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Gail Simone is an American writer of comic books. Best known for penning DC’s Birds of Prey, her other notable works include Secret Six, Welcome to Tranquility, The All-New Atom, Deadpool, and Wonder Woman. She became the writer for a new Red Sonja series in 2013 with Dynamite Entertainment, and for the 2017

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An electrifying new era began for the Amazon warrior Wo…

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Gail Simone Quotes (Author of Batgirl, Volume 1)

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17 quotes from Gail Simone: ‘If you need to stop an asteroid, you call Superman. If you need to solve a mystery, you call Batman. But if you need to end a war, you call Wonder Woman.’, ‘I’m not Barbara Gordon. I have to keep remembering that. Tonight, I’m not Barbara. Tonight, I’m not the Police Commissioner’s daughter.
Tonight, I’m the one who pored over the details of the confidential police and reports when her dad wasn’t looking.
I’m the one who recognized the vintage costumes you wear.
Tonight?
Tonight, I’m Batgirl.‘, and ‘We have a saying, my people. Don’t kill if you can wound, don’t wound if you can subdue, don’t subdue if you can pacify, and don’t raise your hand at all until you’ve first extended it”.’

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Gail Simone is an American writer best known for her work in comics on DC's Birds of Prey, , Dynamite Entertainment's Red Sonja, and for being the longest running female writer on Wonder Woman to date. Other notable works include Clean Room, , Welcome to Tranquility, The All-New Atom, and .

She enjoyed a long-running stint on The Simpsons comics, and has also written for television and video games.

Her work has been nominated for a number of awards including the GLAAD Media Award, and she is the recipient of a 2017 San Diego Comic Con Inkpot Award.

Gail Simone was born and raised in Oregon.

A former hairdresser who studied theater in college, Simone first came to public notice through Women in Refrigerators, a website founded in 1999 by comics fans in response to a scene in Green Lantern #54, in which the titular hero's girlfriend, Alexandra DeWitt, was murdered and her corpse shoved in a refrigerator for the hero to find. The site's purpose was to analyze how female characters are written so as to suffer traumatic indignities, a plot device to advance the narrative of male characters. The site brought her into contact with many people working in the comics industry.

Her column You'll All Be Sorry! appeared weekly on Comic Book Resources. Topics ranged from short, satirical summaries of comic books ("Condensed Comic Classics") to fan fiction parodies.

Simone posing with a fan dressed as Huntress, a character whom Simone wrote in Birds of Prey, at the New York Comic Con, October 9, 2010.

From 2001, Simone wrote Simpsons Comics for Bongo Comics, including an annual Treehouse of Horror special, and regular scripts for Bart Simpson Comics. Simone also penned many Sunday strips for the syndicated Simpsons comic strip.

Simone worked for Marvel Comics' on from 2003. After Deadpool was canceled and relaunched as , Simone continued as writer, but eventually left the project after a conflict with the series' editor. Simone returned to write the concluding arc to Agent X after the series' initial cancellation.

Simone moved to DC Comics, where she wrote Birds of Prey in 2003 from issue #56, which featured an all-female team: Oracle, Black Canary, The Huntress and Lady Blackhawk.

Simone wrote Action Comics with John Byrne as pencil artist. In 2005 Simone wrote the Villains United limited series - part of the " Infinite Crisis" crossover - starring the Catman character. She also wrote a two-issue story arc that focused on Hawk & Dove for a rebooted Teen Titans series with Rob Liefeld as artist. Simone supported Liefeld in the face of public criticism of his art.

Simone's Villains United limited series spin-off followed in 2005, which led to an ongoing series in September 2008, and multiple DC crossovers prior to the September 2011 New 52 relaunch.

Other works by Simone include Action Comics, , Rose and Thorn, Wildstorm's Gen¹³, and an series based on ideas by Grant Morrison and penciled by John Byrne and Mike Norton. She wrote a creator-owned project about a retirement community of super-heroes, Welcome to Tranquility, for Wildstorm, and was a contributor to Tori Amos's Comic Book Tattoo.

In 2007 Simone took over writing duties on Wonder Woman from issue #14. To date, Simone is Wonder Woman's longest-running female writer. In 2010 she took over the writing reins on Birds of Prey.

She returned to Welcome to Tranquility for a second limited series in 2010. In 2011 she collaborated with co-writer Ethan Van Sciver on a revamped Firestorm series. was canceled and Simone left Birds of Prey and The Fury of Firestorm.

In 2011, Simone contributed to The Power Within, a Kickstarter-funded comic book that focuses on teen bullying.

As part of DC Comics' New 52 initiative, Simone wrote a new title starring Barbara Gordon, which debuted in 2011. Simone introduced a character named Alysia Yeoh, the first transgender character written in a contemporary context in a mainstream comic book.

In 2012, news outlets reported that her exclusivity deal with DC had terminated and she was leaving the Batgirl title as well as DC Comics. In 2012, Simone revealed that she was fired from Batgirl by the book's new editor Brian Cunningham. After fan protests, Simone returned to Batgirl as writer.

Simone at the 2018 WonderCon

In 2013, DC Comics published The Movement by Simone and artist Freddie Williams II, which Simone called "a book about power - who owns it, who uses it, who suffers from its abuse." Also in 2013 Simone wrote a new ongoing Red Sonja series for Dynamite.

Also in 2013, Simone was listed first on IGN's list of the "Best Tweeters in Comics" for the "enthusiasm and thoughtfulness" of her Twitter posts.

In 2014-2015, Simone wrote the Lara Croft series Tomb Raider for Dark Horse Comics, set between the 2013 video game reboot and its sequel Rise of the Tomb Raider.

Oni Press published her graphic novel Seven Days with art by Jose Luis in 2020 as part of an initiative to launch a new Catalyst Prime superhero universe.

In 2005, Simone penned an episode of the series Justice League Unlimited entitled "Double Date", which featured Question, Huntress, Green Arrow and Black Canary. Originally, Simone intended the episode to feature Batgirl but animation rights for the character were unavailable.

In 2007, Simone wrote an episode of GameTap's Revisioned: Tomb Raider, entitled "Pre-Teen Raider".

She also wrote a 2010 episode of Batman: The Brave and the Bold entitled "The Mask of Matches Malone!", featuring Black Canary and Huntress from "Birds of Prey".

In 2019, she wrote an episode of the series My Little Pony: Friendship Is Magic entitled "Between Dark and Dawn".

Simone is notable for being one of the most influential women in the comic book industry. Her blog "Women In Refrigerators" raised awareness of the representation of women in comics. Simone believes most female comic characters are targeted at male audiences through oversexualization, and advocates for the creation of female characters that are as powerful, appealing, and commercially viable as male characters, something she strives to achieve in her own work.

Eisner Award Winner: Tori Amos Comic Book Tattoo (anthology) 2009, Best Anthology (Group Award)

Harvey Award Winner: Tori Amos Comic Book Tattoo (anthology) 2009, Best Anthology (Group Award)

Women Cartoonists Hall Of Fame, 2009, Friends of Lulu.

Outstanding Comic Book Nominee: Secret Six, 2010, GLAAD Media Award

Outstanding Comic Book Nominee: Secret Six, 2012, GLAAD Media Award

True Believers Comic Award for Roll of Honor/Comic Excellence, 2014, London Film and Comic Con

Inkpot Award, 2017, San Diego Comic Con

Simpson's Comics #50 "Li'l Goodfellas", Bongo Comics, August 2000
Simpsons Comics Royale reprinted, Bongo Comics, March 2001
Simpson's Comics #73, reprinted, Bongo Comics, Titan Magazines, October 2002
The Best of the Simpsons#29 reprinted, Bongo Comics, Titan Magazines, April 2006

Simpson's Comics #83, "...So You Want To Work for Globex, Huh?", Bongo Comics, August 2003
Simpson's Comics Jam Packed Jamboree reprinted, Bongo/Harper Collins, April 2006
The Best of the Simpsons #37 reprinted, Bongo Comics, Titan Magazines April 2007

DC Comics/Vertigo/Wildstorm

Rose and Thorn #1-6 (with Adriana da Silva Melo, DC Comics, February - July 2004)

Action Comics #827-831 & 833-835 (with John Byrne, DC Comics, July - November 2005 & January - March 2006) collected as:

Villains United #1-6 (with Dale Eaglesham, DC Comics, July - December 2005) collected as:

Secret Six #1-6 (with Brad Walker, DC Comics, July 2006 - January 2007) collected as:

Birds of Prey #56-90, 92-108 (DC Comics, August 2003 - July 2007) collected as:

Welcome to Tranquility #1-12 (with Neil Googe, Wildstorm, February 2007 - January 2008) collected as:

The All-New Atom #1-15, 17-18, 20 (DC Comics, September 2006 - April 2008) collected as:

JLA: Classified 2004 (DC Comics, January 2008) collected as:
The Hypothetical Woman (with Jose Luis Garcia-Lopez, Klaus Janson, and Sean Phillips, collects JLA: Classified #16-21, January 2006 - May 2006, ≈134 pages, softcover, January 2008, ISBN 1401216293)

Wonder Woman vol. 3 #14-44, vol. 1 #600, & vol 5 #750 (DC Comics, January 2008 - July 2010) collected as:

#1-14, 16-36, DC Comics, September 2008 - August 2011) collected as:

Danse Macabre (with Jim Calafiore, Peter Nguyen and Doug Hazlewood, collects Secret Six #15-18 and Suicide Squad #67, written by John Ostrander, 128 pages, October 2010, ISBN 1-4012-2904-2)

The Reptile Brain (with Jim Calafiore and Pete Woods, collects Secret Six #25-29 and Action Comics #896, written by Paul Cornell, 144 pages, May 2011, ISBN 1-4012-3166-7)

The Darkest House (with Jim Calafiore, Matthew Clark and Ron Randall, collects Secret Six #30-36 and Doom Patrol #19, written by Keith Giffen, 176 pages, January 2012, ISBN 1401233627)

Birds of Prey vol. 2, #1-13 (DC Comics, July 2010 - August 2011) collected as:

Welcome to Tranquility: One Foot in the Grave #1-6 (with Horacio Dominguez, Wildstorm, September 2010 - February 2011) collected as:

volumes 1-5, #1-34 (DC Comics, July 2012 - December 2014) collected as:

Death of the Family (with Admira Wijayadi, Vicente Cifuentes, Mark Irwin, Johnathan Glapion, Julius Gopez, Greg Capullo, Daniel Sampere, Ed Benes, Scott Snyder, and Ray Fawkes; collects Batgirl (The New 52) #14-19 and Annual #1, Batman #17, and Young Romance #1; November 2012 - Apr 2013, 224 pages, hardcover, October 2013, ISBN 1401242596)

Wanted (with Derlis Santacruz, Fernando Pasarin, and Daniel Sampere; collected as Batgirl (The New 52) #20-26 and Batman: The Dark Knight #23.1; May 2013 - December 2013, 192 pages, hardcover, May 2014, ISBN 140124629X)

Clean Room vol. 1, #1-18 (Vertigo Comics, December 2015 - June 2017)

Red Sonja Vol 2 volumes 1-3, #0-18 (Dynamite Entertainment, February 2014 - October 2014) collected as:
The Forgiving of Monsters (with Walter Geovani, collects Red Sonja Vol 2 #13-18, July 2014 - May 2015, 160 pages, softcover, Unpublished, ISBN 1606906011)

Legends of Red Sonja volume 1, #1-5 (Dynamite Entertainment, August 2014) collected as:

#65-69 (Marvel Comics, May - September 2002)

Agent X #1-7, 13-15 (Marvel Comics, September 2002 - March 2003 & November - December 2003)

#1-10 (with David Baldeon, Marvel Comics, April 2018 - January 2019) collected as:
Domino Vol. 2: Soldier of Fortune (128 pages, collects Domino #7-10 and Domino Annual, March 2019, ISBN 978-1302914844)

Domino: Hotshots #1-5 (with David Baldeon, Marvel Comics, March - July 2019) collected as:

1. ^ Turnquist, Kristi (February 25, 2014). "Gail Simone to sign copies of new 'Tomb Raider' comics series Wednesday at Things from Another World". The Oregonian.

2. ^ "Passing the Tiara: Who Should Play the Next Wonder Woman" Archived 2013-09-25 at the Wayback Machine. UGO.com. October 5, 2010.

3. ^ Housel, Rebecca (March 3, 2013). "Gail Simone!" Dr. Rebecca Housel.

4. ^ Simone, Gail. "'You'll All Be Sorry!' Archives". Comic Book Resources. Archived from the original on 2004-12-11.

5. ^ Thomas, Brandon (2003). "The Gail Simone Dialogues". Comics Bulletin. Archived from the original on 2009-08-27.

6. ^ Brady, Matt (April 12, 2007). "Gail Simon Named New Wonder Woman Writer". Newsarama. Archived from the original on April 15, 2007.

7. ^ Brady, Matt (2007-08-14). "Simon's Wonder Woman Debut Pushed Back a Month". Newsarama. Archived from the original on 2007-08-27.

8. ^ Segura, Alex (January 13, 2010). "DCU in 2010: Welcome Back the Birds of Prey". The Source. DC Comics.com. Archived from the original on July 21, 2011.

9. ^ McGuirk, Brendan (January 13, 2010). "Gail Simone Returns to 'Birds of Prey' in 2010 - EXCLUSIVE". ComicsAlliance. Archived from the original on January 16, 2010.

10. ^ "Gail Simone on leaving Wonder Woman and returning to Birds of Prey". DC. March 5, 2010.

11. ^ JK Parkin (June 9, 2011). "Gail Simone confirms that Secret Six will end with issue #36". Comic Book Resources. Archived from the original on 2013-09-25.

12. ^ Khouri, Andy (December 7, 2011). "ComicsAlliance: DC Shakeup: Gail Simone Off 'Firestorm,' Tom DeFalco on 'Legion Lost', Cornell Off 'Stormwatch'". ComicsAlliance. Archived from the original on September 5, 2012.

13. Pirshafiey, Nicole (May 20, 2011). ^ "The Power Within: Anti-Bullying Comic Book Raising Funds To Spread Positive Message". GLAAD.

14. ^ "Bleeding Cool: Will Gail Simone Leave Batgirl? DC Creative Changes In The Next Few Months". Bleeding Cool. 2012.

15. ^ Esposito, Joey (December 21, 2012). "Gail Simone Back on Batgirl: Writer announces she's back on the book".

16. ^ Hunsaker, Andy (February 8, 2013). "DC Announces 'The Green Team' and 'The Movement'". CraveOnline. Archived from the original on April 26, 2014.

17. ^ Maggs, Sam (March 7, 2013). "Ladies Make Comics Too: Gail Simone". Dork Shelf.

18. ^ "2009 Female Comic Creator's Hall Of Fame Inductee: Gail Simone". Friends of Lulu 2009. Retrieved April 26, 2014.

19. ^ Wheeler, Andrew (January 19, 2012). "GLAAD Announces Nominees for Outstanding Comic Book 2011" Archived 2014-04-29 at the Wayback Machine. ComicsAlliance.

20. Melrose, Kevin (July 14, 2014). ^ "True Believers Comic Awards announce 2014 winners" Archived 2016-01-10 at the Wayback Machine Comic Book Resources.

21. ^ "Inkpot Award". Comic-Con International: San Diego. 2021. Archived from the original on January 3, 2022.

22. Collated from DC Comics data from individual comic book page counts. The graphic novel does not have a page number count in the ^ "Library of Congress Catalog" or "DC Comics page"

23. ^ DC Comics page incorrectly lists this as 19-25, but 19 is included in the previous volume 3 and 26 is included in this volume.

CAPE 3 Gail Simone Interview

"The Simone Files I: Birds of Prey". Newsarama, January 24, 2007

"The Simone Files II: The All-New Atom". Newsarama. January 25, 2007

"The Simone Files III: Welcome to Tranquility". Newsarama. January 29, 2007

"The Simone Files IV: Gen13". Newsarama. January 31, 2007

"The Simone Files V: Nicola Scott". Newsarama. February 6, 2007

"The Simone Files VI: Readers Axe The Questions". Newsarama. February 12, 2007

Gustines, George Gene (November 27, 2007). "Wonder Woman Gets a New Voice, and It's Female". New York Times.

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Gail Simone is an American writer best known for her work in comics on DC's Birds of Prey , , Dynamite Entertainment's Red Sonja, and for being the longest running female writer on Wonder Woman to date. Other notable works include Clean Room, , Welcome to Tranquility , The All-New Atom , and .

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Article on her impact (Scroll to the last section)

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Article on her impact (Scroll to the last section)

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The Secret to Agatha Christie’s Enduring Popularity - A Book Geek

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Agatha Christie is one of the most famous and beloved authors of all time, known for her gripping mysteries and unforgettable characters. But what about her writing has made her work stand the test of time? In this article, we’ll explore the secrets behind Agatha Christie’s enduring appeal and why her stories continue to captivate

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Murder on the Orient Express is a work of detective fiction by English writer Agatha Christie featuring the Belgian detective Hercule Poirot. It was first published in the United Kingdom by the Collins Crime Club on 1 January 1934. In the United States, it was published on 28 February 1934, under the title of Murder in the Calais Coach, by Dodd, Mead and Company. The UK edition retailed at seven shillings and sixpence (7/6) and the US edition at $2.

The elegant train of the 1930s, the Orient Express, is stopped by heavy snowfall. A murder is discovered, and Poirot's trip home to London from the Middle East is interrupted to solve the case. The opening chapters of the novel take place primarily in Istanbul. The rest of the novel takes place in Yugoslavia, with the train trapped between Vinkovci and Brod.

The US title of Murder in the Calais Coach was used to avoid confusion with the 1932 Graham Greene novel Stamboul Train, which had been published in the United States as Orient Express.

After taking the Taurus Express from Aleppo to Istanbul, private detective Hercule Poirot arrives at the Tokatlian Hotel, where he receives a telegram prompting him to return to London. He instructs the concierge to book him a first-class compartment on the Simplon-route Orient Express service leaving that night. Although the train is fully booked, Poirot obtains a second-class berth through the intervention of friend, fellow Belgian, and fellow passenger Monsieur Bouc, director of the train operator Compagnie Internationale des Wagons-Lits (CIWL). Other passengers include American widow Caroline Hubbard; English governess Mary Debenham; Swedish missionary Greta Ohlsson; American businessman Samuel Ratchett, with his secretary/translator Hector MacQueen, and his English valet Edward Henry Masterman; Italian-American car salesman Antonio Foscarelli; Russian Princess Natalia Dragomiroff and her German maid Hildegarde Schmidt; Hungarian Count Rudolph Andrenyi and his wife Elena; English Colonel John Arbuthnot; American salesman Cyrus B. Hardman; and Greek medical doctor Stavros Constantine.

Ratchett has been receiving death threats; recognizing Poirot, he tries to hire him for protection. Poirot, repulsed by Ratchett, refuses, telling him, "I will not take your case because I do not like your face." Bouc has taken the last first-class cabin, but on the first morning he arranges to move to a separate coach and gives Poirot his space. That night, Poirot observes some strange occurrences. Early in the morning, he is awakened by a cry from Ratchett's compartment next door. Pierre Michel, the train's conductor, knocks on Ratchett's door, but a voice from inside responds, "Ce n'est rien. Je me suis trompé." ("It is nothing. I was mistaken.") Hubbard rings her bell and tells Michel a man passed through her room. When Poirot rings his bell for water, Michel informs him that the train is stuck in a snowdrift between Vinkovci and Brod before he hears a loud thump next door. He observes a woman in a red kimono going towards the washroom, then goes to sleep.

The railway station passenger terminal in Vinkovci, Croatia

The next morning, with the train still stalled, Bouc informs Poirot that Ratchett has been murdered and the murderer is still aboard, having no way to escape in the snow. As there are no police onboard, Poirot takes up the case. With help from Dr. Constantine, Poirot examines Ratchett's body and compartment, discovering the following: the body has twelve stab wounds, the window had been left open, a handkerchief with the initial "H", a pipe cleaner, a flat match different from the ones Ratchett used, and a charred piece of paper with "member little Daisy Armstrong" written on it.

The piece of paper helps Poirot work out the murderer's motive. Many years earlier, American gangster Cassetti kidnapped three-year-old Daisy Armstrong. Cassetti collected a significant ransom from the wealthy Armstrong family, then revealed that he had already killed the child. Sonia Armstrong, Daisy's mother, who was pregnant with her second child, went into premature labor upon hearing the news and died, along with the baby. Her grieving husband, Colonel Armstrong, shot himself, and Daisy's French nursemaid, Susanne, was accused of aiding Cassetti and committed suicide, only to be found innocent afterwards. Cassetti escaped justice through corruption and legal technicalities, and fled the country. Poirot concludes that Ratchett was actually Cassetti. Whoever had answered the conductor was not Ratchett, as Ratchett did not speak French.

As Poirot begins interviewing everyone on the train, he discovers MacQueen is directly involved as he knows about the Armstrong note and believed it was destroyed and that Hubbard believes the murderer was in her cabin. While the passengers and Pierre all provide suitable alibis for each other, Poirot notes that some of them observed the woman in the red kimono walking down the hallway on the night of the murder. However, no one admits to owning a red kimono. Hubbard had Ohlsson lock the communicating door between her compartment and that of Cassetti, which invalidates her story of the man in her compartment, and Schmidt bumped into a stranger wearing a Wagons-Lits uniform. Miss Debenham inadvertently reveals she has been to America, contrary to her earlier statements, and Ohlsson shows much emotion when the subject of Daisy is brought up, causing further suspicion. Arbuthnot remarks that Cassetti should have been found guilty in a second trial instead of murdered, and Hardman admits he is actually a MacNeil Agency private detective who was asked to watch out for an assassin that was stalking Cassetti.

While inspecting the passengers' luggage, Poirot is surprised to find the label on Countess Andrenyi's luggage is wet and that her passport is smudged, Schmidt's bag contains the uniform in question, and Poirot's own luggage contains the red kimono, recently hidden there. Hubbard herself finds the murder weapon hidden in her sponge bag. Poirot meets with Dr. Constantine and Bouc to review the case and develop a list of questions. With these and the evidence in mind, Poirot thinks about the case, going into a trance-like state. When he surfaces from it, he deduces the solution.

He calls in the suspects and reveals their true identities and that they were all connected to the Armstrong tragedy in some way, gathering them in the dining car for the second solution. Countess Andrenyi (nee Goldenberg) is Helena, Daisy's aunt, who was a child herself at the time of the tragedy. Rudolph, her loving husband, smudged her luggage label and obscured her name to conceal her identity. Debenham was Helena and Daisy's governess; Foscarelli was the Armstrongs' chauffeur and a suspect in the kidnapping; Masterman was Col. Armstrong's valet; Michel is Susanne's father and the person who procured the false second uniform; Hubbard is actually actress Linda Arden (Daisy's grandmother and Sonia and Helena's mother); Schmidt was the Armstrongs' cook; and Ohlsson was Daisy's nurse. Princess Dragomiroff, in reality Sonia's godmother, claims the monogrammed handkerchief, saying that her forename is Natalia, and the "H" is actually a Cyrillic letter "N". Arbuthnot is there on Debenham's behalf and his own, as he was a personal friend of Colonel Armstrong. Hardman is an ex-policeman who admits he was in love with Susanne, and MacQueen, who had feelings for Sonia, was the son of the lawyer who represented the Armstrongs. The only passengers not involved in the murder are Bouc and Dr. Constantine, both having slept in the other coach, which was locked.

