Robert Lublin is Professor of Theatre Arts at the University of Massachusetts Boston, USA. He is author of Costuming the Shakespearean Stage: Visual Codes of Representation in Early Modern Theatre and Culture (2016) and contributing co-editor of Reinventing the Renaissance: Shakespeare and His Contemporaries in Adaptation and Performance (2013). Among his published essays, he has co-authored two book chapters on Frankenstein.Elizabeth A. Fay is Professor of English in the College of Liberal Arts at the University of Massachusetts Boston, USA. She has published six books on British Romantic literature, including Romantic Egypt: Abyssal Ground of British Romanticism (2021), Fashioning Faces: The Portraitive Mode in British Romanticism (2010), and Romantic Medievalism: History and the Romantic Literary Ideal (2001). Her articles and books include discussions of a range of Mary Shelley’s works.

The Afterlives of Frankenstein condenses, consolidates, and extends the state of Frankenstein studies with critical acumen and aplomb. Lublin and Fay offer forward-thinking implications in this volume with enormous potential for scholars and enthusiasts of the novel alike. One might clearly envision this magnificent collection of essays as required reading in popular culture studies and mediatic legacies.

• IntroductionRobert I. Lublin and Elizabeth A. Fay Part 1: Cultural Reinventions1. “Only from the future”: Frankenstein, The Mummy!, and the Ontology of Revolution, David Baulch (University of West Florida, USA)2. Frankens-Time: Frankenstein and the Temporal Origins of Artificial Intelligence, Tobias Wilson-Bates (Georgia Gwinnett College)3. Meiji Japan Responds to Frankenstein: The 1889-90 translation “The New Creator”, Tomoko Nakagawa (University of the Sacred Heart, Japan)4. Frankenstein Goes Global: Returning the Necropolitical Gaze with Frankenstein in Baghdad, Hugh Charles O’Connell (University of Massachusetts Boston, USA)Part 2: Frankensteinia5. Frankenstein in the Popular Imagination, Sidney E. Berger (Simmons College, USA)6. Frankenstein Mask: Perpetuating the Monster Assemblage, Taylor Hagood (Florida Atlantic University, USA)7. Victor LaValle and Dietrich Smith’s Graphic Novel Destroyer (2020), Andrew Shepherd (University of Utah, USA)Part 3: Playing Frankenstein8. Staging Mary Shelley in Contemporary Frankenstein Biodramas, Brittany Reid (Brock University, Canada)9. The Evolving Myth of Frankenstein in Twenty-First-Century Film, Robert I. Lublin (University of Massachusetts Boston, USA)10. The Water and the Corpse: Exploring Nature, Shelley’s Echoes, and Twenty-First Century Cultural Anxieties in The Frankenstein Chronicles, Lorna Piatti-Farnell (Auckland University of Technology, New Zealand)11. The Aesthetics of Digital Naturecultures in La Belle Games’s The Wanderer: Frankenstein’s Creature (2019), Andrew Burkett (Union College, USA)Part 4: Artists Talk Back12. A Monstrous Circus on Frankenstein: Mediating Shelley’s Novel through John Cage’s Multimedia Strategies, Miriam Wallace and R. L. Silver (New College of Florida, USA)13. Frankenstein in Three Chords, Elizabeth A. Fay (University of Massachusetts Boston, USA) and James McGirr (Independent Scholar, USA)14. From Frankenstein to Writing SciFi to Collage, Kate Hart (University of Massachusetts Boston, USA)

Robert Lublin is Professor of Theatre Arts at the University of Massachusetts Boston, USA. He is author of Costuming the Shakespearean Stage: Visual Codes of Representation in Early Modern Theatre and Culture (2016) and contributing co-editor of Reinventing the Renaissance: Shakespeare and His Contemporaries in Adaptation and Performance (2013). Among his published essays, he has co-authored two book chapters on Frankenstein.Elizabeth A. Fay is Professor of English in the College of Liberal Arts at the University of Massachusetts Boston, USA. She has published six books on British Romantic literature, including Romantic Egypt: Abyssal Ground of British Romanticism (2021), Fashioning Faces: The Portraitive Mode in British Romanticism (2010), and Romantic Medievalism: History and the Romantic Literary Ideal (2001). Her articles and books include discussions of a range of Mary Shelley’s works.

The Afterlives of Frankenstein condenses, consolidates, and extends the state of Frankenstein studies with critical acumen and aplomb. Lublin and Fay offer forward-thinking implications in this volume with enormous potential for scholars and enthusiasts of the novel alike. One might clearly envision this magnificent collection of essays as required reading in popular culture studies and mediatic legacies.

• IntroductionRobert I. Lublin and Elizabeth A. Fay Part 1: Cultural Reinventions1. “Only from the future”: Frankenstein, The Mummy!, and the Ontology of Revolution, David Baulch (University of West Florida, USA)2. Frankens-Time: Frankenstein and the Temporal Origins of Artificial Intelligence, Tobias Wilson-Bates (Georgia Gwinnett College)3. Meiji Japan Responds to Frankenstein: The 1889-90 translation “The New Creator”, Tomoko Nakagawa (University of the Sacred Heart, Japan)4. Frankenstein Goes Global: Returning the Necropolitical Gaze with Frankenstein in Baghdad, Hugh Charles O’Connell (University of Massachusetts Boston, USA)Part 2: Frankensteinia5. Frankenstein in the Popular Imagination, Sidney E. Berger (Simmons College, USA)6. Frankenstein Mask: Perpetuating the Monster Assemblage, Taylor Hagood (Florida Atlantic University, USA)7. Victor LaValle and Dietrich Smith’s Graphic Novel Destroyer (2020), Andrew Shepherd (University of Utah, USA)Part 3: Playing Frankenstein8. Staging Mary Shelley in Contemporary Frankenstein Biodramas, Brittany Reid (Brock University, Canada)9. The Evolving Myth of Frankenstein in Twenty-First-Century Film, Robert I. Lublin (University of Massachusetts Boston, USA)10. The Water and the Corpse: Exploring Nature, Shelley’s Echoes, and Twenty-First Century Cultural Anxieties in The Frankenstein Chronicles, Lorna Piatti-Farnell (Auckland University of Technology, New Zealand)11. The Aesthetics of Digital Naturecultures in La Belle Games’s The Wanderer: Frankenstein’s Creature (2019), Andrew Burkett (Union College, USA)Part 4: Artists Talk Back12. A Monstrous Circus on Frankenstein: Mediating Shelley’s Novel through John Cage’s Multimedia Strategies, Miriam Wallace and R. L. Silver (New College of Florida, USA)13. Frankenstein in Three Chords, Elizabeth A. Fay (University of Massachusetts Boston, USA) and James McGirr (Independent Scholar, USA)14. From Frankenstein to Writing SciFi to Collage, Kate Hart (University of Massachusetts Boston, USA)

Robert Lublin is Professor of Theatre Arts at the University of Massachusetts Boston, USA. He is author of Costuming the Shakespearean Stage: Visual Codes of Representation in Early Modern Theatre and Culture (2016) and contributing co-editor of Reinventing the Renaissance: Shakespeare and His Contemporaries in Adaptation and Performance (2013). Among his published essays, he has co-authored two book chapters on Frankenstein.Elizabeth A. Fay is Professor of English in the College of Liberal Arts at the University of Massachusetts Boston, USA. She has published six books on British Romantic literature, including Romantic Egypt: Abyssal Ground of British Romanticism (2021), Fashioning Faces: The Portraitive Mode in British Romanticism (2010), and Romantic Medievalism: History and the Romantic Literary Ideal (2001). Her articles and books include discussions of a range of Mary Shelley’s works.

The Afterlives of Frankenstein condenses, consolidates, and extends the state of Frankenstein studies with critical acumen and aplomb. Lublin and Fay offer forward-thinking implications in this volume with enormous potential for scholars and enthusiasts of the novel alike. One might clearly envision this magnificent collection of essays as required reading in popular culture studies and mediatic legacies.

• IntroductionRobert I. Lublin and Elizabeth A. Fay Part 1: Cultural Reinventions1. “Only from the future”: Frankenstein, The Mummy!, and the Ontology of Revolution, David Baulch (University of West Florida, USA)2. Frankens-Time: Frankenstein and the Temporal Origins of Artificial Intelligence, Tobias Wilson-Bates (Georgia Gwinnett College)3. Meiji Japan Responds to Frankenstein: The 1889-90 translation “The New Creator”, Tomoko Nakagawa (University of the Sacred Heart, Japan)4. Frankenstein Goes Global: Returning the Necropolitical Gaze with Frankenstein in Baghdad, Hugh Charles O’Connell (University of Massachusetts Boston, USA)Part 2: Frankensteinia5. Frankenstein in the Popular Imagination, Sidney E. Berger (Simmons College, USA)6. Frankenstein Mask: Perpetuating the Monster Assemblage, Taylor Hagood (Florida Atlantic University, USA)7. Victor LaValle and Dietrich Smith’s Graphic Novel Destroyer (2020), Andrew Shepherd (University of Utah, USA)Part 3: Playing Frankenstein8. Staging Mary Shelley in Contemporary Frankenstein Biodramas, Brittany Reid (Brock University, Canada)9. The Evolving Myth of Frankenstein in Twenty-First-Century Film, Robert I. Lublin (University of Massachusetts Boston, USA)10. The Water and the Corpse: Exploring Nature, Shelley’s Echoes, and Twenty-First Century Cultural Anxieties in The Frankenstein Chronicles, Lorna Piatti-Farnell (Auckland University of Technology, New Zealand)11. The Aesthetics of Digital Naturecultures in La Belle Games’s The Wanderer: Frankenstein’s Creature (2019), Andrew Burkett (Union College, USA)Part 4: Artists Talk Back12. A Monstrous Circus on Frankenstein: Mediating Shelley’s Novel through John Cage’s Multimedia Strategies, Miriam Wallace and R. L. Silver (New College of Florida, USA)13. Frankenstein in Three Chords, Elizabeth A. Fay (University of Massachusetts Boston, USA) and James McGirr (Independent Scholar, USA)14. From Frankenstein to Writing SciFi to Collage, Kate Hart (University of Massachusetts Boston, USA)