women”? What does this tell us about how women are viewed in this society? What is their purpose? Why does taking away the “collars up to our chins, long skirts, and corsets” (this page) have such an effect on their self-images? After explaining that she was committed for trying to leave her abusive husband, one woman on the floor says, “Ask the other women what they are in for and you will find more of the same” (this page). What does this tell us about the purpose of the asylum? Why would Victor put Elizabeth there?
MOTIVATION
After Elizabeth wakes from illness, Victor tells her that he “had to save her.” When she says she is “better,” he responds, “But you will not always be. Someday death will claim you. And I will not allow it….You are mine, Elizabeth Lavenza, and nothing will take you from me. Not even death” (this page). What is the motivation behind Victor’s experiments? Why does he feel the need to ensure that Elizabeth is never taken from him?
As they discuss Henry’s proposal, Victor notes that “Men will ever strive for that which is out of reach. For that which is higher than themselves. For that which is divine” (this page). How does this statement apply to Henry’s proposal? How might this statement apply to Victor? What is Victor revealing about his understanding of gender dynamics?
Once she is placed in the asylum, Elizabeth divulges that “[The institution] had stripped [the women] of everything we were taught made us women, and then told us we were mad.” What had they been “taught made [them] women”? What does this tell us about how women are viewed in this society? What is their purpose? Why does taking away the “collars up to our chins, long skirts, and corsets” (this page) have such an effect on their self-images? After explaining that she was committed for trying to leave her abusive husband, one woman on the floor says, “Ask the other women what they are in for and you will find more of the same” (this page). What does this tell us about the purpose of the asylum? Why would Victor put Elizabeth there?
RESPONSIBILITY AND PROTECTION
After visiting the charnel house, Elizabeth realizes, “Victor had left, possessed by the need to defeat death, and without me here to temper his obsessions, he had descended to hellish depths. I had driven Victor to this madness. I would repair it in any way necessary” (this page). Has she driven Victor to “this madness”? Why does Elizabeth feel as though she must always save and protect Victor? Why does she feel she must be the one to fix the problems he creates or encounters?
In the flashback when Madame Frankenstein is on her death bed, she tells Elizabeth that she “can never leave….You have to stay here, with Victor….Victor…is…your…responsibility” (this page). Why does Victor’s mother insist that Elizabeth is responsible for Victor? Is he really her responsibility? Should this responsibility also fall on Judge Frankenstein? What about Victor himself?
Mary is the first to wonder why Elizabeth searches for Victor and tries so hard to protect him. When she questions whether Elizabeth loves him, Elizabeth responds that “He is my entire life….And my only hope of a future” (this page). Do you agree with Elizabeth’s statement? What might happen to her future if she does not continue to protect him? Is she doing this out of love?
As Elizabeth searches again for Victor and the monster, she notes that Victor “thought he was protecting me, but he was the one in need of protection” (this page). Do you agree with her statement? Why does Elizabeth feel Victor needs her protection? Why does she feel that she doesn’t need protection?
When Elizabeth realizes what Victor has done on the island for the monster, she decides to take action, saying, “I did not care if it threatened my life, or even if it killed me. Victor would disagree, but my safety was not worth this steepest of costs” (this page). What is the cost that Elizabeth is referring to? She has always prioritized her safety; why is taking action now more important to her than safety?
Elizabeth excuses Victor’s crimes, noting they were “pride and ambition, stepping beyond the boundaries God set for the world.” She then claims that the monster “was punishing him enough” for these crimes. Do you agree with her assessment? She poses the question “How did one punish those [crimes]?” (this page). What do you think would be an appropriate punishment?
As Elizabeth confronts Victor, he claims, “You made it clear from the start you did not care what I did so long as you did not have to know the specifics. It was our agreement” (this page). Did Elizabeth agree to this, and if so, when? Do you agree with Victor’s statement, given prior events and Elizabeth’s role in them?
Near the end of the text, Mary shares with Elizabeth that “Not being blameless is not the same as being guilty” (this page). What does this statement mean? How does it pertain to Elizabeth? To Victor?
WRITER’S CRAFT
Each chapter of the text begins with an epigraph that sets the thematic tone for that section of the book. Each of these epigraphs is actually an allusion to John Milten’s Paradise Lost. Choose one of these epigraphs. What is the connection between Elizabeth’s story and the epigraph that the author has chosen to begin the chapter? What themes does the epigraph helps to establish? What tone does it set?
When Elizabeth is describing a tree being hit by lightning to Justine, she notes that “To me,
[this experience] was the great and terrible power of nature. It was like seeing God” (this page). What does this reveal about Elizabeth’s view of God’s power? How is the power of God linked to nature, and why might this experience be one she calls “glorious,” when Justine sees it as “terrifying” (this page)?
Upon returning to the Frankenstein estate after her experience in Ingolstadt, Elizabeth realizes it “was all boastful artifice hiding the truth: The house was dying” (this page). What does she mean when she says this? How might the house be a metaphor for the Frankenstein family? What has changed about the way Elizabeth sees this home and the people in it from the beginning of the story to now?
When Elizabeth arrives at the island off the coast of Scotland, she describes feeling “exposed and unprotected.” She believes this could explain the “military aggression of this tiny island country: they could never feel the edges of their land, so they pushed forever outward” (this page). How might this island represent Elizabeth in this moment? How might it also represent Victor, who has escaped to this island? How might it represent the monster?
Compare the first epigraph from Part One, “How Can I Live Without Thee?” (this page), with the first one for Part Three, “Long is the way, and hard, that out of hell leads up to light” (this page). What has shifted in Elizabeth’s perspective since the beginning of the text? How does this compare to the progression of the original Frankenstein story?
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