Frankenstein Monster Quotes

It is true, we shall be monsters, cut off from all the world; but on that account we shall be more attached to one another.

The fallen angel becomes a malignant devil. Yet even that enemy of God and man had friends and associates in his desolation; I am alone.

We make our own monsters, then fear them for what they show us about ourselves.

Hateful day when I received life!' I exclaimed in agony. 'Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid even from the very resemlance. Satan had his companions, fellow-devils, to admire and encourage him; but I am solitary and abhorred.' - Frankenstein

Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust?

Like any normal fifth grader, I preferred my villains to be evil and stay that way, to act like Dracula rather than Frankenstein's monster, who ruined everything by handing that peasant girl a flower. He sort of made up for it by drowning her a few minutes later, but, still, you couldn't look at him the same way again.

If I’m a monster, then you must be the creator of them all. You’re my Dr. Frankenstein.

I beheld the wretch-the miserable monster whom I had created.

Maybe it would be better if we didn't love. If we didn't lose, either. If we didn't get out hearts stomped on, shattered; if we didn't have to patch and repatch it until we're like Frankenstein monsters, all sewn together by who knows what

Sometimes I think maybe they were right all along, the people on the other side in Zombieland. Maybe it would be better if we didn't love. If we didn't lose either. If we didn't get our hearts stomped on, shattered: if we didn't have to patch and repatch until we're like Frankenstein monsters, all sewn together and bound up by who knows what. If we could just float along, like snow. But how could anyone who's ever seen a summer - big explosions of green and skies lit up electric with splashy sunsets, a riot of flowers and wind that smells like honey - pick the snow?

Knowledge is knowing that Frankenstein is not the monster. Wisdom is knowing that Frankenstein IS the monster.

I love the story of the Frankenstein monster, because it's about a man made up of all these bad parts and yet he still tries to do something decent and be someone decent.

But now misery has come home, and men appear to me as monsters thirsting for each other's blood.

Chubs gave me a weary sigh. “Frankenstein is the name of the doctor that created the monster, not the monster itself.

Monsters aren’t born, ever. They’re made, piece by piece and limb by limb, artificial creations of madmen who, like the misguided Frankenstein, always think they know better.

My reign is not yet over... you live, and my power is complete. Follow me; I seek the everlasting ices of the north, where you will feel the misery of cold and frost to which I am impassive. You will find near this place, if you follow not too tardily, a dead hare; eat and be refreshed. Come on, my enemy; we have yet to wrestle for our lives; but many hard and miserable hours must you endure until that period shall arrive.

The criers of the Mysteries speak again, bidding all men welcome to the House of Light. The great institution of materiality has failed. The false civilization built by man has turned, and like the monster of Frankenstein, is destroying its creator. Religion wanders aimlessly in the maze of theological speculation. Science batters itself impotently against the barriers of the unknown. Only transcendental philosophy knows the path. Only the illumined reason can carry the understanding part of man upward to the light. Only philosophy can teach man to be born well, to live well, to die well, and in perfect measure be born again. Into this band of the elect--those who have chosen the life of knowledge, of virtue, and of utility--the philosophers of the ages invite YOU.

In some sense, we’re all cavemen—we can’t imagine anything more frightening than a ghost or a vampire. But the violation of the principle of causality—that’s actually much scarier than a whole herd of ghosts… or Rubinstein’s monsters… or is that Wallenstein?” “Frankenstein.

So they trust in the deity of the Old Testament, an incontinent dotard who soiled Himself and the universe with his corruption, a low-budget divinity passing itself off as the genuine article. (Ask the Gnostics.) They trust in Jesus Christ, a historical cipher stitched together like Frankenstein's monster out of parts robbed from the graves of messiahs dead and buried - a savior on a stick. They trust in the virgin-pimping Allah and his Drum Major Mohammed, a prophet-come-lately who pioneered a new genus of humbuggery for an emerging market of believers that was not being adequately served by existing religious products. They trust in anything that authenticates their importance as persons, tribes, societies, and particularly as a species that will endure in this world and perhaps in an afterworld that may be uncertain in its reality and unclear in its layout, but which states their craving for values "not of this earth" - that depressing, meaningless place their consciousness must sidestep every day.

You’re a Frankenstein!” “Don’t confuse the monster with the creator.

