During the second quarter of the nineteenth century, Londoners were enthralled by a strange fluid called electricity. In examining this period, Iwan Morus moves beyond the conventional focus on the celebrated Michael Faraday to discuss other electrical experimenters, who aspired to spectacular public displays of their discoveries. Revealing connections among such diverse fields as scientific lecturing, laboratory research, telegraphic communication, industrial electroplating, patent conventions, and innovative medical therapies, Morus also shows how electrical culture was integrated into a new machine-dominated, consumer society. He sees the history of science as part of the history of production, and emphasizes the labor and material resources needed to make electricity work. Frankenstein's Children explains that Faraday, with his colleagues at the Royal Society and the Royal Institution, looked at science as the province of a highly trained elite, who presented their abstract picture of nature only to select groups. The book contrasts Faraday's views with those of other practitioners, to whom science was a practical, skill-based activity open to all. In venues such as the Galleries of Practical Science, electrical phenomena were presented to a public less distinguished but no less enthusiastic and curious than Faraday's audiences. William Sturgeon, for instance, emphasized building apparatus and exhibiting electrical phenomena, while chemists, instrument-makers, and popular lecturers supported the London Electrical Society. These previously little studied "electricians" contributed much to the birth of "Frankenstein's children"--the not completely benign effects of electricity on a new consumer world. Originally published in 1998. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Sara worries that the monster she created from Josh's body--with the help of the private journals of Victor Frankenstein--is in fact a descendant of the mad doctor. Original.

Frankenstein 's Children explores Mary Shelley's Frankenstein as a lens into contemporary loneliness and hunger, fantasies of reanimation and artificial thought born of a dread that would deny or master the necessities that define us, join us, tear us apart. Having lost her own child, Shelley gives voice to a powerful illusion, a creature half-invented, half-found, raised from the dead and yet, by life, abandoned. These poems would bring her parable into conversation with movies and commercials that make of the dead a reciprocal companion. They would interrogate the creature as the dream he is, still, and the one he is not, full of real rage and confusion and the immaterial mystery of choice, that contradiction in his nature that makes him--and us--free to wander and console.

Like a modern-day Frankenstein, Sarah Watkins brings her boyfriend back from the dead, but he is doomed because he has the blood of monsters, and Sarah must end the curse--even if it means destroying the boy she loves. Original.

Dr. Victor's assistant at the science museum may -- or may not -- be Frankenstein's monster in this funny and spooky series from Graphix Chapters. Get drawn into reading with Graphix Chapters! Graphix Chapters are ideal books for beginning and newly independent readers aged 6 - 8. With approachable page counts, easy-to-follow paneling, and artwork that supports text comprehension, these engaging stories with unforgettable characters help children become lifelong readers. The Bailey School Kids take a field trip to a science museum, where they meet Dr. Victor and his hulking assistant, Frank. Secrets lurk behind every door in the spooky old museum. What's Dr. Victor doing in his hidden lab? And could Frank be Frankenstein's monster -- even though he loves to plant flowers?