Daniel Cook – författare

Ten of Mary Shelley’s best short stories that push the boundaries of Gothic literatureMary Shelley is most known for Frankenstein, but in the years following the release of her magnum opus, which were beset by the loss of several children and her husband, she produced novels, poems, short stories, and other forms of writing to sustain herself and her only surviving child. Collected here from this tumultuous period of Shelley’s life are ten of her finest tales that, like Frankenstein, subvert the classist and misogynistic standards of patriarchal Victorian society and offer deep meditations on the nature of life and humanity. Shelley’s stories defy genre, ranging from romance and melodrama to fairy tale and satire to speculative and the Gothic, all mixed with biographical allusions to Shelley’s personal life. Faustian bargains, doppelgängers, time travel, and hints of vampirism and witchcraft loom through these stories but are infused with Shelley’s tender emotionalism and conscious eye for the inequalities of her day. Shelley grounds the Gothic in the humane, leveraging hallmarks of the genre — anachronisms, false heroes, foreboding moods, and shadowy terrains — to show that the darkest monsters may be those already among us.Penguin Classics is the leading publisher of classic literature in the English-speaking world, representing a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

The pride o'' a'' our Scottish plain; Thou gi''es us joy to hear thy strain, (Janet Little, ''An Epistle to Mr Robert Burns'') The 18th century saw Scotland become one of the leading international centres of literature, philosophy, and publishing and yet still retain its lively oral tradition of ballads and poetry. Scottish Poetry, 1730-1830 edited by Daniel Cook contains over 200 poems and songs written in Scots, English, and Gaelic which reflect this vibrant period of literary flourishing. The collection places Burns, Scott, and other major writers alongside lesser known or even entirely forgotten figures. Gaelic poets feature in their original language and in translation, along with many important long poems in their entirety. Lairds and ladies jostle with labouring-class writers, satirists with sentimentalists, Gaelic bards with Gothic balladists, rural singers with urbanite odists, and together they reveal the unrivalled range of Scottish poetry. ABOUT THE SERIES: For over 100 years Oxford World''s Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford''s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The pride o'' a'' our Scottish plain; Thou gi''es us joy to hear thy strain, (Janet Little, ''An Epistle to Mr Robert Burns'') The 18th century saw Scotland become one of the leading international centres of literature, philosophy, and publishing and yet still retain its lively oral tradition of ballads and poetry. Scottish Poetry, 1730-1830 edited by Daniel Cook contains over 200 poems and songs written in Scots, English, and Gaelic which reflect this vibrant period of literary flourishing. The collection places Burns, Scott, and other major writers alongside lesser known or even entirely forgotten figures. Gaelic poets feature in their original language and in translation, along with many important long poems in their entirety. Lairds and ladies jostle with labouring-class writers, satirists with sentimentalists, Gaelic bards with Gothic balladists, rural singers with urbanite odists, and together they reveal the unrivalled range of Scottish poetry. ABOUT THE SERIES: For over 100 years Oxford World''s Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford''s commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

