If Frankenstein is the centre of this gothic spiderweb we are clumsily weaving with this podcast I would be remiss in not exploring Shelley’s other texts. Particularly one of her other explorations of mortality, the 1833 short story, The Mortal Immortal. This story sees a much more mature Shelley, plagued by death and loss. She had outlived her friend Byron, her husband Percy, her half-sister Fanny, her three children William, Clara and an unnamed girl, her brother William the younger and she still felt the loss of the mother she had never known. Since Percy’s death, she had not remarried despite a number of guys showing a distinct interest. Perhaps she related to the lonely immortal wanderer of this story.
We are back with Agrippa again, actually literally with Agrippa. Through the eyes of Victor Frankenstein, we learn the profound effect that Agrippa’s quest for the elixir of life had on the young doctor a couple of hundred years later. In The Mortal Immortal, we find out what happens when we actually drink the elixir of life.
A young student of Agrippa who we only know as Winzy is our narrator. In the opening of this epistolary narrative Wizy records in his journal that it is July 16th 1833, so the year of publication. It is in the opening that Wizy also tells us that he is 323 years of age.
The story deals with the reality of what it would be like to not only rob another person of their immortality but to never grow old and to watch everyone you know actively age around you. I feel quite sorry for Winzy’s wife Bertha who is painted as shrewish as she gets older.
I kind of like to think of Mary Shelley’s texts existing in the same unique universe. If only the Mortal Immortal had crossed paths with Victor before he embarked on his horrific project, maybe he would have ceased his quest before he even started.
Who knows The Mortal Immortal could still be wandering the globe looking for perfect painless death…
Our featured podcast promo is 33% Pulp and they have a Flash fiction competition running at the moment, so go enter that!
Oscar Wilde is one of the greatest literary icons, from his poetry to his plays, his essays to his novels and everything in between. Oscar Wilde oozes charisma and charm, he delights and entertains, but just below the surface, there is a deep sadness and sorrow.
His life has been documented in great detail and I will not be able to go into his life in the depths that many others have. Similar to my summary of Mary Shelley’s life it will be an overview of his life and the impact of his works rather than a deep dive.
Oscar Fingal O’Flahertie Wills Wilde was born on the 16th October 1854 in Dublin. Similar to Shelley he grew up around theorists, academics and writers. His mother, Jane Wilde, was an Irish patriot and his father, William Wilde was an esteemed surgeon with at best a scandalous and at worst a darkly criminal sexual past. During his Dublin and Oxford years, he became a classicist of some note and was there at the beginning of the popularisation of aestheticism lead by Walter Paton and John Ruskin. There is a lot to unpack when talking about the emergence of the philosophy of aestheticism so I won’t go into that.
Wilde is perceived to be part of the transition between Romanticism and Modernism.
Wilde is modern in the sense that he breaks apart the Victorian and Romantic idealism using wit and witticism. Like Mary Shelley, Wilde stitches together bits of preceding literature, mythology and academic theory and fashions these disparate parts into something that is at once new exciting and familiar on a deep subconscious level. His work deals in Doppelgangers and duality, both in style and in the characters he creates.
The guiding principle of the aestheticism that Wilde would be renowned for is Art for Art’s sake which was proposed by Gautier. This ideology allowed Wilde to interact with the budding consumerism of the late Victorian period effectively gaining sponsorship for wearing the bohemian he was renowned for. As his plays Salome, Lady Windermere’s Fan, An Ideal Husband and the Importance of Being Earnest became both popular and critically acclaimed he achieved a celebrity status which would be a key factor in his devastating fall from grace.
Wilde had quite a number of girlfriend’s before he married Constance Lloyd, they had two children together and Wilde is commonly thought to have been a devoted father, and potentially even a good husband. He was a poet, essayist, novelist and playwright, he also held a position as editor of Lady’s World during which he strongly advocated for dress reform. It cannot be emphasized how key dress reform was in the early days of feminism. It allowed women to forgo the corsets and prohibitive crinoline hoops for clothing that allowed them to move freely and didn’t cause the dramatic health issues of the earlier period of Victorian dress. Whilst it is thought he only took the position as a means of regular income as freelance writing was not covering Wilde’s somewhat lavish lifestyle, he certainly was a force for good and progressive voice advocating for female independence. I’ve written a little about the dress reform movement before so here’s the link to that.
There was a sort of Social doubling happening in the England into which Wilde released The Picture of Dorian Gray published in 1890. Being openly gay was not considered as immoral as we might think, looking back on the repression of the Victorian era. Oscar Wilde was among the men who maintained a heteronormative family life whilst also engaging in homosexual relationships that were not so much hidden as relatively unspoken of outside of those social spheres. But the tides were changing and a law had been passed that would allow gay men to prosecuted under gross indecency laws. These laws weren’t really taken very seriously but all that was about to change.
It was during this time that our Protagonist met Lord Alfred Bosie who regularly frequented sex workers and brought out a particularly indulgent and decadent side in Wilde.
It was Bosie’s father who sent the inflammatory and misspelt note to Wilde saying that he was “posing as a somdomite” yes… somdomite. Which was the genesis of what was to be an almost complete social rejection of Wilde.
Wilde, encouraged by Bosie, sued Bosie’s father the hyper-masculine Marquess of Queensbury for liable. This move backfired dramatically with the suit for liable being dismissed and Wilde was arrested for gross indecency.