Poirot propounds two possible solutions, one far simpler than the other, and advising them to consider both seriously. The first is that a stranger boarded the train when it stopped at Vinkovci, killed Cassetti as a result of a Mafia feud, and disembarked at great risk through the snow. The second is that all the clues except the handkerchief and pipe cleaner were planted and that Michel and all the passengers in the coach, except Helena, stabbed Cassetti, acting as their own jury. Arden acknowledges everything and offers to take responsibility as she was the mastermind. Bouc and Dr. Constantine, however, decide the first solution should be relayed to the police. Poirot retires from the case.

Hercule Poirot: world-famous sleuth from Belgium.

Bouc: Poirot's friend and a director of the Compagnie Internationale des Wagons-Lits.

Dr. Stavros Constantine: a Greek physician, who, after the murder, determines Ratchett's time of death.

Mrs. Caroline Hubbard: grandmother of Daisy Armstrong who's later revealed to be actress Linda Arden.

Mary Debenham: A governess returning from Baghdad who was formerly Daisy Armstrong's governess.

Colonel John Arbuthnot: Colonel Armstrong's best friend who's in love with Mary Debenham.

Princess Natalia Dragomiroff: a Russian princess who's ultimately revealed to be Sonia Armstrong's godmother.

Hector MacQueen: Ratchett's personal secretary and translator, whose father was the lawyer for the Armstrong family.

Samuel Ratchett/Cassetti: kidnapper and murderer of three-year-old Daisy Armstrong.

Countess Helena Andrenyi: the sister of Sonia Armstrong, notable as the only one of the 12 suspect passengers who did not take part in the murder.

Count Rudolph Andrenyi: husband of Countess Andrenyi, who took his wife's place as the twelfth murderer.

Cyrus Hardman: an American ex-policeman who was in love with Daisy's French nursery maid, who committed suicide after Daisy was killed.

Antonio Foscarelli: the Armstrongs' former chauffeur who had loved little Daisy.

Greta Ohlsson: Daisy Armstrong's former nurse.

Hildegarde Schmidt: Princess Dragomiroff's maid, formerly the Armstrongs' cook

Edward Henry Masterman: Ratchett's valet, a remote and haughty man, who was Col. Armstrong's batman in the war and valet in New York.

Pierre Michel: the train conductor and the father of Daisy Armstrong's nursery maid, who committed suicide after the murder.

The Times Literary Supplement of 11 January 1934 outlined the plot and concluded that "The little grey cells solve once more the seemingly insoluble. Mrs Christie makes an improbable tale very real, and keeps her readers enthralled and guessing to the end."

In The New York Times Book Review of 4 March 1934, Isaac Anderson wrote, "The great Belgian detective's guesses are more than shrewd; they are positively miraculous. Although both the murder plot and the solution verge upon the impossible, Agatha Christie has contrived to make them appear quite convincing for the time being, and what more than that can a mystery addict desire?"

The reviewer in The Guardian of 12 January 1934 noted that the murder would have been "perfect" (i.e. a perfect crime) had Poirot not been on the train and also overheard a conversation between Miss Debenham and Colonel Arbuthnot before he boarded; however, Poirot's "'little grey cells' worked admirably, and the solution surprised their owner as much as it may well surprise the reader, for the secret is well kept and the manner of the telling is in Mrs Christie's usual admirable manner."

Robert Barnard said that this novel was "The best of the railway stories. The Orient Express, snowed up in Yugoslavia, provides the ideal 'closed' set-up for a classic-style exercise in detection, as well as an excuse for an international cast-list. Contains my favourite line in all Christie: 'Poor creature, she's a Swede.' Impeccably clued, with a clever use of the Cyrillic script (cf. The Double Clue). The solution raised the ire of Raymond Chandler, but won't bother anyone who doesn't insist his detective fiction mirror real-life crime." The reference is to Chandler's criticism of Christie in his essay, The Simple Art of Murder. In 1995, the novel was included in Mystery Writers of America's The Top 100 Mystery Novels of All Time list. In December 2014, the novel was included in Entertainment Weekly's list of the Nine Great Christie Novels.

The kidnapping and murder of Charles Lindbergh's son in 1932 inspired that element in Christie's novel two years later. The novel used many elements of the real life case: a young child, firstborn of the family, was kidnapped for ransom directly from the crib, the parents were famous, the father was a well-known pilot and the mother pregnant, and the ransom was paid but the child found dead soon after. An innocent, but perhaps loose-lipped, maid employed by Lindbergh's parents was suspected of involvement in the crime. After being harshly interrogated by police, she committed suicide.

Two less notable events helped inspire her novel: Agatha Christie's first journey on the Orient Express in late 1928, and a blizzard near Çerkezköy, Turkey, that marooned the Orient Express for six days just a few months later, in February 1929.

Flooding from rainfall that washed sections of track away in December 1931 halted Christie's return from her husband's archaeological dig at Nineveh aboard an Orient Express for 24 hours. Her authorised biography details that event in a complete quotation of a letter to her husband, which describes several passengers on her train who inspired both the plot and the characters in her novel, including an American, Mrs. Hilton, who inspired Mrs. Hubbard.

John Moffatt starred as Poirot in a five-part BBC Radio 4 adaptation by Michael Bakewell, directed by Enyd Williams, and originally broadcast from 28 December 1992 - 1 January 1993. André Maranne appeared as Bouc, Joss Ackland as Ratchett/Cassetti, Sylvia Syms as Mrs Hubbard, Siân Phillips as Princess Dragomiroff, Francesca Annis as Mary Debenham, and Peter Polycarpou as Dr. Constantine.

In 2017, the streaming service Audible released another radio adaptation that featured Tom Conti as the voice of Poirot. The voice cast also featured Sophie Okonedo as Mary Debenham, Eddie Marsan as Ratchett/Cassetti, and narration from Art Malik.

The Soviet radio play was released in 1966. The voice cast featured Vsevolod Yakut as Poirot, Rostislav Plyatt as Colonel Arbuthnot, Maria Babanova as Hubbard, Oleg Yefremov as Hector McQueen, Leonid Kanevsky as Antonio Foscarelli, Angelina Stepanova as Princess Dragomiroff and Alexander Lazarev as Hardman.

The book was made into a 1974 movie directed by Sidney Lumet and produced by John Brabourne and Richard B. Goodwin; it was a critical and commercial hit. The film starred Albert Finney as Poirot, Martin Balsam as Signor Bianchi, George Coulouris as Dr Constantine, and Richard Widmark as Ratchett/Cassetti, with the remaining cast of suspects including Sean Connery (Arbuthnot), Lauren Bacall (Mrs Hubbard), Anthony Perkins (MacQueen), John Gielgud (Beddoes), Michael York (Count Andrenyi), Jean-Pierre Cassel (Pierre Michel), Jacqueline Bisset (Countess Andrenyi), Wendy Hiller (Princess Dragomiroff), Vanessa Redgrave (Mary Debenham), Rachel Roberts (Hildegarde Schmidt), Colin Blakely (Hardman), Denis Quilley (Foscarelli), and Ingrid Bergman, who won the 1974 Academy Award for Best Supporting Actress for her role as Greta Ohlsson. Only minor changes were made for the film: Masterman was renamed Beddoes, the dead maid was named Paulette instead of Susanne, Helena Goldenberg became Helena Grünwald (which is German for "Greenwood"), Antonio Foscarelli became Gino Foscarelli, Caroline Martha Hubbard became Harriet Belinda Hubbard, and the train company's Belgian director, Monsieur Bouc, became instead an Italian director, Signor Bianchi.

On 16 June 2015, 20th Century Fox hired Kenneth Branagh to direct and star as Poirot in another film adaptation of the story, which was released on 3 November 2017. On 29 September 2016, the studio issued a press release announcing much of the cast, including Johnny Depp as Ratchett, Michelle Pfeiffer as Mrs Hubbard, Penélope Cruz as Pilar Estravados (a Spanish version of Greta Ohlsson, the name coming from a character in Hercule Poirot's Christmas), Judi Dench as Princess Dragomiroff, Derek Jacobi as Masterman, Leslie Odom Jr. as Dr Arbuthnot, Daisy Ridley as Mary Debenham, Lucy Boynton as Countess Andrenyi, Tom Bateman as Monsieur Bouc, Manuel Garcia-Rulfo as Biniamino Marquez (a Cuban version of Antonio Foscarelli), Josh Gad as Hector MacQueen, Marwan Kenzari as Pierre Michel, Sergei Polunin as Count Andrenyi, Willem Dafoe as Cyrus Hardman, and Olivia Colman as Hildegarde Schmidt. The character of Col. Arbuthnot is combined with Dr. Constantine to create Dr Arbuthnot, a sniper who served under Col. Armstrong in the war and had his medical school paid for by Armstrong; MacQueen's father is portrayed as having been a prosecutor in the Armstrong case rather than the Armstrong family's lawyer, and whose career was ruined after he prosecuted the maid Susanne; and Monsieur Bouc is changed from the director of the company to the director's nephew. Added was a direct link for Poirot to the Armstrong kidnapping-before Sonia's death, John Armstrong wrote to Poirot for help. Also unlike the book, the kidnapping does not take place in Long Island but in New Jersey, where the Lindbergh Kidnapping took place. Susanne Michel is switched from Pierre Michel's daughter to his sister. Cyrus Hardman poses as an Austrian scientist named Gerhard Hardman for part of the film. The last scene also sets up Death on the Nile as a sequel.

German adaptation (1955)

The novel was first adapted as a 1955 episode of the West German television series Die Galerie der großen Detektive. Heini Göbel played the role of Poirot.

A thoroughly modernized and poorly received made-for-TV version starring Alfred Molina as Poirot was presented by CBS in 2001. This version co-starred Meredith Baxter as Mrs Hubbard and Leslie Caron as Señora Alvarado (based on Princess Dragomiroff, and portrayed as the widow of a South American dictator). Poirot is portrayed as significantly younger and less eccentric than Christie's detective, and is given a subplot involving a romantic relationship with Vera Rosakoff, who is loosely based on an infrequently recurring character of the same name. The story is updated to a contemporary setting, and four of the suspects (Hildegarde Schmidt, Cyrus Hardman, Edward Masterman and Greta Ohlsson) are deleted, as is Dr Constantine.

David Suchet reprised the role of Hercule Poirot in "Murder on the Orient Express" (2010), a 90-minute movie-length episode of the television series Agatha Christie's Poirot co-produced by ITV Studios and WGBH-TV, adapted for the screen by Stewart Harcourt. The original air date was 11 July 2010 in the United States, and it was aired on Christmas Day 2010 in the UK.

The cast includes Dame Eileen Atkins as Princess Dragomiroff, Hugh Bonneville as Masterman, Jessica Chastain as Mary Debenham, Barbara Hershey as Mrs Hubbard, Toby Jones as Ratchett, and David Morrissey as Colonel Arbuthnot.

The character Cyrus Hardman (the former American police officer turned private detective) has been largely amalgamated with the chauffeur Foscarelli (in as much as regards being the lover of the dead maid) and Dr. Constantine (who in the novel is unrelated to the murders) becomes a co-conspirator, depicted as having been the Armstrong family's doctor in America.

As in the 2017 film, MacQueen's father was the prosecutor rather than the Armstrongs' lawyer, whose career was ruined after he was threatened into acquitting Cassetti. The adaptation's treatment of Ratchett's murder is much darker in comparison with the novel. The killers gather in his cabin and stab him one by one while he is drugged but awake, rather than stabbing him independently while he is unconscious. The ending dwells on Poirot's horror at the act of mob justice and his moral conflict, in view of his Catholic faith and commitment to the law, when he decides not to tell the Yugoslavian police what he knows.

The interior of the Orient Express was reproduced at Pinewood Studios in London, while other locations include the Freemason Hall, Nene Valley Railway, and a street in Malta (shot to represent Istanbul).

Japanese TV adaptation (2015)

A Japanese adaptation was broadcast over two nights in January 2015 on Fuji Television, titled , and it featured several famous actors, including Ninomiya Kazunari, Matsushima Nanako, Tamaki Hiroshi, Kichise Michiko, Nishida Toshiyuki, and Sawamura Ikki. The main character, Suguro Takeru, modeled on Hercule Poirot, was played by actor Nomura Mansai.

The first night featured a storyline true to the original text, but set in Japan in 1933. In this version, the train Orient Kyuukou ran from the western city of Shimonoseki to Tokyo, with the train stopped by a small avalanche near Sekigahara, Gifu.

The second night was an original story.

American playwright Ken Ludwig adapted the novel into a play, which premiered at the McCarter Theatre in Princeton, New Jersey on March 14, 2017. The production was directed by Emily Mann, and starred Allan Corduner in the role of Hercule Poirot.

A board game based on the novel named Orient Express was released in 1985. The point and click computer game Agatha Christie: Murder on the Orient Express was released in November 2006 for Windows and expanded on Agatha Christie's original story with a new playable central character as Hercule Poirot (voiced by David Suchet) is ill and recovering in his train compartment.

A new game, Agatha Christie - Murder on the Orient Express has been announced by Microids. A revisited and modernized version of Agatha Christie's classic, set in 2023. Expected to be released in Fall 2023 on PC and consoles PlayStation, Xbox and Nintendo Switch.

1934, Collins Crime Club (London), 1 January 1934, Hardcover, 256 pp.

1934, Dodd Mead and Company (New York), 1934, Hardcover, 302 pp.

c.1934, Lawrence E. Spivak, Abridged edition, 126 pp.

1940, Pocket Books (New York), Paperback, (Pocket number 79), 246 pp.

1948, Penguin Books, Paperback, (Penguin number 689), 222 pp.

1959, Fontana Books (Imprint of HarperCollins), Paperback, 192 pp.

1965, Ulverscroft Large-print Edition, Hardcover, 253 pp. ISBN 0-7089-0188-3

1968, Greenway edition of collected works (William Collins), Hardcover, 254 pp.

1968, Greenway edition of collected works (Dodd Mead), Hardcover, 254 pp.

1974, Pocket Books (New York) (with cover illustration of the cast of Sidney Lumet's movie by Allan Mardon [misspelled "Marden"]) November 1974, 34th printing, Paperback, viii, 198 p.

1978, Pocket Books (New York), Paperback

2006, Poirot Facsimile Edition (Facsimile of 1934 UK first edition), 4 September 2006, Hardcover, 256 pp. ISBN 0-00-723440-6

2011, William Morrow (HarperCollins), Paperback, 265 pp.

The story's first true publication was the US serialisation in six instalments in the Saturday Evening Post from 30 September to 4 November 1933 (Volume 206, Numbers 14 to 19). The title was Murder in the Calais Coach, and it was illustrated by William C. Hoople.

The UK serialisation appeared after book publication, appearing in three instalments in the Grand Magazine, in March, April, and May 1934 (Issues 349 to 351). This version was abridged from the book version (losing some 25% of the text), was without chapter divisions, and named the Russian princess as Dragiloff instead of Dragomiroff. Advertisements in the back pages of the UK first editions of The Listerdale Mystery, Why Didn't They Ask Evans, and Parker Pyne Investigates claimed that Murder on the Orient Express had proven to be Christie's best-selling book to date and the best-selling book published in the Collins Crime Club series.

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Murder on the Orient Express - Wikipedia

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Murder on the Orient Express is a work of detective fiction by English writer Agatha Christie featuring the Belgian detective Hercule Poirot. It was first published in the United Kingdom by the Collins Crime Club on 1 January 1934.

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"Ten little Indian boys went out to dine; One choked his little self and then there were nine.
Nine little Indian boys sat up very late; One overslept himself and then there were eight.
Eight little Indian boys travelling in Devon; One said he'd stay there and then there were seven.
Seven little Indian boys chopping up sticks; One chopped himself in halves and then there were six.
Six little Indian boys playing with a hive; A bumblebee stung one and then there were five.
Five little Indian boys going in for law; One got in Chancery and then there were four.
Four little Indian boys going out to sea; A red herring swallowed one and then there were three.
Three little Indian boys walking in the Zoo; A big bear hugged one and then there were two.
Two little Indian boys sitting in the sun; One got frizzled up and then there was one.
One little Indian boy left all alone; He went and hanged himself and then there were none."
― Agatha Christie, And Then There Were None

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Agatha Christie Quotes (Author of And Then There Were None)

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2761 quotes from Agatha Christie: 'I like living. I have sometimes been wildly, despairingly, acutely miserable, racked with sorrow; but through it all I still know quite certainly that just to be alive is a grand thing.', 'It is a curious thought, but it is only when you see people looking ridiculous that you realize just how much you love them.

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Agatha Christie - Books, Disappearance & Life

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Agatha Christie was a mystery writer who was one of the world’s top-selling authors with works like ‘Murder on the Orient Express’ and ‘The Mystery of the Blue Train.’

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Describes her influence on Sci-Fi, and the movement she started. 

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Describes her influence on Sci-Fi, and the movement she started. 

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Afrofuturism: How Octavia Butler is moving us forward

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Octavia E. Butler was a visionary African American author, who imagined an alternate future for herself and our shared world

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"The child in each of us
Knows paradise.
Paradise is home.
Home as it was
Or home as it should have been.

Paradise is one's own place,
One's own people,
One's own world,
Knowing and known,
Perhaps even
Loving and loved.

Yet every child
Is cast from paradise-
Into growth and new community,
Into vast, ongoing
Change."
― Octavia E. Butler, Parable of the Sower

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Octavia E. Butler Quotes (Author of Kindred)

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752 quotes from Octavia E. Butler: 'In order to rise From its own ashes A phoenix First Must Burn.', 'When your rage is choking you, it is best to say nothing.', and 'All that you touch You Change. All that you Change Changes you. The only lasting truth is Change.

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OCTAVIA E. BUTLER was a renowned African American author who received a MacArthur "Genius" Grant and PEN West Lifetime Achievement Award for her body of work. Born in Pasadena in 1947, she was raised by her mother and her grandmother. She was the author of several award-winning novels including PARABLE OF THE SOWER (1993), which was a New York Times Notable Book of the Year, and PARABLE OF THE TALENTS (1995) winner of the Nebula Award for the best science fiction novel published that year. She was acclaimed for her lean prose, strong protagonists, and social observations in stories that range from the distant past to the far future.

Though the MacArthur Grant made life easier in later years, she struggled for decades when her dystopian novels exploring themes of Black injustice, global warming, women's rights and political disparity were, to say the least, not in commercial demand.

During these years of obscurity Butler, always an early riser, woke at 2 a.m. every day to write, and then went to work as a telemarketer, potato chip inspector, and dishwasher, among other things.

She passed away on February 24, 2006. At the time of her death, interest in her books was beginning to rise, and in recent years, sales of her books have increased enormously as the issues she addressed in her Afro-Futuristic, feminist novels and short fiction have only become more relevant.

Her work is now taught in over 200 colleges and universities nationwide. The #1 New York Times bestselling graphic novel adaptation of her book KINDRED, created by Damian Duffy and John Jennings, received the Eisner Award for best adaptation.

In media, her novel DAWN is being developed for television by Ava DuVernay ("Selma"; "A Wrinkle In Time"). An opera by Toshi Reagon based on Butler's novel PARABLE OF THE SOWER was part of The Public Theatre "Under the Radar" festival and toured worldwide in 2018. Amazon Studios and JuVee Productions (Viola Davis and Julius Tennon's production company) are developing a drama series from Butler's PATTERNIST series, beginning with WILD SEED, and the series is being co-written by Nnedi Okorafor and Wanuri Kahiu, who will also direct.

2018, Eisner Award for Best Adaptation from Another Medium - Kindred, by Octavia Butler, adapted by Damian Duffy and John Jennings (Abrams ComicArts)

2012, Solstice Award, Science Fiction & Fantasy Writers of America

2010, Inductee Science Fiction Hall of Fame

2000, PEN American Center Lifetime Achievement Award in Writing

1999, Nebula Award for Best Novel - Parable of the Talents

1995, MacArthur Foundation "Genius" Grant

1985, Hugo Award for Best Novelette - Bloodchild

1985, Locus Award for Best Novelette - Bloodchild

1985, Science Fiction Chronicle Award for Best Novelette - Bloodchild

1984, Hugo Award for Best Short Story - Speech Sounds

1984, Nebula Award for Best Novelette - Bloodchild

1980, Creative Arts Award, L.A. YWCA

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OCTAVIA E. BUTLER was a renowned African American author who received a MacArthur "Genius" Grant and PEN West Lifetime Achievement Award for her body of work. Born in Pasadena in 1947, she was raised by her mother and her grandmother.

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Kindred is a novel by American writer Octavia E. Butler that incorporates time travel and is modeled on slave narratives. First published in 1979, it is still widely popular. It has been frequently chosen as a text for community-wide reading programs and book organizations, as well as being a common choice for high school and college courses.

The book is the first-person account of a young African-American woman writer, Dana, who finds herself being shunted in time between her Los Angeles, California home in 1976 and a pre-Civil War Maryland plantation. There she meets her ancestors: a proud black freewoman and a white planter who has forced her into slavery and concubinage. As Dana's stays in the past become longer, the young woman becomes intimately entangled with the plantation community. She makes hard choices to survive slavery and to ensure her return to her own time.

Kindred explores the dynamics and dilemmas of antebellum slavery from the sensibility of a late 20th-century black woman, who is aware of its legacy in contemporary American society. Through the two interracial couples who form the emotional core of the story, the novel also explores the intersection of power, gender, and race issues, and speculates on the prospects of future egalitarianism.

While most of Butler's work is classified as science fiction, Kindred is considered to cross genre boundaries. It has been classified also as literature or African-American literature. Butler has categorized the work as "a kind of grim fantasy."

Kindred scholars have noted that the novel's chapter headings suggest something "elemental, apocalyptic, archetypal about the events in the narrative," thus giving the impression that the main characters are participating in matters greater than their personal experiences.

Prologue
Dana wakes up in the hospital with her arm amputated. Police deputies question her about the circumstances surrounding the loss of her arm and ask her whether her husband Kevin, a white man, beats her. Dana tells them that it was an accident and that Kevin is not to blame. When Kevin visits her, they are both afraid of telling the truth because they know nobody would believe them.

The River
Their predicament began on June 9, 1976, the day of her twenty-sixth birthday. The day before, she and Kevin had moved into a house a few miles away from their old apartment in Los Angeles. While unpacking, Dana suddenly becomes dizzy, and her surroundings begin to fade away. When she comes to her senses, she finds herself at the edge of a wood, near a river where a small, red-haired boy is drowning. Dana wades in after him, drags him to the shore, and tries to resuscitate him. The boy's mother, who had been unable to save him, begins screaming and hitting Dana, accusing her of killing her son, whom she identifies as Rufus. A man arrives and points a gun at Dana, terrifying her. She becomes dizzy again and arrives back at her new house with Kevin beside her. Kevin, shocked at her disappearance and reappearance, tries to understand if the whole episode was real or a hallucination.

