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Adrian Nelson
Adrian Nelson

Complete Works Of Mary Shelley ^NEW^



For the first time in publishing history, this comprehensive eBook presents the complete works of Mary Shelley, with numerous illustrations, informative introductions and the usual Delphi bonus material. (Version 1)




Complete Works of Mary Shelley


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* Beautifully illustrated with images relating to Shelley's life and works* Concise introductions to the novels and other texts* ALL 7 novels, with individual contents tables* Images of how the books were first printed, giving your eReader a taste of the original gothic works* Includes both the original 1818 version of FRANKENSTEIN and the revised 1831 version* Special bonus text of Peake's famous play adaptation of FRANKENSTEIN, giving a flavour of the novel's immediate popularity* Excellent formatting of the texts* Special chronological and alphabetical contents tables for the poetry and the short stories* Easily locate the poems or short stories you want to read* Features rare short stories and poems appearing here for the first time in digital print* The complete travel books appear here for the first time in digital publishing* Includes Shelley's letters - spend hours exploring the authorís personal correspondence* Features two biographies - discover Shelley's literary life* Scholarly ordering of texts into chronological order and literary genres


At my request the publisher has restored the omitted passages of "Queen Mab". I now present this edition as a complete collection of my husband's poetical works, and I do not foresee that I can hereafter add to or take away a word or line.


In 1980, deconstructive and psychoanalytic literary theorist Barbara Johnson wrote an essay on Mary Shelley for a colloquium on the writings of Jacques Derrida. The essay marked the beginning of Johnson's lifelong interest in Shelley as well as her first foray into the field of "women's studies," one of whose commitments was the rediscovery and analysis of works by women writers previously excluded from the academic canon. Indeed, the last book Johnson completed before her death was Mary Shelley and Her Circle, published here for the first time. Shelley was thus the subject for Johnson's beginning in feminist criticism and also for her end.


Mary Shelley also offers a critique of the nature of scientific thought. Inherent in the concept of science is a potent gender identification, as Sir Humphry Davy assumed: nature is female, the scientist is male. Therefore the scientist who analyzes, manipulates, and attempts to control nature is engaging in sexual politics. In his essay "Temporis Partus Masculus," Francis Bacon heralded the seventeenth-century scientific revolution with the words, "I am come in very truth leading to you Nature with all her children to bind her to your service and make her your slave." By constructing nature as female, the scientist feels entitled to exploit her to gratify his own desire for power, money, and status. Frankenstein's scientific quest is nothing less than an attempt to "penetrate into the recesses of nature, and show how she works in her hiding places," to penetrate the womb of nature and to appropriate that womb, to usurp the process of female biological reproduction. In effect, Frankenstein wishes to rape nature in order to gratify his own lust for power. Frankenstein fantasizes, "A new species would bless me as its creator and source; many happy and excellent natures would owe their being to me. No father could claim the gratitude of his child so completely as I should deserve theirs" (p. 49). If Frankenstein were to succeed in stealing the power of female biological reproduction, he would eliminate the biological necessity for females; the human race of males could survive by cloning. For women readers, this is perhaps the greatest horror of Mary Shelley's story: the implicit threat to the social and biological survival of the human female.


Overwhelmed by love, guilt, and remorse, blaming herself for having made his final months unhappy, Mary attempted to make reparation to her dead husband by giving him a posthumous life. She immediately collected his manuscripts and published texts for a complete edition of his works and began to write a hagiographic biography. When her father-in-law forebade its publication, she instead appended long biographical notes to her 1824 and 1839 editions of Percy Shelley's poems, notes in which she deified the poet and revised their past history together, asserting that his last two months on earth were "the happiest he had ever known" (1824). She used her fiction to present idealized portraits of Percy Shelley, first and most tellingly as Adrian in The Last Man (1826). In financially straitened circumstances, she managed to give her only surviving child the education and upbringing of a future baronet (he inherited his grandfather's title and estate in 1844) by writing novels, essays, and encyclopedia articles, by translating, and by living as economically as possible on her meager inheritance and allowance from Percy's father, Sir Timothy Shelley. 041b061a72


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