
About This Book
Victor Frankenstein grows up in Geneva in the last years of the eighteenth century: a wealthy, affectionate household under the Alps, a devoted adopted sister, a best friend who would rather read poetry than keep his father's accounts, and a boy who cannot leave a question alone. What grips him is not the beauty of the mountains but the machinery behind them — what causes what, what holds a thing together, and where exactly the line falls between a body that lives and one that does not. At seventeen he is sent off to the university at Ingolstadt to study, alone, in a country not his own, with nobody to tell him when to stop.
Frankenstein is the book that invented science fiction, and the question at its center gets sharper every year: when someone builds something powerful, who is answerable for what it does next? High school readers meet that question constantly now — in gene editing, in artificial intelligence, in platforms built by people who never asked what the thing would do once it was loose. Shelley refuses to make it easy on you, and she refuses to make it a monster movie. She also rewards close reading in ways a study guide can only point at: the way one narrator's voice opens and another climbs inside it, the way weather and landscape answer a character's mood before he admits to having one, and the way a story told by a desperate man may not be entirely fair to everyone in it. It is also worth knowing that a teenager wrote it.
Meet the Characters
More about Victor Frankenstein
Victor Frankenstein grows up in Geneva as the adored eldest son of a wealthy, affectionate family, surrounded by mountains, books, and people who expect great things of him. He is brilliant, impatient, and incapable of leaving a question alone — the kind of student who reads far past midnight and forgets to answer letters home. At seventeen he is sent to the university at Ingolstadt, alone in a foreign country, certain that science will let him do something nobody has done before.
More about The Creature
The Creature is the being Victor Frankenstein sets out to assemble, and he arrives in the world knowing nothing at all — not language, not people, not even what his own body is for. He is quick, observant, and physically overwhelming, and every person who sees him reacts to his size and his face before he can make a sound. What he becomes depends entirely on what happens to him next.
More about Elizabeth Lavenza
Elizabeth Lavenza is the orphaned daughter of a Milanese nobleman, found as a small child living with peasant foster-parents and brought into the Frankenstein household by Victor's mother. She grows up beside Victor as the calm, warm centre of the family, drawn to poetry, people, and the beauty of the Alps rather than to laboratories. She and Victor call each other cousin, though she is no blood relation, and she writes to him faithfully once he leaves for university.
More about Henry Clerval
Henry Clerval is the son of a Geneva merchant and Victor's dearest friend since childhood, a cheerful romantic who loves languages, poetry, and stories of adventure far more than his father's account books. He is generous and stubbornly loyal, the sort of friend who will drop everything and travel a long way if he thinks someone needs him. When Victor leaves to study, Henry stays behind, still arguing with his father for a university education of his own.
More about Robert Walton
Robert Walton is an ambitious, self-taught English captain sailing north in search of a passage through the Arctic ice and a discovery that will make his name. He is restless and painfully lonely; the long letters he writes to his sister Margaret are his only real conversation, and he says plainly that what he wants most, after the voyage itself, is one friend who understands what drives him.
More about Justine Moritz
Justine Moritz comes into the Frankenstein household as a young servant after an unhappy time in her own mother's house, and the family comes to treat her as one of their own rather than as staff. She is quiet, hardworking, and unfailingly kind, and Elizabeth loves her, saying she has the same look and manner as Victor's mother had.
More about Alphonse Frankenstein
Alphonse Frankenstein spent his younger life absorbed in public business in Geneva, respected everywhere for his integrity, and married only late. He is a devoted and patient father who would rather reason with his children than command them, and his affection for Victor is the steadiest thing in the boy's life. He is also getting old, and the family notices it.
More about Ernest Frankenstein
Ernest is the middle Frankenstein brother, seven years younger than Victor and nothing like him. He looks on study as a punishment and spends his days climbing the hills above Geneva or rowing on the lake, and he wants to be a proper Swiss and go into foreign military service — an idea his father has not agreed to.
More about William Frankenstein
William is the youngest of the Frankenstein children and the household's delight, a lively and affectionate small boy who has already announced which little girl in Geneva is his favourite. Everyone in the family writes about him in their letters. Victor has not seen him in years.
More about M. Waldman
M. Waldman is one of the two professors Victor meets on arriving at Ingolstadt, and the one who lectures on chemistry. He is courteous, encouraging, and entirely without the contempt his colleague shows for a student's old-fashioned reading, and he is happy to lend books and advice to anyone who is genuinely curious.
More about De Lacey
De Lacey is an old man living in a small cottage beside a wood with his son and daughter, in poverty they clearly were not born to. He is blind, and spends much of his day playing the guitar or sitting in thought, and he is treated by his children with a tenderness that is remarkable to anyone watching from outside.
More about Felix De Lacey
Felix is the son of the old cottager, and he does the outdoor work that keeps the household alive: chopping wood, digging the garden, and going out into the fields at first light. He is unfailingly gentle with his father and sister, and unmistakably unhappy about something he does not discuss.
More about Agatha De Lacey
Agatha keeps the cottage: she draws the water, tends the garden, sets the table, and sits with her father in the evening while her brother reads aloud. She is patient and gentle, and grieves quietly rather than out loud. Like her brother, she gives her father the best of whatever there is.
More about Safie
Safie arrives at the De Lacey cottage one morning on horseback, veiled and guided by a stranger, speaking a language nobody there understands. She is warm, quick, and determined, and she sets about learning the family's language almost at once. Her presence changes the mood of the house from the first day.
More about Mr. Kirwin
Mr. Kirwin is the magistrate of a small Irish coastal town, an elderly man with a reputation for fairness who hears evidence carefully before he forms a view. He can look severe when he is weighing what he has been told, but he is not a hard man, and he takes more trouble over a stranger in his town than the office strictly requires.
Pre-Reading Discussion Questions
- Ambition is usually treated as a virtue. Where is the line between the drive to accomplish something extraordinary and a drive that has stopped being good for anyone, including the person who has it?
- How much of what you decide about a stranger in the first three seconds comes from their face rather than anything they have done? What does that cost, and who pays it?
- Are people born decent or cruel, or does the way the world treats them make them one or the other? What evidence would actually settle that for you?
- When someone tells you their own life story, they are also making a case for themselves. What should a listener do with that? What would make you trust the account more, or less?
- Think of a piece of knowledge that turned out to be a burden to whoever found it out. Is some knowledge better left alone, or is that just a way of avoiding responsibility for it?
- The subtitle calls this book The Modern Prometheus, after the Titan who stole fire from the gods and gave it to people. Before you read a page: what would stealing fire look like now?
Themes & Big Ideas to Track
- Making and answering for it: notice every moment a character makes something, takes charge of someone, or accepts a duty, and notice what they do about it afterward.
- Who is speaking: this book hands the narration from one voice to another, so keep track of whose account you are inside at any moment and who they are telling it to.
- The case each narrator is making: every teller here wants something from the person listening, so read for what is being emphasized and what is being passed over quickly.
- Faces and verdicts: watch how fast characters decide what someone is from how they look, and watch how the book arranges for you to do the same thing.
- Weather and landscape: storms, glaciers, seasons and light are rarely just scenery here, and they often arrive a paragraph before a character names what he is feeling.
- Learning and its cost: mark where study brings a character joy and where it brings misery, and whether the novel is willing to separate the two.
- Solitude, chosen and imposed: nearly every major figure is cut off from other people, and the book keeps asking what the difference is between shutting a door and being shut out.
Chapter-by-Chapter Study Guide
Chapter 1

Before you read — think about:
- Why might someone telling the story of their own life begin generations before their own birth? What does that choice ask a listener to accept?
- Who in your life would you call generous? What specific things do they do that earn the word?
- Think about the gap between a memory and a story you have told about that memory many times. Which of the two is a person actually reporting when they describe their childhood?
- What makes a household feel like a family? List the things you think are essential before you read.
- How much do a person's earliest years really explain who they become? Write down your answer now, because this narrator has one of his own.
Watch for these while reading:
- Alphonse Frankenstein's conduct toward people who depend on him, and the words his son chooses to praise it.
- The language of shelter and protection: who is described as guarding someone, and who as needing to be guarded.
- The word 'creature' wherever it appears, and any statement about what is owed to a life someone has taken charge of.
- How Elizabeth is described physically, and the conclusions the narrator draws from her appearance.
- The exact terms Victor uses for what Elizabeth is to him. Read the possessives closely.
Vocabulary to know:
syndic (noun) — an elected magistrate who helped govern the Republic of Geneva; indefatigable (adjective) — never tiring; keeping at something without wearing out; oblivion (noun) — the state of being completely forgotten; wretchedness (noun) — a condition of deep misery and hardship; deplored (verb) — strongly regretted or disapproved of something; effectual (adjective) — successful in producing the result that was intended; sustenance (noun) — food and the other basics a person needs to stay alive; pittance (noun) — a tiny amount of money, far too little to live on comfortably; subsistence (noun) — the means of staying alive; the barest possible living; adversity (noun) — serious hardship or misfortune; interment (noun) — the burial of a body; reverence (noun) — deep respect mixed with a kind of awe; benevolent (adjective) — kind, and wanting good things for other people; penury (noun) — extreme poverty; disconsolate (adjective) — looking hopelessly gloomy and beyond comfort; vagrant (noun) — a person who wanders with no settled home; celestial (adjective) — heavenly; seeming to belong to the sky or to heaven; chamois (noun) — a nimble goat-antelope that lives on European mountain slopes; rustic (adjective) — belonging to the countryside; plain and rural; exotic (noun) — a delicate foreign plant that must be sheltered by a gardener to survive; sensibility (noun) — a fine, easily stirred capacity for feeling, much admired in Shelley's era; apparition (noun) — a sudden, ghostlike appearance of something or someone; confiscated (verb) — officially seized someone's property, usually as a punishment; magnificence (noun) — grand splendour and impressive richness.
Chapter 2