The pride o' a' our Scottish plain;Thou gi'es us joy to hear thy strain,(Janet Little, 'An Epistle to Mr Robert Burns')The 18th century saw Scotland become one of the leading international centres of literature, philosophy, and publishing and yet still retain its lively oral tradition of ballads and poetry. Scottish Poetry, 1730-1830 edited by Daniel Cook contains over 200 poems and songs written in Scots, English, and Gaelic which reflect this vibrant period of literary flourishing. The collection places Burns, Scott, and other major writers alongside lesser known or even entirely forgotten figures. Gaelic poets feature in their original language and in translation, along with many important long poems in their entirety. Lairds and ladies jostle with labouring-class writers, satirists with sentimentalists, Gaelic bards with Gothic balladists, rural singers with urbanite odists, and together they reveal the unrivalled range of Scottish poetry.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Part of the Norton Library seriesThe Norton Library edition of Gulliver’s Travels features the text of the 1735 revised edition, edited for the modern reader by Daniel Cook. An introduction by Cook offers a friendly navigation guide to Gulliver’s fantastical adventures in Lilliput, Brobdingnag, Laputa, and the land of the Houyhnhnms, highlighting the work’s pioneering genre experiments and blistering satire of eighteenth-century British culture and politics.The Norton Library is a growing collection of high-quality texts and translations—influential works of literature and philosophy—introduced and edited by leading scholars. Norton Library editions prepare readers for their first encounter with the works that they’ll re-read over a lifetime.Inviting introductions highlight the work’s significance and influence, providing the historical and literary context students need to dive in with confidence.Endnotes and an easy-to-read design deliver an uninterrupted reading experience, encouraging students to read the text first and refer to endnotes for more information as needed.An affordable price (most $10 or less) encourages students to buy the book and to come to class with the assigned edition.About the Editor: Daniel Cook is Reader in English at the University of Dundee in Scotland. He is the author of Walter Scott and Short Fiction (2021), Reading Swift’s Poetry (2020), and Thomas Chatterton and Neglected Genius, 1760–1830 (2013).

Contemporaries were mesmerized by the outrageous wit of Jonathan Swift (1667–1745), a writer still widely regarded as the greatest satirist of all time. Soon after Swift’s death, his friends and enemies raced to publish the definitive account of the Dean of St Patrick’s. Now, Routledge brings these major works together for the first time in a new, three-volume, facsimile collection, supplemented with a full introduction, bibliographies, and other textual apparatus.The collection’s editor avers that these highly influential biographies of one of the leading literary figures of his generation remain incompletely understood. The persistence of a number of myths can be traced back to these studies of Swift, including his own pseudo-biographical fragment on his early life. It is crucial that many of these biographies were written or commissioned by friends and allies of Swift and that some were written—or were informed by—his enemies. The collection’s editor makes clear that the lives of Swift have a strongly interdependent relationship and, by bringing these studies together in one easy-to-use reference resource, scholars will more readily be able to trace the perambulations of specific anecdotes and biographical readings, and better understand how Johnson’s defining picture of Swift emerged.Volume I of the collection opens with an extended introductory account of the history of biographies and biographical criticism of Swift in the eighteenth century and beyond. The volume reproduces Lord Orrery’s notorious ‘Judas-biography’, the Remarks on the Life and Writings of Dr Jonathan Swift (1752), and a little-known book-length response, A Letter from a Gentleman in the Country, to his Son in the College of Dublin (1752–3), and, finally, the entry on Swift in Cibber’s multivolume collection The Lives of the Poets (1753). The second volume includes the largely overlooked Memoirs of the Life and Writings of Jonathan Swift, DD (1752), a freely adapted plagiarism of Orrery’s Remarks, and Patrick Delany’s well-known Observations upon Lord Orrery’s ‘Remarks on the Life and Writings of Dr Jonathan Swift’ (1754). This volume also contains the biographical essay from John Hawkesworth’s Works of Jonathan Swift, DD, Dean of St Patrick’s, Dublin (1755), and the undervalued Life of Jonathan Swift by the lesser-known biographer W. H. Dilworth. (Although it is largely unexamined by modern scholars, his influence on contemporary Swift studies merits renewed attention.)The final volume in the collection, meanwhile, comprises Deane Swift’s seminal Essay upon the Life, Writings, and Character of Dr Jonathan Swift (1755), which includes Jonathan Swift’s own fragmentary ‘Family of Swift’ (c. 1727), and Patrick Delany’s cantankerous response, A Letter to Dean Swift, Esq (1755). The collection ends with full textual apparatus, including contemporary reviews of, and responses to, the competing lives of Jonathan Swift.The Lives of Jonathan Swift provides a full and fascinating picture of eighteenth-century attitudes to one of the great figures of the age. It will be welcomed by Swift scholars and students, as well as those more broadly interested in the art and function of literary biography.———— µ ————Routledge facsimile collections make key archival source material readily available to scholars, researchers, and students of literary studies, as well as those working in allied and related fields. Selected and introduced by expert editors, the gathered materials are reproduced in facsimile, giving users a strong sense of immediacy to the texts and permitting citation to the original pagination.

The Afterlives of Eighteenth-Century Fiction probes the adaptation and appropriation of a wide range of canonical and lesser-known British and Irish novels in the long eighteenth century, from the period of Daniel Defoe and Eliza Haywood through to that of Jane Austen and Walter Scott. Major authors, including Jonathan Swift, Samuel Richardson, Henry Fielding and Laurence Sterne, are discussed alongside writers such as Sarah Fielding and Ann Radcliffe, whose literary significance is now increasingly being recognised. By uncovering this neglected aspect of the reception of eighteenth-century fiction, this collection contributes to developing our understanding of the form of the early novel, its place in a broader culture of entertainment then and now, and its interactions with a host of other genres and media, including theatre, opera, poetry, print caricatures and film.

The Afterlives of Eighteenth-Century Fiction probes the adaptation and appropriation of a wide range of canonical and lesser-known British and Irish novels in the long eighteenth century, from the period of Daniel Defoe and Eliza Haywood through to that of Jane Austen and Walter Scott. Major authors, including Jonathan Swift, Samuel Richardson, Henry Fielding and Laurence Sterne, are discussed alongside writers such as Sarah Fielding and Ann Radcliffe, whose literary significance is now increasingly being recognised. By uncovering this neglected aspect of the reception of eighteenth-century fiction, this collection contributes to developing our understanding of the form of the early novel, its place in a broader culture of entertainment then and now, and its interactions with a host of other genres and media, including theatre, opera, poetry, print caricatures and film.

Jonathan Swift's satirical masterpiece, Gulliver's Travels, has shocked and delighted readers worldwide since its publication in 1726. At turns a humorous and harrowing indictment of human behaviour, it has been endlessly reinterpreted by critics and adapted across media by other artists. The Cambridge Companion to Gulliver's Travels comprises 17 original chapters by leading scholars, written in a theoretically-informed but accessible style. As well as providing detailed close readings of each part of the narrative, this Companion relates Gulliver's Travels to the political, religious, scientific, colonial, and intellectual debates in which Swift was engaged, and it assesses the form of the book as a novel, travel book, philosophical treatise, and satire. Finally, it explores the Travels' rich and varied afterlives: the controversies it has fuelled, the films and artworks it has inspired, and the enduring need authors have felt to 'write back' to Swift's original, disturbing, and challenging story.

Jonathan Swift's satirical masterpiece, Gulliver's Travels, has shocked and delighted readers worldwide since its publication in 1726. At turns a humorous and harrowing indictment of human behaviour, it has been endlessly reinterpreted by critics and adapted across media by other artists. The Cambridge Companion to Gulliver's Travels comprises 17 original chapters by leading scholars, written in a theoretically-informed but accessible style. As well as providing detailed close readings of each part of the narrative, this Companion relates Gulliver's Travels to the political, religious, scientific, colonial, and intellectual debates in which Swift was engaged, and it assesses the form of the book as a novel, travel book, philosophical treatise, and satire. Finally, it explores the Travels' rich and varied afterlives: the controversies it has fuelled, the films and artworks it has inspired, and the enduring need authors have felt to 'write back' to Swift's original, disturbing, and challenging story.

Poets are makers, etymologically speaking. In practice, they are also thieves. Over a long career, from the early 1690s to the late 1730s, Jonathan Swift thrived on a creative tension between original poetry-making and the filching of familiar material from the poetic archive. The most extensive study of Swift's verse to appear in more than thirty years, Reading Swift's Poetry offers detailed readings of dozens of major poems, as well as neglected and recently recovered pieces. This book reaffirms Swift's prominence in competing literary traditions as diverse as the pastoral and the political, the metaphysical and the satirical, and demonstrates the persistence of unlikely literary tropes across his multifaceted career. Daniel Cook also considers the audacious ways in which Swift engages with Juvenal's satires, Horace's epistles, Milton's epics, Cowley's odes, and an astonishing array of other canonical and forgotten writers.

Poets are makers, etymologically speaking. In practice, they are also thieves. Over a long career, from the early 1690s to the late 1730s, Jonathan Swift thrived on a creative tension between original poetry-making and the filching of familiar material from the poetic archive. The most extensive study of Swift''s verse to appear in more than thirty years, Reading Swift''s Poetry offers detailed readings of dozens of major poems, as well as neglected and recently recovered pieces. This book reaffirms Swift''s prominence in competing literary traditions as diverse as the pastoral and the political, the metaphysical and the satirical, and demonstrates the persistence of unlikely literary tropes across his multifaceted career. Daniel Cook also considers the audacious ways in which Swift engages with Juvenal''s satires, Horace''s epistles, Milton''s epics, Cowley''s odes, and an astonishing array of other canonical and forgotten writers.

Poets are makers, etymologically speaking. In practice, they are also thieves. Over a long career, from the early 1690s to the late 1730s, Jonathan Swift thrived on a creative tension between original poetry-making and the filching of familiar material from the poetic archive. The most extensive study of Swift''s verse to appear in more than thirty years, Reading Swift''s Poetry offers detailed readings of dozens of major poems, as well as neglected and recently recovered pieces. This book reaffirms Swift''s prominence in competing literary traditions as diverse as the pastoral and the political, the metaphysical and the satirical, and demonstrates the persistence of unlikely literary tropes across his multifaceted career. Daniel Cook also considers the audacious ways in which Swift engages with Juvenal''s satires, Horace''s epistles, Milton''s epics, Cowley''s odes, and an astonishing array of other canonical and forgotten writers.

Long before Wordsworth etherealized him as 'the marvellous Boy / The sleepless Soul that perished in its pride', Thomas Chatterton was touted as the 'second Shakespeare' by eighteenth-century Shakespeareans, ranked among the leading British poets by prominent literary critics, and likened to the fashionable modern prose stylists Macpherson, Sterne, and Smollett. His pseudo-medieval Rowley poems, in particular, engendered a renewed fascination with ancient English literature.With Chatterton as its case study, this book offers new insights into the formation and development of literary scholarship in the period, from the periodical press to the public lecture, from the review to the anthology, from textual to biographical criticism. Cook demonstrates that, while major scholars found Chatterton to be a pertinent subject for multiple literary debates in the eighteenth century, by the end of the Romantic period he had become, and still remains, an unsettling model of hubristic genius.

Long before Wordsworth etherealized him as ''the marvellous Boy / The sleepless Soul that perished in its pride'', Thomas Chatterton was touted as the ''second Shakespeare'' by eighteenth-century Shakespeareans, ranked among the leading British poets by prominent literary critics, and likened to the fashionable modern prose stylists Macpherson, Sterne, and Smollett. His pseudo-medieval Rowley poems, in particular, engendered a renewed fascination with ancient English literature.With Chatterton as its case study, this book offers new insights into the formation and development of literary scholarship in the period, from the periodical press to the public lecture, from the review to the anthology, from textual to biographical criticism. Cook demonstrates that, while major scholars found Chatterton to be a pertinent subject for multiple literary debates in the eighteenth century, by the end of the Romantic period he had become, and still remains, an unsettling model of hubristic genius.

The Victim of Fancy was first published in December 1787 and, despite favourable reviews, has not been published since. Cook's new scholarly edition of this forgotten novel will be of paramount importance in allowing new insights into the form of the sentimental novel as it actually existed in the 1780s, and not as it is often perceived.

