Word: shelley
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JOHNSON'S OWN feminist revisions of deconstructionism, meanwhile, take up where deMan left off in trying to rethink the implications of literary history for hermeneutics. Nowhere is this radical project illustrated better than in the humorous and ingenious, "My Monster/My Self", in which Mary Shelley's Frankenstein is read as an autobiographical confession of maternal rejection. The literary monster is analyzed as product of "a single parent household," the unwanted brainchild of a mad (pro)creator, who in childhood was abandoned by her own mother...
...distance, no irony, no coherence, no prisoners. And no surprise that Russell now turns to Gothic, Stephen Volk's script about the famous night in 1816 that Byron (Gabriel Byrne) spent with his mistress Claire Clairmont (Myriam Cyr), his lover John William Polidori (Timothy Spall), his friend Percy Bysshe Shelley (Julian Sands) and Shelley's wife-to-be Mary Godwin (Natasha Richardson). From that spectral evening emerged Mary's idea for her novel Frankenstein...
Frankenstein was a modern horror story; Russell means Gothic to be the last horror show. Byron is Count Dracula, feeding on his guests' dreams and demons. Shelley is every weak hero, Polidori every mad doctor, Clairmont every wench whose lust turns her into a succubus. And Godwin, racked by visions of her stillborn child, becomes the cursed mothers of The Exorcist and Rosemary's Baby. From the labor of her nightmares, she gives birth to literature's most enduring monster...
...Shelley and Keats. The first indigenous
...flirtations with the Halloween genre are handled economically and gracefully--the psychiatrist/investigator, the macho-hero-in-pursuit, the hardboiled reporter, and the renegade cop all have their moment as they rotate around the central character. There's even a brief humorous romance for Daughter Number Two, and Shelley Hack, ex-Charlie's Angel, makes a successful shift from feathered hair and bellbottoms to mid-urban motherhood...