Before you read — think about:
- Two children raised in the same house can grow into entirely unalike adults. What do you think actually produces that divergence?
- What is the difference between wanting to admire the world and wanting to explain it? Which impulse is closer to your own?
- Think of a subject you taught yourself outside of school. What drew you to it, and how did you decide what to trust?
- In the 1700s the line between science and magic was still being drawn. What would it take to convince you that a startling claim about nature is true?
- This chapter covers years rather than days. What does a writer gain, and what does a writer give up, by compressing a childhood into a few pages?
Watch for these while reading:
- The three temperaments Shelley sets side by side — Victor's, Elizabeth's, and Henry Clerval's — and the distinct vocabulary attached to each.
- The adults who are in a position to steer Victor's reading, and what each of them actually does about it.
- Weather and mountains doing emotional work; in this novel landscape is never only scenery.
- The vocabulary of fate — destiny, doom, angel, the stars — and how often Victor places responsibility somewhere outside himself.
- The names of the old writers Victor takes up, and what he believes they promise him.
Vocabulary to know:
disunion (noun) — a break in unity; division or disagreement between people; ardour (noun) — intense enthusiasm or burning eagerness; rapture (noun) — overwhelming delight or joy; seclusion (noun) — the state of being kept apart from other people; caprice (noun) — a sudden change of mind with no good reason behind it; filial (adjective) — having to do with a child's feelings or duties toward a parent; vehement (adjective) — extremely forceful and intense; metaphysical (adjective) — concerned with the deepest nature of reality, beyond what can be measured; gallant (adjective) — brave and noble in an old-fashioned, heroic way; semblance (noun) — an outward appearance or imitation of something; exquisite (adjective) — extremely fine or intensely felt; ignoble (adjective) — humble and unimpressive in origin; not noble; predilection (noun) — a strong, settled preference for something; inclemency (noun) — harsh, stormy weather; apathy (noun) — complete lack of interest or feeling; chimerical (adjective) — imaginary and impossible; existing only as a fantasy; cursory (adjective) — hasty and not thorough; avidity (noun) — eager greediness, especially for knowledge; tyro (noun) — a beginner or novice; lineament (noun) — a distinctive feature or outline, especially of a face; citadel (noun) — a fortress stronghold — here, the guarded secret at the heart of nature; repined (verb) — fretted and complained with discontent; averred (verb) — stated firmly as though it were certain; preceptor (noun) — a teacher or instructor; elixir (noun) — a legendary liquid believed to cure every illness and grant endless life; invulnerable (adjective) — impossible to wound or harm; incantation (noun) — a spoken magic spell; multifarious (adjective) — made up of many different kinds; wildly varied; galvanism (noun) — electricity produced by chemical action, especially as used in experiments to make dead muscle twitch; despicable (adjective) — deserving contempt; worthless; disdain (noun) — scorn; the feeling that something is beneath you; abortive (adjective) — failing to develop properly; coming to nothing; ligament (noun) — a band that binds things together — used here for the fragile ties that hold a life on course; immutable (adjective) — unchangeable; fixed forever; tranquillity (noun) — calm, untroubled peacefulness; relinquishing (verb) — giving up or letting go of something; philosopher (noun) — in this era, a scientist who studies the natural world.
Chapter 3

Before you read — think about:
- Sooner or later most people leave the house they grew up in for somewhere nobody knows them. What changes in a person who is suddenly among strangers?
- Think of one teacher who made a subject feel alive and one who made it feel worthless. What did each of them actually do differently?
- What does a household owe a young person who is leaving it, and what does that young person owe the household left behind?
- Is there a real difference between being encouraged and being flattered? How would a seventeen-year-old tell them apart?
- Victor's account keeps reaching for words like destiny, fate and doom. What do people usually mean when they say that something was meant to happen?
Watch for these while reading:
- Elizabeth's place inside the household, and the language the narrator uses for her.
- The two professors at Ingolstadt, and how the same field of study sounds in each man's mouth.
- Victor's phrasing about doors, thresholds, and steps — this chapter is built out of crossings.
- Any sentence in which Victor stops narrating and comments from somewhere later in his life; those interruptions mark what he most wants understood.
- The words Victor reaches for when he describes what he wants from science, and how physical those words are.
Vocabulary to know:
malignity (noun) — the dangerous, harmful power of something — here, of a disease; distemper (noun) — an illness or disease, in older usage; imprudence (noun) — an unwise or reckless act; prognosticated (verb) — predicted or foretold what was coming; fortitude (noun) — steady courage in the face of pain or trouble; benignity (noun) — gentle kindness; countenance (noun) — a person's face, or the expression on it; irreparable (adjective) — impossible to repair or put right; sacrilege (noun) — an act that disrespects something sacred; respite (noun) — a short delay or pause that brings relief; repose (noun) — rest; calm stillness; zeal (noun) — energetic devotion to a task or purpose; debarred (verb) — shut out from something; forbidden to have it; pretence (noun) — a false show or excuse; chaise (noun) — a light horse-drawn carriage; melancholy (adjective) — deeply and thoughtfully sad; repugnance (noun) — strong dislike or unwillingness; invincible (adjective) — impossible to overcome; alighted (verb) — got down from a carriage or horse; omnipotent (adjective) — having unlimited power over everything; uncouth (adjective) — rough and awkward in manner; reprobated (verb) — condemned; strongly disapproved of; gruff (adjective) — rough and abrupt in voice or manner; prepossess (verb) — to make someone feel favourably toward something in advance; futile (adjective) — pointless; certain to achieve nothing; annihilation (noun) — complete destruction; wiping out entirely; grandeur (noun) — impressive greatness or magnificence of scale; conceited (adjective) — too pleased with oneself; recapitulation (noun) — a summary that runs back over the main points; fervour (noun) — passionate intensity of feeling; panegyric (noun) — a speech of high praise; transmuted (verb) — changed from one substance into another; crucible (noun) — a container in which substances are melted at very high heat; palpable (adjective) — so real it seems it could be touched; insurrection (noun) — a violent uprising or revolt; mien (noun) — a person's bearing or manner as it appears to others; affability (noun) — friendly, easy-going warmth; deference (noun) — polite respect shown to someone of higher standing; affectation (noun) — showy, artificial behaviour meant to impress; disciple (noun) — a devoted follower and student of a teacher.
Chapter 4

Before you read — think about:
- In the 1700s a student of science worked with hand tools, borrowed apparatus and candlelight. What do you imagine a day of that work actually looked like?
- Where is the line between knowledge that should be pursued and knowledge that is better left alone? Who do you think gets to draw it?
- What does a long silence do to the people waiting for a letter? What do they usually decide it means?
- If you learned something no one in history had known, who would you tell first, and what does that choice say about you?
- Victor is telling this story years after it happened, already knowing how it goes. What does a narrator gain, and what does he risk, by looking back on his own life from that distance?
Watch for these while reading:
- Every mention of Victor's health, his sleep, and his appearance — Shelley keeps a running account of them.
- Where in the building Victor puts his workroom, the places he goes to gather materials, and the way he speaks about secrecy.
- His comparison of himself to a father, and the gratitude he assumes such a role would earn.
- The places where Victor breaks off narrating to warn, justify or moralise, and what he says such warnings are for.
- How the seasons move through the background while Victor notices none of them.
Vocabulary to know:
physiognomy (noun) — a person's facial features, thought in this era to reveal their character; dogmatism (noun) — insisting on your opinions as though they could not possibly be questioned; pedantry (noun) — a fussy showing-off of learning and small details; abstruse (adjective) — difficult to understand; obscure; facile (adjective) — easy; requiring little effort; proficiency (noun) — a high level of skill gained through practice; exultation (noun) — triumphant joy; enticement (noun) — something that tempts you and draws you further in; infallibly (adverb) — without any possibility of failing; conducive (adjective) — helping to bring something about; protracted (verb) — stretched something out so that it lasted longer; endued (verb) — provided or filled with a particular quality; physiology (noun) — the study of how living bodies work; irksome (adjective) — tiresome and irritating; anatomy (noun) — the study of the structure of bodies; receptacle (noun) — a container that holds something; charnel-house (noun) — a vault where the bones of the dead are stored; insupportable (adjective) — impossible to bear; minutiae (noun) — the smallest, most precise details of something; causation (noun) — the process by which one thing brings about another; immensity (noun) — enormous size or extent; consummation (noun) — the completion or crowning point of a long effort; obliterated (verb) — wiped out completely, leaving no trace; intricacy (noun) — a complicated detail of structure; arduous (adjective) — extremely difficult and demanding; magnitude (noun) — great size or importance; stature (noun) — a person's height or size; unremitting (adjective) — never letting up or pausing; emaciated (adjective) — abnormally thin from illness, hunger, or neglect; unhallowed (adjective) — not sacred; the opposite of holy; profane (adjective) — showing disrespect toward what is sacred; loathing (noun) — intense disgust; luxuriant (adjective) — growing richly and abundantly; procrastinate (verb) — to put something off until later; ascribed (verb) — credited something to a particular cause; transitory (adjective) — lasting only a short time; alloy (noun) — a trace of something inferior mixed in that spoils what was pure; engrossed (verb) — completely absorbed in something; incipient (adjective) — just beginning to develop.
Chapter 5