Maybe it would be better if we didn't love. If we didn't lose, either. If we didn't get our hearts stomped on, shattered; if we didn't have to patch and repatch until we're like Frankenstein monsters, all sewn together and bound up by who knows what. If we could just float along, like snow. That's what Zombieland is: frozen, calm, quiet. It's the world after a blizzard, the peacefulness that comes with it, the muffled silence and the sense that nothing in the world is moving. It's beautiful, in it's own way. Maybe we'd be better off. But how could anyone who's ever seen a summer — big explosions of green and skies lit up electric with splashy sunsets, a riot of flowers and wind that smells like honey — pick the snow?

Accursed creator! Why did you form a monster so hideous that even YOU turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is filthy type of yours, more horrid even from the very resemblance.

Father didn't expect us to sew, or play with dolls like other girls. Instead he gave us the books our mother had written, and encouraged us to read. He taught us independence is admirable, and imagination indispensable.

The atomic bomb which we dropped on the people of Hiroshima was first envisioned by a woman, not a man. She was, of course, Mary Wollstonecraft Shelley. She didn't call it an "atomic bomb." She called it "the monster of Frankenstein.

When you arrive in the afterlife, you find that Mary Wollstonecraft Shelley sits on a throne. She is cared for and protected by a covey of angels. After some questioning, you find out that God's favorite book is Shelley's Frankenstein. He sits up at night with a worn copy of the book clutched in his mighty hands, alternately reading the book and staring reflectively at the night sky.

You took my life and Oliver's life and made them into this book. You made us into monsters, both of us.

Mary Wollstonecraft Shelly: That's not so ignorant after all. There are two monsters in my story, not one And one of them, the scientist, is indeed named Frankenstein.

Home is a place in the mind where thoughts grow rich enough to become stories, breaking the silence that exists between souls.

In 1987, Gorbachev said he wanted to build Alexander Dubček’s “socialism with a human face,” to which I responded that Frankenstein’s monster also had a human face. Communism goes against human nature and can only be sustained by totalitarian repression.

I endeavoured to crush these fears and to fortify myself for the trial which in a few months I resolved to undergo; and sometimes I allowed my thoughts, unchecked by reason, to ramble in the fields of Paradise, and dared to fancy amiable and lovely creatures sympathizing with my feelings and cheering my gloom; their angelic countenances breathed smiles of consolation. But it was all a dream; no Eve soothed my sorrows nor shared my thoughts ; I was alone. I remembered Adam's supplication to his Creator. But where was mine? He had abondoned me, and in the bitterness of my heart I cursed him."---Frankenstein's monster, Frankenstein

I learned that the possessions most esteemed by your fellow-creatures were, high and unsullied descent united with riches. A man might be respected with only one of these acquisitions; but without either he was considered, except in very rare instances, as a vagabond and slave, doomed to waste his powers for the profit of the chosen few. And what was I? Of my creation and creator I was absolutely ignorant; but I knew that I possessed no money, no friends, no kind of property. I was, besides, endowed with a figure hideously deformed and loathsome; I was not even of the same nature as man. I was more agile than they, and could subsist upon coarser diet; I bore the extremes of heat and cold with less injury to my frame; my stature far exceeded their's. When I looked around, I saw and heard of none like me. Was I then a monster, a blot upon the earth, from which all men fled, and whom all men disowned?

What's your name?" "Cleo," said Cleo. He nodded. "Approriate." "How so?" "Cleopatra, the original undoer of men." "But I am just Cleo. What's your name?" "Frank," said Frank. "Short for?" "Short for nothing. What of earth would Frank be short for?" "I don't know," Cleo smiled. "Frankfurter, frankincense, Frankenstein...." "Frankenstein sounds about right. Creator of monsters." "You make monsters?" "Sort of," said Frank. "I make ads.

From my blood and bone and vomit I conjured up a beautiful labyrinth to house you in. I was terrified you’d find some way to escape before I was done. I made you look like a Christmas-tree fairy … I made you look like a Renaissance angel … I made you Adam and Eve … Galatea. Barbie. Frankenstein’s monster with long yellow hair.. As the world went up I remade us both. I hid me in you … I hid you in me. And when we were together … once the shaman had claimed the sun … I became God.

