March 19, 2003

"Frankenstein" by Mary Shelley: This is one of those books you think you've read even though you haven't. The image of Frankenstein, the green, clumsy, stiff-legged monstrosity stitched together from scraps of cadavers and bestowed life only to revolt against its creator, has become a staple of American culture. Just try to make it through October without seeing his haunting visage, complete with neck bolts and jagged forehead scar.

Yet, oddly enough, the popular image of Frankenstein, or more accurately Frankenstein's monster, doesn't bear the slightest resemblance to the creation of Mary Shelley. Ours is the product of Hollywood and the makeup of Boris Karloff. The real Frankenstein, the one envisioned by Ms. Shelley, is not only completely different than the one most of us know, it's also vastly superior.

Victor Frankenstein was always a bright, inquisitive young man. He had a hunger for knowledge and learning. Raised in Geneva, Switzerland, he was the product of a happy home. Victor's father was a wealthy, respected man who fell in love with Victor's mother, then Miss Caroline Beaufort, as she was mourning the death of her father, a dear friend of Mr. Frankenstein. Victor was their first child. He was later followed by two brothers, Ernest and William. However, when Victor was five, the Frankensteins adopted a beautiful girl of around the same age named Elizabeth, rescuing the poor child from a life of poverty. It was the dream of Victor's mother that he and Elizabeth would one day wed. The two young people indeed share a love. They all but assure their mother of their union upon her deathbed.

Shortly after the passing of his mother, Victor goes away to school and loses himself in his studies of natural philosophy. He is particularly intrigued by the science of galvanism and the power of electricity. His work leads him to a startling discovery. He can render life. Dead matter is animated through a process of his own design. The true test would be in creating man. Victor is so engrossed in the process of discovery and achievement that he never stops to consider the possible consequences.

Two long years of toil lead to triumph. Victor conquers death. Life is born anew in the rotting corpse of his subject. The pieced-together body was built a full eight-feet tall so as to make the intricate workings easier to manipulate and study. The effect of seeing his creation stir with life is too much for the scientist to take.

Exhausted and overcome with emotion, Victor retires to his chamber to rest. Nightmarish scenes fill his mind. He awakens to find the monster standing by his bed. Victor is horrified. He flees from his apartment only to come across his good friend Henry Clerval who has just arrived for a visit. Victor's family was concerned for his health, having heard from him less and less over his time at school. Victor is relieved to see his friend. They return to the apartment, with Victor keeping the secret of his creation to himself. As Henry waits downstairs, Victor summons courage and checks his flat for the monster. Nothing. Victor's misgivings don't disappear so easily. He suffers a nervous breakdown and is bedridden with fever and delirium for months.

As Victor recovers his health, the monster is finding his way in life. The behemoth wanders the countryside learning what it means to exist, experiencing for the first time the basics of reality such as hunger, warmth, light, and darkness. Despite his best intentions, the monster is beaten and chased whenever he encounters a human. No one can see beyond his frightening countenance. He eventually finds shelter in a ramshackle hovel built alongside an isolated cabin in the wilderness. The monster keeps hidden, quietly observing the father and two children that inhabit the cabin. He learns to speak. His knowledge of the world is expanded by the readings of the son and by a satchel of books found in the woods.

And this is one of the major differences in the story. Ms. Shelley's Frankenstein educates himself and becomes a well-spoken, thoughtful creature. There isn't any grunting or moaning. He also isn't clumsy. Far from it. The monster is remarkably nimble and fleet of foot. He possesses a superhuman agility to go with his impressive strength. And the whole fear-of-fire thing is another invention of the screenwriter.

While the monster's brain is finding nourishment, his heart continues to wither. He desires to feel love. Overcoming his fear of rejection, the monster risks approaching the father of the family, who is blind. Things are going all smooth like until the kids come home and start screaming and beating the monster with sticks, which, strange as it may seem, is the same reaction I get whenever I leave the house. Heartbroken, the monster vows revenge on his dreaded creator for sentencing him to such a painful, desolate existence. Exactly how the monster plans to get his revenge, and what Victor tries to do about it, are things best left to the reader.

"Frankenstein" is an amazing book. And, as hard as it is to believe, Mary Shelley wrote it when she was only 19 years old! When I was 19 I had a paper route. How someone so young could create such a masterful work of literature is no less than stunning. There's really no word to describe it other than "genius." The concept, the vision, the execution; it's all genius.