Here is a passage describing the events leading to the trial from the Trials of Oscar Wilde, please bear in mind when reading this that it was published in 1906 and there is a fair amount of insulting language directed at Wilde and homosexuality in general. Obviously, I am not okay with this kind of attitude and bigotry, but this will give you a bit of an insight into how Wilde’s reputation would be damaged for decades and decades:
He was addicted to the vice and crime of sodomy long before he formed a “friendship” which was destined to involve him in irretrievable ruin. In London, he met a younger son of the eccentric Marquis of Queensbury, Lord Alfred Douglas by name. This youth was being educated at [Pg 8]Cambridge. He was of peculiar temperament and talented in a strong, frothy style. He was good-looking in an effeminate, lady-like way. He wrote verse. His poems not being of a manner which could be acceptable to a self-respecting publication, his efforts appeared in an eccentric and erratic magazine which was called “The Chameleon.” In this precious serial appeared a “poem” from the pen of Lord Alfred dedicated to his father in these filial words: “To the Man I Hate.”
Oscar Wilde at once developed an extraordinary and dangerous interest in this immature literary egg. A being of his own stamp, after his own heart, was Lord Alfred Douglas. The love of women delighted him not. The possession of a young girl’s person had no charm for him. He yearned for higher flights in the realms of love! He sought unnatural affection. Wilde, experienced in all the symptoms of a disordered sexual fancy, contrived to exercise a remarkable and sinister influence over this youth. Again and again and again did his father implore Lord Alfred Douglas to separate himself from the tempter. Lord Queensberry threatened, persuaded, bribed, urged, cajoled: all to no purpose. Wilde and his son were constantly together. The nature of their friendship became the talk of the [Pg 9]town. It was proclaimed from the housetops. The Marquis, determined to rescue him if it were humanly possible, horsewhipped his son in a public thoroughfare and was threatened with a summons for assault. On one occasion—it was the opening night of one of the Wilde plays—he sent the author a bouquet of choice—vegetables! Three or four times he wrote to him begging him to cancel his friendship with Lord Alfred. Once he called at the house in Tite Street and there was a terrible scene. The Marquis fumed; Wilde laughed. He assured his Lordship that only at his son’s own request would he break off the association which existed between them. The Marquis, driven to desperation, called Wilde a disgusting name. The latter, with a show of wrath, ordered the peer from his door and he was obliged to leave.
At all costs and hazards, at the risk of any pain and grief to himself, Lord Queensberry was determined to break off the disgraceful liaison. He stopped his son’s allowance, but Wilde had, at that time, plenty of money and his purse was his friend’s. At last the father went to the length of leaving an insulting message for Oscar Wilde at that gentleman’s club. He called there and asked for Wilde. The clerk at the enquiry office stated that Mr. Wilde was[Pg 10] not on the premises. The Marquis then produced a card and wrote upon it in pencil these words, “Oscar Wilde is a Bugger.” This elegant missive he directed to be handed to the author when he should next appear at the club.
From this card—Lord Queensberry’s last resource—grew the whole great case, which amazed and horrified the world in 1895. Oscar Wilde was compelled, however reluctantly, to take the matter up. Had he remained quiescent under such a public affront, his career in England would have been at an end. He bowed to the inevitable and a libel action was prepared.
One is often compelled to wonder if he foresaw the outcome. One asks oneself if he realized what defeat in this case would portend. The stakes were desperately high. He risked, in a Court of Law, his reputation, his position, his career and even his freedom. Did he know what the end to it all would be?
Whatever Wilde’s fears and expectations were, his opponent did not under-estimate the importance of the issue. If he could not induce a jury of twelve of his fellow-countrymen to believe that the plaintiff was what he had termed him, he, the Marquis of Queensberry, would be himself [Pg 11]disgraced. Furthermore, there would, in the event of failure, be heavy damages to pay and the poor man was not over rich. Wilde had many and powerful friends. For reasons which it is not necessary to enlarge upon, Lord Queensberry was not liked or respected by his own order. The ultimate knowledge that he was a father striving to save a loved son from infamy changed all that, and his Lordship met with nothing but sympathy from the general public in the latter stages of the great case.
Sir Edward Clarke was retained for the plaintiff. It is needless to refer to the high estimation in which this legal and political luminary is held by all classes of society. From first to last he devoted himself to the lost cause of Oscar Wilde with a whole-hearted devotion which was beyond praise. The upshot of the libel action must have pained and disgusted him; yet he refused to abandon his client, and, in the two criminal trials, defended him with a splendid loyalty and with the marked ability that might be expected from such a counsel. The acute, energetic, silver-spoken Mr. Carson led on the other side. It is not necessary to make more than passing mention of the conspicuous skill with which the able lawyer conducted the case for the [Pg 12]defendant. Even the gifted plaintiff himself cut a sorry figure when opposed to Mr. Carson.