Increase of knowledge only discovered to me more clearly what a wretched outcast I was. —The Monster, Frankenstein

Natural philosophy is the genius that has regulated my fate.

I patch together a living language out of reanimated parts, like Frankenstein, and feel no disgust at scrabbling in the charnel house. Each of us makes her own monster, who earns a cozy co-tenancy of our tomb. We’re all the last native speakers of a language that dies with us. Am I so special for tasting the rot on my tongue? For knowing whose remains I’m kitted out in?

He swings the knocker against the door. The entire building booms like a drum. It continues booming after he lets go, banging like a clock striking the hour, rattling like a great tin drum.

The articles were extremely eye-opening. Not just in Teen Vogue but in Seventeen and CosmoGirl as well. They were all about being yourself, staying natural, loving your body as is, and going green! The messages were the exact opposite of Vik and Viv's. Hmmmmm. Frankie turned to face the full-length mirror that was up against the yellow wardrobe. She opened her robe and examined her body. Fit, muscular, and exquisitely proportioned, she agreed with the magazines. So what if her skin was mint? Or her limbs were attached with seams? According to the magazines, which were - no offense! - way more in touch with the times than her parents were, she was suppose to love her body just the way it was. And she did! Therefor if the normies read magazines (which obviously they did, because they were in them), then they would love her, too. Natural was in. Besides she was Daddy's perfect little girl. And who didn't love perfect?

It was already one in the morning; the rain pattered dismally against the panes, and my candle was nearly burnt out, when, by the glimmer of the half-extinguished light, I saw the dull yellow eye of the creature open; it breathed hard, and a convulsive motion agitated its limbs.

I cannot be assured of exactly what I created be it madness and monster or beauty and light.

She was a magnificent creature created in a science lab, the bride of Frankenstein. He, of course, comprehended that he was the monster. Freddy was Frankenstein, the creator.

Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust?

When your mother is the grave and your father is a lightning bolt it tends to make you kind of horny. And death has a way of removing one's inhibitions.

For there has never been a story nearly as tragic as the one of Frankenstein, except for that of Johnny Heart and his Francesca Valentine.

I AM SEVENTEEN Already I am daughter to a ghost and mother to bones.

Monsters, says Mary, are of our own making.

Was I, then, a monster, a blot upon the earth, from which all men fled and whom all men disowned?

We've become a nation of Frankensteins, and our monster is us. With everyone working so hard at altering their facades, we no longer have natural selection. We have unnatural selection.

The day that man discovered the tools to kill another human being, he also brought into being a weapon that could boomerang upon him at any time. The sophisticated weaponry that is, in great secrecy, being produced all over the world today, might one day serve to destroy the entire human race. Like the demon who sprung into being from Brahma’s imagination, like Frankenstein’s monster, it won’t even spare its creators. Don’t you think so?

Although I was an imaginative child, prone to nightmares, I had persuaded my parents to take me to Madame Tussauds waxworks in London, when I was six, because I had wanted to visit the Chamber of Horrors, expecting the movie-monster Chambers of Horrors I'd read about in my comics. I had wanted to thrill to waxworks of Dracula and Frankenstein's Monster and the Wolf-man. Instead I was walked through a seemingly endless sequence of dioramas of unremarkable, glum-looking men and women who had murdered people - usually lodgers and members of their own families - and who were then murdered in turn: by handing, by the electric chair, in gas chambers. Most of them were depicted with their victims in awkward social situations - seated about a dinner table, perhaps, as their poisoned family members expired. The plaques that explained who they were also told me that the majority of them had murdered their families and sold the bodies to anatomy. It was then that the word anatomy garnered its own edge of horror for me. I did not know what anatomy was. I knew only that anatomy made people kill their children.

I could tell...that my friends were doing their best to get across the message that I wasn't Frankenstein's monster but a perfectly normal human being. What they didn't understand was that my opponents didn't care who I was. Even if they had wanted to know the truth about me, it would have made no sense to them, since I refused to stay in my place and play by their rules and was too complicated to fit into their simple-minded, stereotypical pigeonholes. In any case, I couldn't be defeated without first being caricatured and dehumanized...[T]hey couldn't allow my life to be seen as the story of an ordinary person who, like most people, had worked out his problems step by unsure step. That would have been too honest-and too human.