The Fire
Dana managed to wash off the filth from the river before the dizziness sets in once again. This time, she is whisked back to a bedroom where a red-haired boy has set his bedroom drapes aflame. The boy turns out to be Rufus, now a few years older. Dana quickly puts out the fire and speaks to Rufus, who, unafraid, confesses he set fire to the drapes to get back at his father for beating him after he stole a dollar. During their ensuing conversation, Rufus's casual use of the word " nigger" to refer to Dana, who is black, initially upsets Dana, but then leads her to figure out that she has been transported back in time as well as space, specifically to Maryland, circa 1815. Following Rufus's advice, Dana seeks refuge at the home of Alice Greenwood and her mother, free blacks who live on the edge of the plantation. Dana realizes that both Rufus and Alice are her ancestors, and will one day have children. At the Greenwoods', she witnesses a group of young white men smash down the door, drag out Alice's father, who is a slave, and whip him brutally for being there without papers. One of the men punches Alice's mother when she refuses his advances. The men leave, Dana comes out of hiding, and helps Alice's mother, only to be confronted by one of the white men, who hits her and attempts to rape her. Fearing for her life, Dana becomes dizzy and returns to 1976. Though hours have passed for her, Kevin assures her that she has been gone only for a few minutes. The next day, Kevin and Dana prepare for the possibility that she may travel back in time again by packing a survival bag for her and by doing some research on black history from the books in their home library.

The Fall
In a flashback, Dana recounts how she met Kevin while doing minimum-wage temporary jobs at an auto-parts warehouse. Kevin becomes interested in Dana when he learns she is a writer like him, and she befriends him even though he is white and their coworkers judge their relationship. They find they have much in common; both are orphans, both love to write, and both their families disapproved of their aspiration to become writers. They become lovers.

As Kevin is leaving for the library to find out how to forge " free papers" for Dana, she feels the dizziness coming back. This time, Kevin holds on to her and also travels to the past. They find Rufus writhing in pain from a broken leg. Next to him is a black boy named Nigel, whom they send to the main house for help. Rufus reacts with violent disbelief when he finds out that Kevin and Dana are married: whites and blacks are not allowed to marry in his time. Dana and Kevin explain to Rufus that they are from the future and prove it by showing the dates stamped on the coins Kevin carries in his pockets. Rufus promises to keep their identities a secret, and Dana tells Kevin to pretend that he is her owner. When Tom Weylin arrives with his slave Luke to retrieve Rufus, Kevin introduces himself. Weylin grudgingly invites him to dinner. Once back in the Weylin plantation, Margaret, Rufus's mother, fusses about her son's well-being and, jealous of the attention Rufus shows Dana, sends Dana to the cookhouse. There, Dana meets two house slaves: Sarah, the cook; and Carrie, her mute daughter. Unsure as to what their next act should be, Kevin accepts Weylin's offer to become Rufus's tutor. Kevin and Dana stay on the plantation for several weeks. They observe the relentless cruelty and torture that Weylin, Margaret, and the spoiled Rufus use against the slaves. While none is actually sadistic or evil, they feel entitled to treat the slaves as property. Weylin catches Dana reading and whips her mercilessly. The dizziness overcomes her before Kevin can reach her and she travels back to 1976 alone.

The Fight
In a flashback, Dana remembers how she and Kevin were married. Both of their families opposed the marriage due to ethnic bias. While Kevin's reactionary sister is prejudiced against African Americans, Dana's uncle abhors the idea of a white man eventually inheriting his property. Only Dana's aunt favors the union, as it would mean that her niece's children would have lighter skin. Kevin and Dana marry without any family present.

After eight days of being home recuperating without Kevin, Dana time travels to find Rufus getting beaten up by Alice Greenwood's husband, the slave Isaac Jackson. Dana learns that Rufus had attempted to rape Alice, once his childhood friend. Dana convinces Isaac not to kill Rufus, and Alice and Isaac run away while Dana gets Rufus home. She learns that it has been five years since her last visit and that Kevin has left Maryland. Dana nurses Rufus back to health in return for his help delivering letters to Kevin. Five days later, Alice and Isaac are caught. Isaac is mutilated and sold to traders heading to Mississippi. Alice is beaten, savaged by dogs, and enslaved as punishment for helping Isaac escape. Rufus, who claims to love Alice, buys her, and orders Dana to nurse her back to health. Dana does so with much care. When Alice finally recovers, she curses Dana for not letting her die, and is wracked with grief for her lost husband.

Rufus orders Dana to convince Alice to sleep with him now that she has recovered. Dana speaks with Alice, outlining her three choices: she can refuse and be whipped and raped; she can acquiesce and be raped without being beaten; or she can try again to run away. Injured and terrified from her previous punishment, Alice gives in to Rufus's desire and becomes his concubine. While in his bedroom, Alice finds out that Rufus did not send Dana's letters to Kevin, and tells Dana. Furious that Rufus lied to her, Dana runs away to find Kevin, but is betrayed by a jealous slave, Liza. Rufus and Weylin capture her and Weylin whips her brutally. When Weylin learns that Rufus failed to keep his promise to Dana to send her letters, he writes to Kevin and tells him that Dana is on the plantation. Kevin comes to retrieve Dana, but Rufus stops them on the road and threatens to shoot them. He tells Dana that she can't leave him again. The dizziness overcomes Dana and she travels back to 1976, this time with Kevin.

The Storm
Dana's and Kevin's happy reunion is short-lived, as Kevin has a hard time adjusting to the present after living in the past for five years. He shares a few details of his life in the past with Dana: he witnessed terrible atrocities against slaves, traveled farther up north, worked as a teacher, helped slaves escape, and grew a beard to disguise himself from a lynch mob. Disconcerted about his trouble in re-entering his former world, he grows angry and cold. Deciding to let him work his feelings out for himself, Dana packs a bag in case she time travels again.

Soon enough she finds herself outside the Weylin plantation house in a rainstorm, with a very drunk Rufus lying face down in a puddle. She tries to drag him back to the house, then gets Nigel to help her carry him. Back at the house, an aged Weylin appoints Dana to nurse Rufus back to health under threat of her life. Suspecting Rufus has malaria and knowing she cannot help much, Dana feeds Rufus the aspirin she has packed to lower his fever. Rufus survives, but remains weak for weeks. Dana learns that Rufus and Alice have had three mixed-race children of the plantation and that only one, a boy named Joe, has survived. Alice is pregnant again. Rufus had forced Alice to let the doctor bleed the other two when they had fallen ill, a customary treatment of the time, but it killed them. Weylin has a heart attack and, when Dana is unable to save his life, Rufus sends her to work in the corn fields as punishment. By the time he repents his decision, she has collapsed from exhaustion and is being whipped by the overseer. Rufus appoints Dana as the caretaker of his ailing mother, Margaret. Now the master of the plantation, Rufus sells off some slaves, including Tess, Weylin's former concubine. Dana expresses her anger about that sale, and Rufus explains that his father left debts he must pay. He convinces Dana to use her writing talent to stave off his other creditors. Dana abhors secretarial work, and had argued with Kevin about his asking her to type his manuscripts. Time passes and Alice gives birth to a girl, Hagar, a direct ancestor of Dana. Alice confides that she plans to run away with her children as soon as possible, as she fears that she is forgetting to hate Rufus. Dana convinces Rufus to let her teach his son Joe and some of the slave children how to read. However, when a slave named Sam asks Dana if his younger siblings can join in on the lessons, Rufus sells him away as punishment for flirting with her. When Dana tries to interfere, Rufus hits her. Faced with her own powerlessness over Rufus, she retrieves the knife she has brought from home and slits her wrists in an effort to time travel.

Dana awakens back at home with her wrists bandaged and Kevin by her side. She tells him of her eight months in the plantation, of Hagar's birth, and of the need to keep Rufus alive, as the slaves would be separated and sold if he died. When Kevin asks if Rufus has raped Dana, she responds that he has not, that a rape attempt would be the act that would cause her to kill him, despite the possible consequences. Fifteen days later, on the 4th of July, Dana returns to the plantation where she finds that Alice has hanged herself. Alice attempted to run away after Dana disappeared, and as punishment Rufus whipped her and told her that he had sold her children. In reality, he had sent to them to stay with his aunt in Baltimore. Racked with guilt about Alice's death, Rufus nearly commits suicide. After Alice's funeral, Dana uses that guilt to convince Rufus to free his children by Alice. From that moment on, Rufus keeps Dana at his side almost constantly, having her share meals and teach his children. One day, he finally admits that he wants Dana to replace Alice in his life. He says that unlike Alice, who, despite growing used to Rufus, never stopped plotting to escape him, Dana will see that he is a fair master and eventually stop hating him. Dana, horrified at the thought of forgiving Rufus in this way, flees to the attic to find her knife. Rufus follows her there, and when he attempts to rape her, Dana stabs him twice with her knife. Nigel arrives to see Rufus's death throes, at which point Dana becomes terribly sick and time travels home for the last time, only to find herself in excruciating pain, as her arm has been joined to a wall in the spot where Rufus was holding it.

Epilogue
Dana and Kevin travel to Baltimore to investigate the fate of the Weylin plantation after the death of Rufus, but they find very little; a newspaper notice reporting Rufus's death as a result of his house catching fire, and a Slave Sale announcement listing all the Weylin slaves except Nigel, Carrie, Joe, and Hagar. Dana speculates that Nigel covered up the murder by starting the fire, and feels responsible for the sale of the slaves. To that, Kevin responds that she cannot do anything about the past, and now that Rufus is finally dead, they can return to their peaceful life together.

Edana (Dana) Franklin: A courageous and compassionate twenty-six-year-old African-American woman writer. She is the protagonist and the narrator of the story. She is married to a white writer named Kevin. She is forced to travel to a slave plantation in antebellum Maryland by her white slave-owning ancestor Rufus. On the plantation, she must learn to make hard compromises to survive as a slave and to ensure her existence in her own time. As a writer, she is largely unsuccessful until marrying Kevin.

Rufus Weylin: The red-haired, white son of Tom Weylin, a Maryland plantation and slave owner. Dana first meets him as a young accident-prone boy torn between an indulgent mother and a strict father and sees him grow to replace Tom Weylin as slave master. He is as needy as his mother, but possessive and controlling like his father. His arrogance and greediness leads to him to rape and impregnate his longtime friend Alice (Dana's great-great-great-grandmother), making him Dana's ancestor. He desperately seeks validation through Alice and Dana's love, but still views them as his property.

Kevin Franklin: Dana's husband, a white writer twelve years older than Dana. Kevin is a progressive person who is deeply in love with his wife, having rejected his racist family in order to marry her. When he time travels with Dana to the past on one of her trips, he witnesses the brutality of slavery and eventually becomes an abolitionist, helping slaves escape to freedom. Still, he often has trouble internalizing the incredible racism that he witnesses.

Tom Weylin: The merciless and brutal slave owner of an antebellum Maryland plantation. Tom's cold, strict, and impatient personality makes him a hard master and father. When he perceives he has been disobeyed, he retaliates swiftly and violently; instilling fear in those subservient to him. He whips Dana on multiple occasions, and authorizes the selling of his slaves' children. He is often likened to Kevin in looks.

Alice Greenwood (later, Alice Jackson): A proud black woman, born free and then enslaved for helping her slave husband Isaac to run away. Alice is subsequently bought by Rufus, who forces her to become his concubine and bear him four children, though only two survive, Joe and Hagar. A tragic figure, she survives her fate by feeding off the hate she has for Rufus but hangs herself after Rufus tells her he has sold her children as punishment for trying to run away.

Sarah: The cook of the Weylin household and its unofficial manager, she works hard and makes the house slaves work hard, but also saves food for them and tries to protect them. Dana's first impression of Sarah as a "mammy" changes when she learns Weylin has sold all of Sarah's children except Carrie. Sarah's outward compliance masks her anger, resentment, and suffering.

Margaret Weylin: The plantation owner's temperamental wife. She is over-indulgent and possessive of Rufus. Like her husband, she is abusive to the house slaves. She goes away for a long period of time when her infant twins die and returns much mellower due to an opium addiction. She is hated by the slaves, especially by Sarah. Sarah explains that Margaret sold her babies in order to get new furniture.

Hagar Weylin: Rufus and Alice's youngest daughter. Hagar is Dana's direct blood line on her mother's side. Without Hagar being born, Dana believes she would not exist.

Luke: A slave at the Weylin plantation and Nigel's father. Luke works as Weylin's overseer until Weylin sells him for not being sufficiently obedient.

Nigel: The son of Luke and a slave at the Weylin Plantation. As a small boy, he is also Rufus's playmate. Dana secretly teaches him to read and write. When older, he runs away unsuccessfully; when back on the plantation, he forms a family with Sarah's daughter, Carrie.

Carrie: Sarah's daughter and Nigel's wife. Although Carrie is mute, she is a source of strength for Dana by helping her come to terms with the hard compromises she must make for the sake of survival.

Liza: A slave woman jealous of Dana's preferential treatment by the Weylins, she snitches on Dana when she runs away, causing her to get caught and whipped.

Tess: A slave woman at the Weylin plantation used as a sexual slave by Tom Weylin and later by Edwards, the white overseer.

Jake Edwards: One of the overseers of the Weylin plantation.

Kindred was written to explore how a modern black woman would experience the time of a slavery society, where most black people were considered as property; a world where "all of society was arrayed against you." During an interview, Butler admitted that while reading slave narratives for background, she realized that if she wanted people to read her book, she would have to present a less violent version of slavery. Still, scholars of Kindred consider the novel an accurate, fictional account of slave experiences. Concluding that "there probably is no more vivid depiction of life on an Eastern Shore plantation than that found in Kindred," Sandra Y. Govan traces how Butler's book follows the classic patterns of the slave narrative genre: loss of innocence, harsh punishment, strategies of resistance, life in the slave quarters, struggle for education, experience of sexual abuse, realization of white religious hypocrisy, and attempts to escape, with ultimate success. Robert Crossley notes how Butler's intense first-person narration deliberately echoes the ex-slave memoirs, thereby giving the story "a degree of authenticity and seriousness." Lisa Yaszek sees Dana's visceral first-hand account as a deliberate criticism of earlier commercialized depictions of slavery, such as the book and film Gone with the Wind, produced largely by whites, and even the television miniseries , based on a book by African-American writer Alex Haley.

In Kindred, Butler portrays individual slaves as distinctive people, giving each his or her own story. Robert Crossley argues that Butler treats the blackness of her characters as "a matter of course", to resist the tendency of white writers to incorporate African Americans into their narratives just to illustrate a problem or to divorce themselves from charges of racism. Thus, in Kindred the slave community is depicted as a "rich human society": the proud yet victimized freewoman-turned-slave Alice; Sam the field slave, who hopes Dana will teach his brother; the traitorous sewing woman Liza, who frustrates Dana's escape; the bright and resourceful Nigel, Rufus's childhood friend who learns to read from a stolen primer; most importantly, Sarah the cook, who Butler transforms from an image of the submissive, happy " mammie" of white fiction to a deeply angry yet caring woman subdued only by the threat of losing her last child, the mute Carrie.

Scholars have argued that Kindred complicates the usual representations of chattel slavery as an oppressive system where the master regards the slave as a mere tool/economic resource to be bred or sold. Pamela Bedore notes that while Rufus seems to hold all the power in his relationship with Alice, she never wholly surrenders to him. Alice's suicide can be read as her way of ending her struggle with Rufus with a "final upsetting of their power balance", an escape through death. By placing Kindred in comparison to other Butler novels such as , Bedore explores the bond between Dana and Rufus as re-envisioning slavery as a "symbiotic" interaction between slave and master: since neither character can exist without the other's help and guidance, they are continually forced to collaborate in order to survive. The master does not simply control the slave but depends on her. From the side of the slave, Lisa Yaszek notices conflicting emotions: in addition to fear and contempt, there is affection from familiarity and the occasional kindnesses of the master. A slave who collaborates with the master to survive is not reduced to a "traitor to her race" or to a "victim of fate."

Kindred portrays the exploitation of black female sexuality as a main site of the historic struggle between master and slave. Diana Paulin describes Rufus's attempts to control Alice's sexuality as a means to recapture power he lost when she chose Isaac as her sexual partner. Compelled to submit her body to Rufus, Alice divorces her desire from her sexuality to preserve a sense of self. Similarly, Dana's time traveling reconstructs her sexuality to fit the times. While in the present, Dana chooses her husband and enjoys sex with him; in the past, her status as a black female forced her to subordinate her body to the desires of the master for pleasure, breeding, and as sexual property. Thus, as Rufus grows into adulthood, he attempts to control Dana's sexuality, ending with his attempt at rape to turn her into a replacement of Alice. Since Dana sees sexual domination as the ultimate form of subordination, her killing of Rufus is the way she rejects the role of female slave, distinguishing herself from those who did not have the power to say "no."

Scholarship on Kindred often touches on its critique of the official history of the formation of the United States as an erasure of the raw facts of slavery. Lisa Yaszek places Kindred as emanating from two decades of heated discussion over what constituted American history, with a series of scholars pursuing the study of African-American historical sources to create "more inclusive models of memory." Missy Dehn Kubitschek argues that Butler set the story during the bicentennial of the adoption of the Declaration of Independence of the United States to suggest that the nation should review its history in order to resolve its current racial strife. Robert Crossley believes that Butler dates Dana's final trip to her Los Angeles home on the Bicentennial to connect the personal with the social and the political. The power of this national holiday to erase the grim reality of slavery is negated by Dana's living understanding of American history, which makes all her previous knowledge of slavery through mass media and books inadequate. Yaszek further notes that Dana throws away all her history books about African-American history on one of the trips back to her California home, as she finds them to be inaccurate in portraying slavery. Instead, Dana reads books about the Holocaust and finds these books to be closer to her experiences as a slave.

In several interviews, Butler has mentioned that she wrote Kindred to counteract stereotypical conceptions of the submissiveness of slaves. While studying at Pasadena City College, Butler heard a young man from the Black Power Movement express his contempt for older generations of African-Americans for what he considered their shameful submission to white power. Butler realized the young man did not have enough context to understand the necessity to accept abuse just to keep oneself and one's family alive and well. Thus, Butler resolved to create a modern African-American character, who would go back in time to see how well he (Butler's protagonist was originally male) could withstand the abuses his ancestors had suffered.

Therefore, Dana's memories of her enslavement, as Ashraf A. Rushdy explains, become a record of the "unwritten history" of African-Americans, a "recovery of a coherent story explaining Dana's various losses." By living these memories, Dana is enabled to make the connections between slavery and current social situations, including the exploitation of blue-collar workers, police violence, rape, domestic abuse, and segregation.

Trauma and its connection to historical memory (or historical amnesia)

Kindred reveals the repressed trauma slavery caused in America's collective memory of history. In an interview on 1985, Butler suggested that this trauma partly comes from attempts to forget America's dark past: "I think most people don't know or don't realize that at least 10 million blacks were killed just on the way to this country, just during the middle passage....They don't really want to hear it partly because it makes whites feel guilty." In a later interview with Randall Kenan, Butler explained how debilitating this trauma has been for Americans, especially for African Americans, as symbolized by the loss of her protagonist's left arm: "I couldn't really let [Dana] come all the way back. I couldn't let her return to what she was, I couldn't let her come back whole and [losing her arm], I think, really symbolizes her not coming back whole. Antebellum slavery didn't leave people quite whole."

Many academics have extended Dana's loss as a metaphor for the "lasting damage of slavery on the African American psyche" to include other meanings: Pamela Bedore, for example, reads it as the loss of Dana's naïvete regarding the supposed progress of racial relations in the present. For Ashraf Rushdy, Dana's missing arm is the price she must pay for her attempt to change history. Robert Crossley quotes Ruth Salvaggio as inferring that the amputation of Dana's left arm is a distinct "birthmark" that represents a part of a "disfigured heritage." Scholars have also noted the importance of Kevin's forehead scar, with Diana R. Paulin arguing that it symbolizes Kevin's changing understanding of racial realities, which constitute "a painful and intellectual experience."

The construction of the concept of "race" and its connections to slavery are central themes in Butler's novel. Mark Bould and Sherryl Vint place Kindred as a key science fiction literary text of the 1960s and 1970s black consciousness period, noting that Butler uses the time travel trope to underscore the perpetuation of past racial discrimination into the present and, perhaps, the future of America. The lesson of Dana's trips to the past, then, is that "we cannot escape or repress our racist history but instead must confront it and thereby reduce its power to pull us back, unthinkingly, to earlier modes of consciousness and interaction."

The novel's focus on how the system of slavery shapes its central characters dramatizes society's power to construct raced identities. The reader witnesses the development of Rufus from a relatively decent boy allied to Dana to a "complete racist" who attempts to rape her as an adult. Similarly, Dana and Kevin's prolonged stay in the past reframes their modern attitudes. Butler's depiction of her principal character as an independent, self-possessed, educated African-American woman defies slavery's racist and sexist objectification of black people and women.

Kindred also challenges the fixity of "race" through the interracial relationships that form its emotional core. Dana's kinship to Rufus disproves America's erroneous concepts of racial purity. It also represents the "inseparability" of whites and blacks in America. The negative reactions of characters in the past and the present to Dana and Kevin's integrated relationship highlight the continuing hostility of both white and black communities to interracial mixing. At the same time, the relationship of Dana and Kevin extends to concept of "community" from people related by ethnicity to people related by shared experience. In these new communities whites and black people may acknowledge their common racist past and learn to live together.

The depiction of Dana's white husband, Kevin, also serves to examine the concept of racial and gender privilege. In the present, Kevin seems unconscious of the benefits he derives from his skin pigmentation as well as of the way his actions serve to disenfranchise Dana. Once he goes to the past, however, he must not just resist accepting slavery as the normal state of affairs, but dissociate himself from the unrestricted power white males enjoy as their privilege. His prolonged stay in the past transforms him from a naive white man oblivious about racial issues into an anti-slave activist fighting racial oppression.

In her article "Feminisms," Jane Donawerth describes Kindred as a product of more than two decades of recovery of women's history and literature that began in the 1970s. The republication of a significant number of slave narratives, as well as the work of Angela Davis, which highlighted the heroic resistance of the black female slave, introduced science fiction writers such as Octavia Butler and Suzy McKee Charnas to a literary form that redefined the heroism of the protagonist as endurance, survival, and escape. As Lisa Yaszek points further, many of these African-American woman's neo-slave narratives, including Kindred, discard the lone male hero in favor of a female hero immersed in family and community. Robert Crossley sees Butler's novel as an extension of the slave woman's memoir's exemplified by texts such as Harriet Ann Jacobs' Incidents in the Life of a Slave Girl, especially in its portrayal of the compromises the heroine must make, the endurance she must have, and her ultimate resistance to victimization.

Originally, Butler intended for the protagonist of Kindred to be a man, but as she explained in her interview, she could not do so because a man would immediately be "perceived as dangerous": "[s]o many things that he did would have been likely to get him killed. He wouldn't even have time to learn the rules...of submission." She then realized that sexism could work in favor of a female protagonist, "who might be equally dangerous" but "would not be perceived so."

Most scholars see Dana as an example of a strong female protagonist. Angelyn Mitchell describes Dana as a black woman "strengthened by her racial pride, her personal responsibility, her free will, and her self-determination." Identifying Dana as one of many Butler's strong female black heroes, Grace McEntee explains how Dana attempts to transform Rufus into a caring individual despite her struggles with a white patriarchy. These struggles, Missy Dehn Kubitschek explains, are clearly represented by Dana's resistance to white male control of a crucial aspect of her identity-her writing-both in the past and in the present. Sherryl Vint argues that, by refusing Dana to be reduced to a raped body, Butler would seem to be aligning her protagonist with "the sentimental heroines who would rather die than submit to rape" and thus "allows Dana to avoid a crucial aspect of the reality of female enslavement." However, by risking death by killing Rufus, Dana becomes a permanent surviving record of the mutilation of her black ancestors, both through her armless body and by becoming "the body who writes Kindred." In contrast to these views, Beverly Friend believes Dana represents the helplessness of modern woman and that Kindred demonstrates that women have been and continue to be victims in a world run by men.

Some scholars consider Kindred as part of Butler's larger project to empower black women. Robert Crossley sees Butler' science fictional narratives as generating a "black feminist aesthetic" that speaks not only to the sociopolitical "truths" of the African-American experience, but specifically to the female experience, as Butler focuses on "women who lack power and suffer abuse but are committed to claiming power over their own lives and to exercising that power harshly when necessary." Given that Butler makes Dana go from liberty to bondage and back to liberty beginning on the day of her birthday, Angelyn Mitchell further views Kindred as a revision of the "female emancipatory narrative" exemplified by Harriet A. Jacobs's Incidents in the Life of a Slave Girl, with Butler's story engaging in themes such as female sexuality, individualism, community, motherhood, and, most importantly, freedom in order to illustrate the types of female agency that are capable of resisting enslavement.

Similarly, Missy Dehn Kubistchek reads Butler's novel as "African-American woman's quest for understanding history and self" which ends with Dana extending the concept of "kindred" to include both her black and white her heritage as well as her white husband while "insisting on her right to self definition."

The meaning of the novel's title

Kindred 's title has several meanings: at its most literal, it refers to the genealogical link between its modern-day protagonist, the slave-holding Weylins, and both the free and bonded Greenwoods; at its most universal, it points to the kinship of all Americans regardless of ethnic background.

Since Butler's novel challenges readers to come to terms with slavery and its legacy, one significant meaning of the term "kindred" is the United States' history of miscegenation and its denial by official discourses. This kinship of black people and whites must be acknowledged if America is to move into a better future.

On the other hand, as Ashraf H. A. Rushdy contends, Dana's journey to the past serves to redefine her concept of kinship from blood ties to that of "spiritual kinship" with those she chooses as her family: the Weylin slaves and her white husband, Kevin. This sense of the term "kindred" as a community of choice is clear from Butler's first use of the word to indicate Dana and Kevin's similar interests and shared beliefs. Dana and Kevin's relationship, in particular, signals the way for black and white America to reconcile: they must face the country's racist past together so they can learn to co-exist as kindred.

Publishers and academics have had a hard time categorizing Kindred. In an interview with Randall Kenan, Butler stated that she considered Kindred "literally" as "fantasy." According to Pamela Bedore, Butler's novel is difficult to classify because it includes both elements of the slave narrative and science fiction. Frances Smith Foster insists Kindred does not have one genre and is in fact a blend of "realistic science fiction, grim fantasy, neo-slave narrative, and initiation novel." Sherryl Vint describes the narrative as a fusion of the fantastical and the real, resulting in a book that is "partly historical novel, partly slave narrative, and partly the story of how a twentieth century black woman comes to terms with slavery as her own and her nation's past."

Critics who emphasize Kindred's exploration of the grim realities of antebellum slavery tend to classify it mainly as a neo-slave narrative. Jane Donawerth traces Butler's novel to the recovery of slave narratives during the 1960s, a form then adapted by female science fiction writers to their own fantastical worlds. Robert Crossley identifies Kindred as "a distinctive contribution to the genre of neo-slave narrative" and places it along Margaret Walker's , David Bradley's The Chaneysville Incident, Sherley Anne Williams's , Toni Morrison's , and Charles R. Johnson's Middle Passage. Sandra Y. Govan calls the novel "a significant departure" from the science fiction narrative not only because it is connected to "anthropology and history via the historical novel," but also because it links "directly to the black American slave experiences via the neo-slave narrative." Noting that Dana begins the story as a free black woman who becomes enslaved, Marc Steinberg labels Kindred an "inverse slave narrative."

Still, other scholars insist that Butler's background in science fiction is key to our understanding of what type of narrative Kindred is. Dana's time traveling, in particular, has caused critics to place Kindred along science fiction narratives that question "the nature of historical reality," such as Kurt Vonnegut's "time-slip" novel Slaughterhouse Five and Philip K. Dick's The Man in the High Castle, or that warn against "negotiat[ing] the past through a single frame of reference," as in William Gibson's " The Gernsback Continuum." In her article "A Grim Fantasy," Lisa Yaszek argues that Butler adapts two tropes of science fiction-time-travel and the encounter with the alien Other-to "re-present African-American women's histories." Raffaella Baccolini further identifies Dana's time traveling as a modification of the " grandfather paradox" and notices Butler's use of another typical science fiction element: the narrative's lack of correlation between time passing in the past and time passing in the present.

Kindred 's plot is non linear; rather, it begins in the middle of its end and contains several flashbacks that connect events in the present and past. In an interview, Butler acknowledged that she split the ending into a "Prologue" and an "Epilogue" so as to "involve the reader and make him or her ask a lot of questions" that could not be answered until the end of the story. Missy Dehn Kubitschek sees this framing of Dana's adventures as Butler's way to highlight the significance of slavery to what Americans consider their contemporary identity. Because "Prologue" occurs before Dana travels in time and "Epilogue" concludes with a message on the necessity to confront the past, we experience the story as Dana's understanding of what we have yet to understand ourselves, while the "Epilogue" speaks about the importance of this understanding. Roslyn Nicole Smith proposes that Butler's framing of the story places Dana literally and figuratively in media res so as to take her out of that in media res; that is, to indicate Dana's movement from "a historically fragmented Black woman, who defines herself solely on her contemporary experiences" to "a historically integrated identity" who has knowledge of and a connection to her history.

Kindred 's story is further fragmented by Dana's report of her time traveling, which uses flashbacks to connect the present to the past. Robert Crossley sees this "foreshortening" of the past and present as a "lesson in historical realities." Because the story is told from the first-person point of view of Dana, readers feel they are witnessing firsthand the cruelty and hardships that many slaves faced every day in the South and so identify with Dana's gut-wrenching reactions to the past. This autobiographical voice, along with Dana's harrowing recollection of the brutality of slavery and her narrow escape from it, is one of the key elements that have made critics classify Kindred as a neo-slave narrative.

Another strategy Butler uses to add dramatic interest to Kindred 's story is the deliberate delay of the description of Dana and Kevin's ethnicities. Butler has stated in an interview she did not want to give their "race" away yet since it would have less of an impact and the reader would not react the way that she wanted them to. Dana's ethnicity becomes revealed in chapter two, "The Fire," while Kevin's ethnicity becomes clear to the reader in chapter three, "The Fall," which also includes the history of Dana's and Kevin's interracial relationship.

Butler also uses Alice as Dana's doppelgänger to compare how their decisions are a reflection of their environment. According to Missy Dehn Kubitschek, each woman seems to see a reflection of herself in the other; each is the vision of what could be (could have been) the possible fate of the other given different circumstances. According to Bedore, Butler's use of repetition blurs the lines between the past and present relationships. As time goes on, Alice and Rufus' relationship begins to seem more like a miserable married couple while Dana and Kevin become somewhat distant.

In several interviews, Octavia Butler has acknowledged that a series of family and life experiences influenced her novel Kindred. Butler's grandmother had worked chopping sugar cane; she also washed the laundry of her employers. Of course she also did her own housework and laundry for her family. Butler had felt ashamed as a child that her mother worked as a housemaid. She resented her mother for allowing her employers to treat her poorly; in her eyes she felt they talked to her mother as if she were less than a human being. Butler gradually realized that her mother endured all that in order to provide for her family. Butler created female characters in her writing -Alice, Sarah, and Dana-who were heroic in their capacity for endurance and sacrifice in the face of exploitation. Butler drew from her variety of jobs when creating Dana's world as a struggling writer -"from blue collar to low grade white collar, clerk typist". Butler also shows Dana in hard times baking a solitary potato for her daily meal and keeping at her writing, just as she did.

Butler wrote Kindred specifically to respond to a young man involved in black consciousness raising. He felt ashamed of what he considered the subservience of older generations of African Americans, saying they were traitors and he wanted to kill them. Butler disagreed with this view. She believed that a historical context had to be given so that the lives of the older generations of African Americans could be understood as the silent, courageous resistance that it was, a means of survival. She decided to create a contemporary character and send her (originally it was a him) back to slavery, to explore how difficult a modern person would find it to survive in such harsh conditions. As Butler said in a 2004 interview with Allison Keyes, she "set out to make people feel history."

Butler's field research in Maryland also influenced her writing of Kindred. She traveled to the Eastern Shore to Talbot County where she wandered a bit. She also conducted research at the Enoch Pratt Free Library in Baltimore and the Maryland Historical Society. She toured Mount Vernon, the plantation home of America's first president, George Washington. At the time, guides referred to the slaves as "servants" and avoided referring to the estate as a former slave plantation. Butler also spent time reading slave narratives, including the autobiography of Fredrick Douglass, who escaped and became an abolitionist leader. She read many grim accounts, but decided she needed to moderate events in her book in order to attract enough readers.

Kindred is Butler's bestseller, with Beacon Press advertising it as "the classic novel that has sold more than 450,000 copies."

Among Butler's peers, the novel has been well received. Speculative writer Harlan Ellison has praised Kindred as "that rare magical artifact... the novel one returns it to again and again", while writer Walter Mosley described the novel as "everything the literature of science fiction can be."

Book reviewers were enthusiastic. Los Angeles Herald-Examiner writer Sam Frank described the novel as "[a] shattering work of art with much to say about love, hate, slavery, and racial dilemmas, then and now." Reviewer Sherley Anne Williams from Ms. defined the novel as "a startling and engrossing commentary on the complex actuality and continuing heritage of American slavery. Seattle Post-Intelligencer writer John Marshall said that Kindred is "the perfect introduction to Butler's work and perspectives for those not usually enamored of science fiction." The Austin Chronicle writer Barbara Strickland declared Kindred to be "a novel of psychological horror as it is a novel of science fiction."

High school and college courses have frequently chosen Kindred as a text to be read. Linell Smith of The Baltimore Sun describes it as "a celebrated mainstay of college courses in women's studies and black literature and culture." Speaking at the occasion of Beacon Press' reissue of Kindred for its 25th Anniversary, African-American literature professor Roland L. Williams said that the novel has remained popular over the years because of its crossover appeal, which "continues to find a variety of audiences--fantasy, literary and historical" and because "it is an exceedingly well-written and compelling story... that asks you to look back in time and at the present simultaneously."

Communities and organizations also choose this novel for common reading events. In 2003, Rochester, New York selected Kindred as the novel to be read during the third annual "If All of Rochester Read the Same Book." Approximately 40,000 to 50,000 people participated by reading Kindred and joining panel discussions, lectures, film viewings, visual arts exhibitions, poetry readings, and other events from February 2003 until March 2003. The town discussed the book in local groups, and from March 4-7 met Octavia Butler during her appearances at colleges, community centers, libraries, and bookstores. In the spring of 2012, Kindred was chosen as one of thirty books to be given away as part of World Book Night, a worldwide event conducted to encourage love for books and reading by giving away hundreds of thousand of free paperbacks in one night.

Seeing Ear Theatre. "Kindred: An Online Dramatic Presentation." 2001. (This audio play adaptation stars Alfre Woodard as "Dana" and was produced by Brian Smith and Jacqueline Cuscuna for Seeing Ear Theatre. It also features award-winning actresses, Lynn Whitfield and Ruby Dee.)

Duffy, Damian (Adapter) and John Jennings (Illustrator). Kindred: A Graphic Novel Adaptation. Abrams ComicArts. January 10, 2017. ISBN 141970947X (10) ISBN 978-1419709470 (13)

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Reed, Brian K. "Behold the Woman: The Imaginary Wife in Octavia Butler's Kindred." CLA Journal Al (Sept. 2003): 66-74.

Spaulding, A. Timothy. "The Conflation of Time in Ishmael Reed's Flight to Canada and Octavia Butler's Kindred." Re-forming the Past: History, the Fantastic, and the Postmodern Slave Narrative. Columbus: Ohio State UP, 2005. 25-60.

Tettenborn, Eva. "Teaching Imagined Testimony: Kindred, Unchained Memories, and The African Burial Ground in Manhattan." Transformations 16.2 (Fall 2005): 87-103.

Thompson, Carlyle van. "Moving Past the Present: Racialized Sexual Violence and Miscegenous Consumption in Octavia Butler's Kindred." Eating the Black Body: Miscegenation as Sexual Consumption in African American Literature and Culture. New York: Peter Lang, 2006. 107-144. ISBN 978-0820479316

Turner, Stephanie S. "'What Actually Is': The Insistence of Genre in Octavia Butler's Kindred." FEMSPEC 4.2 (2004): 259-280.

Wagers, Kelley. "Seeing 'From the Far Side of the Hill': Narrative, History, and Understanding in Kindred and The Chaneysville Incident." MELUS 34.1 (Spring, 2009): 23-45.

Wood, Sarah. "Exorcizing the Past: The Slave Narrative as Historical Fantasy." Feminist 85 (2007): 83-96.

Flagel, Nadine. "'It's Almost Like Being There': Speculative Fiction, Slave Narrative, and the Crisis of Representation in Octavia Butler's Kindred." Canadian Review of American Studies 42.2 (2012): 216-45.

Robertson, Benjamin. "'Some Matching Strangeness': Biology, Politics, and The Embrace of History in Octavia Butler's Kindred." Science Fiction Studies 37.3 (2010): 362-381.

VanMeenen, Karen, ed. Residue of Time: Poets Respond to Kindred. Rochester, NY: Writers & Books, 2003. [Part of Writers & Books' annual community-wide reading program "If All of Rochester Read the Same Book."]

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Kindred is a novel by American writer Octavia E. Butler that incorporates time travel and is modeled on slave narratives. First published in 1979, it is still widely popular. It has been frequently chosen as a text for community-wide reading programs and book organizations, as well as being a common choice for high school and college courses.

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Octavia E. Butler - Books, Quotes & Kindred

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Author Octavia E. Butler is known for blending science fiction with African American spiritualism. Her novels include ‘Patternmaster,’ ‘Kindred,’ ‘Dawn’ and ‘Parable of the Sower.’

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Describes which writers Shelley influenced and her helping start the genre. 

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Describes which writers Shelley influenced and her helping start the genre. 

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Women have been writing science fiction from the earliest days of genre novels. Unfortunately, their contributions to the genre can often be dismissed or erased entirely by fans and scholars. Recently there has been discourse around who 'invented' the genre of science fiction. Some attribute the earliest science fiction stories to writers like Jules Verne or H.G. Wells. However, that is doing a disservice to the mother of science fiction - Mary Shelley.

I thought most genre fans were aware of the fact that Shelley is credited as the 'inventor' of the science fiction genre. However, a recent New York Times article claims that it was the male authors who invented the genre - decades later. This is a surprising claim for the paper, who apparently didn't do their research. So, let's look at the history of the genre to establish how Mary Shelley established the foundation for sci-fi with her best-known work - Frankenstein.

Genre Conventions Have Existed In Fiction Forever

First, we must acknowledge that fantastical elements have made their way into storytelling since the dawn of time. Obviously, The Iliad and The Odyssey tell the tales of mythological figures and heroes. Much of this lore has worked its way into genre fiction, marking Greek mythology as the precursor for much of the fantasy genre. Others throughout history incorporated magic in their work including Shakespeare. Gulliver's Travels by Jonathan Swift - published in 1726 - is often considered a genre novel, including descriptions of 'alien cultures' and 'weird science.'

Although Mary Shelley holds the title of 'Mother of Science Fiction" she was actually not the first woman to write within the genre. Back in the 1600's, Margaret Cavendish published The Blazing World. This story was a bit of a hybrid - an adventure, a romance, and a satirical utopian fantasy. Elements of this story may give rise to the emergence of the science fiction genre. However, most of it sounds like a fantasy story. While the lines drawn between science fiction and fantasy as distinct genres is a relatively new divide, it is true that Shelley's work fits better into the sci-fi genre.

The Legendary Roots of Frankenstein

Mary Shelley published Frankenstein in 1818, and the legend around the origins of the story are famous. In the summer of 1816, Mary Shelley traveled to Lake Geneva with her husband Percy Shelley and several friends including the poet Lord Byron. Poor weather during the trip caused the group to cloister indoors, forced to entertain themselves. It was during these long wet days that Byron challenged everyone to write some ghost stories.

Mary Shelley then had a 'waking dream' that inspired the story of Frankenstein. Although Mary Shelley went on to write other novels, it was Frankenstein that made her famous. The idea of a man built from spare parts coming to life through a dangerous experiment by a 'mad scientist' definitively laid the foundation for the science fiction that would come.

Despite the success of Frankenstein, Shelley's novel The Last Man is often considered the first true science fiction novel. This dystopian story focuses on a deadly pandemic that rapidly spreads across the the world and drives humanity to near extinction.

Jules Verne and H.G. Wells Continued To Build The World Mary Shelley Established

Despite the prolific output of work, he compiled during his life, Jules Verne is still best known for his novels that comprise the Voyages Extraordinaires. Among these stories are the well-known Journey to the Center of the Earth and Twenty Thousand Leagues Under the Seas. Verne began to publish his novels in the 1860's, decades after Mary Shelley wrote Frankenstein.

H.G. Wells was a contemporary of Jules Verne, and it is true that Wells is often referred to as 'The Father of Science Fiction" often paired with Mary Shelley. Wells was an extremely prolific writer, with works published between 1895 - 1941. He did cement the genre of science fiction as a popular medium. Many of his novels like The Island of Doctor Moreau and The War of the Worlds are iconic sci-fi stories deeply embedded within modern popular culture.

Both Jules Verne and H.G. Wells are deeply influential figures in the science fiction canon. Their work established the basis for much of today's contemporary genre fiction. However, neither of these men would have been as successful as they were without Frankenstein and the work of Mary Shelley at the turn of the century. It was she who laid the foundation for these men to later build upon.

Let's Not Forget That The Sci-Fi Canon Is Irrelevant Anyway

I once wrote an article about why the classic genre canon should be abolished. The problem with canon is that it holds up certain figures and texts as revered or 'sacred.' For years, men like Jules Verne and H.G. Wells have been idolized as part of the sci-fi canon. Mary Shelley is too - albeit to a lesser extent since people tend to only remember Frankenstein.

There is a problem with holding up these authors as paragons. Sacred idols don't tend to do well in science fiction stories. Holding the classic authors up as the ideal that others should meet is contrary to the very nature of science fiction itself. Strict adherence to canon and the 'rules' of science fiction made up by these classic authors is restrictive and unnecessary. Let us not forget that generations of (primarily male) genre fans have wielded the classic canon as a weapon against other readers. Or as a gate to be kept closed to genre fans who are not white men.

The argument over who "invented" science fiction is tired. However, due to the erasure of women from so many literary circles it is still important to remember that Mary Shelley paved the way for many male authors. In the end, science fiction is not about looking to the past but imagining the future. So, I behoove the science fictions authors of today to go ahead and break the rules of canon. Just remember that Mary Shelley did it first. And she would certainly approve of more women breaking the rules that men have established.

For more genre news, be sure to follow Comic Years on Facebook and Twitter today.

Emily O'Donnell is a writer and photographer with roots in some of the earliest online fandoms. She cut her genre teeth on the Wizard of Oz books at the tender age of 6 years old, and was reading epic adult fantasy novels by the age of 10. Decades later, she still consumes genre fiction like there is no tomorrow. She is delighted to be living through the golden age of sci-fi and fantasy popularity. She is unashamed of the amount of fanfiction that still lingers online under her name.

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How Mary Shelley Invented Science Fiction Long Before H.G. Wells Or Jules Verne

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Women have been writing science fiction from the earliest days of genre novels. Unfortunately, their contributions to the genre can often be dismissed or erased entirely by fans and scholars. Recently there has been discourse around who 'invented' the genre of science fiction. Some attribute the earliest science fiction stories to writers like Jules Verne or H.G.

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The House of the Spirits ( Spanish: La casa de los espíritus, 1982) is the debut novel of Isabel Allende. The novel was rejected by several Spanish-language publishers before being published in Buenos Aires in 1982. It became an instant best-seller, was critically acclaimed, and catapulted Allende to literary stardom. The novel was named Best Novel of the Year in Chile in 1982, and Allende received the country's Panorama Literario award. The House of the Spirits has been translated into over 20 languages.

The book was first conceived by Allende when she received news that her 100-year-old grandfather was dying. She began to write him a letter that ultimately became the manuscript of The House of the Spirits. Her novel is influenced by Gabriel García Márquez's novel, One Hundred Years of Solitude.

The story details the life of the Trueba family, spanning four generations, and tracing the post-colonial social and political upheavals of Chile - though the country's name and the names of figures closely paralleling historical ones, such as " the President" or " the Poet", are never explicitly given. The story is told mainly from the perspective of two protagonists (Esteban and Alba) and incorporates elements of magical realism.

The story starts with the del Valle family, focusing upon the youngest and the oldest daughters of the family, Clara and Rosa. The youngest daughter, Clara del Valle, has paranormal powers and keeps a detailed diary of her life. Using her powers, Clara predicts that an accidental death will occur in the family. Shortly after this, Clara's sister, Rosa the Beautiful, is killed by poison intended for her father who is running for the Senate. Clara is shocked into muteness after witnessing the autopsy performed on her sister's body. Rosa's fiancé, a poor miner named Esteban Trueba, is devastated and attempts to mend his broken heart by devoting his life to restoring his family hacienda, Las Tres Marías, which has fallen into poverty and disrepair. He sends money to his spinster sister who takes care of their arthritic mother in town. Through a combination of intimidation and reward, he enforces respect and labor from the fearful peasants and turns Tres Marías into a "model hacienda". He turns the first peasant who spoke to him upon arrival, Pedro Segundo, into his foreman, who quickly becomes the closest thing that Trueba ever has to an actual friend during his life. He rapes many of the peasant women and children, and his first victim, then 15 year old Pancha García, becomes the mother of his bastard son, Esteban García.

Esteban returns to the city to see his dying mother. After her death, Esteban decides to fulfill her dying wish for him to marry and have legitimate children. He goes to the Del Valle family to ask for Clara's hand in marriage. Clara accepts Esteban's proposal; she herself has predicted her engagement two months prior, speaking for the first time in nine years. During the period of their engagement, Esteban builds what everyone calls "the big house on the corner," a large mansion in the city where the Trueba family will live for generations. After their wedding, Esteban's sister Férula comes to live with the newlyweds in the big house on the corner. Férula develops a strong dedication to Clara, which fulfills her need to serve others. However, Esteban's wild desire to possess Clara and to monopolize her love causes him to throw Férula out of the house. She curses him, telling him that he will shrink in body and soul, and die like a dog. Although she misses her sister-in-law, Clara is unable to find her by any means - the gap between her and her husband widens as she devotes more time to her daughter and the mystic arts.