The Victim of Fancy was first published in December 1787 and, despite favourable reviews, has not been published since. Cook''s new scholarly edition of this forgotten novel will be of paramount importance in allowing new insights into the form of the sentimental novel as it actually existed in the 1780s, and not as it is often perceived.

The Victim of Fancy was first published in December 1787 and, despite favourable reviews, has not been published since. Cook''s new scholarly edition of this forgotten novel will be of paramount importance in allowing new insights into the form of the sentimental novel as it actually existed in the 1780s, and not as it is often perceived.

Long before Wordsworth etherealized him as 'the marvellous Boy / The sleepless Soul that perished in its pride', Thomas Chatterton was touted as the 'second Shakespeare' by eighteenth-century Shakespeareans, ranked among the leading British poets by prominent literary critics, and likened to the fashionable modern prose stylists Macpherson, Sterne, and Smollett. His pseudo-medieval Rowley poems, in particular, engendered a renewed fascination with ancient English literature.With Chatterton as its case study, this book offers new insights into the formation and development of literary scholarship in the period, from the periodical press to the public lecture, from the review to the anthology, from textual to biographical criticism. Cook demonstrates that, while major scholars found Chatterton to be a pertinent subject for multiple literary debates in the eighteenth century, by the end of the Romantic period he had become, and still remains, an unsettling model of hubristic genius.

The first deep dive into the cultural afterlives of Jonathan Swift’s Gulliver’s Travels, this book explores how the strange adventures of the 18th-century voyager have persisted over the past 300 years. Exploring sequels, spinoffs, elaborations and adaptations, among other things, Daniel Cook brings together an engaging account of how this literary classic has been reworked across different media throughout the world.Considerate of the major and unjustly neglected creators who have engaged with Travels, Gulliver’s Afterlives covers: authors from Eliza Haywood to Alison Fell; poets as varied as Alexander Pope and Sylvia Plath; playwrights including David Garrick and H. J. Byron; leading graphic artists and scripters such as Martin Rowson and Alan Moore; pioneering filmmakers such as Georges Méliès; and it even explores Gulliver’s appearances in the science fiction franchises Star Trek and Doctor Who. Cook examines more than a hundred novels, short stories and satires, poems, plays and pantomimes, live-action and animated films and television series, games, entertainment ephemera, illustrated books, comics and graphic novels, as well as statues, playpark effigies and other objects. Navigating this hefty body of Gulliveriana, this book delves into topics such as transmedial storytelling and characterization, different models of authorship and collaboration, the history of form and genre, visual culture, and the commercial contexts of literary adaptation.Incredibly comprehensive and compelling, with arch and amusing observations throughout, Gulliver’s Afterlives asks how and why Gulliver and his story has endured for the past 3 centuries, and how.

The first deep dive into the cultural afterlives of Jonathan Swift’s Gulliver’s Travels, this book explores how the strange adventures of the 18th-century voyager have persisted over the past 300 years. Exploring sequels, spinoffs, elaborations and adaptations, among other things, Daniel Cook brings together an engaging account of how this literary classic has been reworked across different media throughout the world.Considerate of the major and unjustly neglected creators who have engaged with Travels, Gulliver’s Afterlives covers: authors from Eliza Haywood to Alison Fell; poets as varied as Alexander Pope and Sylvia Plath; playwrights including David Garrick and H. J. Byron; leading graphic artists and scripters such as Martin Rowson and Alan Moore; pioneering filmmakers such as Georges Méliès; and it even explores Gulliver’s appearances in the science fiction franchises Star Trek and Doctor Who. Cook examines more than a hundred novels, short stories and satires, poems, plays and pantomimes, live-action and animated films and television series, games, entertainment ephemera, illustrated books, comics and graphic novels, as well as statues, playpark effigies and other objects. Navigating this hefty body of Gulliveriana, this book delves into topics such as transmedial storytelling and characterization, different models of authorship and collaboration, the history of form and genre, visual culture, and the commercial contexts of literary adaptation.Incredibly comprehensive and compelling, with arch and amusing observations throughout, Gulliver’s Afterlives asks how and why Gulliver and his story has endured for the past 3 centuries, and how.