I come from a long line of body snatchers, probably the top-notch body snatchers in America. No make that the world. Some people might think it's gross digging up bones or corpses, but who asked them? It's no big deal, but then I've been doing it since I got out of diapers.

Monster stories are powerful. They explore prejudice, rejection, anger and every imaginable negative aspect of living in society. However, only half of society is reflected in the ranks of the people who create these monsters. Almost every single iconic monster in film is male and was designed by a man: the Wolfman, Frankenstein, Dracula, King Kong. The emotions and problems that all of them represent are also experienced by women, but women are more likely to see themselves as merely the victims of these monsters. Women rarely get to explore on-screen what it's like to be a giant pissed-off creature. Those emotions are written off. If a woman is angry or upset, she'll be considered hysterical and too emotional. One of the hardest things about misogyny in the film industry isn't facing it directly, it's having to tamp down your anger about it so that when you speak about the problem, you'll be taken seriously. Women don't get to stomp around like Godzilla. Someone will just ask if you're on your period.

Deborah felt his erection against her stomach and smiled up at him. She grabbed hold of his bum and moved him gently from side to side so that it rocked against her, twitching like Frankenstein's monster in an electric storm.

At first I started back, unable to believe that it was indeed I who was reflected in the mirror; and when I became fully convinced that I was in reality the monster that I am, I was filled with the bitterest sensations of despondence and mortification.

We are each our own best effort. And we’re satisfied until we see a photograph or hear a recording of our voice. All the worse is the torture of video, to witness the squawking, gawky monster we’ve created. The you that you’ve chosen from all possible yous to create. The one life you’ve been given, and you’ve dedicated it to perfecting this staggering yammering artificial Frankenstein’s monster stitched together from the traits of other people. Anything original, anything innately you, it’s long ago been discarded.

Frankenstein. Big oaf by design. The monster pines for romance. But sadly, he cannot dance.

Was I then a monster, a blot upon the earth, from which all men fled, and whom all men disowned?

Frankenstein as the underdog. Not the monster. The villagers pursuing him are the monster.

By fearing the stranger, by abusing the vulnerable and the outcast, society creates its own monsters.

We will be monsters, alone in the world, but we will have each other.

La muerte nos permite observar lo que nunca quisimos advertir de nosotros. Somos pedazos de alusiones modificadas, monstruos del doctor Frankenstein reconstruidos de cadáveres de memorias.

Home is not an address with fine curtains and fancy furnishings. Home is a place in the mind where thoughts grow rich enough to become stories, breaking the silence that exists between souls.

I busied myself to think of a story, —a story to rival those which had excited us to this task. One which would speak to the mysterious fears of our nature, and awaken thrilling horror—one to make the reader dread to look round, to curdle the blood, and quicken the beatings of the heart.

I needed a time machine. I needed to run around the past and gather up all the old, unbroken parts of me and try to Frankenstein myself back together again. My healthy body, my unjaded sixteen-year-old heart, my baby brain. I may not make such a pretty monster, but at least I'd feel like myself again.

It’s incredible how many different people one body can hold. We all walk around with a thousand strangers inside us, slumbering quietly until someone else wakes them up. Like the jolt of electricity that reanimated Frankenstein’s monster, all it takes for our sleeping giants to jump to life is a single spark.

It was like some mad scientist threw a bunch of DNA into a blender and this is what came out. What the heck could it be? Was it some kind of alien? A scientific experiment gone horribly wrong? Did we have a Dr. Frankenstein living in Billings? Seriously, the creature looked like a resurrected Wookiee made from spare parts.

Personally, that would strike me as kind of weird, except I’m talking to Frankenstein’s monster who was just dismantled by my werewolf boss before being put back together by our orc priestess, so what the hell do I know?

Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

Then the appearance of death was distant, although the wish was ever present to my thoughts, and I often sat for hours motionless and speechless, wishing for some mighty revolution that might bury me and my destroyer in its ruins.

...As a child he had gone out for Halloween as a mummy, a vampire, a blue-and-green-swolen drowned boy, all kinds of sufferings and mutilations and perversions represented by his costumes; and looking around him he saw witches and Frankenstein monsters and scarred warty masks of all the kids running around asking for candy in the dark; and he wondered: Why must we hurt ourselves and drive stakes through our hearts and drown ourselves in order to get candy? Why couldn't we just go out and ask for it?

Science gives us the ability to pull back the skin of life and reveal the truth of things. It allows us to understand the mysteries of mountain-making and falling stars. But knowledge isn't meant to be held as a weapon in a battle to defy our fates and manipulate life over death. Evil lodges too easily in men's hearts. What will happen if they assume the power to create life?

One wants to ask what the hell his parents made him for--which, is you will recall, the central question of Frankenstein's monster. What the hell did you make me for, and why did you make me like this? To a failed experiment, the failure is unforgivable.

WANT I want to hold Shelley with the force of an eagle taming the wind within its wings. I want to grasp him unfailingly, like a gentle moth dancing with flame. I want to have strength enough to beat off the beasts that dwell within his heart. I want to believe in impossible promises and shift the world so they can be kept. I want to be more than a girl selling books in a bankrupt shop.

Some years ago, when the images which this world affords first opened upon me, when I felt the cheering warmth of summer and heard the rustling of the leaves and the warbling of the birds, and these were all to me, I should have wept to die; now it is my only consolation.

By the time I reached the coffee-shop door, however, my self-confidence had collapsed. Panic had taken its place. I believed that I was the ugliest, dirtiest little old bum in Manhattan. If I went into the coffee shop everybody would be nauseated. They would throw me out and tell me to go to the Bowery, where I belonged. But I somehow found the courage to go in anyway - and imagine my surprise! It was a though I had died and gone to heaven! A waitress said to me, "Honeybunch, you sit right own, and I'll bring you your coffee right away." I hadn't said anything to her. So I did sit down, and everywhere I looked I saw customers of every description being received with love. To the waitress everybody was "honeybunch" and "darling" and "dear". It was like an emergency ward after a great catastrophe. It did not matter what race or class the victims belonged to. They were all given the same miracle drug, which was coffee. The catastrophe in this case, of course, was that the sun had come up again. I had the feeling that if Frankenstein's monster crashed into the coffee shop through a brick wall, all anybody would say to him was, "You sit down here, Lambchop, and I'll bring your coffee right away.

How did he get so terribly smart, so determined? Maybe it was the pain I'd caused that made him that way, and if that were true, then I'd sort of had a hand in it, in making him as smart and devious as he was. I was really starting to dislike the guy. But I also felt a little proud, like Dr. Frankenstein must have felt when his monster turned on him, because after all, it was Dr. Frankenstein who had made the monster strong and cunning enough to turn on him.

When I reflect, my dear cousin,' said she, 'on the miserable death of Justine Moritz, I no longer see the world and its works as they before appeared to me. Before, I looked upon the accounts of vice and injustice, that I read in books or heard from others as tales of ancient days or imaginary evils; at least they were remote, and more familiar to reason than to the imagination; but now misery has come home, and men appear to me as monsters thirsting for each other's blood.

Bekka treated her role has Frankenstein's bride more like an audition to be Brett's bride. Every part of her body had been colored bright kelly green - even parts that her mother had stressed were 'not to be seen by anyone except God and the inside of a toilet bowl.' Instead of wearing a wig, Bekka had teased and then shellacked her own hair into a windblown cone and she'd used female-mustache bleach to create white streaks. Her seams, made of real suture thread, had been attached to her neck and wrists with clear double-sided costume tape because drawing them on with kohl would not have been 'honoring the character.' Her Costume Castle dress had been exchanged for something 'more authentic' from the Bridal Barn. If Brett didn't see his future in her heavily black-shadowed eyes tonight, he never would. Or so she believed.

Many people in this world are always looking to science to save them from something. But just as many, or more, prefer old and reputable belief systems and their sectarian offshoots for salvation. So they trust in the deity of the Old Testament, an incontinent dotard who soiled Himself and the universe with His corruption, a low-budget divinity passing itself off as the genuine article. (Ask the Gnostics.) They trust in Jesus Christ, a historical cipher stitched together like Frankenstein’s monster out of parts robbed from the graves of messiahs dead and buried—a savior on a stick. They trust in the virgin-pimping Allah and his Drum Major Mohammed, a prophet-come-lately who pioneered a new genus of humbuggery for an emerging market of believers that was not being adequately served by existing religious products. They trust in anything that authenticates their importance as persons, tribes, societies, and particularly as a species that will endure in this world and perhaps in an afterworld that may be uncertain in its reality and unclear in its layout, but which sates their craving for values not of this earth—that depressing, meaningless place their consciousness must sidestep every day.