Extraordinary interest was displayed in the action; and the courts were besieged on each day that the trial lasted. Remarkable revelations were expected and they were indeed forthcoming. Enormous pains had been taken to provide a strong defence and it was quite clear almost after the first day that Wilde’s case would infallibly break down. He made some astonishing admissions in the witness-box and even disgusted many of his friends by the flippancy and affected unconcern of his replies to questions of the most damaging nature. He, apparently, saw nothing indecorous in facts which must shock any other than the most depraved. He saw nothing disgusting in friendships of a kind to which only one construction could be put. He gave expensive dinners to ex-barmen and the like: ignorant, brutish young fools—because they amused him! He presented youths of questionable moral character with silver cigarette-cases because their society was pleasant! He took young men to share his bedroom at hotels and saw nothing remarkable in such proceedings. He gave sums of thirty pounds to ill-bred youths—accomplished blackmailers—because they were hard-up and he felt they [Pg 13]did not deserve poverty! He assisted other young men of a character equally undesirable, to go to America and received letters from them in which they addressed him as “Dear Oscar,” and sent him their love. In short, his own statements damned him. Out of his own mouth—and he posing all the time—was he convicted. The case could have but one ending. Sir Edward Clarke—pained, surprised, shocked—consented to a verdict for the Marquis of Queensberry and the great libel case was at an end. The defendant left the court proudly erect, conscious that he had been the means of saving his son and of eradicating from society a canker which had been rotting it unnoticed, except by a few, for a very long time. Oscar Wilde left the court a ruined and despised man. People—there were one or two left who were loyal to him—turned aside from him with loathing. He had nodded to six or seven friends in court on the last day of the trial and turned ashen pale when he observed their averted looks. All was over for him. The little supper-parties with a few choice wits; the glorious intoxication of first-night applause; the orgies in the infamous dens of his boon companions—all these were no more for him. Oscar Wilde, bon vivant, man of letters, arbiter[Pg 14] of literary fashion, stood at the bar of public opinion, a wretch guilty of crimes against which the body recoils and the mind revolts. Oh! what a falling-off was there!
Witnesses came forward, Wilde’s letters to Bosie were read aloud and Wilde’s sex life was dragged into the courtroom and paraded around for all to see.
Despite all this, Oscar Wilde sat poised in the witness box and even managed to elicit laughter. Playfully taunting the Prosecution Mr Gill. I highly recommend reading the transcripts on Project Gutenberg, who by the way I am not sponsored by, by the way, because the entire thing relies on volunteers and it is amazing and you should go to gutenberg.org right now.
Despite Wilde’s wit, he was unable to appeal sufficiently to the jury.
He was found guilty and sent to gaol.
That night there was an exodus of 6 hundred single, thought to be gay, men fled England for Paris.
Oscar Wilde was imprisoned from 1895 to 1897, During which time he wrote a letter to Bosie which was published as De Profundis.
He died 3 years after his release on the 30th November 1900 in Paris. The cause may have been syphilis, but most likely it seems to that is was meningitis. His accuser The Marquess of Queensbury died earlier that year from syphilis, Bosie would survive a further 45 years.
There is a pivotal player in this story that is frequently overlooked and underestimated and we are going to spend a bit of time getting to know Constance Wilde. The woman who was as much a victim of the scandal that was to follow and her very deep suffering is often a mere footnote in the story both in its earlier incarnation as a scandalous tale of debauchery and our contemporary understanding of the story as one of sexual freedom versus Victorian repression.
“So sweet, so pretty and good, how came she by her outrageously intellectual husband? It was impossible not to predict suffering for a woman so domestic and simple mated with a mind so searching and so perverse, and a character so self-indulgent.” – Richard Le Gallienne.
This quote doesn’t do the brilliant woman justice
Constance Lloyd was also born in Ireland in 1859, she was an acclaimed writer of children’s stories and this legacy is almost entirely eclipsed by the looming shadow of Oscar.
There is speculation that maybe she delighted in her family’s disapproval of her choice in husband. There appears to be a meeting of minds, particularly in their early relationship with Constance embracing the dress reform movement and softer, more practical wear for women as a form of female independence. Constance is not the shy retiring woman at home that history wants to paint her as. While it is true that she was steadfast and supportive of Oscar, even when it seemed like he was ignorant and indifferent to her suffering. But this support and strength in the face of scandal and censure paint the picture of a woman whose strength of character is quite phenomenal. She had to flee England with her two children in a kind of exile to shelter her young family from aggressive societal disgrace. They changed their name to Holland and she tried to sustain a relationship with Wilde, visiting him in prison and kept a dialogue going between the father and his children. She died, possibly from spinal damage caused by a fall and possibly from syphilis contracted from her husband in 1898, in Italy.
There is a nude, pregnant statue of Constance in Merion Dublin.
The moral of the Story? Can there be a moral to this story? Or is it like any one of Wilde’s fictions that defies a moral. No one can know enough about the life of another person to provide a satisfactory moral conclusion.
If it was syphilis that claimed Wilde, then perhaps we could draw a moral conclusion about a life of decadence, but we will never know. If Constance had been rewarded for her strength and loyalty then we could claim a moral about the strength of spirit, but there is no clear reward for our heroine, in fact, it is her ‘goodness’ that leads to tragedy. Bosie outlived them all despite being the somewhat amoral catalyst of the Wilde’s undoing.
The Picture of Dorian Gray has a moralistic end but not moralistic intentions. He finalized his stories with a moral finish, tying up the ends in or to provide closure and satisfaction, but not to provide a morality or judgement. We get a satisfactory conclusion, which is more than can be said of the tragic story of Oscar Wilde.
Here is an excerpt from De Profundis, his extended letter to Bosie, which he wrote while serving his sentence for gross indecency to take us out. I’ll see you soon.
I was a man who stood in symbolic relations to the art and culture of my age. I had realised this for myself at the very dawn of my manhood, and had forced my age to realise it afterwards. Few men hold such a position in their own lifetime, and have it so acknowledged. It is usually discerned, if discerned at all, by the historian, or the critic, long after both the man and his age have passed away. With me it was different. I felt it myself, and made others feel it. Byron was a symbolic figure, but his relations were to the passion of his age and its weariness of passion. Mine were to something more noble, more permanent, of more vital issue, of larger scope.
The gods had given me almost everything. But I let myself be lured into long spells of senseless and sensual ease. I amused myself with being a flâneur, a dandy, a man of fashion. I surrounded myself with the smaller natures and the meaner minds. I became the spendthrift of my own genius, and to waste an eternal youth gave me a curious joy. Tired of being on the heights, I deliberately went to the depths in the search for new sensation. What the paradox was to me in the sphere of thought, perversity became to me in the sphere of passion. Desire, at the end, was a malady, or a madness, or both. I grew careless of the lives of others. I took pleasure where it pleased me, and passed on. I forgot that every little action of the common day makes or unmakes character, and that therefore what one has done in the secret chamber one has some day to cry aloud on the housetop. I ceased to be lord over myself. I was no longer the captain of my soul, and did not know it. I allowed pleasure to dominate me. I ended in horrible disgrace. There is only one thing for me now, absolute humility.
For a great account of Constance Wilde’s life check out Constance: The Tragic and Scandalous Life of Mrs Oscar Wilde by Franny Moyle
Meet Basil Hallward, he enjoys painting on hilltops and painting in his studio. He just really likes painting and Dorian. Basil exudes warmth in the same way that Lord Henry can chill a person to the bone. Until Dorian came along, we get a distinct impression that Basil had friendships, but none that he was particularly invested in, to the point where they would interfere with his art. Then came Dorian Gray who became his art, and consequently his ruin.
It seems that Basil would love to be motivated by art for art’s sake and beauty for beauty’s sake, but something has gone terribly awry for the painter who wished to hold up the mirror to the world and has instead found his own reflection front and centre in his work. Henry is quick to point out that Basil is not as good looking as Dorian, and he is right, but the artist’s concern that he has painted himself into the picture has more depth than Henry seems capable of fathoming. It is Basil’s desire for Dorian and his utter worship, obsession and dependence upon him that Basil sees as he looks at the picture. It is these factors that motivate Basil at the beginning of the novel. However, as Dorian’s innocence and purity diminish, his hold on Basil appears to lessen somewhat and it is his old the desire to display his art that forms part of the events that will lead to his death.
Basil as the Victim
Every gothic tale needs a victim, and Dorian Gray has many.
Why does Dorian kill Basil? Is it because he is tired of keeping his secret? Do Basil’s horror and revulsion of the painting in its new monstrous form provoke his wrath? Or is it the simplest of all the answers, Basil is a threat to the painting, therefore Basil must be destroyed.
But why show Basil the painting at all? Yes, his constant questions were getting annoying, but surely Dorian could have said he destroyed it or it got damaged. I always got the impression that the murder of Basil was premeditated to an extent. Dorian was alert to the possibility when he walked his friend to the room where the painting lay. He may have acted on impulse, but he was acutely aware of that impulse and the ability to make good on it beforehand.
Why does Wilde kill Basil?
Basil is the last vestige of Dorian pre-Henry. Basil as the person who opened the door to vanity, left it open for corruption and Dorian blames him for that. Basil represents the last of Dorian’s virtue, and he must be destroyed for Wilde’s novel to begin the final stage of the narrative; the complete downfall of Mr Dorian Gray.
Basil in happier times:
“You know we poor artists have to show ourselves in society from time to time, just to remind the public that we are not savages. With an evening coat and a white tie, as you told me once, anybody, even a stock-broker, can gain a reputation for being civilized.”
Whilst I know that I am largely doing this for my own benefit as our listenership is far from large I want to plot our meandering, rambling and somewhat overgrown path through the gothic, mystery and noir genres.
At this stage, there will be a new book/movie comparison with both Brent and I (Morgan) on the 13th of each month. Every Saturday that I can I will release a new mini (or not so mini) episode. These extra episodes offer extra information on the texts we are discussing and other topics that relate to Frankenstein and the Gothic genre.
At the moment I’m busy writing and recording the last of our Oscar Wilde episodes for the time being. Oscar Wilde has a unique place in the Gothic canon that we will probably revisit, but I think there are about 4-5 episodes in total featuring Mr. Wilde in this chunk of releases, with our second proper episode Decorative Sex 🌺 – The Picture of Dorian Gray due for release on the 13th of February. Once those are done our major focus will turn to more bloodthirsty creatures.
Our Frankenstein episodes are far from done. They will be peppered throughout the run of the podcast through perpetuity. I don’t think I’ll ever be able to say the final word on Frankenstein, but I promise I’ll try to keep the additional episodes fresh and relevant.
As for our brief foray into true crime with The Body Snatchers, there will be a couple of crime and history related podcasts, but they will usually be collaborations and they will also be linked to a Gothic, mystery of noir text.
At the moment we are firmly entrenched in the 19th century legacy in the Gothic canon. We’ll probably be in this territory for a while, however, some of this may link directly with contemporary Gothic fiction. We want to explore a few more creatures of the monstrous kind before we delve into the world of the genius detective and the hostile city.
I’m banking up readings of gothic short stories as my life is going to get very busy again as I go back to uni. Hopefully, my readings aren’t too awful.
We’ve been lucky enough to collaborate with some lovely people and podcasts. At this stage, there are 3 released collaborations:
We try to trace a line from a from our topic to Frankenstein and Gothic literature. This week it’s pretty simple. The gothic preoccupation with death and confronting the gruesome fate of the body after death is explored in a wide variety of texts vampire and zombie fiction explores ideas of the undead, corpses that come back to prey on the living and ghosts and spectres present a more ethereal threat which occurs when the soul or spirit is separated from the physical body at death. Relating our topic to Frankenstein is even simpler; How did Frankenstein get his corpses?
We’re going to talk about body snatchers, grave robbers and the Resurrectionists today. This post will have information from my research, for Courtney’s research I would highly recommend listening to the episode.
Courtney hosts a podcast with her best friend Ashley called The Cult of Domesticity. They explore intriguing, disturbing and entertaining stories of true crime, disaster and history.
Body Snatchers – A 19th-century Origin Story
In the early 1800s, surgery and anatomical study were flourishing. Hundreds of young doctors studied diligently in medical schools, and many I dare say substantially less diligently. Theoretical knowledge of what squidgy bit did what and which bits to cut was all well and good, but what they really `needed to hone their skills was an actual human body to dissect.
Today cadavers are often donors who give their bodies to science. But the people Regency and Victorian England were quite a bit more religious and superstitious. Donations were not forthcoming.
The only legitimate source of cadavers was from the gallows. Criminals sentenced to death would be sent to medical schools as subjects.
This had some drawbacks. For a start, all of the subjects died from the same cause. Second, the bodies had to be dissected very quickly as preservation techniques were pretty much non-existent. Third this influx of cadavers was not nearly enough to keep all the schools supplied.
As tends to happen when something is in high demand and heavily regulated, a black market sprung up to fill the need. Grave Robbers, Body Snatchers, The Resurrectionists, whatever you call them, they began making a tidy profit from digging up fresh graves and selling the cadavers to medical institutions and schools.
The need for fresh cadavers meant that thieves would often hover just out of sight while the funeral was still in progress.
Grieving families started alarming their loved one’s graves, or keeping vigil until the cadaver was useless to the body snatchers.
In summer medical schools undertook fewer dissections because the heat made it harder to store bodies. A fresh cadaver could fetch 8 pounds. In winter the schools conducted way more dissections so demand was higher and you could get 10 pounds a corpse. That is about one thousand American dollars and one thousand and two hundred Australian dollars at the time of recording.
But Robbing Graves was becoming a high-risk venture, and before long people started resorting to other means for obtaining a fresh corpse.
In England The anatomist William Harvey who was famous for discovering the circulatory system dissected his father and sister after their death. The London Burkers killed three boys and attempted to sell them to an anatomist who blew the whistle on them. At least one of the trio claimed to have robbed between 500- 1000 graves.
And in Edinburgh Scotland Burke and Hare had a system.
Scotland’s Fresh Cadaver Delivery Service
It all started in 1827 when a lodger called Donald died in the boarding house Hare ran. Having heard there was money to be made in selling fresh corpses they brought the guy from upstairs to a guy called Doctor Robert Knox who needed a supply of bodies for his anatomy lectures. Hare rationalized this by reminding himself and Burke that Donald owed him four pounds in unpaid rent.
Knox paid them seven pounds and 10 shillings. This was no small amount. And bolstered by the windfall they went back to their jobs.
When another lodger called Joseph contracted some sort of fever Hare became concerned she might deter lodgers.
So he called over his mate burke and they suffocated him with a pillow and sold his body to Knox.
The next victim is an unnamed Englishman selling tinder and matches who fell ill with jaundice while staying at the boarding house.
They developed a new method that they would use for most of the subsequent victims. Hare smothered the man’s face with his hand and Burke lay on top of him to prevent him from moving and flailing around noisily. Again Hare said he did it, for the good of this business…. Because you know the non-contagious condition of jaundice might scare away customers. In no way was it motivated by the 10 pounds they got for from Knox.
Abigail Simpson possibly next, accounts differ. She was a pensioner, who also sold salt and was travelling from the village of Gilmerton. They got her drunk and shoved her in a tea chest and sold her to Knox.
Maybe a month later Hare’s wife lured in an old lady and got her so drunk she passed out, Hare then covered her mouth and nose with a mattress cover and left her to slowly suffocate. Again Knox took the body, no questions asked.
It was then Burke’s turn to lure Janet Brown and Mary Paterson with alcohol. They went on a bender together, eventually ending up at Burke’s brother’s house. His Brother went to work and Mary Paterson passed out. That left Janet Brown and Burke up talking when Burke’s girlfriend Helen McDougal burst in accusing Burke of cheating on her. Both women left, angry with Burke leaving Mary Paterson passed out. Alone.
Her friend Janet would later be told she ran off to Glasgow with a salesman.
Burke rushed out and grabbed his buddy, Hare. They went back to the house, Mary was still asleep. They suffocated her, and shoved her in the same tea chest as Abigail Simpson, selling her to Knox and keeping her petticoats for Helen, Burke’s girlfriend.
Knox was delighted as the corpse was still warm.
People were going missing, and their relatives began to look for them. Mrs Haldane, who was smothered in an intoxicated slumber, had a daughter possibly called Peggy who came looking for her.
Burke listened to her story and they got talking., talking turned to drinking. Burke killed her without assistance for the first time, then shoved her in the tea chest and collected his 8 pounds.
There are 16 murders in total to get through. Including a range of unnamed intoxicated lodgers, a homeless salvager called Effy and even a visiting relative of Helen’s called Ann.
The tea chest got a lot of use and all the while Dr. Knox is not bothered by any of this.
At this point, Hare’s wife Margaret Hare suggests to her husband that they should kill Helen because she was “Scotch”. The Hares and Burke were Irish. Thankfully he refused.
Their second last victim was unfortunately known as Daft Jimmy. Daft Jimmy preferred snuff to alcohol. So their usual trick just didn’t work. He fought back. But the murderers prevailed.
However, Daft Jimmy was a familiar face on the streets of London, and Knox’s students recognised him at the initial inspection. So Knox presented Jimmy’s cadaver headless and without feet.
Other lodgers made the final murder very difficult for Burke and Hare.
The murder of Michelle Doherty was supposed to take place at the Broggan boarding house. Trusting a fellow person from Ireland she drank with the Hares. Everything went wrong. Fellow lodgers, Ann and James Gray, were so obstructive that they paid for them to stay at Hare’s lodging house. The Gray’s were witnesses to the drinking party and the next morning they came back and discovered the body in a pile of straw.
The police were called.
The two were arrested.
Hare turned state’s witness and after the trial, he disappeared into the night. Margaret also turns states evidence
Helen and Margaret upon their separate releases were chased by mobs… I cannot believe Margaret and William Hare got off pretty much scot-free3.
Knox the doctor who …totally knew what was going on was found entirely without fault which was crazy, and that was because Burke said Knox knew nothing about it.
“docter Knox never incoreged him neither taught or incoregd him to murder any person”.
William Burke was found guilty sentenced to death and was hanged on the 28th of January 1829 in front of a crowd of over 20,000 people.
His body was sent for public dissection and students fought for tickets.
Professor Monro lead the dissection and dramatically dipped a quill in Burke’s blood
and wrote “This is written with the blood of Wm Burke, who was hanged at Edinburgh. This blood was taken from his head”
His death mask and a book supposedly bound with HIS TANNED SKIN are on display in the Surgeon’s Hall museum…
His skeleton on display at Edinburgh Medical School.
So that’s the story of William Burke and William Hare.
Up the close and doon the stair, But and ben’ wi’ Burke and Hare. Burke’s the butcher, Hare’s the thief, Knox the boy that buys the beef. — 19th century Edinburgh rhyme
Thank you to Courtney from Cult of Domesticity for joining me and contributing so much to the conversation!
This is our pilot episode in which Brent and I stumble through the disparate plot points of the 1818 gothic novel Frankenstein or the Modern day Prometheus by Mary Shelley and the 1931 movie Frankenstein directed by James Whale and adapted by James L. Balderston.
The differences between the novel and the movie are so numerous that listing them in detail would take forever.
But here are the 10 most notable differences we touched on in our podcast.
10 Differences Between the Book and the Movie of Frankenstein
1. Victor vs. Henry
The 1931 movie changes the name of Doctor Frankenstein from Victor to Henry. Maybe in an effort to make him more appealing? They take other steps to redeem the mad scientist, Fritz, for example, is the manifestation of some of the traits that don’t make the transition from the Victor of the book to Henry of the film. Because he is animating his creature somewhat in the open in the film he doesn’t need to be as duplicitous as he is in the novel. He also doesn’t sully his hands with a lot of the more gruesome aspects of the creation of his creature and is thus, more acceptable, maybe?
He is, of course, still an awful human being.
2. The Creature vs. The Monster
The movie denies the Creature a voice and denies his the ability to be perceived as an innocent. Whilst the Creature of the novel is depicted sympathetically, with the capacity to learn and love, the Monster of the film still shows some of that potential but as he has no voice and basically no time to develop in any way. The space and time afforded to the creature through his solitude is key to the relatability of Frankenstein’s creation in Shelley’s novel. But James Whale didn’t have the luxury of a whole novel to develop his Monster’s character, but you can see the humanity of Boris Karloff’s bumbling creature in his confusion, fear and desire to understand and explore the world around him.
3. The Fritz Situation
Fritz is the vehicle for all that is distasteful in the creation process. His absence in the novel means that Victor is reliant on his own resources. He also has a bitter and morose internal monologue that would have not translated to screen. An assistant allows him to neatly offload scientific exposition, with the added feature that Fritz is a dislikeable low stakes person for the monster’s first kill.
4. Bad Brains
The movie gives us the brain mix up as an easy out to the dilemma that Shelley sets up… to what extent does Frankenstein harbour responsibility for his creatures actions, and to what extent are the frightened humans of the story culpable for what the creature becomes? If we are to believe that a criminal brain is only capable of criminality as posited by Doctor Waldman then surely the monster was only capable of dangerous or criminal behaviour. In one neat action, Fritz dropping the brain gives us a scapegoat and an excuse for dispatching a creature that is problematic.
