50 pages • 1 hour read
Jeanette WintersonA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
The chapter opens with a second-person perspective story about visiting a gallery of cells in which “lunatics” are housed. People visit the gallery to laugh at the “lunatics,” and the porter expects a tip.
A heading announces the setting: Bedlam, 1818.
Mr. Wakefield muses on the asylum in which he works, known as Bedlam, a shortening of Saint Mary of Bethlehem hospital in London. He notes how the original Bedlam building was magnificent, but people deemed “mad” are shackled and caged like animals. He sees all people as struggling in their minds and bodies, and he thinks people donate to mental health efforts to appease the madness they feel in themselves.
Captain Walton appears at Wakefield’s door with two assistants and an unconscious man. Walton explains that the unconscious man is Victor Frankenstein. Out at sea, Walton’s men saw a huge man driving a sledge and dogs, and Victor seems to have been chasing him. Victor awakes with a start and claims he needs to catch the one who flees from him. Walton tells Wakefield that Victor claims to have made life from discarded limbs, and Wakefield wonders if Victor is making up a story out of madness or being driven mad by the truth of the story.
Victor brings Ry to another underground room in Manchester, this one full of animals. Victor says he gets the animals from a farmer friend, and Ry asks if Victor has sex with the farmer as well. In another room, Victor has two robots named Cain and Abel that are mapping a brain. Victor continues to talk about his quest to eliminate death, and Ry expresses disgust at cryogenics, preferring Victor’s idea of uploading the brain’s contents. Victor agrees, showing Ry some preserved brains he is using in experiments. Victor asks Ry to acquire a specific brain from Alcor.
The narrative returns to Bedlam, 1818. Wakefield reads Frankenstein’s journal while Frankenstein sleeps. Wakefield thinks Frankenstein is mentally ill, and his journal reflects his experiments with dead bodies. Frankenstein hoped to make new life, and Wakefield rejects the possibility of reanimating a corpse. Wakefield says he believes Jesus resurrected Lazarus, but he notes that no one has resurrected a dead body since then. Wakefield sees a picture of Frankenstein’s wife, Elizabeth, and he assumes she is dead. Frankenstein wakes up, and he tells Wakefield he is not sure if he is the story or the teller.
After the chapter is a quote from earlier in the novel: “Only in the living of it does life seem ordinary. In the telling of it we find ourselves strangers among the strange” (195).
Victor praises Ry’s large hands, and Ry says that he could be King Kong, which would make Victor Fay Wray, the actress who played King Kong’s love interest Ann Darrow in the 1933 film. Victor explains that he came to the United States to study with I.J. Good, or Jack Good, a codebreaker and statistician who worked with Alan Turing. Good left England because of the way the British treated Turing, who was gay. He was born Jacob Gudak but changed his name to escape the discrimination that came with his Jewish identity. Ry notes that Victor is also Jewish, but Victor says he wants to move humanity past that kind of identity. Good called AI the “last invention,” since an ultra-intelligent machine would always invent better machines than humanity ever could. When Victor met Ry in Arizona, he was visiting Good, and Good’s head was cryogenically preserved at Alcor in 2009. Victor wants Ry to retrieve Good’s head so Victor can scan his brain. Ry is fundamentally opposed to performing experiments on humans, but Victor convinces Ry that he is not using Ry for his own benefit. Ry goes with Victor back to Victor’s home, and he finds that Victor is reading a biography of Robert Oppenheimer, who worked to create the atomic bomb. Ry sees that Victor’s ring is an ouroboros, a snake eating itself. They have sex and fall asleep.
The chapter ends with a quote from Mary Wollstonecraft, in which she says she is destined to tread her own path, pushed forward by her nature.