By the sacred earth on which I kneel, by the shades that wander near me, by the deep and eternal grief that I feel, I swear; and by thee, O Night, and the spirits that preside over thee, to pursue the daemon who caused this misery, until he or I shall perish in mortal conflict. For this purpose I will preserve my life; to execute this dear revenge will I again behold the sun and tread the green herbage of earth, which otherwise should vanish from my eyes forever. And I call on you, spirits of the dead, and on you, wandering ministers of vengeance, to aid and conduct me in my work. Let the cursed and hellish monster drink deep of agony; let him feel the despair that now torments me.

Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust? God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of yours, more horrid even from the very resemblance. Satan had his companions, fellow devils, to admire and encourage him, but I am solitary and abhorred.

All men dream, all men have a dream, all men want a dream.... I have none, What shall I put in its stead? I do not know.Melancholy is my only companion, and she does not dream either.

This week in school they made us read Frankenstein. It was cool. I liked it. I like books that make me think. That’s why I’m in the advanced class. My favorite part is when the monster looks at Dr. Frankenstein and tells him it’s his fault. It kinda reminds me of now. You called me a monster. I walked way. Then you threatened the monster. And so if it comes down to you or me, I have to pick me.

Men often become what they are told they are. If you repeatedly tell a man he is a slave, he will eventually forget how to think as a free man, although I am optimist enough to hope that there is something in a man that will always remain free.

What I ask of you is reasonable and moderate; I demand a creature of another sex, but as hideous as myself; the gratification is small, but it is all that I can receive, and it shall content me. it is true, we shall be monsters, cut off from all the world; but on that account we shall be more attached to one another. Our lives will not be happy, but they will be harmless, and free from the misery I now feel. Oh! my creator, make me happy; let me feel gratitude towards you of one benefit!

Do people look at me and see horror lurking just beneath this tattered skin? Or is it the reverse? Do they see that something is missing? the spark of divinity that makes a life human? I am a void, a chaotic abyss, that would swallow up the world.

Standing there at Powell’s grave, telling my nephew about a buried skull, I realize how much of our relationship revolves around body parts and severed heads. Once Owen learned to walk, we started playing a game I call Frankenstein, in which I am Frankenstein’s monster and I chase him around trying to harvest his organs and appendages because my master is building another boy. “Frankenstein needs your spleen,” I yell, aping the voice of an announcer at a monster truck rally. “Give me your spleen!” Which is why the seemingly gross book I gave him for his birthday, a collection of poetry for children called The Blood-Hungry Spleen was actually a sentimental choice, even though my sister tells me it didn’t go over so well when he brought it to preschool.

Over and over again, Harriet read the story about Lazarus in the Bible, but it refused to address even the most basic questions. What had Lazarus to say to Jesus and his sisters about his week in the grave? Did he still smell? Was he able to go back home and carry on living with his sisters, or was he frightening to the people around him and perhaps had to go off somewhere and live by himself like Frankenstein's monster? She could not help thinking that if she, Harriet, had been there, she would have had more to say on the subject than Saint Luke did.

So since we’ve clearly created a monster, which of us is Dr. Frankenstein, and who gets to be Igor?” I asked, hoping to inject a little levity. “I’m definitely the doctor. He had the nicer ass.” “I hate to be a bubble burster, but you’re a disembodied AI; you don’t have an ass.” “I have since I met you.” “Aw. And you do have quite a mainframe on you.” I realized after saying it how weird that was, since technically her mainframe was my mainframe, and I really didn’t want to dwell on how incestuous that was. “But what if I’m not ready to be a father?” “Well, you’re already a bother, so all you’d really need to do is give an F.” “That was low, and given how terrible my standards are, you should recognize what kind of an insult that really is.” “Don’t be a jerk. It’s unbecoming.” “Well, apparently I’m becoming a jerk. Were you expecting a pumpkin?