Clara gives birth to a daughter named Blanca and later, to twin boys Jaime and Nicolás. The family, which resides in the capital, stays at the hacienda during the summertime. Upon arriving at Tres Marías for the first time, Blanca immediately befriends a young boy named Pedro Tercero, who is the son of her father's foreman. Blanca and Pedro grow up together as best friends despite them being of two different social and economic classes. During their teenage years, Blanca and Pedro Tercero eventually become lovers. After an earthquake that destroys part of the hacienda and leaves Esteban injured, the Truebas move permanently to Las Tres Marías. Clara spends her time teaching, caring for her husband's battered body, and writing in her journals while Blanca is sent to a convent school and the twin boys back to an English boarding school, both of which are located in the city. Blanca fakes an illness so as to be sent back to Las Tres Marías, where she can be with Pedro Tercero, but when she arrives home she finds that Pedro Tercero has been banished from the hacienda by Esteban on account of his revolutionary socialist ideas. Pedro Tercero meets with Blanca in secret adopting disguises while also spreading his ideas in the form of song to neighboring haciendas.

A visiting French count to the hacienda, Jean de Satigny, reveals Blanca's nightly romps with Pedro Tercero to her father. Esteban furiously goes after his daughter and brutally whips her. When Clara expresses horror at his actions, Esteban slaps her, knocking out her front teeth. Clara decides to never speak to him again, reclaims her maiden name and moves out of Tres Marías and back to the city, taking Blanca with her. Esteban, furious and lonely, blames Pedro Tercero for the whole matter; putting a price on the boy's head with the corrupt local police. At this point, Pedro Segundo deserts Esteban, telling him he does not want to be around when Trueba inevitably catches his son. Enraged by Pedro Segundo's departure, Trueba begins hunting for Pedro Tercero himself, eventually tracking him down to a small shack near his hacienda. He only succeeds in cutting off three of Pedro's fingers, and is filled with regret for his uncontrollable furies.

Blanca finds out she is pregnant with Pedro Tercero's child. Esteban, desperate to save the family honor, gets Blanca to marry the French count by telling her that he has killed Pedro Tercero. At first, Blanca gets along with her new husband, but she leaves him when she discovers his participation in sexual fantasies with the servants. Blanca quietly returns to the Trueba household and names her daughter Alba. Clara predicts that Alba will have a very happy future and good luck. Her future lover, Miguel, happens to watch her birth, as he had been living in the Trueba House with his sister, Amanda. They move out shortly after Alba's birth.

Esteban Trueba eventually moves to the Trueba house in the capital as well, although he continues to spend periods of time in Tres Marías. He becomes isolated from every member of his family except for little Alba, whom he is very fond of. Esteban runs as a senator for the Conservative Party but is nervous about whether or not he will win. Clara speaks to him, through signs, informing him that "those who have always won will win again" - this becomes his motto. Clara then begins to speak to Esteban through signs, although she keeps her promise and never actually speaks to him again. A few years later, Clara dies peacefully and Esteban is overwhelmed with grief.

Alba is a solitary child who enjoys playing make-believe in the basement of the house and painting the walls of her room. Blanca has become very poor since leaving Jean de Satigny's house, getting a small income out of selling pottery and giving pottery classes to mentally handicapped children, and is once again dating Pedro Tercero, now a revolutionary singer/songwriter. Alba and Pedro are fond of each other, but do not know they are father and daughter, although Pedro suspects this. Alba is also fond of her uncles. Nicolás is eventually kicked out by his father, supposedly moving to North America.

When she is older, Alba attends a local college where she meets Miguel, now a grown man, and becomes his lover. Miguel is a revolutionary, and out of love for him, Alba involves herself in student protests against the conservative government. After the victory of the People's Party (a socialist movement), Alba celebrates with Miguel.

Fearing a Communist dictatorship, Esteban Trueba and his fellow politicians plan a military coup of the socialist government. However, when the military coup is set into action, the military men relish their power and grow out of control. Esteban's son Jaime is killed by power-driven soldiers along with other supporters of the government. After the coup, people are regularly kidnapped and tortured. Esteban helps Blanca and Pedro Tercero flee to Canada, where the couple finally find their happiness.

The military regime attempts to eliminate all traces of opposition and eventually comes for Alba. She is made the prisoner of Colonel Esteban García, the son of Esteban Trueba's and Pancha Garcia's illegitimate son, and hence the grandson of Esteban Trueba. During an earlier visit to the Trueba house, García had molested Alba as a child. In pure hatred of her privileged life and eventual inheritance, García tortures Alba repeatedly, looking for information on Miguel. He rapes her, thus completing the cycle that Esteban Trueba put into motion when he raped Pancha García. When Alba loses her will to live, she is visited by Clara's spirit who tells her not to wish for death, since it can easily come, but to wish to live.

García, fearful of his growing attachment to Alba, discards her. Esteban Trueba manages to free Alba with the help of Miguel and Tránsito Soto, an old friend and prostitute from his days as a young man. After helping Alba write their memoir, Esteban Trueba dies in the arms of Alba, accompanied by Clara's spirit; he is smiling, having avoided Férula's prophecy that he will die like a dog. Alba is pregnant, though whether the child is Miguel's or the product of her rape is unknown. Alba embraces this ambiguity, however, loving her unborn child as above all, it is her own. Alba resolves that she will not seek vengeance on those who have injured her, choosing to believe in the hope that one day the human cycle of hate and revenge will be broken. Alba is revealed to be the narrator of the novel, which she writes while she waits for Miguel and for the birth of her child.

Some of the characters' names are significant, particularly the women's names, which often indicate the personalities of the characters. The names Nívea, Clara, Blanca, and Alba are more or less synonyms, and this is mentioned as a family tradition. (Nívea means snow-white, and can be translated as "white" as can all the others, though they have specific meanings.) Férula's name means "rod" in Latin; when used in Spanish it refers to an object used to immobilize a limb, such as a splint or cast.

Clara (one of its translations is the equivalent of English "clear", although it is also a common female name) is the key female figure in the novel. She is a clairvoyant and telekinetic who is rarely attentive to domestic tasks, but she holds her family together with her love for them and her uncanny predictions. She is the youngest daughter of Severo and Nívea del Valle, wife of Esteban Trueba, and mother of Blanca, Jaime, and Nicolás. Even as a child her strangeness is noticed and seen as a threat to many in her community. Otherwise, her family and devoted Nana protect her from her strangeness. She and her uncle Marcos use her powers to run a fortune-telling centre as she develops other paranormal activities like dream reading. Her uncle eventually leaves in a primitive airplane he built himself, disappearing for many months, assumed dead but later is found to die instead as the result of a 'mysterious African plague' contracted during his travels. Clara practices divining and moving inanimate objects, most notably a three-legged table, and she is surrounded by friends such as the psychic Mora sisters and The Poet. Severo and Nívea del Valle are main characters in another Allende novel. As Clara grows up, she develops her abilities and is even able to communicate with ghosts and spirits. Clara represents love and cherishment. Clara's marriage to Esteban Trubea is something she accepts but she never truly loves him and knows from the beginning that she will never do so. She is uninterested in material things and takes for granted her own high economic standing. It is not until later, after great tragedy, that she takes the role of helper/servant instead of dreamy bystander.

Esteban Trueba is the central male character of the novel and is one of the story's main narrators along with his granddaughter Alba. In his youth, he seeks the mermaid-like and green-haired Rosa the Beautiful, daughter of Severo and Nívea del Valle, toiling in the mines to earn a suitable fortune so that he can support her. However, she dies by accidental poisoning while he is working in the mines, a cruel stroke of fate that hardens his heart. Although he eventually marries Clara (Rosa's sister and youngest daughter of the Del Valles) and raises a large family, Esteban's stubborn and violent ways alienate all those around him. Esteban has a tense relationship with his daughter Blanca but shows genuine love and devotion to his granddaughter Alba. Despite his often violent behavior, he is also devoted to his wife Clara, entering into a state of permanent mourning following her death. As a self-made man who earned all of his wealth from years of work spent improving Tres Marías, Esteban scorns communists and believes them to be lazy and stupid. Later in life, he turns to politics where he spends his money and effort trying to prevent the rising Socialist movement within the country. However, after the military coup he loses much of his power and suddenly has to face the fact that he has become an old and weak man. Yet it is not the loss of power, so much as the injury done to his country, that agonizes the highly patriotic Esteban. His realization that he desires the love of his family and peace in his country leads to a pivotal change in his character. In his last days, he slowly loses the rage that has been driving him all his life. He begins to make amends to the remaining members of his family-first, by helping Blanca and Pedro Tercero escape the country so they can live happily, and then, after Alba is kidnapped by the military, by persuading his longtime friend Tránsito Soto (who has influence in the military) to help him rescue her. With the success of both of his efforts, Esteban dies happily, knowing that he has achieved Clara's posthumous forgiveness.

Blanca is Clara and Esteban's first-born daughter. She spends her childhood between the Truebas' house in the capital and Tres Marías, where she forms an intense connection with a boy named Pedro Tercero García, the son of Esteban's foreman. Their friendship endures, though they only see each other in the summer, and upon adolescence they become lovers. Their love persists even after Pedro is run out of the hacienda by Esteban, because he is putting communist ideas in the other workers' heads. After she becomes pregnant with Pedro Tercero's child, her father forces her to marry Count Jean de Satigny, whom she does not love. After Blanca leaves the Count and returns to the Trueba home, she sees Pedro sporadically, resisting his attempts to persuade her to marry, but their relationship continues. Blanca's reconciliation with her father eventually allows her to flee to Canada with Pedro, where they finally are able to achieve happiness together. Blanca is also able to earn large amounts of money for the first time by selling her clay figurines, which are seen as folk art by Canadians.

Pedro Tercero García

Pedro is the son of the tenant and foreman of Tres Marías, Pedro Segundo García. At a young age, he falls in love with Blanca and is the father of her only child, Alba. In his youth, he spreads socialist ideals to the workers on the hacienda, and later he becomes a revolutionary and a songwriter (his character may be modeled after revolutionary songwriter Victor Jara). After the coup d'état in his country, he and Blanca exile themselves to Canada with Esteban's help. It is mentioned that he resumes his political crusade during his exile in Canada where his music is embraced in translation even if "chickens and foxes are underdeveloped creatures" in comparison with the "eagles and wolves" of the North.

Alba (Spanish for "Dawn," Latin for "white") is the daughter of Blanca and Pedro Tercero García, although for many years of her life she was led to believe that Count de Satigny was her father. From before her birth, her grandmother Clara decreed that she was blessed by the stars. Because of this, Clara said she didn't need to go to school; as a result, Alba was raised at home until she was seven. The novel ends with Esteban's death, and Alba sits alone in the vast Trueba mansion beside his body. The last paragraph reveals that she is pregnant, although she does not know (or care) whether the child is Miguel's or the product of the rapes that she endured at the hands of security police, during her imprisonment.

Severo and Nívea del Valle

Severo and Nívea are the parents of Rosa, Clara, and several other children. Severo's candidacy for the Liberal Party of Chile promptly came to an end after someone tried to poison him, but killed his daughter Rosa instead. Nívea, however, would come to become a prominent social activist for women's liberation. The couple pass away in a gruesome car accident in which Nívea is decapitated and her head lost. The details of the accident were hidden from their daughter Clara, because she was pregnant at the time. However, her intuition brings her to the location of the lost head, which ends up being hidden in the basement since the body had already been buried.

Having served the Del Valle and Trueba families all her life, Nana is emotionally close to all the children that she has taken care of, especially Clara. She even takes care of Clara's children after Severo's and Nívea's death. Nana passes away in an earthquake and is buried without fanfare. Her body is later moved to the mausoleum with Clara's and Rosa's bodies.

The oldest daughter of Severo and Nívea, Rosa was born with green hair and great beauty. Her unearthly beauty intimidates everyone in the village except for Esteban Trueba, who is deeply enamored of her and seeks her hand in marriage. Rosa waits patiently while Esteban slowly accumulates wealth by working in the mines so that he will feel worthy of Rosa. Esteban returns to find that Rosa has died from a dose of poison meant for her father. Though never truly forgetting Rosa, Esteban marries her sister Clara instead.

Jaime is the son of Clara and Esteban Trueba. A shy, bookish, and compassionate doctor who treats the poor, he serves as a contrast to his outgoing twin brother Nicolas and his cantankerous father. Jaime has always had a strained relationship with his father, especially given Jaime's revolutionary ideals. He becomes friends with the Candidate whilst under the impression that the revolution is to be peaceful. Jaime also becomes good friends with Alba, whom he treats as a sister. He is summoned to the Presidential Palace during the coup and is killed for refusing to announce that the president has drunkenly committed suicide. Esteban doesn't believe it until Jaime appears in spirit to Clara, showing her how he had been murdered by the regime.

Jaime may be inspired by the personal doctor Arturo Jiron of the Chilean president Salvador Allende.

La casa de los espíritus (Barcelona: Plaza & Janés, 1982) First edition. ISBN 84-01-38011-1

The House of The Spirits (Westminster, Maryland: Knopf, 12 April 1985) First English language edition. Translated by Magda Bogin. ISBN 0-394-53907-9

The House of The Spirits (London: Jonathan Cape, 4 July 1985) First UK edition. Translated by Magda Bogin. ISBN 0-224-02231-8

The House of The Spirits (New York: Bantam, 1986) First US paperback edition. Translated by Magda Bogin. ISBN 0-553-27391-4

The House of The Spirits (London: Black Swan, 1986) First UK paperback edition. Translated by Magda Bogin. ISBN 0-552-99198-8

The novel has been taught in a significant number of school curricula around the world, notably for its use of magical realism, and as a translated Latin American novel. Educational organizations such as the International Baccalaureate recognize it as a world literature study book.

However, The House of the Spirits in United States school curriculum has been challenged on multiple occasions, most often for the stated reasons of explicit sexual content and depictions of violence. For instance, in Virginia, a parent initially brought attention to the novel's explicit content in 1997 by passing out "packets of excerpts from The House of Spirits with the heading "Would you allow your 16-year-old daughter to read this material? And if not, why should the public school be allowed to require my 16-year-old daughter to read this material?"" (Foerstel 217). Despite this demonstration, the Virginia county's school boarded voted not to ban the novel from school curriculum. Similarly, in Maryland, the novel was brought to the attention of the school board in Montgomery County for its explicit content, specifically the depiction of necrophilia-"in which a young medical student kisses a female corpse," referring to the molestation of the body of Rosa the Beautiful (217). In California counties in 1999 and 2000, the novel was challenged for its anti-Christian views, pornographic depictions, and "violence and sexual abuse" (217).

After the debut of The House of the Spirits, Allende began to follow a rule of starting to write all her books on January 8. She is quoted as saying:

In January 8, 1981, I was living in Venezuela and I received a phone call that my beloved grandfather was dying. I began a letter for him that later became my first novel, The House of The Spirits. It was such a lucky book from the very beginning, that I kept that lucky date to start.

In 1993, the book was adapted into a film (The House of the Spirits) by Danish director Bille August. The movie starred Jeremy Irons as Esteban Trueba, Meryl Streep as Clara del Valle Trueba, Winona Ryder as Blanca Trueba, Glenn Close as Férula Trueba and Antonio Banderas as Pedro Tercero García. While the film won some minor international awards, it was widely viewed as a critical failure. Two oft-cited reasons were its diffusely episodic structure and its cast of mostly Anglo-American actors in Latin American roles. The film was also a box office bomb, making back only $6.2 million of its $40 million budget.

A theatrical adaptation of the novel was presented at Seattle's Book-It Repertory Theatre in 2007.

The novel has also been adapted for the theater in a version written by Caridad Svich, which was commissioned by Repertorio Espanol in New York City. That adaptation premiered in 2009 and received the HOLA Award for Outstanding Achievement in Playwriting from the Hispanic Organization of Latin Actors. Unlike the film and the previous adaptation, this version was written and performed in Spanish and has been staged in Latin American countries such as Chile and Costa Rica. Svich also wrote an English language version of the play which won the 2011 American Theatre Critics Association Primus Prize for its production at Denver Center Theatre Company in 2010.

On May 23, 2018, it was announced that Hulu was developing a television series adaptation of the novel with production company FilmNation Entertainment. Allende is expected to serve as an executive producer on the project. On October 19, 2021, it was announced that Eva Longoria would star in the project.

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The House of the Spirits ( Spanish: La casa de los espíritus, 1982) is the debut novel of Isabel Allende. The novel was rejected by several Spanish-language publishers before being published in Buenos Aires in 1982. It became an instant best-seller, was critically acclaimed, and catapulted Allende to literary stardom.

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"Accept the children the way we accept trees-with gratitude, because they are a blessing-but do not have expectations or desires. You don't expect trees to change, you love them as they are."
― Isabel Allende

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Isabel Allende Quotes (Author of The House of the Spirits)

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1962 quotes from Isabel Allende: 'The library is inhabited by spirits that come out of the pages at night.', 'Write what should not be forgotten.', and 'The longer I live, the more uninformed I feel. Only the young have an explanation for everything.'

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Article that describes Magical Realism - a genre of writing she helped start

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Article that describes Magical Realism - a genre of writing she helped start

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What Is Magical Realism? Definition and Examples of Magical Realism in Literature, Plus 7 Magical Realism Novels You Should Read - 2024 - MasterClass

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Magical realism is one of the most unique literary movements of the last century. While most commonly associated with Latin American authors, writers from all over the world have made big contributions to the genre.

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Isabel Angélica Allende Llona (Latin American Spanish: [isaˈβelaˈʝende] ; born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the genre magical realism, is known for novels such as The House of the Spirits ( La casa de los espíritus, 1982) and City of the Beasts ( La ciudad de las bestias, 2002), which have been commercially successful. Allende has been called "the world's most widely read Spanish-language author." In 2004, Allende was inducted into the American Academy of Arts and Letters, and in 2010, she received Chile's National Literature Prize. President Barack Obama awarded her the 2014 Presidential Medal of Freedom.

Allende's novels are often based upon her personal experience and historical events and pay homage to the lives of women, while weaving together elements of myth and realism. She has lectured and toured many U.S. colleges to teach literature. Fluent in English, Allende was granted United States citizenship in 1993, having lived in California since 1989, first with her American husband (from whom she is now divorced).

Allende was born in Lima, Peru, the daughter of Francisca Llona Barros called "Doña Panchita" (the daughter of Agustín Llona Cuevas and Isabel Barros Moreira, of Portuguese descent) and Tomás Allende, who was at the time a second secretary at the Chilean embassy. Her father Tomás was a first cousin of Salvador Allende, President of Chile from 1970 to 1973.

In 1945, after Tomás left them, Isabel's mother relocated with her three children to Santiago, Chile, where they lived until 1953. In 1953 Allende's mother married Ramón Huidobro and the family moved often. Huidobro was a diplomat appointed to Bolivia and Beirut. In La Paz, Bolivia, Allende attended an American private school; and in Beirut, Lebanon, she attended an English private school. The family returned to Chile in 1958, where Allende was also briefly home-schooled. In her youth, she read widely, particularly the works of William Shakespeare.

In 1970, Salvador Allende appointed Huidobro as ambassador to Argentina.

While living in Chile, Allende finished her secondary studies and met engineering student Miguel Frías whom she married in 1962. They had two children, a son and a daughter.

Reportedly, "Allende married early, into an Anglophile family and a kind of double life: at home she was the obedient wife and mother of two; in public she became, after a spell translating Barbara Cartland, a moderately well-known TV personality, a dramatist and a journalist on a feminist magazine."

From 1959 to 1965, Allende worked with the United Nations Food and Agriculture Organization in Santiago, then in Brussels, and elsewhere in Europe. For a short time in Chile, she also had a job translating romance novels from English to Spanish. However, she was fired for making unauthorized changes to the dialogue of the heroines to make them sound more intelligent, as well as altering the Cinderella ending to allow the heroines to find more independence and do good in the world.

Allende's and Frías's daughter Paula was born in 1963; she died in 1992. In 1966, Allende again returned to Chile, where her son Nicolás was born that year.

In 1973, Salvador Allende was overthrown in a coup led by General Augusto Pinochet. Isabel found herself arranging safe passage for people on the "wanted lists", which she continued to do until her mother and stepfather narrowly escaped assassination. When she herself was added to the list and began receiving death threats, she fled to Venezuela, where she stayed for 13 years. It was during this time that Allende wrote her debut novel The House of the Spirits (1982). Allende has stated that her move from Chile made her a serious writer: "I don't think I would be a writer if I had stayed in Chile. I would be trapped in the chores, in the family, in the person that people expected me to be." Allende believed that, being female in a patriarchal family, she was not expected to be a "liberated" person. Her history of oppression and liberation is thematically found in much of her fiction, where women contest the ideals of patriarchal leaders. In Venezuela she was a columnist for El Nacional, a major national newspaper. In 1978, she began a temporary separation from Miguel Frías. She lived in Spain for two months, then returned to her marriage.

Allende speaks to the City Club of Cleveland, 8 September 2017.

She divorced her first husband, Miguel Frías, in 1987. During a visit to California on a book tour in 1988, Allende met her second husband, California attorney and novelist William C. "Willie" Gordon. They married in July 1988. In 1994, she was awarded the Gabriela Mistral Order of Merit, the first woman to receive this honor. Allende resides in San Rafael, California. Most of her family lives nearby, with her son, his second wife, and her grandchildren just down the hill, in the house she and her second husband vacated. She separated from Gordon in April 2015.

In 2006, she was one of the eight flag bearers at the Opening Ceremony of the Winter Olympics in Turin, Italy. She presented the talk Tales of Passion at TED 2007. In 2008, Allende received the honorary degree Doctor of Humane Letters from San Francisco State University for her "distinguished contributions as a literary artist and humanitarian." In 2014, Allende received the honorary degree of Doctor of Letters from Harvard University for her contributions to literature.

In 2019 she married Roger Cukras, a lawyer from New York.

Although not as openly political as some of her contemporary writers, she expressed contempt for Donald Trump and his policies following his election in 2016, and she later endorsed Democrat Joe Biden during the 2020 presidential election. She has also regularly defended the record of her father's cousin, Salvador Allende.

Foundation

Allende started the Isabel Allende Foundation on 9 December 1996, in honor of her daughter, Paula Frías Allende, who fell into a coma after complications of the disease porphyria led to her hospitalization. Paula was 29 years old when she died in 1992. The foundation is "dedicated to supporting programs that promote and preserve the fundamental rights of women and children to be empowered and protected."

Allende (in red, 3rd L to R), 2007, at TED in California, flanked (L to R) by June Cohen, Lakshmi Pratury and Tracy Chapman.

Beginning in 1967, Allende was on the editorial staff of Paula magazine and the children's magazine Mampato from 1969 to 1974, where she later became the editor. She published two children's stories, "La Abuela Panchita" and "Lauchas y Lauchones", as well as a collection of articles, Civilice a Su Troglodita. She also worked in Chilean television production for channels 7 and 13 from 1970 to 1974. As a journalist, she once sought an interview with poet Pablo Neruda. Neruda agreed to the interview, and he told her that she had too much imagination to be a journalist and should be a novelist instead. He also advised her to compile her satirical columns in book form. She did so, and this became her first published book. In 1973, Allende's play El Embajador played in Santiago a few months before she was forced to flee the country due to the coup.

During her time in Venezuela, Allende was a freelance journalist for El Nacional in Caracas from 1976 to 1983 and an administrator of the Marrocco School in Caracas from 1979 to 1983.

In 1981, while in Caracas, Allende received a phone call informing her that her 99-year-old grandfather was near death, and she sat down to write him a letter, hoping to thereby "keep him alive, at least in spirit." The letter evolved into a book, The House of the Spirits (1982); this work intended to exorcise the ghosts of the Pinochet dictatorship. The book was rejected by numerous Latin American publishers, but eventually published in Buenos Aires. The book soon ran to more than two dozen editions in Spanish and was translated into a score of languages. Allende was compared to Gabriel García Márquez as an author in the style known as magical realism.

Although Allende is often cited as a practitioner of magical realism, her works also display elements of post-Boom literature. Allende also holds to a very strict writing routine. She writes on a computer, working Monday to Saturday, 09:00 to 19:00 "I always start on 8 January", Allende stated, "a tradition she began in 1981 with the letter she wrote to her dying grandfather that would become The House of the Spirits."

Allende's book Paula (1995) is a memoir of her childhood in Santiago and the years she spent in exile. It is written as an anguished letter to her daughter. In 1991 an error in Paula's medication resulted in severe brain damage, leaving her in a persistent vegetative state. Allende spent months at Paula's bedside before learning that a hospital mishap had caused the brain damage. Allende had Paula moved to a hospital in California where she died on 6 December 1992.

Allende's novels have been translated into more than 42 languages and sold more than 77 million copies. Her 2008 book, The Sum of Our Days, is a memoir. It focuses on her life with her family, which includes her grown son, Nicolás; second husband, William Gordon; and several grandchildren. A novel set in New Orleans, Island Beneath the Sea, was published in 2010. In 2011 came El cuaderno de Maya ( Maya's Notebook), in which the setting alternates between Berkeley, California, and Chiloé in Chile, as well as Las Vegas, Nevada.

Latino Leaders Magazine called her a "literary legend" in a 2007 article naming her the third most influential Latino leader in the world.

Her work has drawn some negative criticism. In an article published in Entre paréntesis, Roberto Bolaño called Allende's literature anemic, comparing it to "a person on his deathbed", and later called her "a writing machine, not a writer". Literary critic Harold Bloom said that Allende only "reflects a determinate period, and that afterwards everybody will have forgotten her". Novelist Gonzalo Contreras said that "she commits a grave error, to confuse commercial success with literary quality".

Allende told El Clarín that she recognizes she has not always received good reviews in Chile, stating that Chilean intellectuals "detest" her. However, she disagrees with these assessments:

The fact people think that when you sell a lot of books you are not a serious writer is a great insult to the readership. I get a little angry when people try to say such a thing. There was a review of my last book in one American paper by a professor of Latin American studies and he attacked me personally for the sole reason that I sold a lot of books. That is unforgivable.

It has been said that "Allende's impact on Latin American and world literature cannot be overestimated." The Los Angeles Times called Allende "a genius", and she has received many international awards, including the Dorothy and Lillian Gish Prize, granted to writers "who have contributed to the beauty of the world".

Novel of the Year (Chile, 1983)

Panorama Literario (Chile, 1983)

Author of the Year (Germany, 1984)

Book of the Year (Germany, 1984)

Grand Prix d'Evasion (France, 1984)

Grand Prix de la Radio Télévision Belge (Point de Mire, 1985)

Best Novel (Mexico, 1985)

Colima Literary Prize (Mexico, 1986)

Quality Paperback Book Club New Voice (United States; 1986 nominee)

Author of the Year (Germany, 1986)

XV Premio Internazionale I Migliori Dell'Anno (Italy, 1987)

Premio Mulheres a la Mejor Novela Extranjera (Portugal, 1987)

Los Angeles Times Book Prize nominee (United States, 1987)

Library Journal's Best Book (United States, 1988)

Before Columbus Foundation Award (United States, 1989)

Orden al Mérito Docente y Cultural Gabriela Mistral (Chile, 1990)

XLI Bancarella Literary Prize (Italy, 1993)

Independent Foreign Fiction Award (England, June-July 1993)

Brandeis University Major Book Collection Award (United States, 1993)

Feminist of the Year Award, The Feminist; Majority Foundation (United States, 1994)

Chevalier des Artes et des Lettres distinction (France, 1994)

Critics' Choice (United States, 1996)

Books to Remember, American Library Association (United States, 1996)

Hispanic Heritage Award in Literature (United States, 1996).

Malaparte Amici di Capri (Italy, 1998)

Donna Citta Di Roma (Italy, 1998)

Dorothy and Lillian Gish Prize (United States, 1998)

Sara Lee Foundation (United States, 1998)

Premio Iberoamericano de Letras José Donoso, University of Talca (Chile, 2003)

Premio Honoris Causa, Università di Trento en "lingue e letteratura moderne euroamericane" (Trento, Italy, May 2007)

Chilean National Prize for Literature (Chile, 2010)

Library of Congress Creative Achievement Award for Fiction (USA, 2010)

Hans Christian Andersen Literature Award (Denmark, 2012)

Presidential Medal of Freedom (United States, 2014)

Anisfield-Wolf Book Award: Lifetime Achievement (United States, 2017)

BBC 100 Women (United Kingdom, 2018)

National Book Foundation Medal for Distinguished Contribution to American Letters (United States, 2018)

Honorary Doctor of Humane Letters (L.H.D.) from Whittier College.

Main, Mary. Isabel Allende, Award-Winning Latin American Author. Berkeley Heights, NJ: Enslow Publishing, 2005. - ISBN 0-7660-2488-1

Bautista Gutierrez, Gloria, and Norma Corrales-Martin. Pinceladas Literarias Hispanoamericanas. Hoboken, NJ: Wiley, 2004.

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Isabel Angélica Allende Llona (Latin American Spanish: [isaˈβelaˈʝende] ; born 2 August 1942) is a Chilean writer. Allende, whose works sometimes contain aspects of the genre magical realism, is known for novels such as The House of the Spirits ( La casa de los espíritus, 1982) and City of the Beasts ( La ciudad de las bestias, 2002), which have been commercially successful.

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Who Was Toni Morrison?

Born on February 18, 1931, in Lorain, Ohio, Toni Morrison is a Nobel Prize- and Pulitzer Prize-winning novelist, editor and professor. Her novels are known for their epic themes, exquisite language and richly detailed African American characters who are central to their narratives. Among her best-known novels are The Bluest Eye, Sula, Song of Solomon, Beloved, Jazz, Love and A Mercy. Morrison has earned a plethora of book-world accolades and honorary degrees, also receiving the Presidential Medal of Freedom in 2012.

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Early Life and Education

Born Chloe Anthony Wofford on February 18, 1931, in Lorain, Ohio, Toni Morrison was the second oldest of four children. Her father, George Wofford, worked primarily as a welder, but held several jobs at once to support the family. Her mother, Ramah, was a domestic worker. Morrison later credited her parents with instilling in her a love of reading, music and folklore along with clarity and perspective.

Living in an integrated neighborhood, Morrison did not become fully aware of racial divisions until she was in her teens. "When I was in first grade, nobody thought I was inferior. I was the only black in the class and the only child who could read," she later told a reporter from The New York Times. Dedicated to her studies, Morrison took Latin in school and read many great works of European literature. She graduated from Lorain High School with honors in 1949.

At Howard University, Morrison continued to pursue her interest in literature. She majored in English and chose the classics for her minor. After graduating from Howard in 1953, Morrison continued her education at Cornell University. She wrote her thesis on the works of Virginia Woolf and William Faulkner, and completed her master's degree in 1955. She then moved to the Lone Star State to teach at Texas Southern University.

Life as a Mother and Random House Editor

In 1957, Morrison returned to Howard University to teach English. There she met Harold Morrison, an architect originally from Jamaica. The couple married in 1958 and welcomed their first child, Harold, in 1961. After the birth of her son, Morrison joined a writers group that met on campus. She began working on her first novel with the group, which started out as a short story.

Morrison decided to leave Howard in 1963. After spending the summer traveling with her family in Europe, she returned to the United States with her son. Her husband, however, had decided to move back to Jamaica. At the time, Morrison was pregnant with their second child. She moved back home to live with her family in Ohio before the birth of son Slade in 1964. The following year, she moved with her sons to Syracuse, New York, where she worked for a textbook publisher as a senior editor. Morrison later went to work for Random House, where she edited works by Toni Cade Bambara and Gayl Jones, renowned for their literary fiction, as well as luminaries like Angela Davis and Muhammad Ali.

Toni Morrison's Books

'The Bluest Eye'

Morrison's first novel, The Bluest Eye, was published in 1970. She used as her literary first name "Toni," based on a nickname derived from St. Anthony after she'd joined the Catholic Church. The book follows a young African American girl, Pecola Breedlove, who believes her incredibly difficult life would be better if only she had blue eyes. The controversial book didn't sell well, with Morrison stating in a 1994 afterword that the reception to the work was parallel to how her main character was treated by the world: "dismissed, trivialized, misread."

'Sula'

Morrison nonetheless continued to explore the African American experience in its many forms and eras in her work. Her next novel, Sula (1973), explores good and evil through the friendship of two women who grew up together in Ohio. Sula was nominated for the American Book Award.

'Song of Solomon'

Song of Solomon (1977) became the first work by an African American author to be a featured selection in the Book of the Month club since Native Son by Richard Wright. The lyrical story follows the journey of Milkman Dead, a Midwestern urban denizen who attempts to make sense of family roots and the often harsh realities of his world. Morrison received a number of accolades for the novel, which would go on to win the National Book Critics Circle Award and become a perennial favorite among academics and general readers.

Pulitzer for 'Beloved'

A rising literary star, Morrison was appointed to the National Council on the Arts in 1980. The following year, Tar Baby was published. The Caribbean-based novel drew some inspiration from folktales and received a decidedly mixed reaction from critics. Her next work, however, proved to be one of her greatest masterpieces. Beloved (1987) explores love and the supernatural. Inspired by real-world figure Margaret Garner, main character Sethe, a former slave, is haunted by her decision to kill her children rather than see them become enslaved. Three of her children survived, but her infant daughter died at her hand. Yet Sethe's daughter returns as a living entity who becomes an unrelenting presence in her home. For this spellbinding work, Morrison won several literary awards, including the 1988 Pulitzer Prize for Fiction. Ten years later, the book was turned into a movie starring Oprah Winfrey, Thandie Newton and Danny Glover.

Morrison Wins a Nobel Prize in 1993

Morrison became a professor at Princeton University in 1989 and continued to produce great works, including Playing in the Dark: Whiteness and the Literary Imagination (1992). In recognition of her contributions to her field, she received the 1993 Nobel Prize in Literature, making her the first African American woman to be selected for the award. The following year, she published the novel Jazz, which explores marital love and betrayal in 20th-century Harlem.

At Princeton, Morrison established a special workshop for writers and performers known as the Princeton Atelier in 1994. The program was designed to help students create original works in a variety of artistic fields.

More Books By Morrison

'Paradise'

Outside of her academic work, Morrison continued to write new works of fiction. Her next novel, Paradise (1998), which focuses on a fictional African American town called Ruby, earned mixed reviews.

Children's Books

In 1999, Morrison branched out to children's literature. She worked with her artist son Slade on The Big Box (1999), The Book of Mean People (2002), The Ant or the Grasshopper? (2003) and Little Cloud and Lady Wind (2010). She has also explored other genres, writing the play Dreaming Emmett in the mid-1980s and the lyrics for "Four Songs" with composer Andre Previn in 1994 and "Sweet Talk" with composer Richard Danielpour in 1997. And in 2000, The Bluest Eye, which initially had modest sales, became a literary blockbuster upon being chosen as the Oprah Book Club pick, going on to sell hundreds of thousands of copies.

'Love'

Her next novel, Love (2003), divides its narrative between the past and present. Bill Cosey, a wealthy entrepreneur and owner of the Cosey Hotel and Resort, is the center figure in the work. The flashbacks explore his community life and flawed relationships with women, with his death casting a long shadow on the present. A critic for Publisher's Weekly praised the book, stating that "Morrison has crafted a gorgeous, stately novel whose mysteries are gradually unearthed."

Writing a Libretto

In 2006, Morrison announced she was retiring from her post at Princeton. That year, The New York Times Book Review named Beloved the best novel of the past 25 years. She continued to explore new art forms, writing the libretto for Margaret Garner, an American opera that explores the tragedy of slavery through the true life story of one woman's experiences. The work debuted at the New York City Opera in 2007.

Morrison traveled back to the early days of colonialism in America for A Mercy (2008), a book that some have construed as a page-turner in its unfolding. Once again, a woman who is both a slave and a mother must make a terrible choice regarding her child, who becomes part of an expanding homestead. As a critic from the Washington Post described it, the novel is "a fusion of mystery, history and longing," with the New York Times singling out the work as one of the 10 Best Books of the year.

Morrison's Nonfiction Books

In addition to her many novels, Morrison has crafted nonfiction as well. She published a collection of her essays, reviews and speeches, What Moves at the Margin, in 2008.

A champion for the arts, Morrison spoke out about censorship in October 2009 after one of her books was banned at a Michigan high school. She served as editor for Burn This Book, a collection of essays on censorship and the power of the written word, which was published that same year. She told a crowd gathered for the launch of the Free Speech Leadership Council about the importance of fighting censorship. "The thought that leads me to contemplate with dread the erasure of other voices, of unwritten novels, poems whispered or swallowed for fear of being overheard by the wrong people, outlawed languages flourishing underground, essayists' questions challenging authority never being posed, unstaged plays, canceled films-that thought is a nightmare. As though a whole universe is being described in invisible ink," Morrison said.

In 2017 the author released The Origin of Others - an exploration on race, fear, mass migration and borders - based on her Norton lectures at Harvard.

Morrison's Late Career Books

'Home'

Morrison continued to be one of literature's great storytellers through her 80s. She published the novel Home in 2012, exploring a period of American history once again-this time, the post-Korean War era. "I was trying to take the scab off the '50s, the general idea of it as very comfortable, happy, nostalgic. Mad Men. Oh, please," she said to the Guardian in reference to choosing the setting. "There was a horrible war you didn't call a war, where 58,000 people died. There was McCarthy." Her main character, Frank, is a veteran who suffers from post-traumatic stress disorder, a condition that adversely affects his relationships and ability to function in the world.

While writing the novel, Morrison experienced a great personal loss. Her son Slade died of pancreatic cancer in December 2010.

Around the time that Home was published, Morrison also debuted another work: She worked with opera director Peter Sellars and songwriter Rokia Traoré on a new production inspired by William Shakespeare's Othello. The trio focused on the relationship between Othello's wife Desdemona and her African nurse, Barbary, in Desdemona, which premiered in London in the summer of 2012. That same year Morrison received the Presidential Medal of Freedom from President Barack Obama.

'God Help the Child'

In 2015, Morrison published God Help the Child, a layered novella focusing on the experiences of the character Bride - a young, dark-skinned black woman who works in the cosmetics industry while reckoning with the rejections of her past. That same year the BBC aired the documentary T oni Morrison Remembers. In autumn 2016, she received the Pen/Saul Bellow Award for Achievement in American Fiction.

Death

Morrison died on August 5, 2019 at Montefiore Medical Center in New York.

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Born on February 18, 1931, in Lorain, Ohio, Toni Morrison is a Nobel Prize- and Pulitzer Prize-winning novelist, editor and professor. Her novels are known for their epic themes, exquisite language and richly detailed African American characters who are central to their narratives.

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Describes the Black Arts Movement - which she influenced

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Describes the Black Arts Movement - which she influenced

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Although it's not mentioned much, Toni Morrison was a contributor to and beneficiary of black arts discourse. Characterizations of the Black Arts Movement as an all-male movement that was challenged and eventually eclipsed by African American women novelists often lead commentators to place Morrison outside and beyond the realms of black arts. The Norton Anthology of African American Literature, for instance, places Morrison in the "Literature Since 1975" section as opposed to the "Black Arts Era, 1960-1975" section, even though Morrison's first novel The Bluest Eye was published in 1970.

Morrison's first novel, by the way, focuses on issues related to black identity and self-image and the psychological effects of young black girls being inundated with strict white ideals of beauty. The focus on identity and self-image as well as the critiques of whiteness were undoubtedly congruent with major trends in black poetry of the time period.

Morrison was also an editor at Random House at the time, and she worked on a number of projects featuring black poetry. For one, she served as an editor for works by the late Henry Dumas, a poet murdered by police in 1968. Morrison worked with Eugene B. Redmond to bring Dumas's poetry, short stories, and novel into print. Morrison gives a nod to Dumas in her novel Beloved (1987) by naming a plantation in the story Sweet Home. Dumas was born in Sweet Home, Arkansas.

In her book South of Tradition: Essays on African American Literature, literary scholar Trudier Harris has written about more Dumas and Morrison connections. According to Harris, Morrison helped Dumas by agreeing to publish his books, and at the same time Dumas "helped her by encouraging her to expand her imagination in ways that have led to her becoming a household name around the world."

Morrison also served as the editor for Middleton Harris's The Black Book, a scrapbook-like text filled with various images, excerpts from newspapers, and other materials documenting black life, culture, and history. Among other features, the book includes several excerpts from poems. Notably, excerpts from poems by Dumas, whose works Morrison was editing at the time, appear more than any other poet in the book. Clearly, Morrison was the invisible editor in the presentation of Dumas's work in the book, which also served to promote his work to a broader audience.

The Black Book also includes the following excerpt from Gwendolyn Brooks's poem " the mother": "Believe me, I knew you, though faintly, and I loved, I loved you / All." On the opening page of Toni Morrison's novel Song of Solomon, a character prepares to leap to his death. He closes his suicide letter with the lines "Please forgive me. I loved you all." Similar to the speaker in Brooks's poem, the figure in Morrison's novel asks for forgiveness and announces loving "you all."

In an article promoting The Black Book in Black World magazine, Morrison struck a nationalist tone--a tone that coincided with the tones of leading contributors to black arts discourse, noting that "Black people from all over helped with it, called about things to put in it." In addition, Morrison noted, the production man and printer for the book were black.

Morrison also served as an editor for works by Lucille Clifton, Quincy Troupe, and June Jordan, writers whose poems circulated widely during the black arts era. Morrison may not be a leading figure to the production of black poetry during the time period, but she was definitely an important contributor, and as in the case of Dumas's work, writers associated with the movement had an influence on her artistic creations.

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This entry is part of a series--30 Days of Black Arts Poetry.

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Although it's not mentioned much, Toni Morrison was a contributor to and beneficiary of black arts discourse. Characterizations of the Black Arts Movement as an all-male movement that was challenged and eventually eclipsed by African American women novelists often lead commentators to place Morrison outside and beyond the realms of black arts.

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"She is a friend of mind. She gather me, man. The pieces I am, she gather them and give them back to me in all the right order. It's good, you know,..." - Toni Morrison

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Tillie Walden (born 1996) is an American cartoonist who has published five graphic novels and a webcomic. Walden won the 2018 Eisner Award for Best Reality-Based Work for her graphic novel , making her one of the youngest Eisner Award winners ever.

Tillie Walden grew up in New Jersey and Austin, Texas. Walden was shaped by her childhood move from New Jersey to Texas. She was a competitive ice skater.

Walden is named after her paternal grandmother, an artist who died before Walden was born. Walden's first comic was a black-and-white comic "about never knowing her [grandmother] but following in her footsteps." A workshop led by Scott McCloud had been a major turning point in her career, given it "really inspired [her] to draw some comics, and around this time [she] was also becoming increasingly bored with fine art".

Growing up, Walden read a lot of manga. This greatly influenced her work, leading her to focus more on line than shape or color. The biggest manga artist that had an impact on her was Yoshihiro Togashi, creator of the manga Hunter x Hunter. Additionally, in an interview, Walden said " Studio Ghibli has completely shaped my visual vocabulary and how I think about stories." Walden is said to have also been influenced by graphic memoirs, such as by Alison Bechdel, by Craig Thompson and by David Small.

Walden began putting her comics and drawings on her website, and was discovered while still in high school by British publisher Avery Hill Publishing, who worked with Walden to publish her first graphic novel, The End of Summer.

Walden's debut graphic novel, The End of Summer, was published by Avery Hill in June 2015. It is told from the viewpoint of Lars, a feeble boy who lives in a fantastical palace and has a giant cat named Nemo. In an interview with Paul Gravett, she dedicates the book to her twin brother, John. She describes the main characters as being a mishmash of her and John. Walden won the 2016 Ignatz Award for outstanding artist for The End of Summer.

Her second graphic novel, I Love This Part, was published by Avery Hill in November 2015 and tells the story of two teenage girls who fall in love. Walden won the 2016 Ignatz Award for promising new talent for I Love This Part. The novel was also nominated for the 2016 Eisner Award for Best Single Issue/One-Shot.

Walden's third graphic novel, A City Inside, was published by Avery Hill in 2016. It won the 2016 Broken Frontier Award for Best One-Shot.

, Walden's first graphic novel memoir about her years coming-of-age as a competitive ice skater, was published by First Second Books in September 2017. Originally, Spinning was Walden's thesis work for the Center for Cartoon Studies (CCS) during her second year of schooling there. It won the 2018 Eisner Award for Best Reality-Based Work, making Walden one of the youngest Eisner Award winners ever at 22.

Walden's On a Sunbeam, a science fiction webcomic, was nominated for the 2017 Eisner Award for Best Digital Comic. The webcomic was adapted into a graphic novel that was released in October 2018 by First Second Books, with the UK edition published by Avery Hill Publishing. Set in space, the story revolves around a crew in charge of rebuilding structures, which allows them to acknowledge the past. As Mia, the newest member, gets to know her team, a flashback occurs where she fell in love with another student named Grace. As time progresses and bonds are formed, Mia inevitably opens up about her reasoning for joining their ship - to find the love she lost. This piece is Walden's first take on science fiction. The graphic novel won the 2018 Los Angeles Times Book Prize.

To commemorate International Women's Day, Walden's piece "Minutes" was featured as a Google Doodle on March 8, 2018.

In 2019, Walden published Are You Listening? from First Second Books, which earned her the 2020 Eisner Award for Best Graphic Album-New.

In 2021, Walden announced her next graphic novel, Clementine, to be released in June 2022. The comic will follows the continuation of Clementine, a character from The Walking Dead video game series, after the events of the game. The previews have caused controversy among fans of the franchise, particularly for Clementine acting out of character and undoing the ending of Season Four.

In 2022, Walden and Emma Hunsinger published My Parents Won't Stop Talking! from First Second Books.

Walden has known she was a lesbian since she was 5. Before she came out, Walden avoided including queer characters in her stories, feeling that she "couldn't draw openly gay characters if [she] was still scared to be openly gay".

Walden spoke of her father's influence on her entrance into the comics industry. As said in an interview, "My dad has been the behind-the-scenes guy for my entire comics career. I realized that when I start looking, he's been everywhere."[citation needed ]

Walden is a graduate of the Center for Cartoon Studies. She also works as a professor there.

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Tillie Walden (born 1996) is an American cartoonist who has published five graphic novels and a webcomic. Walden won the 2018 Eisner Award for Best Reality-Based Work for her graphic novel , making her one of the youngest Eisner Award winners ever. Tillie Walden grew up in New Jersey and Austin, Texas.

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"Tillie: "I think I might do something with art."

Victoria: "You've always liked it, haven't you?"

Tillie: "I dunno. I don't feel this huge passion. It's just ... [sic.] when I start a drawing, I want to finish it."
― Tillie Walden,

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Tillie Walden Quotes (Author of On a Sunbeam)

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19 quotes from Tillie Walden: 'You don't get to decide what's important for us. You can choose for yourself, but no one else.', 'It's like the older you get the more you forget that you can change things.', and 'I'm not dating the 12% of you that I understand, I'm dating 100% of you.

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Spinning is a graphic novel memoir by cartoonist Tillie Walden that was first published by First Second Books on September 12, 2017. The memoir chronicles Walden's years coming-of-age as a competitive figure skater, as she navigates romance, bullying and various traumas. It won the 2018 Eisner Award for Best Reality-Based Work.

At the start of Spinning, Walden is ten and her family has just moved to Texas from New Jersey. Walden, a competitive figure skater, finds herself having to adjust to the new environment and figure skating culture. As Walden becomes more disenchanted with the culture around the competitive sport, she discovers her talent as an artist. Having known she was gay since she was five, Walden also struggles with the alienation and pressure she faces as she embarks on her first romance with another girl. The novel also recounts Walden's sexual assault by her SAT tutor.

The idea for Spinning first came to Tillie Walden when she attempted to make a short comic about ice skating at the end of her first year at the Center for Cartoon Studies. Walden realized that she had "too much baggage with skating to even make a small comic about it," and began working on the book that summer before her second year. Spinning was initially Walden's school thesis and upon graduating, she worked with First Second Books to turn her thesis into the final graphic novel.

Having published three fictional graphic novels before Spinning, Walden noted that it was a lot harder, but far more rewarding, to write the memoir than works of fiction. According to Walden, revisiting the trauma she faced was difficult and "there were scenes in Spinning where [she] just cried the entire time [she] drew it."

In her review, Rachel Cooke of The Guardian wrote: "Intimate and charming, Spinning already has the feeling of a coming-of-age classic - and yet, amazingly, its talented author has only just hit 21." The New York Times's Douglas Wolk described the novel as "engrossing, gorgeously quiet", while The Austin Chronicle's Wayne Alan Brenner called it a "powerful work of real-life storytelling". Publishers Weekly noted that the memoir is "a haunting and resonant coming-of-age story," while 's Sarah Hunter called it "a stirring, gorgeously illustrated story of finding the strength to follow one's own path."

The Daily Dot's Gavia Baker-Whitelaw concluded that: "Spinning is a raw and intimate memoir, and likely to appear on many "best-of" lists for 2017. It's honest and sensitive, holding a different appeal for a wide range of viewpoints. As a coming-out story, it's painful and therapeutic. To figure skaters, the depictions of the sport and its culture will doubtless ring true. And for childhood overachievers, it's a firsthand observation by someone who grew up and escaped through an unexpected avenue."

's Oliver Sava named Spinning as one of the best comics of 2017, and it was tied for third place inPublishers Weekly 2017 Graphic Novel Critics Poll. The novel won the 2018 Eisner Award for Best Reality-Based Work, making Walden one of the youngest Eisner Award winners ever at 22.

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Spinning is a graphic novel memoir by cartoonist Tillie Walden that was first published by First Second Books on September 12, 2017. The memoir chronicles Walden's years coming-of-age as a competitive figure skater, as she navigates romance, bullying and various traumas. It won the 2018 Eisner Award for Best Reality-Based Work.

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Quick Facts

IN THESE GROUPS
"For surely it is a magical thing for a handful of words, artfully arranged, to stop time. To conjure a place, a person, a situation, in all its specificity and dimensions. To affect us and alter us, as profoundly as real people and things do.""I never felt that I had any claim to any place in the world ... In my writing, I've found my home, really, in a very basic sense-in a way that I never had one growing up.""I had been wanting to write in a slightly different way with [The Lowland]. I didn't want the book to feel heavy, because I felt that the book was heavy-I mean that the story was heavy, the material was heavy, the situation, the circumstances, all of this was very weighty. And I didn't want the writing to feel heavy. ... I wanted to have some sort of lightness.""The idea of meeting writers of the books I've read doesn't interest me. That is to say, I wouldn't go out of my way. If the book is alive to me, if the sentences speak to me, that's enough. A reader's relationship is with the book, with the words, not with the person who created it.""When I am experiencing a complex story or novel, the broader planes, and also details, tend to fall away. Rereading them, certain sentences are what greet me as familiars. You have visited before, they say when I recognize them.""I think writing something new each time is a very daunting, scary journey. And I just want to have the strength, and the clarity of mind, to continue to make those journeys.""If certain books are to be termed immigrant fiction, what do we call the rest? Native fiction? Puritan fiction? This distinction doesn't agree with me. Given the history of the United States, all American fiction could be classified as immigrant fiction.""Writing in another language is humbling. It's so hard. How I explain it to people is that I feel as though I've tied my right hand behind my back on purpose and I'm writing with my left hand, and I recognize how much sloppier it is, how much more awkward it is, how much more out of control it is in a way. But I also love doing without so much.""The part of the earth that I've always felt most at ease with is not the ground, but sort of the water's edge." Show All Groups

Name

Jhumpa Lahiri

Occupation

Author

Birth Date

July 11, 1967 (age 51)

Did You Know?

Jhumpa Lahiri's first novel, The Namesake (2003), was adapted into a 2007 film directed by Mira Nair.

Education

Boston University, Barnard College

Place of Birth

London, England, United Kingdom

AKA

Jhumpa Lahiri

Full Name

Nilanjana Sudheshna Lahiri

Zodiac Sign

Cancer

Jhumpa Lahiri is a Pulitzer Prize-winning author known for works of fiction like Interpreter of Maladies, The Namesake, Unaccustomed Earth and The Lowland.

Synopsis

Born on July 11, 1967, in London, England, to Bengali parentage, author Jhumpa Lahiri published her debut in 1999, Interpreter of Maladies, winning the Pulitzer Prize. She followed up in 2003 with her first novel, The Namesake, and returned to short stories with the No. 1 New York Times best-seller Unaccustomed Earth. Lahiri's 2013 novel, The Lowland, was partially inspired by real-world political events.

Background

Nilanjana Sudheshna Lahiri was born on July 11, 1967, in London, England, to mother Tapati and father Amar, a Bengali couple who immigrated to the United Kingdom from Calcutta, India. Lahiri's father, a university librarian, opted to relocate to the United States for work, eventually settling in South Kingstown, Rhode Island, when she was still a small child.

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With the family nickname, "Jhumpa," coming to be used by school teachers, Lahiri went on to attend Barnard College in New York, focusing on English literature. She then joined the student body of Boston University, earning three literary master's degrees before receiving her doctorate in Renaissance studies.

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Pulitzer Prize for Debut

Upon completing a Provincetown, Cape Cod, residency, Lahiri was able to share with the world her first book, a collection of nine stories, Interpreter of Maladies, published in 1999. The work's depth-driven plots allowed glimpses into the lives of characters both in India and the States. Interpreter won an array of honors, including the Pulitzer Prize and the PEN/Hemingway Award.

In 2003, Lahiri followed up with The Namesake, a novel that followed the lives, perspectives and changing family ties of the Gangulis, an Indian couple in an arranged marriage who relocate to America. The work was adapted into a 2007 Mira Nair film starring Irfan Khan and Tabu, with Lahiri acknowledging that she felt a connection to the director's sensibilities.

Best-Seller: 'Unaccustomed Earth'

Lahiri returned to the short-story form via her next literary outing, 2008's Unaccustomed Earth, with the title taken from an introductory passage found in Nathaniel Hawthorne's Scarlet Letter. With prose focusing on the lives of immigrant clans and U.S.-raised children, including a linked trio of tales at book's end, Unaccustomed Earth reached No. 1 on The New York Times' best-seller list.

Lahiri is renowned for the finesse and poignancy of her prose, with the ability to subtly, mesmerizingly build an emotional connection to characters. "I hear sentences as I'm staring out the window, or chopping vegetables, or waiting on a subway platform alone," Lahiri said of her writing process in a 2012 interview with The New York Times. "They are pieces of a jigsaw puzzle, handed to me in no particular order, with no discernible logic. I only sense that they are part of the thing."

Returns With 'The Lowland'

Lahiri returned in 2013 with The Lowland, which became a National Book Award finalist and was shortlisted for the Man Booker Prize. Partially inspired by a true story Lahiri had heard growing up, the work initially looks at two brothers, one involved in India's Naxalite movement of the 1960s and the other choosing a researcher's life in the States. The death of one sibling causes reverberations through the ensuing years.

In 2001, Lahiri wed Alberto Vourvoulias-Bush, a journalist of Guatemalan descent, with the couple going on to reside in Italy with their children. Immersing herself in Italian, Lahiri has spoken of observing changes in her own writing style, feeling a sense of freedom in relating to a different language.

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Citation Information

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"For surely it is a magical thing for a handful of words, artfully arranged, to stop time. To conjure a place, a person, a situation, in all its specificity and dimensions. To affect us and alter us, as profoundly as real people and things do."

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The Namesake (2003) is the debut novel by American author Jhumpa Lahiri. It was originally published in The New Yorker and was later expanded to a full-length novel. It explores many of the same emotional and cultural themes as Lahiri's Pulitzer Prize-winning short story collection Interpreter of Maladies. The novel moves between events in Calcutta, Boston, and New York City, and examines the nuances involved with being caught between two conflicting cultures with distinct religious, social, and ideological differences.

The story begins as Ashok and Ashima Ganguli, a young Bengali couple, leave Calcutta, India, and settle in Central Square in Cambridge, Massachusetts. Ashok is an engineering student at the Massachusetts Institute of Technology (MIT). Ashima struggles through language and cultural barriers as well as her own fears as she delivers her first child alone. Had the delivery taken place in Calcutta, she would have had the baby at home, surrounded by family. The delivery is successful, but the new parents learn they cannot leave the hospital before giving their son a legal name.

The traditional naming process in their families is to have an elder who will give the new baby a name, and the parents wait for the letter from Ashima's grandmother. The letter never arrives, and soon after, the grandmother dies. Bengali culture calls for a child to have two names, a pet name to be called by family, and a good name to be used in public. Ashok suggests the name of Gogol, in honor of the famous Russian author Nikolai Gogol, to be the baby's pet name, and they use this name on the birth certificate. As a young man, Ashok survived a train derailment with many fatalities. He had been reading a short story collection by Gogol just before the accident, and lying in the rubble of the accident he clutched a single page of the story " The Overcoat" in his hand. With many broken bones and no strength to move or call out, dropping the crumpled page is the only thing Ashok can do to get the attention of medics looking for survivors. This motivated him to move far away from home and start anew. Though the pet name has deep significance for the baby's parents, it is never intended to be used by anyone other than family. They decide on Nikhil to be his good name.

Gogol grows up perplexed by his pet name. Entering kindergarten, the Gangulis inform their son that he will be known as Nikhil at school. The five-year-old objects, and school administrators send him home with a note pinned to his shirt stating that he would be called Gogol at school, as was his preference. As Gogol progresses through school, he resents his name more and more for its oddness and the strange genius for whom he was named. Ashok senses that Gogol is not old enough to understand its significance. When he informs his parents that he wishes to change his name, his father reluctantly agrees. Shortly before leaving for college, Gogol legally changes his name to Nikhil Ganguli.

This change in name and Gogol's going to Yale, rather than following his father's footsteps to MIT, sets up the barriers between Gogol and his family. The distance, both geographically and emotionally, between Gogol and his parents continues to increase. He wants to be American, not Bengali. He goes home less frequently, dates American girls, and becomes angry when anyone calls him Gogol. During his college years, he smokes cigarettes and marijuana, goes to many parties, and loses his virginity to a girl he cannot remember.

As he is going home for the summer, Gogol's train is suddenly stopped when a man jumped in front of the train. Ashok, waiting at the train station for Gogol, becomes concerned and upon arriving home, finally explains the true significance of Gogol's name. Gogol is deeply troubled by this.

After graduating from Columbia University, Gogol obtains a very small apartment in New York City, where he lands a job in an established architectural office. He is stiff, perpetually angry or else always on the lookout for someone to make a stereotypical comment about his background.

At a party, Gogol meets an outgoing girl named Maxine, with whom he begins a relationship. Maxine's parents are financially well off and live in a four-story house in New York City, with one floor occupied entirely by Maxine. Gogol moves in with them, and becomes an accepted member of her family. When Maxine's parents visit her grandparents in the mountains of New Hampshire for the summer, they invite Maxine and Gogol to join them.

Gogol introduces Maxine to his parents. Ashima dismisses Maxine as something that Gogol will eventually get over. Shortly after, Ashok dies of a heart attack while teaching in Ohio. Gogol travels to Ohio to gather his father's belongings and his father's ashes. Gogol gradually withdraws from Maxine, eventually breaking up with her. He begins to spend more time with his mother and sister, Sonia.

Later, Ashima suggests that Gogol contact Moushumi, the daughter of one of her friends, whom Gogol knew when they were children, and who broke up with her fiancé Graham shortly before their wedding. Gogol is reluctant to meet with Moushumi because she is Bengali, but does so anyway to please his mother.

Moushumi and Gogol are attracted to one another and eventually are married. However, by the end of their first year of marriage, Moushumi becomes restless. She feels tied down by marriage and begins to regret it. Gogol also feels like a poor substitute for Graham. He feels betrayed when she casually reveals his old name at a party with her friends. Eventually, Moushumi has an affair with Dimitri, an old acquaintance, the revelation of which leads to the end of their marriage. With Sonia preparing to marry her fiancé, a Chinese-American named Ben, Gogol is once again alone. As Ashima prepares to return to India, Gogol picks up a collection of the Russian author's stories that his father had given him as a birthday present many years ago.

A film adaptation of the novel was released in the United States, Canada, United Kingdom, and India in March 2006. It was directed by Mira Nair and featured a screenplay written by Sooni Taraporevala.

The Namesake was published in Bengali by Ananda Publishers on 2005 under the title Samanamiie (বাংলা: সমনামী) translated by Paulami Sengupta.

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The Namesake (2003) is the debut novel by American author Jhumpa Lahiri. It was originally published in The New Yorker and was later expanded to a full-length novel. It explores many of the same emotional and cultural themes as Lahiri's Pulitzer Prize-winning short story collection Interpreter of Maladies .

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Nilanjana Sudeshna "Jhumpa" Lahiri (born July 11, 1967) is an Indian American author known for her short stories, novels, and essays in English and, more recently, in Italian.

Her debut collection of short-stories Interpreter of Maladies (1999) won the Pulitzer Prize for Fiction and the PEN/Hemingway Award, and her first novel, The Namesake (2003), was adapted into the popular film of the same name.

The Namesake was a New York Times Notable Book, a Los Angeles Times Book Prize finalist and was made into a major motion picture. Unaccustomed Earth (2008) won the Frank O'Connor International Short Story Award, while her second novel, The Lowland (2013), was a finalist for both the Man Booker Prize and the National Book Award for Fiction. On January 22, 2015, Lahiri won the US$50,000 DSC Prize for Literature for The Lowland In these works, Lahiri explored the Indian-immigrant experience in America.

In 2012, Lahiri moved to Rome, Italy and has since then published two books of essays, and in 2018, published her first novel in Italian called Dove mi trovo and also compiled, edited and translated the Penguin Book of Italian Short Stories which consists of 40 Italian short stories written by 40 different Italian writers. She has also translated some of her own writings and those of other authors from Italian into English.

In 2014, Lahiri was awarded the National Humanities Medal. She was a professor of creative writing at Princeton University from 2015 to 2022. In 2022, she became the Millicent C. McIntosh Professor of English and Director of Creative Writing at her alma mater, Barnard College of Columbia University.

Lahiri was born in London, the daughter of Indian immigrants from the Indian state of West Bengal. Her family moved to the United States when she was three; Lahiri considers herself an American and has said, "I wasn't born here, but I might as well have been." Lahiri grew up in Kingston, Rhode Island, where her father Amar Lahiri worked as a librarian at the University of Rhode Island; the protagonist in "The Third and Final Continent", the story which concludes Interpreter of Maladies, is modeled after him. Lahiri's mother wanted her children to grow up knowing their Bengali heritage, and her family often visited relatives in Calcutta (now Kolkata).

When Lahiri began kindergarten in Kingston, Rhode Island, her teacher decided to call her by her familiar name Jhumpa because it was easier to pronounce than her more formal given names. Lahiri recalled, "I always felt so embarrassed by my name.... You feel like you're causing someone pain just by being who you are." Her ambivalence over her identity was the inspiration for the mixed feelings of Gogol, the protagonist of her novel The Namesake, over his own unusual name. In an editorial in , Lahiri claims that she has "felt intense pressure to be two things, loyal to the old world and fluent in the new." Much of her experiences growing up as a child were marked by these two sides tugging away at one another. When she became an adult, she found that she was able to be part of these two dimensions without the embarrassment and struggle that she had when she was a child. Lahiri graduated from South Kingstown High School and received her B.A. in English literature from Barnard College of Columbia University in 1989.

Lahiri then earned advanced degrees from Boston University: an M.A. in English, an M.F.A. in Creative Writing, an M.A. in Comparative Literature, and a Ph.D. in Renaissance Studies. Her dissertation, completed in 1997, was titled "Accursed Palace: The Italian palazzo on the Jacobean stage (1603-1625)". Her principal advisers were William Carroll (English) and Hellmut Wohl (Art History). She took a fellowship at Provincetown's Fine Arts Work Center, which lasted for the next two years (1997-1998). Lahiri has taught creative writing at Boston University and the Rhode Island School of Design.

In 2001, Lahiri married Alberto Vourvoulias-Bush, a journalist who was then deputy editor of Latin America, and who is now its senior editor. In 2012, Lahiri moved to Rome with her husband and their two children, Octavio (born 2002) and Noor (b. 2005). On July 1, 2015, Lahiri joined the Princeton University faculty as a professor of creative writing in the Lewis Center for the Arts.

Lahiri's early short stories faced rejection from publishers "for years". Her debut short story collection, Interpreter of Maladies, was finally released in 1999. The stories address sensitive dilemmas in the lives of Indians or Indian immigrants, with themes such as marital difficulties, the bereavement over a stillborn child, and the disconnection between first and second generation United States immigrants. Lahiri later wrote, "When I first started writing I was not conscious that my subject was the Indian-American experience. What drew me to my craft was the desire to force the two worlds I occupied to mingle on the page as I was not brave enough, or mature enough, to allow in life." The collection was praised by American critics, but received mixed reviews in India, where reviewers were alternately enthusiastic and upset Lahiri had "not paint[ed] Indians in a more positive light." Interpreter of Maladies sold 600,000 copies and received the 2000 Pulitzer Prize for Fiction (only the seventh time a story collection had won the award).

In 2003, Lahiri published her first novel, The Namesake. The theme and plot of this story was influenced in part by a family story she heard growing up. Her father's cousin was involved in a train wreck and was only saved when the workers saw a beam of light reflected off of a watch he was wearing. Similarly, the protagonist's father in The Namesake was rescued because his peers recognized the books that he read by Russian author Nikolai Gogol. The father and his wife emigrated to the United States as young adults. After this life-changing experience, he named his son Gogol and his daughter Sonali. Together the two children grow up in a culture with different mannerisms and customs that clash with what their parents have taught them. A film adaptation of The Namesake was released in March 2007, directed by Mira Nair and starring Kal Penn as Gogol and Bollywood stars Tabu and Irrfan Khan as his parents. Lahiri herself made a cameo as "Aunt Jhumpa".

Lahiri's second collection of short stories, Unaccustomed Earth, was released on April 1, 2008. Upon its publication, Unaccustomed Earth achieved the rare distinction of debuting at number 1 on The New York Times best seller list. New York Times Book Review editor, Dwight Garner, stated, "It's hard to remember the last genuinely serious, well-written work of fiction-particularly a book of stories-that leapt straight to No. 1; it's a powerful demonstration of Lahiri's newfound commercial clout."

Lahiri has also had a relationship with The New Yorker magazine, in which she has published short stories and non-fiction.

Since 2005, Lahiri has been a vice president of the PEN American Center, an organization designed to promote friendship and intellectual cooperation among writers.

In February 2010, she was appointed a member of the Committee on the Arts and Humanities, along with five others.

Lahiri in 2013

In September 2013, her novel The Lowland was placed on the shortlist for the Man Booker Prize, which ultimately went to The Luminaries by Eleanor Catton. The following month it was also long-listed for the National Book Award for Fiction, and revealed to be a finalist on October 16, 2013. However, on November 20, 2013, it lost out for that award to James McBride and his novel The Good Lord Bird.

In December 2015, Lahiri published a non-fiction essay called "Teach Yourself Italian" in The New Yorker about her experience learning Italian. In the essay she declared that she is now only writing in Italian, and the essay itself was translated from Italian to English. That same year, she published her first book in Italian, In altre parole, in which she wrote about her experience learning the language; an English translation by Ann Goldstein titled In Other Words was published in 2016.

Lahiri was in the winner of the DSC Prize for South Asian Literature 2015 for her book The Lowland at the Zee Jaipur Literature Festival for which she entered Limca Book of Records.

In 2017, Lahiri received the PEN/Malamud Award for excellence in the short story.

In 2018, Lahiri published her first novel in Italian, Dove mi trovo (2018). In 2019, she compiled, edited and translated the Penguin Book of Italian Short Stories which consists of 40 Italian short stories written by 40 different Italian writers. Lahiri later translated Dove mi trovo into English; the translation was published in 2021. In 2022, Lahiri published a new short story collection under the title Racconi Romani (Roman stories), the title being a nod to a book by Alberto Moravia of the same name. Its English translation is slated to appear in October 2023. It is a joint translation effort between Lahiri and Todd Portnowitz.

Lahiri's writing is characterized by her "plain" language and her characters, often Indian immigrants to America who must navigate between the cultural values of their homeland and their adopted home. Lahiri's fiction is autobiographical and frequently draws upon her own experiences as well as those of her parents, friends, acquaintances, and others in the Bengali communities with which she is familiar. Lahiri examines her characters' struggles, anxieties, and biases to chronicle the nuances and details of immigrant psychology and behavior.

Until Unaccustomed Earth, she focused mostly on first-generation Indian American immigrants and their struggle to raise a family in a country very different from theirs. Her stories describe their efforts to keep their children acquainted with Indian culture and traditions and to keep them close even after they have grown up in order to hang onto the Indian tradition of a joint family, in which the parents, their children and the children's families live under the same roof.

Unaccustomed Earth departs from this earlier original ethos, as Lahiri's characters embark on new stages of development. These stories scrutinize the fate of the second and third generations. As succeeding generations become increasingly assimilated into American culture and are comfortable in constructing perspectives outside of their country of origin, Lahiri's fiction shifts to the needs of the individual. She shows how later generations depart from the constraints of their immigrant parents, who are often devoted to their community and their responsibility to other immigrants.

Lahiri worked on the third season of the HBO television program In Treatment. That season featured a character named Sunil, a widower who moves to the United States from India and struggles with grief and with culture shock. Although she is credited as a writer on these episodes, her role was more as a consultant on how a Bengali man might perceive Brooklyn.