Before you read — think about:
- Think of something you spent a long time making. What did you expect to feel when it was finished?
- Shelley began this book at nineteen, at a summer gathering where the company challenged each other to write ghost stories. What do you think a ghost story is actually for?
- How well do people judge their own first reactions? Think of a time your immediate response surprised you afterwards.
- Victor has told us he is recording all this as a warning. How much should a reader trust a narrator who has already announced his own moral?
- Writers use hour, weather and light to do work that dialogue cannot. What does a night scene do to you as a reader that a daytime scene does not?
Watch for these while reading:
- The vocabulary Victor uses for beauty and for ugliness, and how steady those words stay from one paragraph to the next.
- How the length and rhythm of Victor's sentences change across this chapter.
- Victor's dream, and who appears in it — Shelley is joining two things Victor never joins himself.
- How Shelley controls what the reader is allowed to see and what she keeps just out of frame.
- Henry Clerval — how he speaks, what he wants, and the effect his voice has on Victor.
Vocabulary to know:
dreary (adjective) — dull, bleak, and depressing; infuse (verb) — to pour or fill something into another thing; convulsive (adjective) — marked by sudden, violent jerking; delineate (verb) — to describe or outline something precisely; lustrous (adjective) — shining and glossy; dun (adjective) — a dull greyish-brown colour; shrivelled (adjective) — dried up and wrinkled; inanimate (adjective) — not alive; without life; lassitude (noun) — exhausted weariness with no energy left; tumult (noun) — violent commotion, inside a person or out; livid (adjective) — discoloured to a bluish-grey, as skin can become; hue (noun) — a shade or tint of colour; shroud (noun) — a cloth in which a body is wrapped for burial; demoniacal (adjective) — devilish; belonging to a demon; hideous (adjective) — extremely ugly and horrifying; palpitation (noun) — a rapid, pounding heartbeat; languor (noun) — heavy weakness and lack of energy; dismal (adjective) — gloomy and cheerless; asylum (noun) — a place of refuge and shelter; impelled (verb) — driven forward by a force you cannot resist; diligence (noun) — a public stagecoach used for long journeys in Europe; incredulous (adjective) — unwilling or unable to believe something; spectre (noun) — a ghost or terrifying apparition; inarticulate (adjective) — not formed into clear words; pertinacity (noun) — stubborn persistence in returning to something; convalescence (noun) — the slow recovery of health after an illness; remorse (noun) — deep regret for something you have done; discompose (verb) — to disturb someone's calm; fiend (noun) — an evil, demonic being; mortal (noun) — a human being, considered as someone who must die.
Chapter 6

Before you read — think about:
- What can a single letter tell you about a family that a summary of the same events never could?
- What is the hardest thing about writing to someone you have not written to in a very long time?
- How much of what you know about people far away comes from what they choose to put in writing? What gets left out?
- When a subject becomes unbearable, what are the ways people avoid it without admitting to themselves that they are avoiding it?
- What does physical activity actually do for a mind under strain? Does it heal anything, or only postpone it?
Watch for these while reading:
- Everything Elizabeth's letter says about Geneva, and everything it says about Elizabeth without meaning to.
- Justine Moritz's history as Elizabeth tells it, and the assumptions about class folded into the telling.
- How Victor's body responds whenever the subject of his own work comes up.
- What Clerval notices and chooses not to ask about — his tact is a form of characterization.
- The calendar: how long Victor stays away from Geneva, and the reason he gives each time he stays longer.
Vocabulary to know:
devolved (verb) — passed to someone else as a duty or task; mercenary (adjective) — motivated only by money; intelligence (noun) — news or information; odious (adjective) — hateful and repulsive; fetter (noun) — a chain or shackle that holds someone back; placid (adjective) — calm and untroubled; trifling (adjective) — small and unimportant; exertion (noun) — physical or mental effort; perversity (noun) — a stubborn turn toward what is wrong or unnatural; dissipate (verb) — to scatter something until it disappears; inconsiderate (adjective) — not stopping to think; heedless; phraseology (noun) — a person's characteristic way of wording things; chastise (verb) — to punish or scold severely; partiality (noun) — unfair favouritism toward one person; confessor (noun) — a priest who hears a person's confession and gives guidance; repentant (adjective) — feeling sorry and wanting to make amends; vivacity (noun) — lively high spirits; vacillating (adjective) — wavering back and forth, unable to hold to one position; decline (noun) — a gradual failing of health, in older usage; entreat (verb) — to beg earnestly; fortnight (noun) — a period of two weeks; antipathy (noun) — a deep, instinctive dislike; apparatus (noun) — the set of equipment used for scientific work; avail (noun) — use or benefit; writhed (verb) — twisted in pain or distress; docile (adjective) — easily guided or managed; encomium (noun) — a speech of high praise; approbation (noun) — approval; diffident (adjective) — shy and lacking confidence in oneself; inglorious (adjective) — bringing no honour or fame; dialect (noun) — a regional or local variety of a language; consolation (noun) — comfort during disappointment or grief; impassable (adjective) — impossible to travel through; dilatoriness (noun) — slowness; the habit of being late; pedestrian (adjective) — done on foot; environs (noun) — the surrounding district of a place; acceded (verb) — agreed to a proposal; perambulation (noun) — a leisurely walk around a place; salubrious (adjective) — healthy; good for the body; verdant (adjective) — green with growing plants; ecstasy (noun) — overwhelming joy.
Chapter 7

Before you read — think about:
- When bad news has to travel, someone decides how it gets told and how much of it. What does that decision cost the person who has to make it?
- Victor has not seen Geneva in nearly six years. What is it like to come back to a place you loved after a long absence?
- Shelley wrote in an age when a letter could take weeks to arrive. How would slow news change the way a family lives?
- How does a family that has been apart for years re-learn how to talk to one another? What do people notice first?
- Romantic writers used mountains and storms to carry what characters could not say. What feelings do you attach to a thunderstorm at night?
Watch for these while reading:
- Alphonse Frankenstein's voice — his phrasing, his sense of what a family owes one another, and how it differs from Elizabeth's in the previous chapter.
- The Swiss landscape as Victor travels: which features settle him and which unnerve him.
- Shelley's handling of light in a night scene, and how she stages Mont Blanc and the lake.
- The gap Shelley keeps open between what Victor tells the reader and what he tells the people around him.
- The portrait over the mantelpiece in his father's house, and the attention Shelley chooses to spend on a painting.
Vocabulary to know:
callous (adjective) — hardened and unfeeling toward others' suffering; tidings (noun) — news, especially important news; transaction (noun) — an event or affair being related, in older usage; conjectured (verb) — guessed from incomplete evidence; anguish (noun) — severe mental suffering; miniature (noun) — a small painted portrait, often worn as jewellery; festering (verb) — growing infected and worse instead of healing; assassin (noun) — someone who kills another person deliberately and by stealth; afflicted (adjective) — suffering and distressed; cabriolet (noun) — a light two-wheeled carriage; tedious (adjective) — tiresomely long or dull; prophesied (verb) — foretold what was coming; promontory (noun) — a high point of land jutting out into water; tempest (noun) — a violent storm; dirge (noun) — a mournful song for the dead; deformity (noun) — a misshapen or distorted form; depravity (noun) — deep moral corruption; carnage (noun) — slaughter; widespread killing; vampire (noun) — a creature believed to rise from the grave and prey on the living; precipice (noun) — a very steep rock face or cliff edge; perpendicular (adjective) — straight up and down; vertical; inaccessible (adjective) — impossible to reach; impenetrable (adjective) — impossible to see through or pass through; delirium (noun) — a wild, confused mental state, often caused by fever; elude (verb) — to escape or avoid capture; indelible (adjective) — impossible to remove or erase; venerable (adjective) — deserving deep respect, especially through age and character; garb (noun) — clothing; alleviate (verb) — to make suffering less severe; minutely (adverb) — in careful, exact detail; amiable (adjective) — friendly and easy to like; appalling (adjective) — shocking and dreadful; apparel (noun) — clothing; deposition (noun) — a formal statement given as legal evidence; magistrate (noun) — a public officer who administers the law; apprehended (verb) — arrested; taken into custody; acquitted (verb) — officially declared not guilty; circumstantial (adjective) — describing evidence that points toward a conclusion without directly proving it; presumption (noun) — arrogantly overstepping the limits of what one should attempt; candour (noun) — openness and honesty.
Chapter 8