Elizabeth still has a limited presence in the film, in the novel she is both an object to be desired and a person Victor can project his mother issues onto. In the movie, however, she is denied even that level of depth. Although Frankenstein does seem to value her more highly than his friend (Victor in the film, Henry in the novel) which is more than I can say for Victor’s respect for her in the novel. Mary Shelley is not unsympathetic to Elizabeth, she advocates for the innocent Justine, despite how deeply affected she is by William’s death. She is loyal, compassionate, intelligent and courageous, all of which seems to be lost on Victor.
6. The Crimes of the Creature
It takes the creature months to kill someone and a lot of awful things have happened to him, pushing him to the edge. The movie has the Creature killing Fritz within the first day of his existence, then Dr Waldman and then little Maria (the girl whose dad left her by the lake with a cat that is very clearly dead as her companion. There is also a slew of violent attacks including his weird predatory attack on Elizabeth and culminating in his attempt destroy his creator. He is painted as violent, but that violence springs from fear rather than hatred. The novel has the space to complicate and problematize the Creature’s crimes further. His first crime is arson as he attempts to gain some impotent vengeance on the DeLacy family who rejected him, this is the point at which the Creature snaps. From here on he carries out the brutal murder of little William Frankenstein, frames the unfortunate and noble Justine and fixates on bringing about a kind of exquisite suffering on Victor. There is a moment of hope, in which the Creature reaches out to Victor to end his isolation and lessen his suffering. He asks for a companion, why he thinks that introducing another creature to the level of suffering he experiences seems like a reasonable thing to him is one of the most unreasonable and illogical expectations the Creature has. But the destruction of his bride breaks this fraught truce and the Creature then kills those closest to Victor, his best friend Henry and his wife Elizabeth. This is his final crime, although Victor will attempt to blame the death of his father and his own suffering through the subsequent chase on the Creature.
7. The Missing Letters
The very effective framing narrative of Walton’s expedition, which sets the tone for the entire novel, is entirely missing from the movie. We come to the movie with only a few minutes of introduction from an announcer giving a monologue or prologue warning of the horror that is about to ensue. This change in framing redirects our attention somewhat away from the ethical dilemma of creation at play and onto the monstrosity of the creature itself. Walton’s doomed expedition primes us for Victor’s obsession, without this framing narrative the focus can be shifted slightly away from the dangerous ambition and self-centred hubris. That is to say that without Walton spend more time beholding the monstrous spectacle of the creature, than the monstrous spectacle of his creator.
8. The Outcome
In the movie, the audience can rest safely knowing that the town and the doctor are safe and that he might have learnt his lesson. The creature appears to be dead and everything seems to be tied up in a neat little bow. Shelley, on the other hand, leaves us with a tragic end. Everyone is dead, doomed or miserable. Walton’s men may get out of the icy wastelands alive but that is as close to a happy ending as we get. The creature remains alive but has no desire to stay that way.
9. The Swiss Landscape
The Switzerland of the film is villages, lakes and windmills. But the novel is able to give us a more complex look at the Swiss landscapes and their surrounds with the Creature and Victor undertaking vast treks, depicted through sweeping descriptive romantic prose. The Swiss are depicted as a noble society in the novel, but unfortunately, the movie only deals in villager stereotypes and class-based stereotypes.
10. The Moral of the Story
If I was to grossly simplify the message of each text into an easy to digest statement it would probably go thus:
The movie: Creation is dangerous, entities can be born evil and it takes a village and a hero to bring down a monster.
The novel: The cruelty and ambition of man are inherently dangerous and should not be left unchecked.
Shelley Wollstonecraft, Mary. “Frankenstein or The Modern Prometheus.”
Before our podcast release next week I thought it might be a good idea to have a bit of a chat about Gothic literature and what exactly that entails. I am not assuming that everyone knows or doesn’t know about the gothic genre and this certainly won’t be a deep dive because I am simply not qualified. This is just to define the parameters of the initial genre we will be focusing on with Frankenstein and The Picture of Dorian Gray.
First up we need to acknowledge that the gothic genre is super problematic. There are stories that give a strong voice to people of all shapes, sizes, gender identifications, sexual orientations and nationalities but this progressiveness is a pretty recent development. Gothic literature can be racist, homophobic and is frequently classist and misogynist. Whilst we could dismiss these issues as being products of the time in which they were written I think it is important that we are aware of the problems in the things we love and to acknowledge them. The only way we can move forward is to understand the issues of our past. Frankenstein is classist, misogynistic and racist. It is my favourite novel of all time, but I completely acknowledge it’s flawed.
Let’s get into my barebones overview of Gothic Literature.
Particularly popular in the 18th and 19th century, Gothic literature typically draws on a spectre of evil
from the distant past that threatens to reach forward and destroy the present. Bram Stoker creates a particularly threatening creature who oozes ancient evil in Dracula. With vampire myths existing in every culture, some tied to the bible, some tied to ancient Egyptian mythology Bram Stoker had a wealth of ancient evil to draw from. His Count is descended from Attila the Hun and himself is a spectre of ancient or at the very least medieval evil, being virtually immortal. He has been around for centuries, but in Stoker’s narrative, he ventures into Victorian industrialised society to act all creepy around the ladies of London.