The narrative returns to Bedlam 1818. Wakefield brings Mary to meet Victor Frankenstein. Frankenstein tells Mary that she created him and his monster, who are one in the same. Wakefield calls Frankenstein mad, but Mary asks how Frankenstein could be made from the words in her book. Frankenstein does not know, but he wishes to be unmade, warning that his monster will wreak havoc on humanity. Wakefield asks if Mary wrote Frankenstein, as Sir Walter Scott assumes Percy wrote it. Mary confirms that she wrote it, and Frankenstein claims to see the monster in the yard. Neither Mary nor Wakefield can see the monster.
After the chapter is a quote from Mary Shelley, saying that what terrifies her will terrify others.
Ry and Ron meet Max More, the CEO of Alcor. Max leads Ron and Ry through the facility, answering Ron’s questions about cryogenics. Ron is disturbed by the idea of being frozen after death, and he wonders how people will choose who to reanimate. Seeing an opening for a partnership, Ron suggests selling sexbots to people who intend to be cryogenically preserved, so they have a companion to wake up to. Max considers Ron’s offer but does not commit. Claire, the event manager from the Tec-X-Po, arrives and greets Ry warmly. Claire says she took a job as Max’s assistant at Alcor, and she agrees to go out for a drink with Ry and Ron.
Ry, Ron, and Claire go to the same diner Ry and Victor went to, and the waitress greets Ry, offering to get him the same bourbon and grilled cheese he had with Victor. Claire explains that she took the job at Alcor, despite her discomfort with robots and science, because she wants to investigate reincarnation. If people are cryogenically preserved, she wonders where their souls go, and she hopes they can affirm her beliefs when they are reanimated. Ron tells Claire about his sexbots, and she is disgusted. However, Ron quotes the Bible and convinces Claire to hear his story.
When Ron got divorced, he moved in with his mother and bought a sexbot. After investing in cryptocurrency, Ron went on a trip to Thailand and had sex with sex workers. During a storm, Ron had an epiphany about solving men’s loneliness. Claire is moved by Ron’s story, and she suggests making a Christian Companion bot, which could comfort people without the necessity of lust. Ron reveals that Ry is transgender, which upsets Claire. Claire and Ron go to dance, and Ry goes to the bathroom. A drunk man gets angry with Ry for peeing in a stall, and, when he gropes Ry, he discovers that Ry does not have a penis. The man attempts to sexually assault Ry in the stall, but he cannot maintain an erection. Ry pushes him away and runs outside. Ry cries and wonders why sexual assault is part of his experience as a trans man.
The chapter ends with the repeated quote from Shakespeare’s “Sonnet 53”: “What is your substance, whereof are you made?” (245).
Between 1818 and 1819, Mary and Percy travel in Italy with their children, Clara and William. Mary laments going with Percy, as Clara dies in travel. They debate moving elsewhere, but William loves Italy. However, William dies of illness, and Mary stays in the bed where he died. Mary feels broken by the loss of her three children and wonders what death is. She thinks about being a mind without a body, and she wonders if William would still be alive if he did not have a body. Percy tries to cheer her up. He tells her about a mass protest by working-class people in Manchester, opposing the Corn Laws, which forbade the import of cheaper food from other countries. The laws have made food unaffordable for the poor, while rich landowners charge exorbitant rates for food. Mary is intrigued, sitting up in bed to discuss the issues with Percy. She craves cheese, as she does in all her pregnancies. Percy suggests returning to England, but Mary is reluctant to travel while pregnant. Percy writes a poem, The Masque of Anarchy, noting that a review from England labelled him as an anti-establishment writer. Mary knows her mother would go to Manchester to join in the protest, which is reportedly peaceful. Percy includes Mary’s thoughts about supporting the many instead of the few in his poem.
The chapter ends with a quote from Emily Dickinson: “The brain—is wider than the Sky—” (259).