Before you read — think about:
- What makes a trial fair? List the conditions you consider essential before you read this chapter.
- Shelley's Geneva prided itself on its laws and its republican fairness. What does a society gain, and what does it risk, when it trusts its institutions to be just?
- How does public opinion form in a small town? What have you noticed about how quickly it hardens?
- Is silence ever the same thing as a lie? Where would you draw the line, and why there?
- What does a first-person narrator's choice of what to describe closely, and what to pass over quickly, tell a reader about him?
Watch for these while reading:
- The chain of evidence as it is presented, and how much of it is explanation rather than proof.
- Who speaks publicly for the accused, and what it costs them.
- The mood of the crowd, and what moves it in each direction.
- The place of religion in this chapter — as comfort, as pressure, or as both at once.
- Every sentence in which Victor measures his own suffering against someone else's.
Vocabulary to know:
mockery (noun) — a ridiculous, insulting imitation of the real thing; aggravation (noun) — something that makes an offence worse; infamy (noun) — the state of being widely known for something evil; ignominy (noun) — public disgrace and humiliation; exculpated (verb) — cleared someone of blame; execrated (verb) — cursed and loathed publicly; enormity (noun) — the extreme wickedness of an act; constrained (adjective) — forced and unnatural rather than genuine; adduced (verb) — put forward as evidence or proof; attest (verb) — to give evidence or proof of something; advocate (noun) — a lawyer who argues a case in court; unintelligible (adjective) — impossible to understand; hysterics (noun) — an uncontrollable fit of emotion; faltering (adjective) — unsteady and hesitant; indignation (noun) — anger at something felt to be unjust or shocking; protestations (noun) — strong declarations that something is true; wantonly (adverb) — cruelly and for no reason; testimony (noun) — a formal statement given as evidence; timorous (adjective) — fearful and timid; irreproachable (adjective) — beyond criticism; blameless; bauble (noun) — a showy trinket of little real value; ingratitude (noun) — failure to be thankful for kindness received; ballot (noun) — a token or paper used to cast a vote, here to decide a verdict; dire (adjective) — dreadful; causing terrible dismay; guile (noun) — sly deceit; manacled (adjective) — chained at the wrists; absolution (noun) — formal forgiveness of sins; menaced (verb) — threatened; excommunication (noun) — official expulsion from the Church; obdurate (adjective) — stubbornly refusing to give way; perdition (noun) — utter spiritual ruin; damnation; perpetrated (verb) — carried out a crime; scaffold (noun) — a raised platform used for executions; resignation (noun) — calm acceptance of something that cannot be changed; gnashed (verb) — ground the teeth together in rage or anguish; tarnish (verb) — to dull or stain something bright; eloquence (noun) — powerful, persuasive speaking; avowal (noun) — an open admission or declaration; revoke (verb) — to cancel or withdraw something officially; inexorable (adjective) — impossible to stop or persuade; hapless (adjective) — unlucky; deserving pity; kinsman (noun) — a male relative.
Chapter 9

Before you read — think about:
- What do people usually say to someone they know is in pain? Which of those things actually help, and which only sound as though they should?
- Does guilt make a person more useful to those around them, or less? What does it actually cause someone to do?
- The Romantic poets Shelley grew up among believed wild country could do something for a person that company could not. Do you think a place can change how someone feels? What place does that for you?
- How might watching a court get something badly wrong change what a person believes about the world?
- What is the difference between sorrow and remorse? Which of the two can be shared with other people?
Watch for these while reading:
- How Victor spends his nights, and the reasons he gives himself for going on.
- Alphonse's argument about the duty owed by those who are left behind, and what he assumes is weighing on his son.
- Elizabeth's speech about justice and human nature — the nearest this novel comes to stating its theme outright.
- The vocabulary of scale in the Alpine journey: how Shelley makes a landscape feel larger than human trouble.
- Whether the mountains console Victor or only interrupt him.
Vocabulary to know:
complacency (noun) — easy, untroubled contentment; augment (verb) — to increase or add to something; immoderate (adjective) — excessive; beyond reasonable limits; inapplicable (adjective) — not relevant to the case in question; calamity (noun) — a disaster or great misfortune; desertion (noun) — the act of abandoning people who depend on you; malice (noun) — the desire to cause harm to others; abhorrence (noun) — intense hatred and disgust; signal (adjective) — striking and notable, especially in a bad sense; efface (verb) — to wipe out or erase; wreak (verb) — to inflict harm or vengeance on someone; avenge (verb) — to take revenge on behalf of someone wronged; desponding (adjective) — losing heart; sunk in low spirits; tribute (noun) — something offered as a mark of respect; blasted (adjective) — withered and ruined, as by lightning; quenched (verb) — put out; extinguished; wean (verb) — to gradually detach someone from something they depend on; benefactor (noun) — someone who gives help, money, or protection to another; abyss (noun) — a bottomless depth; discourse (noun) — a serious spoken statement or discussion; encompassed (verb) — surrounded completely; brake (noun) — a thicket of dense undergrowth; untrodden (adjective) — never walked on; sullen (adjective) — gloomy and resentfully silent; intolerable (adjective) — unbearable; ephemeral (adjective) — lasting only a very short time; ravine (noun) — a deep, narrow gorge; impetuous (adjective) — rushing forward with great force and haste; sublime (adjective) — so vast and awe-inspiring that beauty and terror are felt together; picturesque (adjective) — pretty in the way a painting is pretty; glacier (noun) — a slow-moving river of ice; avalanche (noun) — a mass of snow and ice sliding down a mountainside; aiguille (noun) — a sharp, needle-shaped rock peak in the Alps; maternal (adjective) — motherly; precipitated (verb) — hurled something down from a height; serenity (noun) — calm, untroubled peace of mind.
Chapter 10

Before you read — think about:
- Romantic poets treated mountains as places where people confront themselves. Why might high, empty country have that reputation?
- What is the difference between hating someone and fearing them? Can an observer always tell the two apart?
- If you were responsible for another being's existence, what would you owe it even if you had come to fear it?
- When two people give you the same story differently, what makes you believe one account over the other?
- Think of a place so vast it made you feel small. Was that feeling comforting, frightening, or both at once?
Watch for these while reading:
- The distinction Victor keeps drawing between scenery that is merely pretty and scenery that overwhelms him.
- Victor's habit of speaking aloud to mountains, spirits, and the dead — where he does it and what he asks for.
- The vocabulary of duty, justice, and rights: who reaches for those words, and about whom.
- Any echo of Adam, Satan, or Paradise Lost. Shelley expects her reader to hear it.
- How Shelley stages Mont Blanc and the sea of ice — the height, the cold, the sheer scale.
Vocabulary to know:
barricade (verb) — to block something off; reverberated (verb) — echoed back and forth; pinnacle (noun) — a high, pointed peak; congregated (verb) — gathered together in one place; surmount (verb) — to get over or climb past an obstacle; desolate (adjective) — bleak, empty, and lifeless; strewed (verb) — scattered about untidily; transversely (adverb) — crosswise; lying across something; intersected (verb) — cut across something; concussion (noun) — a violent shaking of the air; sombre (adjective) — dark, gloomy, and serious; mutability (noun) — the condition of constantly changing and never staying the same; interspersed (verb) — scattered here and there among something else; rift (noun) — a deep crack or split; stupendous (adjective) — astonishingly great or impressive; crevice (noun) — a narrow crack or opening; bespoke (verb) — showed or gave evidence of; detestation (noun) — intense hatred; contempt (noun) — the feeling that someone is beneath consideration; diabolically (adverb) — in a devilish, evil way; dissoluble (adjective) — able to be broken or undone; glut (verb) — to fill something to excess; maw (noun) — the gaping jaws or throat of a devouring creature; satiated (adjective) — filled to the point of having had far too much; spurn (verb) — to reject scornfully; equitable (adjective) — fair and even-handed; clemency (noun) — mercy shown by someone who has power over another; irrevocably (adverb) — in a way that can never be undone; implore (verb) — to beg desperately; compassion (noun) — pity strong enough to make you act; commiserate (verb) — to feel and show sympathy for someone's suffering; scourge (noun) — a cause of great suffering; majesty (noun) — impressive grandeur and dignity; recess (noun) — a hollow or sheltered space set back from the rest.
Chapter 11