Had Mary Shelley fretted so? Maybe yes, maybe no. She’d begun her classic work on a dare. Had culled a dream to bring it into being. But it was not lost on Laura that the story might be a prolonged exercise in Shelley’s personal terrors. The subtitle of the work was 'Prometheus Unbound,' and Laura wondered if Shelley herself was not Prometheus in the form of the wandering monster, who desperately sought love and acceptance but was ultimately driven to face an icy landscape that seemed almost fantastical—the way our own subconscious could be, white and frozen-slippery.

I know not who put me into the world, nor what the world is, nor what I myself am. I am in terrible ignorance of everthing. I know not what my body is, nor my senses, nor my soul, not even that part of me which thinks what I say, which reflects on all and on itself, and knows itself no more than the rest.

I will say this as bluntly as I know how: I am a transsexual, and therefore I am a monster. Just as the words “dyke”, “fag”, “queer”, “slut”, and “whore” have been reclaimed, respectively, by lesbians and gay men, by anti assimilationist sexual minorities, by women who pursue erotic pleasure, and by sex industry workers, words like “creature”, “monster”, and “unnaturaI” need to be reclaimed by the transgendered. [...] Hearken unto me, fellow creatures. I who have dwelt in a form unmatched with my desire, I whose flesh has become an assemblage of incongruous anatomical parts, I who achieve the similitude of a natural body only through an unnatural process, I offer you this warning: the Nature you bedevil me with is a lie. Do not trust it to protect you from what I represent, for it is a fabrication that cloaks the groundlessness of the privilege you seek to maintain for yourself at my expense. You are as constructed as me; the same anarchic womb has birthed us both. I call upon you to investigate your nature as I have been compelled to confront mine. I challenge you to risk abjection and flourish as well as have I. Heed my words, and you may well discover the seams and sutures in yourself.

There are really only two kinds of monsters in the world, which you already know if you've been watching horror movies: Breeders and Non-breeders. So for instance, Frankenstein’s monster would fall into the second category if he was real. He’s a freak, a singular being and once you kill him, he’s gone. Problem solved. The Breeders are an exponentially bigger problem. Within that group you've got slow breeders like vampires (if they were real, which they’re not) which breed in a small-scale controlled way, but mainly to avoid extinction rather than spread. But then you've got the fast breeders, like zombies (if they existed, which they don’t) where breeding is all they do. They are basically walking epidemics, and are the worst of the worst-case scenarios, because such a creature could, hypothetically, wipe out civilization. This is humanity’s greatest fear, which is why at the moment half of the world’s horror novels, movie posters and video games have zombies on the cover. So in any situation like this, step one is to find out what category of creature you’re dealing with. Step two is to anticipate what the creature is going to do next, based on what you determined in step one. Then step three is you find out if the thing can be killed with a chainsaw.

I sometimes think of how the nigger crawled from the newly forming white imagination as a denial of everything that was enlightened and human. I also think about how Frankenstein is the name of the scientist and not the monster, but the monster soon came to be identified by his inventor’s name. “Whiteness,” in the same way, may be the true nigger. Stitching together a warped reflection of yourself, each piece a rejected part of your own body, the creation is made from you, not just by you—a despised version of all your imperfections. Like the monster Frankenstein, the nigger is kept animate as much by the white fear of becoming, or, in a manner, of always having been, the thing it hates most, as by a competing fear: that it should lose control of a part of itself, yes, a black part, and a despised part, too. The loss of control is glimpsed in the black desire to be anything except the nigger that whiteness has made black folk out to be. Yet