The Corruption of the Innocent
The predatory sexuality of Dracula is one of the most blatant examples of the corruption of the innocent, a trope that is revived again and again. He preys on young vulnerable and virginal women in the same way that monsters of his kind will again and again in the novels we cover. But the innocent does not have to be a young virginal woman. The good Doctor Jekyll is corrupted in The Strange Case of Doctor Jekyll and Mr Hyde, the innocent Dorian is corrupted by his own vanity, Sir Henry and a supernatural lack of accountability, but in the 18th and 19th centuries, it is usually a girl or a woman who gets shortchanged. Even in contemporary gothic tales, the innocent vs. the beast is trotted out regularly, look at Buffy and Twin Peaks. I promise this will not become a Twin Peaks podcast but that won’t be the last reference to the series.
Locked Doors and Secret Passageways
Often gothic literature features mysterious castles, decrepit houses or monasteries. Horace Walpole’s novel The Castle of Otranto (1764) is commonly cited as the first gothic novel, which is a whole ridiculous story that we will get to in another episode. The Castle of Otranto has a lot of the features that would come to be prevalent in the gothic novels that would come after it; an old castle, a family curse, the corruption of the innocent, the supernatural and the sublime.
The Other Goths
The word Goth does allude to a mysterious Scandinavian people who come into the verifiable historical record suddenly in the first century A.D. and this part of the story I am horrifically underqualified to talk about, even more than everything else I have been talking about. If you know a lot about the Goths, the Visigoths or the Ostrogoths please get in touch. Absolutely willing to revisit this! All I know is that as a teenage goth it was a source of very real and deep disappointment that the goths were not pale skinned eyeliner wearing robed people with black hair lounging about nonchalantly waiting for The Cure to be formed.
The Gothic became a pejorative term that was used to dismiss architecture as ugly or barbaric which is a little harsh not to mention more than a touch racist. I also know basically nothing about this aspect of the gothic so again… if you know your way around gothic architecture please get in touch. Gothic literature has a lot more to do with the emergence of the goth subculture as we know it today than the Germanic Goths and gothic architecture.
This architectural notion of the terrible, dramatic and brutal has carried over into the gothic as it pertains to literature. With gothic plots being frequently brutal and dramatic in their content. Gothic literature also blurs the lines between the natural and the supernatural.
The Indefinable Threat
The gothic does not require a ghost or a ghoul but needs an analogous threat. In fact, some of the most ambiguously supernatural gothic novels are the most troubling. Oscar Wilde’s protagonist does not have to wrestle with a literal physical monster, but with his own bargain with a malevolent force and we never conclusively find out if the governess of Henry James’ Turn of The Screw (1898) is actually experiencing a haunting or a psychotic break.
Stemming from the romantic supernatural gothic novel is the detective novel which dabbles in the macabre and the mysterious. These stories might start with a supernatural interpretation, as in the Sherlock Holmes novels, and a shown by the genius detective to be wholly natural, however improbable. The blurring of the gothic and the detective novel is particularly prevalent in The Hound of The Baskervilles by Arthur Conan Doyle, in which we get an appearance of the moors which feature so heavily in gothic fiction, they are like naturally occurring labyrinthine castles full of mystery and unpleasant surprises.
The gothic film genre is closely tied to horror as it often features a lot of evil, death and destruction, however, it is also closely tied to the genre of period drama as the movies that draw inspiration from the classic gothic novel often keep their narratives within the same time and space as the original narrative. Most of the films we will focus on will have a Victorian or Vintage flavour, but the neo-gothic and gothic noir film has moved the gothic movie into the city and the modern world so there is a rich vein, no pun intended of material to work with.
So what makes Frankenstein gothic?
Well aside from the cliché that it happened on a dark and stormy night. Victor Frankenstein is beholden to a deep ancient desire to create life from whole cloth. The Doctor’s drive to emulate god has a lineage tracing back to ancient Greece. Mary Shelley even renders the curse of the doctor explicit in the title of the novel Frankenstein, or the modern-day Prometheus. The Prometheus myth is a huge thing to unpack so I might have to do that another time. The creature of the novel is not born of God, so while he is a creature of science and consequently science fiction he is also a supernatural innocent that seeks to find his way in the world. There is the corruption of the innocent, death and the fall of a great noble family.
So what do you ideally need for a gothic novel or film? Not all novels will have all these but these are the factors to look out for…
The Gothic Text Wish List
□ A Haunting
□ A Curse
□ A Challenge to the conventional
□ An Artefact imbued with magic or supernatural properties
□ The Corruption of the innocent
□ Creepy architecture
□ Preferably a labyrinth of some kind
□ And an Ancient Evil
*Bats and ambiguous shadows optional
I’ll see you next week with Brent to compare the 1931 movie Frankenstein and the 1818 novel in which we officially apply the concepts of galvanism to the unsuspecting creature that is our podcast.
How could this possibly go wrong?
You can watch the fall out from this act of hubris in real time @thefrankenpod on twitter and thefrankenpod.wordpress.com has all the resources I was diligent enough to include.
In the meantime hit up Project Gutenberg and Librivox for a free copy of Frankenstein and any other gothic tales in the public domain.
Smith, Andrew. Gothic literature. Edinburgh University Press, 2007.
My copy of many gothic texts discussed are drawn from:“A Gothic Treasury of the Supernatural: The Castle of Otranto; Frankenstein: The Strange Case of Dr. Jekyll and Mr. Hyde; The Picture of Dorian Gray; Dracula; The Turn of the Screw” 1981
The feature image, which was originally posted to Flickr, was uploaded to Commons using Flickr upload bot on 17 August 2008, 12:59 by Yuriybrisk. On that date, it was confirmed to be licensed under the terms of the license indicated.
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