Before you read — think about:
- What would the world be like if you arrived in it fully grown, with no language, no memories, and no one to explain anything?
- How do we actually learn what things are? Try describing how you would work out cold, or hunger, or night, with no words for any of them.
- How do people usually react to a stranger who looks unlike anyone they have seen? What decides whether they stare, run, or attack?
- What do you notice about people when you are somewhere new and know no one? What do you find yourself paying attention to?
- Why might an author let a character tell their own story instead of having someone else describe them?
Watch for these while reading:
- The order in which the senses sort themselves out, and how long that takes.
- Every human being who appears here, how each one behaves, and whether the text explains the difference between them.
- Fire: how it enters this narrative and what he makes of it.
- The words he uses for his own shelter set against the words he uses for the building beside it.
- How this narrator's sentences sound next to Victor's. Shelley is writing two very different voices.
Vocabulary to know:
multiplicity (noun) — a great number and variety of things at once; indistinct (adjective) — not clear or sharply defined; opaque (adjective) — not letting light pass through; impervious (adjective) — impossible to pass through; dormant (adjective) — inactive, as though asleep; slaked (verb) — satisfied a thirst; radiant (adjective) — shining brightly; innumerable (adjective) — too many to count; foliage (noun) — the leaves of trees and plants; canopied (verb) — covered over like a roof; thrush (noun) — a songbird with a sweet, clear call; ember (noun) — a glowing fragment of wood or coal in a dying fire; contrived (verb) — cleverly invented or devised; savoury (adjective) — pleasantly tasty; assuage (verb) — to ease or soothe a pain or need; emigration (noun) — leaving one place to settle in another; lamented (verb) — mourned or deeply regretted; debilitated (adjective) — weakened, especially by age or illness; remnants (noun) — small leftover pieces; allured (verb) — attracted or tempted; stately (adjective) — grand and dignified; missile (noun) — an object thrown as a weapon; hovel (noun) — a small, bare, wretched shelter; chink (noun) — a narrow slit or opening; kennel (noun) — a shelter built for a dog; adjacent (adjective) — next to or adjoining; habitation (noun) — a place where someone lives; vicinity (noun) — nearness; the immediate surroundings; purloined (verb) — stole; dank (adjective) — unpleasantly damp and cold; demeanour (noun) — the way a person carries and conducts themselves; incommoded (verb) — inconvenienced or burdened; pensive (adjective) — deep in serious, slightly sad thought; imperceptible (adjective) — too small or slight to be noticed; symmetry (noun) — balanced, even proportions; taper (noun) — a slender candle; monotonous (adjective) — unvarying in tone; flat and unchanging.
Chapter 12

Before you read — think about:
- Can you love people who do not know you exist? What would that kind of attachment actually be like?
- How would you begin learning a language with no teacher, no book, and no way to ask a single question?
- This stretch of the novel runs for pages with almost nobody speaking to the narrator. What can a writer do with a character who cannot talk to anyone?
- How much of what you believe about yourself came from other people telling you? How would you know if they were wrong?
- When you meet a family that lives differently from yours, what do you notice first? What does that say about you rather than about them?
Watch for these while reading:
- What this narrator notices first about the family's circumstances, and what he does with the observation.
- The method by which he works out that sounds carry meaning, and which words come to him first.
- The names he learns, and the order in which he learns them.
- Every comparison he draws between himself and the people he is watching.
- The plan he begins to form, and the assumptions sitting underneath it.
Vocabulary to know:
laborious (adjective) — requiring long, hard work; contemplation (noun) — long, quiet thought; enigmatic (adjective) — mysterious and hard to make sense of; viands (noun) — items of food; poignantly (adverb) — with sharp, painful keenness; abstained (verb) — deliberately held back from doing something; trait (noun) — a distinguishing quality in someone's character; godlike (adjective) — like a god in power; unravel (verb) — to work out something tangled or mysterious; appropriated (verb) — assigned to a particular thing or purpose; endeared (verb) — made dear or beloved; gait (noun) — a person's manner of walking; enhanced (verb) — increased or heightened; exhortation (noun) — an urgent encouragement to do or feel something; unpractised (adjective) — untrained; inexperienced; obstructed (verb) — blocked; replenished (verb) — refilled or restocked; comprehend (verb) — to understand fully; mortification (noun) — crushing shame and humiliation; impending (adjective) — about to happen; famine (noun) — extreme scarcity of food; wholesome (adjective) — good for one's health; sufficiency (noun) — an adequate amount; dispersed (verb) — scattered in different directions; signification (noun) — meaning; inquisitive (adjective) — eager to find things out; arbiter (noun) — someone with the power to decide another's fate; conciliating (adjective) — meant to win goodwill and calm hostility; exhilarated (verb) — filled with lively excitement; supple (adjective) — flexible; bending easily; genial (adjective) — pleasantly warm and cheering; gilded (verb) — made bright, as though covered in gold.
Chapter 13

Before you read — think about:
- How much of what you know about the world came from someone teaching you directly, and how much from overhearing and watching?
- What is something you learned that you cannot now unlearn? Did knowing it change how you saw anything else?
- How do societies decide who counts as somebody? What do people usually need in order to be treated as one?
- What do people use to explain who they are — family, place, work, something else? Which would you name first?
- If you learned a language only by overhearing it, what would you pick up quickly, and what would you never get at all?
Watch for these while reading:
- The cottagers' manners toward outsiders, and what each of them shows about themselves in the way they behave.
- What is read aloud inside the cottage, and which parts of it the listener outside reacts to most strongly.
- The place where he turns what he has learned about society back onto himself.
- Every question he asks that has nobody in the world to answer it.
- The word he settles on for the cottagers, and how much that word claims.
Vocabulary to know:
verdure (noun) — fresh green plant growth; gratified (verb) — pleased and satisfied; veil (noun) — a cloth worn over the face; entrancingly (adverb) — in a way that holds the listener spellbound; cadence (noun) — the rise and fall of a voice or a melody; balmy (adjective) — pleasantly mild and soft; nocturnal (adjective) — happening at night; herbage (noun) — grass and low green plants; purport (noun) — the general meaning or drift of something; declamatory (adjective) — written or spoken in a grand, formal, speech-making style; scion (noun) — an offshoot or descendant; vicious (adjective) — cruel and morally corrupt; base (adjective) — low and dishonourable; abject (adjective) — utterly wretched and degraded; degradation (noun) — a fall into a low and shameful condition; squalid (noun) — filthy and miserable through extreme poverty; unsullied (adjective) — unstained; without blemish; descent (noun) — a person's family origin and ancestry; vagabond (noun) — a homeless wanderer with no settled work; agile (adjective) — able to move quickly and easily; subsist (verb) — to stay alive on very little; loathsome (adjective) — disgusting; causing revulsion; lichen (noun) — a crusty growth that clings tightly to rock and bark; stealth (noun) — quiet, secret action meant to avoid notice; sally (noun) — a lively burst of talk or activity; vacancy (noun) — an empty space where something should be.
Chapter 14

Before you read — think about:
- Every family story gets told by someone, for a reason. What changes about a history depending on who is telling it and who is listening?
- What do you know about your own family's history? How did you learn it, and how reliable do you think it is?
- What do people assume about someone based on how much money they appear to have? Where have you seen those assumptions fail?
- Who taught you the values you actually live by? Was it the person who set out to teach you?
- When someone does you a large favour, what do you feel you owe them? Does that change if they never mention it again?
Watch for these while reading:
- Why the De Laceys are poor, and what their poverty costs each of them differently.
- Every promise made in this chapter, and who is in any position to enforce it.
- Letters and interpreters: nobody in this story can simply speak to everybody else.
- What Safie's mother taught her, and how that teaching shapes what Safie does.
- How closely this family's history rhymes with the situation of the person retelling it.
Vocabulary to know:
affluence (noun) — wealth and comfortable living; obnoxious (adjective) — offensive to those in power, and therefore exposed to their anger; flagrant (adjective) — shockingly obvious and wrong; alleged (adjective) — claimed but not proved; condemnation (noun) — a formal sentence of guilt and punishment; fruitless (adjective) — producing no result; dungeon (noun) — a dark underground cell; kindle (verb) — to set alight, or to stir up a feeling; hazard (noun) — risk of danger or loss; deliverer (noun) — a person who rescues another from danger; tenet (noun) — a principle or belief held by a religion or philosophy; aspire (verb) — to reach ambitiously toward something better; bondage (noun) — the condition of being enslaved or held captive; immured (verb) — shut up inside walls; emulation (noun) — the effort to match or surpass someone you admire; dominions (noun) — the lands and territories a ruler governs; fugitive (noun) — someone fleeing capture; interpreter (noun) — a person who translates speech between languages; lukewarm (adjective) — showing little warmth or enthusiasm; facilitated (verb) — made easier; noisome (noun) — foul-smelling and unhealthy; exile (noun) — forced banishment from one's own country; treacherous (adjective) — betraying someone's trust; oppression (noun) — cruel and unjust use of power; meed (noun) — a deserved reward; expostulate (verb) — to argue earnestly in protest; reiterating (verb) — repeating something again; tyrannical (adjective) — behaving like a tyrant; cruelly controlling; mandate (noun) — an authoritative order; divulged (verb) — revealed something meant to be secret; adverse (adjective) — opposed; running against something; league (noun) — an old measure of distance, roughly three miles.
Chapter 15