The first deep dive into the cultural afterlives of Jonathan Swift's Gulliver's Travels, this book explores how the strange adventures of the 18th-century voyager have persisted over the past 300 years. Exploring sequels, spinoffs, elaborations and adaptations, among other things, Daniel Cook brings together an engaging account of how this literary classic has been reworked across different media throughout the world. Considerate of the major and unjustly neglected creators who have engaged with Travels, Gulliver's Afterlives covers: authors from Eliza Haywood to Alison Fell; poets as varied as Alexander Pope and Sylvia Plath; playwrights including David Garrick and H. J. Byron; leading graphic artists and scripters such as Martin Rowson and Alan Moore; pioneering filmmakers such as Georges M li s; and it even explores Gulliver's appearances in the science fiction franchises Star Trek and Doctor Who. Cook examines more than a hundred novels, short stories and satires, poems, plays and pantomimes, live-action and animated films and television series, games, entertainment ephemera, illustrated books, comics and graphic novels, as well as statues, playpark effigies and other objects. Navigating this hefty body of Gulliveriana, this book delves into topics such as transmedial storytelling and characterization, different models of authorship and collaboration, the history of form and genre, visual culture, and the commercial contexts of literary adaptation.Incredibly comprehensive and compelling, with arch and amusing observations throughout, Gulliver's Afterlives asks how and why Gulliver and his story has endured for the past 3 centuries, and how.

The first deep dive into the cultural afterlives of Jonathan Swift's Gulliver's Travels, this book explores how the strange adventures of the 18th-century voyager have persisted over the past 300 years. Exploring sequels, spinoffs, elaborations and adaptations, among other things, Daniel Cook brings together an engaging account of how this literary classic has been reworked across different media throughout the world. Considerate of the major and unjustly neglected creators who have engaged with Travels, Gulliver's Afterlives covers: authors from Eliza Haywood to Alison Fell; poets as varied as Alexander Pope and Sylvia Plath; playwrights including David Garrick and H. J. Byron; leading graphic artists and scripters such as Martin Rowson and Alan Moore; pioneering filmmakers such as Georges M li s; and it even explores Gulliver's appearances in the science fiction franchises Star Trek and Doctor Who. Cook examines more than a hundred novels, short stories and satires, poems, plays and pantomimes, live-action and animated films and television series, games, entertainment ephemera, illustrated books, comics and graphic novels, as well as statues, playpark effigies and other objects. Navigating this hefty body of Gulliveriana, this book delves into topics such as transmedial storytelling and characterization, different models of authorship and collaboration, the history of form and genre, visual culture, and the commercial contexts of literary adaptation.Incredibly comprehensive and compelling, with arch and amusing observations throughout, Gulliver's Afterlives asks how and why Gulliver and his story has endured for the past 3 centuries, and how.

Placing Frankenstein in the critical frameworks of book history and secondary authorship, this book explores the increasing array of book-based reworkings of, and sequels to, the novel that up to this point, have been largely ignored. Covering novels, novellas and short stories across a range of genres from romance to YA fiction, Frankenstein Retold examines a broad range of these texts in different purviews and demonstrates their own critical value as well and pertinence for understanding new approaches to literary adaptation in theory and practice more broadly. Organised thematically, the book cover topics including: filial characterisation; continuations and sequels explicitly tied to Shelley’s narrative; epistolary, journal-based, found-text and other storytelling forms; coquels set against the original material; fiction in which Shelley’s materials have been transplanted to entirely new settings, periods or genres; cameos; and the ghostly presence of the original author. A testament to the vitality of the original story more than two centuries after it first appeared, Daniel Cook explores works from a huge range of writers such as Peter Ackroyd, Jeanette Winterson, Ahmed Saadawi, Suzanne Weyne, Jon Skovron, William A. Chandler, Susan Heyboer Okeefe, Hailey Bailey, Laurie Sheck, Edward M. Erdelac, Fred Saberhagen and Kate Horsley among many others. With a large body of scholarship already exploring the rich cinematic, transmedial and cultural afterlife of Shelley’s novel, Frankenstein Retold offers a bridge between literary studies notions of book history and authorship, and media studies approaches to transmedia storytelling, between fan writing and media production histories.