Mary’s timeline shifts ahead, jumping to the year Frankenstein was published and the year following. Characters from Mary’s book come to life, including Victor Frankenstein and Captain Walton. Victor Frankenstein’s transition from page to life adds a dimension of science fiction or fantasy to the novel, implying that Mary’s novel has a supernatural power. Chapter 11 ends with Mary’s quote: “What terrified me will terrify others” (219). As she wrote this note to herself, Mary was thinking about craft—about how to frighten readers. However, Victor’s appearance as a real suggests that the meaning of this prediction is becoming literal: In becoming real, Victor Frankenstein and the mentality he represents will do horrible things in the real world. Read with Dickinson’s quote: “The Brain—is wider than the Sky—” (259), Victor’s appearance is a literal expansion of Mary’s original narrative, just as Frankissstein involves an extension of Frankenstein. In Frankenstein, Victor dies on the ice, but Winterson imagines a continued ending to the novel, in which Walton brings Frankenstein to Bedlam.
Wakefield, and his musings on Bedlam, complicate the issue of The Nature of Embodiment and the Search for Identity with the topic of “madness,” as Wakefield cannot believe Victor is the incarnation of a fictional character. Bedlam is already a classic example of an “asylum” or “mental hospital,” and Wakefield notes: “We seek to care and to console. We do not seek to cure. Madness cannot be cured; it is a disease of the soul” (178), implying that men like Victor Frankenstein cannot be influenced because they are “unholy” or “malign,” like Percy’s homunculi. Furthering Wakefield’s perspective, he tells Mary not to bother with Frankenstein, who asks Mary to “unmake” him. However, the broader issue of Frankenstein’s appearance is that of embodiment, that he has been placed in a body by an unknown power, and Mary is the only person he can identify as a “creator.” In this way, Frankenstein is analogous to his monster. As a literary character, he is “a made thing” just like the homunculus that Percy has characterized as “unholy and malign” (66). In asking Mary to unmake him, he echoes the monster’s request to the fictional Victor Frankenstein in Mary’s book.
The tunnels of Manchester are analogous to the corridors of Bedlam, and both the tunnels and Bedlam are metaphors for the human mind. Wakefield is mystified by the strangeness and incomprehensible nature of Bedlam, and the tunnels, too, are filled with sights and sounds that scare and confuse people. Specifically, Victor shows Ry that he has brains stored in the tunnels, and he suggests that they can end death by extending the life of the brain. Ry thinks: “Why do I feel uncomfortable about what he says? Why do I find it macabre? Death is macabre” (187). Ry is highlighting the issue with both Bedlam, the tunnels, and the human mind, as each contains things that disturb people and go against nature. Wakefield comments that the patients at Bedlam think they are gods, while Victor fulfills his god complex through science. However, each of these pinpoints the common factor that people can imagine realities beyond their own. Even the novel itself is an example of speculative fiction and the capacity of the author to imagine new worlds and ideas.
A critical moment in understanding The Impacts of Misogyny and Anti-Trans Bias is the sexual assault Ry faces at the diner. The scene has faced criticism from some reviewers due to the graphic nature of the assault, including both the physical abuse and the use of multiple slurs and derogatory terms. After the assault, Ry crouches down by the diner, noting: “This isn’t the first time. It won’t be the last. And I don’t report it because I can’t stand the leers and the jeers and fears of the police” (244). The discrimination the trans community faces includes this inaccessibility of typical avenues for justice and safety. One line that has faced specific criticism is Ry’s conclusion: “And I don’t say, is this the price I have to pay for…? For…For what? To be who I am?” (244), which implies that discrimination is an inevitable “cost” for expressing oneself. However, this scene can also be read with the understanding that Ry is not intended to express the views and emotions of the entire trans community, and, instead, Ry is simply trying to make sense of the traumatic event that has just occurred. It is important to note that Winterson is not trans and that many trans people consider Ry’s assault as part of a problematic trend in representations of trans people by cisgender people, which often involve gratuitous traumatization of transgender characters—a harmful trope akin to the “bury your gays” trope often used by heterosexual writers.
By Jeanette Winterson
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