Before you read — think about:
- Which book has most changed how you see yourself, and what exactly did it change?
- What is it like to read a story and find yourself in a character who is nothing like you on the surface?
- What does a person actually get from books that they cannot get from other people? What can books not give them?
- How much of a first impression rests on things a person cannot control? What are those things?
- The books anyone reads first are largely a matter of what happened to be within reach. How much of what you believe do you think arrived that way?
Watch for these while reading:
- The three books he finds, and what each one gives him.
- Which figures from Paradise Lost he measures himself against, and in what order.
- The papers he took from Victor's coat, and the reading he gives them.
- The plan he makes, how long he waits before attempting it, and the reasons he gives for the waiting.
- The register and manners he chooses when he speaks aloud — how a self-taught speaker sounds.
Vocabulary to know:
deprecate (verb) — to express strong disapproval of something; inciting (verb) — stirring up a feeling or urging someone to act; portmanteau (noun) — a large travelling case; dejection (noun) — low spirits; a sunken mood; canvassed (verb) — discussed and examined thoroughly; speculation (noun) — thinking and wondering about matters that cannot be settled; lofty (adjective) — noble and elevated; pretension (noun) — a false claim to importance; disquisition (noun) — a long, careful discussion of a subject; extinction (noun) — the ending of an existence; unformed (adjective) — not yet shaped or fully developed; assemblage (noun) — a large gathering of people or things; massacring (verb) — killing large numbers of people; patriarchal (adjective) — resembling a simple family life led by a respected elder; imbued (verb) — filled or inspired with a quality; emblem (noun) — a symbol that stands for something; gall (noun) — bitterness of feeling; envy (noun) — resentful longing for what someone else has; decipher (verb) — to work out the meaning of writing; accursed (adjective) — under a curse; hateful; minutest (adjective) — smallest and most detailed; solicited (verb) — asked earnestly for something; sagacity (noun) — shrewd good judgment; tumultuous (adjective) — wildly agitated and unsettled; outcast (noun) — someone driven out and rejected by society; inconstant (adjective) — always changing; never steady; fortify (verb) — to strengthen against attack or fear; supplication (noun) — a humble, earnest plea; conformation (noun) — the way a body is shaped and put together; casualty (noun) — a chance mishap or accident; yearned (verb) — longed deeply; mediation (noun) — stepping between two sides to bring them together; irresolute (adjective) — unable to decide what to do; unprejudiced (adjective) — free from prejudice; undeceive (verb) — to free someone from a false belief; unreservedly (adverb) — completely and without holding anything back; serviceable (adjective) — useful; able to be of help; desperation (noun) — hopeless recklessness; instigate (verb) — to prompt or provoke someone into acting; consternation (noun) — shocked dismay; transport (noun) — an overpowering rush of emotion.
Chapter 16

Before you read — think about:
- What happens to a person who does everything right and is punished for it anyway? What responses are open to them?
- Is there a difference between being made angry and choosing to act on anger? Where does responsibility sit?
- Has anyone ever misjudged you badly on sight? What did you want them to understand?
- Where do people's assumptions about strangers come from — family, media, experience? Which has shaped yours most?
- What is the difference between wanting justice and wanting revenge? Can a person tell which one they are pursuing at the time?
Watch for these while reading:
- What this narrator does in the first hours outside the cottage, and what he settles on after a night of thinking.
- Fire again — where it appears now, and how its use differs from its first appearance in his story.
- The seasons and the direction of his travel, and how he works out where to go.
- The grounds on which his language shifts from asking to demanding, and the sentence where that shift happens.
- How he speaks about human beings in the plural at the end of the chapter compared with the beginning.
Vocabulary to know:
arch-fiend (noun) — the chief devil; Satan; toils (noun) — a net or snare set to trap an animal; havoc (noun) — widespread destruction; impotence (noun) — complete powerlessness; myriads (noun) — vast numbers of people or things; underwood (noun) — thick low bushes growing beneath trees; irretrievable (adjective) — impossible to recover or put right; representations (noun) — statements made in order to persuade someone; gesticulations (noun) — energetic hand movements used while speaking; tenement (noun) — a rented property or dwelling; vestige (noun) — a small remaining trace of something; combustibles (noun) — materials that catch fire easily; loitered (verb) — lingered without moving on; brand (noun) — a burning stick; succour (noun) — help given to someone in distress; redress (noun) — the setting right of a wrong; visage (noun) — a face; imprecate (verb) — to call down curses on someone; confines (noun) — the borders or outer limits of a region; novelty (noun) — newness; the quality of being unfamiliar; bedewed (verb) — wetted with small drops; skirted (verb) — ran along the edge of something; cypress (noun) — a tall, dark evergreen tree; senseless (adjective) — unconscious; recompense (noun) — a reward or repayment for something done; infliction (noun) — the act of imposing something painful on someone; compensate (verb) — to make up for a loss or injury; outrage (noun) — a shocking injury or offence; sportiveness (noun) — playfulness; imbibed (verb) — absorbed an idea or attitude; epithet (noun) — a descriptive name, often an insulting one; ogre (noun) — a man-eating giant from folk tales; desolation (noun) — ruin, emptiness, and misery; sanguinary (adjective) — bloodthirsty; marked by bloodshed; atone (verb) — to make amends for a wrong; denounce (verb) — to publicly accuse someone; requisition (noun) — a formal demand; meditate (verb) — to think deeply about something.
Chapter 17

Before you read — think about:
- What makes an agreement fair? Does it matter how much power each side holds?
- Can you owe something to a person you fear? What would that obligation look like in practice?
- How should anyone judge a request whose consequences cannot be predicted?
- When you argue with someone you dislike, how much of your reaction is about the argument and how much is about them?
- Who should decide whether a new kind of being is brought into the world, and on what grounds?
Watch for these while reading:
- The exact terms proposed, including what each side offers and what is left unstated.
- Every shift in Victor's feeling, and what produces each one.
- Three kinds of argument — from justice, from cause, and from fear — and which of them the speaker leans on hardest.
- The objections Victor raises, and whether they are answered or only outlasted.
- The setting of this conversation, and Shelley's use of cold and height while two beings argue.
Vocabulary to know:
perplexed (adjective) — puzzled and unable to think clearly; proposition (noun) — a proposal offered for consideration; concede (verb) — to grant or give way on something; extort (verb) — to force something out of someone by pressure or threat; malicious (adjective) — intending to do harm; insurmountable (adjective) — impossible to get over or past; submission (noun) — yielding to someone else's power; inextinguishable (adjective) — impossible to put out; contortions (noun) — violent twistings of the face or body; detrimental (adjective) — harmful to one's own interests; gratification (noun) — the satisfying of a desire; wantonness (noun) — deliberate, needless cruelty; pitiless (adjective) — showing no mercy; persevere (verb) — to keep going despite difficulty; feint (noun) — a deceptive move meant to mislead; communion (noun) — close, shared fellowship; blight (noun) — something that withers or ruins growth; manifested (verb) — showed plainly; faculties (noun) — natural powers and abilities; contemn (verb) — to treat with scorn; undulations (noun) — wave-like rises and falls; solemnity (noun) — grave seriousness; verge (noun) — the very edge or brink; siroc (noun) — a hot, oppressive desert wind; haggard (adjective) — gaunt and worn out from strain; adoration (noun) — deep love and reverence; nought (noun) — nothing.
Chapter 18

Before you read — think about:
- Why do people put off tasks they have already agreed to do? What does the delay usually cost?
- How do families press for a decision without appearing to press? What does that pressure feel like from the inside?
- Is it ever right to keep a secret from the person closest to you? Where is your line?
- What does travel do for a person carrying a private burden — relief, distraction, or postponement?
- What can you learn about a narrator from what he notices in a landscape and what he passes over?
Watch for these while reading:
- How long Victor manages to avoid beginning, and what he tells himself during that time.
- The proposal Alphonse puts to his son, and how each of them speaks about the future.
- The reason Victor offers for needing to leave Geneva, set against the reason he actually has.
- How the travelling arrangements are made, and by whom.
- The same river and the same ruins described by two men: Victor's Rhine and Clerval's.
Vocabulary to know:
enjoined (verb) — imposed on someone as a duty; eradicating (verb) — rooting something out completely; listless (adjective) — without energy or interest; indolence (noun) — idleness; a settled unwillingness to act; composure (noun) — calm self-control; conjure (verb) — to appeal to someone with great earnestness; exordium (noun) — the opening section of a formal speech; treble (adjective) — three times as much; solemnisation (noun) — the formal performance of a ceremony; infirmities (noun) — weaknesses of the body brought by age or illness; competent (adjective) — sufficient; enough for the purpose; utility (noun) — usefulness; manifold (adjective) — many and varied; impend (verb) — to hang threateningly over someone; indispensable (adjective) — absolutely necessary; aversion (noun) — a strong dislike or reluctance; self-command (noun) — control over one's own feelings and behaviour; harrowing (adjective) — deeply distressing; unearthly (adjective) — not of this world; eerie; guise (noun) — an outward appearance used to conceal the truth; paternal (adjective) — fatherly; coveted (verb) — wanted eagerly; impediment (noun) — an obstacle in the way; enfranchised (verb) — set free; unparalleled (adjective) — having no equal; exasperated (adjective) — made intensely angry; machinations (noun) — secret scheming and plotting; acquiesced (verb) — agreed quietly, without protest; disquiet (noun) — a feeling of uneasiness; inroads (noun) — damaging advances into something; sedulous (adjective) — careful, diligent, and attentive; bourne (noun) — a destination or final limit; variegated (adjective) — varied in appearance; meandering (adjective) — winding in loose curves; populous (adjective) — thickly settled with people; vintage (noun) — the grape harvest; cataract (noun) — a large, steep waterfall; chastened (verb) — made calmer and more restrained; replete (adjective) — filled abundantly; ineffectual (adjective) — producing no effect.
Chapter 19

Before you read — think about:
- What is it like to travel with someone who is enjoying everything while you are dreading something ahead? What does each of them owe the other?
- What does being far from everyone who knows you actually change about how a person behaves?
- What would a stranger learn about your state of mind from the photographs you took on a trip?
- What do years of secrecy do to a friendship that both people still value?
- If you feared for people far away and could not reach them, how would you handle the waiting?
Watch for these while reading:
- How Victor describes crowds and cheerful faces compared with how he describes empty country.
- Clerval's plans for his own life, and how much attention Victor gives them.
- The way Victor talks about time — what he thinks he has, and what he thinks he owes.
- The island Victor picks, and every detail Shelley supplies about the people who live on it.
- The difference Victor notes between this work and the same work the first time.
Vocabulary to know:
availed (verb) — made use of something; inexhaustible (adjective) — never running out; colonisation (noun) — the settling and controlling of another country by outsiders; allusion (noun) — an indirect mention of something; allurement (noun) — something that attracts and tempts; expiration (noun) — the end of a period of time; mountaineer (noun) — a person who lives among mountains; forsaken (verb) — abandoned; insolent (adjective) — rudely disrespectful; embosomed (verb) — enclosed and sheltered within something; ennui (noun) — listless boredom; elasticity (noun) — springiness; the ability to recover quickly; spectacle (noun) — a sight displayed for others to look at; epoch (noun) — a notable period in history; illustrious (adjective) — famous and greatly admired; patriot (noun) — someone devoted to the cause of their country; debasing (adjective) — lowering someone in dignity or worth; cabinet (noun) — a room or case in which curiosities are displayed; proportionably (adverb) — in proportion; correspondingly; dissuade (verb) — to talk someone out of a plan; remonstrate (verb) — to protest or argue against something; rendezvous (noun) — an agreed meeting place; congenial (adjective) — agreeable; well suited to someone's temper; gaunt (adjective) — thin and bony from hardship; scraggy (adjective) — thin, rough, and uneven in appearance; thatch (noun) — a roof made of straw or reeds; benumbed (verb) — made numb and unable to feel; unmolested (adjective) — left alone and undisturbed; frenzy (noun) — wild, uncontrolled excitement; immersed (verb) — completely absorbed or plunged into something; persecutor (noun) — someone who hounds and torments another; tremulous (adjective) — trembling; unsteady with nerves; foreboding (noun) — a feeling that something bad is coming; superscription (noun) — the address written on the outside of a letter; expedite (verb) — to hurry something along; remissness (noun) — carelessness or neglect of a duty; languid (adjective) — without energy or interest; termination (noun) — the end of something.
Chapter 20

Before you read — think about:
- Shelley sets this part of the novel on a bare, treeless island in the far north. What does a setting like that do to a scene?
- Shelley's contemporaries argued fiercely about whether a person is made good or bad by their nature or by how they are treated. Where do you come down, and what would change your mind?
- What would the makers of a new kind of being owe it, and what could they fairly ask of it in return?
- What actually makes a promise binding — the words themselves, the circumstances around them, or what the other party gave up in return?
- What does a long stretch of solitude do to a person's judgment? Have you noticed anything in yourself after time alone?
Watch for these while reading:
- The chain of possibilities Victor imagines, and which links in it he could actually know.
- How few sentences are spoken aloud in this chapter, and by whom.
- The hut, the sea, the locked door: how Shelley works one small enclosed space against a very large empty one.
- The sea and the boat: Shelley's handling of drift, direction, and the loss of control.
- How Shelley writes a crowd — what it notices, and what it will accept as evidence.
Vocabulary to know:
barbarity (noun) — savage cruelty; malignant (adjective) — intensely hateful and harmful; compact (noun) — a binding agreement between parties; propagated (verb) — bred and multiplied; precarious (adjective) — dangerously uncertain and unstable; sophism (noun) — an argument that sounds clever but is false; pest (noun) — a destructive plague or curse on others; casement (noun) — a window that swings open on hinges; ghastly (adjective) — horrifying; deathly pale; allotted (verb) — assigned to someone as a task or share; heath (noun) — open, uncultivated land covered with rough low shrubs; treachery (noun) — betrayal of trust; reverie (noun) — an absorbed daydream; profundity (noun) — great depth; presentiment (noun) — a feeling that something is about to happen; smothered (adjective) — muffled; held down and suppressed; incalculable (adjective) — too great to be measured or counted; condescension (noun) — a favour granted from a position of superiority; irresolution (noun) — the inability to decide; wiliness (noun) — crafty cunning; venom (noun) — poison; bitter spite; precipitation (noun) — great haste; perturbed (adjective) — agitated and deeply troubled; insatiate (adjective) — never satisfied; insuperable (adjective) — impossible to overcome; death-knell (noun) — a bell rung at a death; a signal that the end has come; ravenous (adjective) — extremely hungry; besought (verb) — begged earnestly; utensils (noun) — tools or implements used for a task; relics (noun) — what remains of something after it is destroyed; skiff (noun) — a small light boat; rudder (noun) — the blade at the stern used to steer a boat; buffeted (verb) — struck repeatedly by wind or waves; immeasurable (adjective) — too vast to be measured; prelude (noun) — an event that comes before and introduces a greater one; debility (noun) — physical weakness; disconcerted (adjective) — unsettled and thrown off balance; hoarse (adjective) — rough and harsh in voice; politic (adjective) — shrewd; prudent in the circumstances; construed (verb) — interpreted as meaning something; atrocious (adjective) — appallingly wicked.
Chapter 21

Before you read — think about:
- How does ordinary behaviour look to people who already suspect you? What everyday act could be read as guilt?
- What protections does a stranger have in a place where nobody knows them and few speak their language?
- Can a person be responsible for something they did not do with their own hands? What would that responsibility consist of?
- How much difference can one individual make to someone caught inside a legal system? What is in their power and what is not?
- What does a court actually settle about a person, and what does it leave unsettled?
Watch for these while reading:
- Each witness's testimony, and how reasonable each one sounds taken on its own.
- Mr. Kirwin's conduct set beside that of everyone else who has charge of Victor here.
- How Shelley writes fever and delirium, and what a reader is meant to do with a narrator in that state.
- Who is allowed near Victor and who is not, and the way each of them speaks to him.
- The duty Victor names for himself in this chapter, and the reasons he gives for it.
Vocabulary to know:
deposed (verb) — gave evidence under oath; tackle (noun) — equipment, especially for fishing; supposition (noun) — an assumption made without proof; augury (noun) — a sign taken as a prediction of what is to come; apothecary (noun) — an older word for a pharmacist or medical practitioner; coincidence (noun) — a striking overlap of events that happen by chance; relapse (noun) — a return of illness after a partial recovery; convulsions (noun) — violent, uncontrollable shaking of the body; ravings (noun) — wild, incoherent speech; forgetfulness (noun) — the state of remembering nothing; blankness of mind; gaoler (noun) — a jailer; turnkey (noun) — a prison officer who locks and unlocks the cells; indifference (noun) — complete lack of concern; brutality (noun) — savage harshness of manner; hangman (noun) — the officer who carries out executions; penalty (noun) — a punishment imposed by law; retrospect (noun) — a look back over past events; unaccountable (adjective) — impossible to explain; taunt (verb) — to mock someone cruelly; incitement (noun) — something intended to provoke a person into acting; assizes (noun) — the periodic court sessions once held in English and Irish counties; vexation (noun) — a distressing annoyance or trouble; liberated (verb) — set free; torpor (noun) — a dull, inactive state in which nothing is felt; paroxysm (noun) — a sudden violent attack of emotion; vigilance (noun) — careful, constant watchfulness; inquietude (noun) — restless uneasiness; laudanum (noun) — an opium-based medicine used in this period for pain and sleep; severity (noun) — sternness or harshness; feeble (adjective) — very weak; unceasing (adjective) — never stopping; concealment (noun) — a hiding place, or the act of hiding; precaution (noun) — a step taken in advance to prevent harm; orb (noun) — a sphere; here, an eye; glimmer (noun) — a faint, unsteady light; languishing (adjective) — growing weak; fading away; lament (verb) — to mourn or grieve aloud; renowned (adjective) — widely famous; commencement (noun) — the beginning of something; elapsed (verb) — passed, of time.
Chapter 22

Before you read — think about:
- What does keeping a secret cost a person's closest relationship? What does the secret do to the other person?
- What does it actually mean to protect someone? List what protection requires — and decide whether keeping them uninformed is part of it.
- How do people decide how seriously to take a warning? What makes one warning feel urgent and another easy to set aside?
- What do two people owe each other before a marriage? Is full disclosure one of those obligations?
- How do families keep functioning through repeated loss? What do they do with the fear that more is coming?
Watch for these while reading:
- How Alphonse interprets his son's self-accusations, and why that reading is so convenient for everyone.
- Elizabeth's letter: what she asks, what she offers, and what she is prepared to give up.
- Victor's own reading of the threat, and every step of the reasoning that produces it.
- The precautions Victor takes, and who is not told about them.
- The lake, the weather, and the mountains on the journey; Shelley never chooses scenery idly.
Vocabulary to know:
overtaxed (verb) — pushed beyond one's strength; erroneous (adjective) — mistaken; based on a wrong idea; incurable (adjective) — impossible to cure; brethren (noun) — fellow human beings; brothers; revel (verb) — to take wild delight in something; assertion (noun) — a confident claim; offspring (noun) — something produced by a cause; persuasion (noun) — a settled belief; disclose (verb) — to reveal something hidden; infatuation (noun) — a foolish, obsessive idea; deranged (adjective) — mentally disturbed; incoherent (adjective) — not making connected sense; imperious (adjective) — demanding to be obeyed; curbed (verb) — held back; restrained; formidable (adjective) — daunting in size or difficulty; void (adjective) — empty of something; futurity (noun) — the future; disinterested (adjective) — unselfish; not seeking personal advantage; stifle (verb) — to smother or suppress; tenfold (adverb) — by ten times as much; paradisiacal (adjective) — like paradise; inevitable (adjective) — unavoidable; enunciation (noun) — the speaking or declaring of something; conduce (verb) — to contribute toward a result; consecrate (verb) — to dedicate solemnly; hilarity (noun) — noisy cheerfulness; tangible (adjective) — real enough to touch; artifice (noun) — a cunning trick; delusion (noun) — a false belief; nuptial (adjective) — having to do with a wedding; embarkation (noun) — the act of boarding a boat; emulate (verb) — to try to equal or rival something; sinister (adjective) — suggesting evil or coming harm; fluctuating (adjective) — shifting back and forth; chasm (noun) — a deep split in the earth; glen (noun) — a narrow valley; amphitheatre (noun) — a curved formation shaped like tiers of seats around a stage; wafted (verb) — carried gently through the air; vanquished (verb) — defeated; adrift (adverb) — floating without control; turned loose; inheritance (noun) — property received from someone who has died; pervaded (verb) — spread through every part of something.
Chapter 23

Before you read — think about:
- How do people behave on a day that is supposed to be happy but that they are anxious about? What does that tension look like from outside?
- What can a writer do with weather in a scene? Think of a storm in a book or film you know — what work was it doing?
- What should a person do when they hold information that sounds impossible but that they believe is true?
- When someone you love is plainly frightened and will not say why, what do you do? What would you want done for you?
- What makes someone believable when they tell you something surprising? What do you find yourself checking?
Watch for these while reading:
- Where Victor positions himself through the evening, and the reasoning he offers for each decision.
- The wind, the weather, and the moon across the whole chapter.
- How the people at the inn respond to Victor, and what they are prepared to believe.
- How much space Shelley gives to each turn of this chapter; the proportions are deliberate.
- The point at which Victor stops keeping his secret, and who he chooses to tell it to.
Vocabulary to know:
vulture (noun) — a large bird that feeds on dead animals; shrill (adjective) — high, sharp, and piercing; extremities (noun) — the outermost parts of the body — the hands and feet; expire (verb) — to die; distorted (adjective) — twisted out of natural shape; bier (noun) — the stand or frame on which a body is laid; obstinate (adjective) — stubborn; refusing to give way; posture (noun) — the position in which a body is placed or held; jeer (verb) — to mock openly and cruelly; report (noun) — the loud bang of a gun; conjured (verb) — summoned up as if by magic; parched (adjective) — extremely dry; acme (noun) — the highest point of something; narration (noun) — the telling of a story; credit (verb) — to believe something to be true; repaired (verb) — went to a place; invective (noun) — violent, abusive language; deviating (verb) — straying from a set course; precision (noun) — exactness; auditor (noun) — someone who listens; defiance (noun) — open resistance to authority or force; den (noun) — a wild animal's lair; desert (noun) — what a person deserves; intimidated (adjective) — frightened into backing down; proportionate (adjective) — matching in size or degree; impracticable (adjective) — impossible to carry out; haughty (adjective) — arrogantly proud; martyr (noun) — someone who suffers or dies for a belief; reverted (verb) — returned to a previous view or state; seizure (noun) — the act of capturing and taking hold of someone.
Chapter 24

Before you read — think about:
- What sustains a person who has lost everything and has one purpose left? Is that a form of strength?
- What makes people undertake journeys that are likely to kill them? What do you think they are really after?
- This is the last chapter of the novel. What do you want a long story to give you at the end — an explanation, a punishment, a rest, something else?
- Are there requests that should never be made of another person? What makes a request unfair to refuse?
- If you had followed both sides of a long quarrel this closely, what would you need to hear from each of them at the end?
Watch for these while reading:
- What keeps Victor moving, and what he is willing to count as evidence that he is on the right track.
- Any change in who is speaking, and how a reader can tell.
- What Victor says about his own conduct near the end, and whether it matches what you have read.
- The people Victor meets in the last stretch of his story, and how they treat a stranger in his condition.
- Who is given the last word in this novel, and what a reader is left holding.
Vocabulary to know:
cemetery (noun) — a burial ground; quivering (adjective) — trembling; shades (noun) — the spirits of the dead; adjuration (noun) — a solemn oath or earnest appeal; utterance (noun) — the power of speaking; furies (noun) — avenging spirits; overwhelming rage; evaded (verb) — escaped or avoided being caught; extricate (verb) — to free someone from a difficulty; repast (noun) — a meal; inspirited (verb) — filled with fresh courage and energy; legible (adjective) — clear enough to be read; inscription (noun) — words carved or written on a surface; impassive (adjective) — unaffected; not feeling something; scoffing (adjective) — mocking; pilgrimage (noun) — a long journey undertaken as a sacred duty; invigorated (verb) — filled with strength and energy; unabated (adjective) — not lessened at all; gibe (noun) — a taunt; grapple (verb) — to seize and struggle with someone; sledge (noun) — a sled pulled by dogs over snow and ice; inconceivable (adjective) — impossible to imagine; hamlet (noun) — a very small village; harnessed (verb) — strapped animals to a vehicle so that they can pull it; retribution (noun) — deserved punishment; expanse (noun) — a wide open stretch; crag (noun) — a steep, rugged rock; ominous (adjective) — threatening; warning of disaster to come; astounded (verb) — amazed and shocked; congeal (verb) — to thicken and freeze; piercing (adjective) — sharp and penetrating; asseverations (noun) — emphatic declarations that something is true; posterity (noun) — future generations; mutilated (adjective) — damaged by having parts cut away; destitute (adjective) — utterly without something; pathetic (adjective) — arousing pity; projectors (noun) — people who plan grand schemes; archangel (noun) — an angel of the highest rank; infantine (adjective) — belonging to infancy; integrity (noun) — honesty and moral wholeness; fraught (adjective) — loaded or filled with something; peril (noun) — serious danger; mutiny (noun) — an open revolt by a crew against their commander; imminent (adjective) — about to happen at any moment; wan (adjective) — pale and sickly; deputation (noun) — a small group sent to speak on behalf of a larger one; stigma (noun) — a mark of disgrace; modulated (verb) — adjusted in tone to match the feeling being expressed; strenuously (adverb) — with great insistence and effort; indecision (noun) — the inability to make up one's mind; draught (noun) — a measured dose of liquid medicine; paramount (adjective) — more important than anything else; actuated (verb) — moved to act by a particular motive; renounce (verb) — to give something up formally; irradiation (noun) — a spreading brightness; portend (verb) — to be a sign of something about to happen; catastrophe (noun) — the final, usually disastrous event that completes a story; involuntarily (adverb) — without meaning to; superfluous (adjective) — unnecessary, because it comes too late or adds nothing; heeded (verb) — paid careful attention to; susceptible (adjective) — easily affected by something.
About the Author
Mary Shelley (1797-1851) was born Mary Wollstonecraft Godwin in London, the daughter of two famous radical writers: Mary Wollstonecraft, who argued for women's education and rights, and William Godwin, a political philosopher. Her mother died days after she was born, and Mary grew up in a house full of books, arguments, and visiting intellectuals, educating herself largely by reading her father's library. She began this novel in the summer of 1816, at eighteen, while staying near Lake Geneva with the poet Percy Bysshe Shelley, whom she later married, and with Lord Byron; storm-bound indoors, the group challenged one another to write ghost stories. Hers was published anonymously in 1818, when she was twenty, and revised by her into the version most readers know in 1831. She went on to write several other novels, including the early post-apocalyptic story The Last Man, and to edit and publish her husband's poetry after his death, but this book is the one that made her one of the most influential writers in English.
The novel belongs to the Romantic period, when writers and artists pushed back against pure reason by insisting on feeling, imagination, and the overwhelming scale of wild nature - which is why so much of the book happens on glaciers, in storms, and among Alpine peaks. It also arrives in a moment of real scientific excitement and unease. Luigi Galvani and his nephew Giovanni Aldini had shown that electricity could make the muscles of dead animals twitch, and public demonstrations of this 'galvanism' had audiences seriously debating whether life itself might turn out to be an electrical force. Older ideas were still in the air too: Shelley's characters argue over Renaissance alchemists like Cornelius Agrippa and Paracelsus, who had hunted for the philosopher's stone and the elixir of life, and over the newer chemistry that had replaced them. The summer she conceived the story was itself strange - 1816 became known as the Year Without a Summer after a volcanic eruption in Indonesia darkened skies across Europe. Her subtitle, The Modern Prometheus, reaches back to the Greek Titan who stole fire from the gods for humanity and was punished for it forever.