Less is not known as a teacher, in the same way Melville was not known as a customs inspector. And yet both held the respective positions. Though he was once an endowed chair at Robert’s university, he has no formal training except the drunken, cigarette-filled evenings of his youth, when Robert’s friends gathered and yelled, taunted, and played games with words. As a result, Less feels uncomfortable lecturing. Instead, he re-creates those lost days with his students. Remembering those middle-aged men sitting with a bottle of whiskey, a Norton book of poetry, and scissors, he cuts up a paragraph of Lolita and has the young doctoral students reassemble the text as they desire. In these collages, Humbert Humbert becomes an addled old man rather than a diabolical one, mixing up cocktail ingredients and, instead of confronting the betrayed Charlotte Haze, going back for more ice. He gives them a page of Joyce and a bottle of Wite-Out—and Molly Bloom merely says “Yes.” A game to write a persuasive opening sentence for a book they have never read (this is difficult, as these diligent students have read everything) leads to a chilling start to Woolf’s The Waves: I was too far out in the ocean to hear the lifeguard shouting, “Shark! Shark!” Though the course features, curiously, neither vampires nor Frankenstein monsters, the students adore it. No one has given them scissors and glue sticks since they were in kindergarten. No one has ever asked them to translate a sentence from Carson McCullers (In the town there were two mutes, and they were always together) into German (In der Stadt gab es zwei Stumme, und sie waren immer zusammen) and pass it around the room, retranslating as they go, until it comes out as playground gibberish: In the bar there were two potatoes together, and they were trouble. What a relief for their hardworking lives. Do they learn anything about literature? Doubtful. But they learn to love language again, something that has faded like sex in a long marriage. Because of this, they learn to love their teacher.

Capital exists because we create it. We created it yesterday (and every day for the last two hundred years or so). If we do not create it tomorrow, it will cease to exist. Its existence depends on the constant repetition of the process of exploitation (and of all the social processes that make exploitation possible). It is not like Frankenstein's creature. It does not have an existence independent of our doing. It does not have a duration, a durable independent existence. It only appears to have a duration. The same is true of all the derivative forms of capital (state, money, etc.). The continuity of these monsters (these forms of social relations) is not something that exists independent of us: their continuity is a continuity that is constantly generated and re-generated by our doing. The fact that we have reasons for generating capital does not alter the fact that capital depends for its existence from one day to the next, from one moment to the next, on our act of creation. Capital depends upon us: that is the ray of hope in a world that seems so black.

Le Boucher, the early Claude Chabrol that Hitch, according to lore, wished he’d directed. Dark Passage, with Humphrey Bogart and Lauren Bacall—a San Francisco valentine, all velveteen with fog, and antecedent to any movie in which a character goes under the knife to disguise himself. Niagara, starring Marilyn Monroe; Charade, starring Audrey Hepburn; Sudden Fear!, starring Joan Crawford’s eyebrows. Wait Until Dark: Hepburn again, a blind woman stranded in her basement apartment. I’d go berserk in a basement apartment. Now, movies that postdate Hitch: The Vanishing, with its sucker-punch finale. Frantic, Polanski’s ode to the master. Side Effects, which begins as a Big Pharma screed before slithering like an eel into another genre altogether. Okay. Popular film misquotes. “Play it again, Sam”: Casablanca, allegedly, except neither Bogie nor Bergman ever said it. “He’s alive”: Frankenstein doesn’t gender his monster; cruelly, it’s just “It’s alive.” “Elementary, my dear Watson” does crop up in the first Holmes film of the talkie era, but appears nowhere in the Conan Doyle canon.

In his work Maladies and Remedies of the Life of the Flesh, published in Leiden under the pseudonym Christianus Democritus, he claimed to have discovered the Elixir of Life—a liquid counterpart to the Philosopher’s Stone—which would heal any ailment and grant eternal life to the person who drank it. He tried, but failed, to exchange the formula for the deed to Frankenstein Castle, and the only use he ever made of his potion—a mixture of decomposing blood, bones, antlers, horns and hooves—was as an insecticide, due to its incomparable stench. This same quality led the German troops to employ the tarry, viscous fluid as a non-lethal chemical weapon (therefore exempt from the Geneva Convention), pouring it into wells in North Africa to slow the advance of General Patton and his men, whose tanks pursued them across the desert sands. An ingredient in Dippel’s elixir would eventually produce the blue that shines not only in Van Gogh’s Starry Night and in the waters of Hokusai’s Great Wave, but also on the uniforms of the infantrymen of the Prussian army, as though something in the colour’s chemical structure invoked violence: a fault, a shadow, an existential stain passed down from those experiments in which the alchemist dismembered living animals to create it, assembling their broken bodies in dreadful chimeras he tried to reanimate with electrical charges, the very same monsters that inspired Mary Shelley to write her masterpiece, Frankenstein; or, The Modern Prometheus, in whose pages she warned of the risk of the blind advancement of science, to her the most dangerous of all human arts.