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When I sat down to write a retelling of a book that has meant so much to me, I wasn’t sure where I wanted to start. I knew I wanted a female protagonist, but beyond that, I needed direction. I needed my questions.
I found them in Mary Shelley’s own introduction to the book. In it, she deflects focus from herself, talking about her husband, the poet Percy Bysshe Shelley, instead. “My husband,” she said, “was from the first, very anxious that I should prove myself worthy of my parentage, and enroll myself on the page of fame….At this time he desired that I should write, not so much with the idea that I could produce any thing worthy of notice, but that he might himself judge how far I possessed the promise of better things hereafter.” And then in the preface, the only part of the book written by him, Percy makes certain to note that if people knew Lord Byron was writing at the same time Frankenstein was drafted, they would certainly prefer his work.
Mary Shelley adored her husband. She kept his heart wrapped in a sheet of his poetry in her desk until she died. But that passage made me want to break something. Frankenstein wouldn’t exist without Lord Byron and Percy Shelley’s challenge—or Percy Shelley’s encouragement to Mary Shelley to keep writing. But the genius was all Mary’s.
Still, at publication, for decades after, even today, people gave all credit to the men around her. After all, how could a girl—a teenage girl—accomplish something so great?
So my questions began to take shape. How much of who we are is shaped by those around us? What happens when everything we are depends on someone else? And, as always: Where are the girls? Even Mary’s wild and expansive imagination could not put a girl at the forefront of this story. They’re relegated to the background, mere caricatures. And that was where I found my story. With a girl given to a boy as a gift. With a girl whose whole life revolves around the brilliant boy she loves. With a girl who inadvertently helps create a monster.
With a teenage girl, because, as Mary Shelley proved, nothing is more brilliant or terrifying than that.
ACKNOWLEDGMENTS
First and foremost, thanks go to Mary Wollstonecraft Shelley, whose stunning imagination continues to inspire countless stories, including this one. Thank you for being a badass goth genius and showing those poets what a real scary story is. You changed the shape of fiction forever.
Special thanks go to my own badass geniuses, Wendy Loggia and Beverly Horowitz, for asking if I would like to write a Frankenstein retelling. The answer, obviously, was yes. I’m so grateful you two prompted me to discover Elizabeth and her story.
Thank you as well to everyone at Delacorte Press and Random House, particularly Audrey Ingerson for her editorial help, Colleen Fellingham for gently reminding me how much I need a copy editor, and Aisha Cloud, my sublime publicist.
For Regina Flath and her design team, tremendous gratitude and awe. I am astonished by your creativity and ability to dream up a concept and make it into a gorgeous and unnerving cover.
Michelle Wolfson remains my ever-capable and steadfast agent, guiding my career and finding opportunities for me, even when the books are too scary for her. Sorry, Michelle. We both know I’m not getting any less creepy.
The drafting of this book would not have been possible without Natalie Whipple redirecting me, Jon Skovron being my resident Frankenstein expert, and Stephanie Perkins reading each version and helping me craft my own lovely monster. I love you all.
To Lord Byron and Percy Shelley, thanks for being insufferable and thinking there was no way Mary could write something better than you two could. Joke’s on you.
Thank you to Noah for being the foundation of my life, my sounding board, my support, my partner. And finally, to my beautiful children, thank you for sharing me these long months with all the monsters I had to bring to life. You’re still my greatest creations.
Blue Lily
KIERSTEN WHITE is the New York Times bestselling author of the And I Darken and Paranormalcy series, Slayer, The Dark Descent of Elizabeth Frankenstein, and many more novels. She lives with her family near the ocean in San Diego, which, in spite of its perfection, spurs her to dream of faraway places and even further-away times.
kierstenwhite.com
@kierstenwhite
TEACHER GUIDE, ARRANGED BY THEME
The following questions are arranged by theme and may be used as writing prompts or as questions for class discussion and reflection.
IDENTITY
Elizabeth’s past is often juxtaposed with her present through flashbacks to childhood moments. What effect does her childhood have on her current conflicts and circumstances?
Elizabeth notes that Victor’s mother “present[ed her] to Victor as his special gift” (this page). Why does she accept being gifted to this stranger? What does this reveal about Elizabeth’s character? How does this affect the development of Elizabeth’s identity? How might it affect her future?
When Victor is killing a deer, Elizabeth stands by and watches without trying to stop him. She then takes in the scene and says,“Red leaves. Red knife. Red hands. But white dresses always” (this page). What does this reveal about the relationship between Victor and Elizabeth? What is the understanding between them? Why does Victor always want Elizabeth to wear white, and why does she mention this in this particular flashback? What else might Elizabeth be trying to show about the way Victor wants to see her? Does she create her identity to please him?
After Henry proposes, Elizabeth is conflicted about how she would behave as his potential wife, saying, “Who I truly was remained a mystery even to me” (this page). What does Elizabeth mean by this? Who is Elizabeth Lavenza?
As Elizabeth realizes she cannot save Justine, she laments, “I would lose my Justine for nothing. Would lose the one person I had tried to save in the midst of a life spent selfishly trying to make certain I stayed safe myself. The one person I love because she made me happy, rather than because my security depended on her” (this page). How does this showcase a shift in Elizabeth’s character? Why is she so affected by the death of Justine and her inability to prevent it?
As she is developing her plan to help Victor, Elizabeth says that “in helping to destroy the monster, I would no longer be able to feign innocence, and [Victor] could no longer deny the truth. Once it was dead, Victor would have nothing further to hide from me….We would only have each other….I yearned for the freedom I anticipated….Freedom from the fear of having nothing” (this page). Is this the reason Elizabeth wants so badly to aid in the destruction the monster? Does Elizabeth truly desire the truth? Once the truth is shared between Elizabeth and Victor, will this provide her freedom? How is she de
fining freedom? Is this really what freedom means?
During her stay at the asylum, Elizabeth ponders, “Who was I when I was not performing for someone else?” (this page) and continues to share that “It was so hard, sorting through what was left of me when I cut off the parts that existed for others” (this page). What is Elizabeth realizing about herself when she is in this forced isolation? Why is it that she feels she does not understand herself, and that is this her fault? What is left of Elizabeth once she removes those pieces of herself that “existed for others”?