Ms. Shelley was inspired by a contest her friends were having to see who could come up with the best ghost story. She did far more than pen a mere ghost story. Like all great literature, "Frankenstein" is a ripe field for interpretation. It can be read as a take on the evils of science versus nature. Others may relate to the story of the outsider, with the monster symbolizing all those that have felt alone and abandoned in life. Then there's also the idea of the monster representing man and Victor playing the role of God. Whether or not Ms. Shelley intended for the tale to have so many possible meanings is of little importance, all that matters is that it carries its weight so well.

Even the structure of the novel is superb. The opening of the book is presented in letters written by Robert Walton to his sister, Margaret. Walton is on a scientific pursuit of his own, leading an expedition to the North Pole in hopes of discovering the secrets of magnetism. While his ship is lodged in an ice flow waiting for the water to break, Walton's crew discovers a man stranded on a floating chunk of ice. The man is none other than Victor Frankenstein. He relates his terrifying story of the monster to Walton, who transcribes it all in his journal. More letters from Walton to his sister are used at the end to frame Victor's account of his life.

And don't think you'll be burdened with lots of scientific mumbo jumbo or lurid descriptions of scary, shadow-laden laboratories and dungeons. The actual animation of the monster is recounted in little more than one or two paragraphs. His birth, as it were, also takes place about 40 pages into the book, a little less than a quarter of its total length; proof once again that this really isn't some gothic tale of horror.

"Frankenstein" isn't a cheap thrill of a ghost story. It delves much deeper; searching for the nature of man, debating morality, and contemplating the curse of life.

RATING:

"Lose with a Smile" by Ring Lardner: With baseball season on deck, now would be a good time to consider the work of Ring Lardner, America's premier baseball writer in the 1920s and 30s.

This collection of six short stories tells of the struggles facing one young man as he attempts to make it in the big leagues with Brooklyn. Baseball is really just the backdrop, though. "Lose with a Smile" is a love story between a pitifully dumb ball player and his sweet, yet almost as dense, girl back home.

Danny Warner, straight out of little Centralia, Illinois, finds himself in an enviable position. Even though he's brash, cocky, and about as smart as a bag of rocks, Danny earns a spot on Brooklyn's major-league roster thanks to the pop in his bat. Unfortunately, Danny plays center field and Brooklyn already has the great Hack Wilson in the middle. Most rookies would be living the dream sitting on the Brooklyn bench and learning their craft from the likes of Wilson and assistant manager Casey Stengel. But does Danny know his role and shut his mouth? Nope. He wants to play, Hack Wilson or no Hack Wilson. Danny does make some plays when given the chance as a right-handed pinch-hitter, but his youthful exuberance and ignorance of the finer points of the game also cause him to make his share of mistakes.

Danny's girl, Jessie Graham, hears all about his troubles in his letters. Danny had promised to marry Jesse if he made the big team out of spring training. Well, Brooklyn doesn't like their young guys being married, so he asks Jessie if she wouldn't mind postponing things. Danny also isn't scared to tell Jessie of all the women chasing after him now that he's made the show. Yes, sir, that Danny is a bright one.

All six stories are told through the correspondence between Danny and Jessie. Danny's letters are completely devoid of punctuation. Lardner allows spelling and grammar to take a backseat to authenticity. Jessie's letters are better, but she won't be applying for her MENSA membership anytime soon.

Lardner had used the device before in his famous Busher stories, which told of a minor-league pitcher, Jack Keefe, venturing into the bigs. Although, in the Busher series there were never any responses, just letters from the pitcher to his friend Al. The stories were later collected in a volume titled "You Know Me Al."

Danny Warner and Jack Keefe, aside from the one being a hitter and the other a pitcher, are very similar in character. Both are conceited, egotistical buffoons. Danny's stupidity, and refusal to accept or even recognize advice from teammates and coaches, is funny in small doses. The end of the first story was reflected upon with a smile. The opening of the second story, and the realization that the same characters were involved and similar letters exchanged, was greeted with a defeated sigh.

The novelty of "Lose with a Smile" wears off quickly. Danny and Jessie are just too dim to generate much interest. There is some funny stuff here, with most of the good lines credited to Casey Stengel. And while I liked how Mr. Lardner integrated real life baseball players, like Stengel and Wilson, into his fiction, and there is a swell conclusion to the final story, as a whole there isn't much to bring the fans to their feet.

"Lose with a Smile" is more of an infield hit than a screaming line drive to left.

RATING: