Abstract

Monster stories, however old they may be, still prove to be very fruitful when read in an ecocritical context. Monsters can be saviours, too: they have not yet lost their warning powers, and they still sneak around in modern retellings of the myths that prove how dire the consequences of wasting resources have long been in our story-telling traditions. Thus, the monstrous clearly offers powerful, anxiety-inducing images that must be of interest in contemporary attempts to revise our story-telling to a more eco-friendly mode. Indeed, Frankenstein’s monster, a vegetarian proud to be able to live without consuming animal food, a being torn between wanting to do good but committing evil instead, may be said to embody contemporary environmental concerns. If we read the monster as a natural “Being” (to use Percy Shelley’s term), however unnaturally created, he takes on a different role, one that ties him to the myth of Prometheus in ways that have not yet been explored. Moreover, he does have overtones of the Green Man, too, and in that shape, he can be connected to a more recent monster, that employed by Patrick Ness in A Monster Calls. Monsters, no doubt about it, are scary creatures when they make us face the truth about who we are, and what we do to the earth. This paper considers some of the tensions raised by the paradox of the monstrous ‘saviour’ from an ecocritical perspective.

Highlights

  • Monster stories, old they may be, still prove to be very fruitful when read in an ecocritical context

  • Though, it is due to monsters that social patterns are disrupted, one might say that our old story-telling patterns are still at work because the monstrous offers such powerful, anxiety-inducing images of what it means for societies to be affected by the truly monstrous. Such frightful images must be of interest in contemporary attempts to revise our storytelling to more eco-friendly tales, as they serve to break up the “warm, familiar, unreflective” image of cosy environmentalism in order to highlight “its politically oppressive shadow side” (Morton, 2016, p.145)

  • If we do read this monster as the monstrous voice of nature, as the Green Man uttering dire warnings about man’s lack of ecological foresight, the novel once more takes on new shades of meaning

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Summary

Introduction

Old they may be, still prove to be very fruitful when read in an ecocritical context. Mary Shelley’s Frankenstein (1818) and Patrick Ness’s A Monster Calls (2011) use such dark narratives, or myths—those of Prometheus/Pandora and the Green Man, respectively—as patterns, or as a canvas onto which their modern monsters are projected, and by doing so, both address ecological concerns.

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