Placing Frankenstein in the critical frameworks of book history and secondary authorship, this book explores the increasing array of book-based reworkings of, and sequels to, the novel that up to this point, have been largely ignored. Covering novels, novellas and short stories across a range of genres from romance to YA fiction, Frankenstein Retold examines a broad range of these texts in different purviews and demonstrates their own critical value as well and pertinence for understanding new approaches to literary adaptation in theory and practice more broadly. Organised thematically, the book cover topics including: filial characterisation; continuations and sequels explicitly tied to Shelley's narrative; epistolary, journal-based, found-text and other storytelling forms; coquels set against the original material; fiction in which Shelley's materials have been transplanted to entirely new settings, periods or genres; cameos; and the ghostly presence of the original author. A testament to the vitality of the original story more than two centuries after it first appeared, Daniel Cook explores works from a huge range of writers such as Peter Ackroyd, Jeanette Winterson, Ahmed Saadawi, Suzanne Weyne, Jon Skovron, William A. Chandler, Susan Heyboer Okeefe, Hailey Bailey, Laurie Sheck, Edward M. Erdelac, Fred Saberhagen and Kate Horsley among many others. With a large body of scholarship already exploring the rich cinematic, transmedial and cultural afterlife of Shelley's novel, Frankenstein Retold offers a bridge between literary studies notions of book history and authorship, and media studies approaches to transmedia storytelling, between fan writing and media production histories.

Placing Frankenstein in the critical frameworks of book history and secondary authorship, this book explores the increasing array of book-based reworkings of, and sequels to, the novel that up to this point, have been largely ignored. Covering novels, novellas and short stories across a range of genres from romance to YA fiction, Frankenstein Retold examines a broad range of these texts in different purviews and demonstrates their own critical value as well and pertinence for understanding new approaches to literary adaptation in theory and practice more broadly. Organised thematically, the book cover topics including: filial characterisation; continuations and sequels explicitly tied to Shelley's narrative; epistolary, journal-based, found-text and other storytelling forms; coquels set against the original material; fiction in which Shelley's materials have been transplanted to entirely new settings, periods or genres; cameos; and the ghostly presence of the original author. A testament to the vitality of the original story more than two centuries after it first appeared, Daniel Cook explores works from a huge range of writers such as Peter Ackroyd, Jeanette Winterson, Ahmed Saadawi, Suzanne Weyne, Jon Skovron, William A. Chandler, Susan Heyboer Okeefe, Hailey Bailey, Laurie Sheck, Edward M. Erdelac, Fred Saberhagen and Kate Horsley among many others. With a large body of scholarship already exploring the rich cinematic, transmedial and cultural afterlife of Shelley's novel, Frankenstein Retold offers a bridge between literary studies notions of book history and authorship, and media studies approaches to transmedia storytelling, between fan writing and media production histories.

This book is the first extensive study of seventeen works of short fiction by one of Scotland’s most influential writers of all time. It examines the author’s only collection of short stories, Chronicles of the Canongate, periodical and gift-book pieces, and interpolated tales that appeared in the novels.Through careful readings of, amongst others, the Highland stories (‘The Highland Widow’ and ‘The Two Drovers’), his Indian novella (The Surgeon’s Daughter), Gothic keepsakes (‘My Aunt Margaret’s Mirror’ and ‘The Tapestried Chamber’), and his Calabrian tale Bizarro, this book offers new insights into the production and consumption of short stories, novellas, tales, sketches and other forms of fiction in the early nineteenth century and beyond.