Interpreter of Maladies (1999)

"A Temporary Matter" (previously published in The New Yorker)

"When Mr. Pirzada Came to Dine" (previously published in The Louisville Review)

"Interpreter of Maladies" (previously published in the Agni Review)

"A Real Durwan" (previously published in the Harvard Review)

"Sexy" (previously published in The New Yorker)

"Mrs. Sen's" (previously published in Salamander)

"This Blessed House" (previously published in Epoch)

"The Treatment of Bibi Haldar" (previously published in Story Quarterly)

"The Third and Final Continent"

Unaccustomed Earth (2008)

"Unaccustomed Earth"

"Hell-Heaven" (previously published in The New Yorker)

"A Choice of Accommodations"

"Only Goodness"

"Nobody's Business" (previously published in The New Yorker)

"Once In A Lifetime" (previously published in The New Yorker)

"Year's End" (previously published in The New Yorker)

"Going Ashore"

"Hema and Kaushik"

Racconti romani (in Italian). Rome: Guanda. 2022.

"Il confine" (The Boundary)

"La riunione" (The Reunion)

"Le feste di P." (P.s Parties)

"Casa luminosa" (Luminous House)

"La scalinata" (The Stairway)

"Il ritiro" (Withdrawal)

"La processione" (The Procession)

I bigliettini (The Cards)

Dante Alighieri

In altre parole (Italian) (2015) (English translation published as In Other Words, 2016)

Il vestito dei libri (Italian) (English translation published as The Clothing of Books, 2016)

Translating Myself and Others (2022)

Essays, reporting and other contributions

The Magic Barrel: Stories (introduction) by Bernard Malamud, Farrar, Straus and Giroux, July 2003.

"Cooking Lessons: The Long Way Home" (September 6, 2004, The New Yorker)

Malgudi Days (introduction) by R.K. Narayan, Penguin Classics, August 2006.

"Rhode Island" in State by State: A Panoramic Portrait of America edited by Matt Weiland and Sean Wilsey, Ecco, September 16, 2008

"Improvisations: Rice" (November 23, 2009, The New Yorker)

"Reflections: Notes from a Literary Apprenticeship" (June 13, 2011, The New Yorker)

The Suspension of Time: Reflections on Simon Dinnerstein and The Fulbright Triptych edited by Daniel Slager, Milkweed Editions, June 14, 2011.

Lahiri, Jhumpa (December 7, 2015). "Teach yourself Italian". Personal History. The New Yorker. Vol. 91, no. 39. Translated from the Italian by Ann Goldstein. pp. 30-36.

Ties (2017), translation from Italian of Domenico Starnone's Lacci

Trick (2018), translation from Italian of Domenico Starnone's Scherzetto

Trust (2021), translation from Italian of Domenico Starnone's Confidenza

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3. "Jhumpa Lahiri: Professor of Creative Writing". Lewis Center for the Arts, Princeton University. Archived from the original on June 15, 2019.

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11. Arun Aguiar (August 1, 1999). ^ "Interview with Jhumpa Lahiri" Archived August 23, 2015, at the Wayback Machine. Pif Magazine/ Retrieved September 4, 2015.

12. Lahiri, Jhumpa. "My Two Lives" Archived January 7, 2010, at the Wayback Machine, Newsweek, March 6, 2006. Retrieved on 2008-04-13.

13. Wiltz, Teresa. "The Writer Who Began With a Hyphen: Jhumpa Lahiri, Between Two Cultures", The Washington Post, October 8, 2003. Retrieved on 2008-04-15.

14. Farnsworth, Elizabeth. ^ "Pulitzer Prize Winner-Fiction" Archived January 1, 2014, at the Wayback Machine, PBS NewsHour, April 12, 2000. Retrieved on 2008-04-15.

15. Garner, Dwight. "Jhumpa Lahiri, With a Bullet" Archived January 25, 2010, at the Wayback Machine The New York Times Paper Cuts blog, April 10, 2008. Retrieved on 2008-04-12.

16. ^ "Barack Obama appoints Jhumpa Lahiri to arts committee", The Times of India, February 7, 2010

17. ^ Masters, Tim (July 23, 2013). "Man Booker judges reveal 'most diverse' longlist". BBC. Archived from the original on March 26, 2019.

18. ^ "BBC News - Man Booker Prize 2013: Toibin and Crace lead shortlist". . September 10, 2013. Archived from the original on September 10, 2013.

19. "2013 National Book Awards" Archived October 26, 2018, at the Wayback Machine. National Book Foundation. Retrieved September 4, 2015.

20. Chotiner, Isaac. ^ "Interviews: Jhumpa Lahiri" Archived May 9, 2008, at the Wayback Machine, The Atlantic, March 18, 2008. Retrieved on 2008-04-12.

21. ^ Title in the online table of contents is "In translation".

Bilbro, Jeffrey (2013). "Lahiri's Hawthornian Roots: Art and Tradition in "Hema and Kaushik"". Critique: Studies in Contemporary Fiction. 54 (4): 380-394. doi:10.1080/00111619.2011.594461. S2CID 143938815.

Cussen, John. "the william morris in jhumpa lahiri's wallpaper / and other of the writer's reproofs to literary scholarship," JEAL: Journal of Ethnic American Literature 2 (2012): 5-72.

Das, Subrata Kumar. "Bengali Diasporic Culture: A Study of the Film Adaptation of Jhumpa Lahiri's The Namesake". The Criterion: An International Journal in English (ISSN 0976-8165) 4 (II), April 2013: np.

Leyda, Julia (January 2011). "An interview with Jhumpa Lahiri". Contemporary Women's Writing. 5 (1): 66-83. doi:10.1093/cwwrit/vpq006.

Majithia, Sheetal (Fall/Winter 2001). "Of Foreigners and Fetishes: A Reading of Recent South Asian American Fiction." Samar 14: 52-53 The South Asian American Generation.

Mitra, Zinia. "Echoes of Loneliness: Dislocation and Human Relationships in Jhumpa Lahiri", Contemporary Indian Women Writers in English: Critical Perspectives. Ed. Nizara Hazarika, K.M. Johnson and Gunjan Dey.Pencraft International.(ISBN 978-93-82178-12-5), 2015.

Mitra, Zinia . " An Interpretation of Interpreter of Maladies", Jhumpa Lahiri : Critical Perspectives. Ed. Nigamananda Das. Pencraft International, 2008.(ISBN 81-85753-87-3) pp 95-104.

Reichardt, Dagmar. "Migrazione, discorsi minoritari, transculturalità: il caso di Jhumpa Lahiri", in: Scrivere tra le lingue. Migrazione, bilinguismo, plurilinguismo e poetiche della frontiera nell'Italia contemporanea (1980-2015), edited by Daniele Comberiati and Flaviano Pisanelli, Rome, Aracne, 2017 (ISBN 978-88-255-0287-9), pp. 77-92.

Reichardt, Dagmar. "Nomadische Literatur und Transcultural Switching: Jhumpa Lahiris italophones Migrationstagebuch 'In altre parole' (2015) - 'In Other Words' (2016) - 'Mit anderen Worten' (2017)", in: Eva-Tabea Meineke / Anne-Rose Mayer / Stephanie Neu-Wendel / Eugenio Spediacato (ed.), Aufgeschlossene Beziehungen: Italien und Deutschland im transkulturellen Dialog. Literatur, Film, Medien, "Rezeptionskulturen in Literatur- und Mediengeschichte" vol. 9 - 2019, Würzburg: Königshausen & Neumann, 2019 (ISBN 978-3-8260-6257-5), pp. 243-266.

Reichardt, Dagmar. "Radicata a Roma: la svolta transculturale nella scrittura italofona nomade di Jhumpa Lahiri", in: I l pensiero letterario come fondamento di una testa ben fatta, edited by Marina Geat, Rome, Roma TRE Press, 2017 (ISBN 978-88-94885-05-7), pp. 219-247. "Radicata a Roma": la svolta transculturale nella scrittura italofona nomade di Jhumpa Lahiri | Reichardt | Il pensiero letterario come fondamento di una testa ben fatta

Roy, Pinaki. "Postmodern Diasporic Sensibility: Rereading Jhumpa Lahiri's Oeuvre". Indian English Fiction: Postmodern Literary Sensibility. Ed. Bite, V. New Delhi: Authors Press, 2012 (ISBN 978-81-7273-677-4). pp. 90-109.

Roy, Pinaki. "Reading The Lowland: Its Highs and its Lows". Labyrinth (ISSN 0976-0814) 5(3), July 2014: 153-62.

Palmerino, Gregory, "The Immigrant and the Child at Home: Chiasmus as a Narrative Technique in Jhumpa Lahiri's "Mrs. Sen's"", Journal of the Short Story in English [Online], 75 | Autumn 2020, Online since 1 December 2022. URL: http://journals.openedition.org/jsse/3394

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Nilanjana Sudeshna "Jhumpa" Lahiri (born July 11, 1967) is an Indian American author known for her short stories, novels, and essays in English and, more recently, in Italian. Her debut collection of short-stories Interpreter of Maladies (1999) won the Pulitzer Prize for Fiction and the PEN/Hemingway Award, and her first novel, The Namesake (2003), was adapted into the popular film of the same name.

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Jhumpa Lahiri Quotes (Author of The Namesake)

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489 quotes from Jhumpa Lahiri: 'That's the thing about books. They let you travel without moving your feet.', 'Still, there are times I am bewildered by each mile I have traveled, each meal I have eaten, each person I have known, each room in which I have slept.

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Boris Karloff as Frankenstein's monster in Bride of Frankenstein (1935)

Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus, and the famous character of Frankenstein's monster, have influenced popular culture for at least a century. The work has inspired numerous films, television programs, video games and derivative works. The character of the Monster remains one of the most recognized icons in horror fiction.

The first film adaptation of Frankenstein in 1910 by Edison Studios

The first film adaptation of the tale, Frankenstein, was made by Edison Studios in 1910, written and directed by J. Searle Dawley, with Augustus Phillips as Frankenstein, Mary Fuerte as Elizabeth, and Charles Ogle as the Monster. The brief (16 min.) story has Frankenstein chemically create the Creature in a vat. The Creature has encounters with the scientist until Frankenstein's wedding night, when true love causes the Creature to vanish. For many years, this film was believed lost. A collector announced in 1980 that he had acquired a print in the 1950s and had been unaware of its rarity.

The Edison version was followed soon after by another adaptation entitled Life Without Soul (1915), directed by Joseph W. Smiley, starring William A. Cohill as Dr. William Frawley, a modern-day Frankenstein who creates a soulless man, played to much critical praise by Percy Standing, who wore little make-up in the role. The film was shot at various locations around the United States, and reputedly featured much spectacle. In the end, it turns out that a young man has dreamed the events of the film after falling asleep reading Mary Shelley's novel. This film is now considered a lost film.

There was also at least one European film version, the Italian The Monster of Frankenstein ( Il Mostro di Frankenstein) in 1921. The film's producer, Luciano Albertini, essayed the role of Frankenstein, with the Creature being played by Umberto Guarracino, and Eugenio Testa directing from a screenplay by Giovanni Drivetti. This film is also now considered lost.

The first sound adaptation of the story, Frankenstein (1931), was produced by Universal Pictures, directed by James Whale, and starred Boris Karloff as the creature. The film has been selected for preservation in the United States National Film Registry. Its sequel, The Bride of Frankenstein (1935) was also directed by Whale with Karloff as the Creature. It was followed by Son of Frankenstein (1939), the last of the three films with Boris Karloff as the Creature. The Ghost of Frankenstein (1942) marked the Universal series' descent into B movie territory; later efforts by the studio combined two or more monsters, culminating in the comedy Abbott and Costello Meet Frankenstein. The later Universal films in which the Monster appears (and the actors who played him) are:

1. Frankenstein Meets the Wolf Man (1943 - Béla Lugosi, with Eddie Parker, Gil Perkins, and a possible third stuntman often doubling)

2. House of Dracula (1945 - Strange)

3. Abbott and Costello Meet Frankenstein (1948 - Strange, with Lon Chaney Jr. taking the role for one scene).

For the reboot film, Guillermo del Toro said his Frankenstein would be a faithful " Miltonian tragedy", citing Frank Darabont's "near perfect" script, which evolved into Kenneth Branagh's Frankenstein. Del Toro said of his vision, "What I'm trying to do is take the myth and do something with it, but combining elements of Frankenstein and Bride of Frankenstein without making it just a classical myth of the monster. The best moments in my mind of Frankenstein, of the novel, are yet to be filmed ... The only guy that has ever nailed for me the emptiness, not the tragic, not the Miltonian dimension of the monster, but the emptiness is Christopher Lee in the Hammer films, where he really looks like something obscenely alive. Boris Karloff has the tragedy element nailed down but there are so many versions, including that great screenplay by Frank Darabont that was ultimately not really filmed." He has also cited Bernie Wrightson's illustrations as inspiration, and said the film will not focus on the monster's creation, but be an adventure film featuring the character. Del Toro said he would like Wrightson to design his version of the creature. The film will also focus on the religious aspects of Shelley's tale. In June 2009, del Toro stated that production on Frankenstein was not likely to begin for at least four years. Despite this, he has already cast frequent collaborator Doug Jones in the role of Frankenstein's monster. In an interview with Sci Fi Wire, Jones stated that he learned of the news the same day as everybody else; that "Guillermo did say to the press that he's already cast me as his monster, but we've yet to talk about it. But in his mind, if that's what he's decided, then it's done ... It would be a dream come true." The film will be a period piece. It is unclear what stage of development this film is in.[when? ]

Universal Studios later began the development of their own cinematic universe featuring their classic monsters. Variety reported that Academy Award-winner Javier Bardem was in negotiations to star as the Frankenstein Monster. The Dark Universe film was not made due to the failure of the 2017 film .

In Great Britain, a long-running series by Hammer Films focused on the character of Dr Frankenstein (usually played by Peter Cushing) rather than his monster. Peter Cushing played Dr Frankenstein in all of the films except for The Horror of Frankenstein, in which the character was played by Ralph Bates. Cushing also played a creation in The Revenge of Frankenstein. David Prowse played two different Creatures.

The Hammer films are a series in the loosest sense since there is only tenuous continuity between the films after the first two (which are, by contrast, carefully connected). Starting with The Evil of Frankenstein, the films are standalone stories with occasional vague references to previous films, much the way the James Bond films form a series. In some of the films, the Baron is a kindly, even heroic figure, while in others he is ruthless, cruel and clearly the villain of the piece.

The Hammer Films series (and the actor playing the Creature) consisted of:

1. The Horror of Frankenstein (1970 - David Prowse) - a black comedy remake of The Curse of Frankenstein

2. Frankenstein and the Monster from Hell (1974 - David Prowse)

In 1959, Hammer shot a half-hour pilot episode for a TV series to be called Tales of Frankenstein in association with Columbia Pictures. Anton Diffring played the Baron, and Don Megowan his creation. Curt Siodmak directed. The series was scrapped, largely because of the two companies' disagreement over what the basic thrust of the series would be: Hammer wanted to do a series about Baron Frankenstein involved in various misadventures, while Columbia wanted a series of science fiction stories loosely based around the idea of science gone wrong. Though unreleased at the time of its production, the episode is available on DVD from several public domain sources.

Depictions of the Monster have varied widely, from a savage, mindless brute to the depiction of the Monster as a kind of tragic hero (closest to the Shelley version in behavior) in Mary Shelley's Frankenstein, The Bride, and Van Helsing. Throughout the Universal series, he evolved from the latter to the former.

Three films have depicted the genesis of the Frankenstein story in 1816: directed by Ken Russell (1986), Haunted Summer directed by Ivan Passer (1988), and Remando al viento (English title: Rowing with the Wind) directed by Gonzalo Suárez (1988). The opening scene of Bride of Frankenstein also dealt with this event.

1957: American International Pictures (AIP) released the low-budget I Was a Teenage Frankenstein in November 1957, a few months after its successful I Was a Teenage Werewolf. In a desperate and vain attempt to be viewed as a great scientist, an unscrupulous professor creates a monster out of parts of teenagers killed in a car crash, then later directs his creation to kill a good-looking teenager to replace the monster's disfigured face. Whit Bissell stars as Professor Frankenstein, and Gary Conway plays the creature. A follow-up, How to Make a Monster, was released in July 1958. This film features actor Gary Conway as an actor playing the Teenage Frankenstein in a film.

1958: This year also brought the bizarre Frankenstein's Daughter, in which a modern descendant of Frankenstein (Donald Murphy) experiments with a Jekyll/Hyde type of serum before stitching together a grotesque female creature. John Ashley and Sandra Knight co-starred.

1961: Frankenstein, el Vampiro y Cia ("Frankenstein, the Vampire and Company") is a Mexican remake of Abbott and Costello Meet Frankenstein.

1965: Ishirō Honda's 1965 tokusatsu kaiju film Frankenstein vs. Baragon was produced by Toho Company Ltd. The film's prologue is set in World War II; the Monster's heart is stolen by Nazis from the laboratory of Dr. Reisendorf in war-torn Frankfurt, and taken to Imperial Japan. Immortal, the heart survives the atomic bombing of Hiroshima and, by 15 years later, has regenerated a new body which feeds on protein, eventually growing into a giant humanoid monster named Frankenstein that breaks loose and battles the burrowing dinosaur Baragon that was destroying villages and devouring people and animals. There is also a loose sequel to this film (see below).

1966: Jesse James Meets Frankenstein's Daughter. Director William Beaudine's sci-fi\Western contribution has what would actually be Frankenstein's granddaughter, Maria Frankenstein, cobbling a monster out of Jesse James' (John Lupton) brawny partner-in-crime, Hank Tracy (Cal Bolder), after an ambush by the law. Frankenstein renames her creation Igor. Narda Onyx plays Maria Frankenstein.

1966: The War of the Gargantuas (Furankenshutain no Kaijû: Sanda tai Gaira), also directed by Honda, is a loose sequel to Frankenstein vs. Baragon (although this fact is obscured in the U.S. version), with samples of Frankenstein's cells growing into two giant humanoid brother monsters: Sanda (the Brown Gargantua), the strong and gentle monster raised by scientists in his youth, and Gaira (the Green Gargantua), the violent and savage monster who devours humans. The two monsters eventually battle each other in Tokyo.

1971: The Italian La Figlia di Frankenstein ("The Daughter of Frankenstein"), released in North America as Lady Frankenstein. Joseph Cotten plays Baron Frankenstein, who is killed by his creation early in the film. Sara Bay, as the Baron's daughter, creates her own creature from a handsome young man and the brain of her homely but brilliant lover (Paul Muller).

1972: Jesús Franco contributed Dracula contra Frankenstein ("Dracula vs. Frankenstein"), which hit the North American drive-in circuit as Dracula, Prisoner of Frankenstein. Baron Frankenstein (played by Dennis Price) revives Count Dracula (Howard Vernon) in order to enslave an army of vampires to help his Monster (Fred Harrison) conquer the world.

1972: Franco followed up his Dracula/Frankenstein effort with The Erotic Rites of Frankenstein (also known as The Curse of Frankenstein, but having no relation to the Hammer film of the same name). Here, Baron Frankenstein (Dennis Price again) is killed off early on by minions of the evil Count Cagliostro (Howard Vernon), who wants to use the Monster in his plots to rule the world.

1972: Frankenstein '80, a film by Mario Mancini, featured a modern-day scientist named Albrechtstein (Gordon Mitchell) creating a monster called Mosaico (Xiro Papas). Mosaico is driven to homicidal mania by lust, and by his body's constant rejection of its constituent parts. The ingenue was played by Dalila Di Lazzaro (under the pseudonym "Dalila Parker"), who later appeared as the female creation in 1973's Flesh for Frankenstein (see below).

1973: Andy Warhol's Flesh for Frankenstein has Udo Kier playing the Baron, a bizarre but brilliant scientist who creates a male and a female creature in the hopes of breeding a superior race. Joe Dallesandro plays the handyman who attempts to thwart the Baron's mad dream, and Monique van Vooren is the Baron's nymphomaniac wife.

1976: Victor Frankenstein (a.k.a. Terror of Frankenstein), a fairly faithful version of the book, starred Leon Vitali as Frankenstein. Per Oscarson played the creature.

1981: Another Japanese version, this one animated, was Kyofu Densetsu: Kaiki! Furankenshutain (titled in the U.S. simply Frankenstein) which was released in 1981.

1983: In Star Wars: Return of the Jedi, Darth Sidious's Force Lightning effects were based on the ones used in Frankenstein.

1984: Frankenstein '90, a French film by Alain Jessua, with Jean Rochefort and Eddy Mitchell.

1985: was an adaptation directed by Franc Roddam. It stars Clancy Brown as the Monster, with rocker Sting as Dr. Charles Frankenstein. The plot features the Monster wandering about Europe with a tragic circus midget (David Rappaport) while the doctor himself engages in a -inspired relationship with a female creation, the eponymous Monster's Bride played by Jennifer Beals. A love triangle between the doctor, the Monster, and the Bride provides the film's conflict.

1987: The Monster Squad is a comedy/horror film written and directed by Fred Dekker that was released by TriStar Pictures. The film features the reunion of a number of classic movie monsters, led by Count Dracula and including the Frankenstein Monster (Tom Noonan), the Wolf Man, the Mummy, and the Gill-Man.

1990: Frankenstein Unbound is a science fiction movie based on the novel by Brian Aldiss and the last movie directed by Roger Corman. In it, a scientist (John Hurt) travels back in time to meet Victor Frankenstein (Raúl Juliá) and his Creature, as well as Mary Shelley herself.

1994: Mary Shelley's Frankenstein was directed by Kenneth Branagh, who also portrayed Victor Frankenstein. It featured a star cast with Robert De Niro as the Monster, Tom Hulce as Henry, John Cleese as Professor Waldman, Helena Bonham Carter as Elizabeth, and Aidan Quinn as Captain Robert Walton. Despite the title, it still diverged from Mary Shelley's original novel in many ways.

2004: Frankenstein, a two-episode miniseries that is faithful to the novel.

2005: Frankenstein vs. the Creature from Blood Cove. In this film, Frankenstein's Monster is resurrected to fight terrorists along with a half-fish, half-man creature. However, the plan soon goes awry.

2006: Perfect Woman. This film, produced by Olympic Productions, is a modern spin on the tale. The plot follows a reality game show that is looking for the perfect woman to win the perfect man, played by Marcus Schenkenberg. Little do the girls know that the game show is a mask for an evil genius who is literally trying to make the perfect woman, using various body parts.

2006: Subject Two. This film, written and directed by Philip Chidel, has a modern nanotechnology spin on the tale. The plot follows a disillusioned medical student's journey to a remote snowbound mountain location where he is met by Dr. Vic.

2008: In , the Jason Statham character takes the place of a race car driver who goes by the name Frankenstein; the same character's beginnings are explored in the two direct-to-video prequels, Death Race 2 and Death Race 3: Inferno.

2009: Army of Frankensteins, This film is directed by Richard Raaphorst; the story tells over a fight in the year 1945 between the Polish and German borderlines at the end of the Second World War.

2011: "Frankenstein's Wedding - Live in Leeds": Broadcast live on BBC Three, this adaptation uses the romance between Victor and Elizabeth as a basis for a music drama portraying the rest of the story and was filmed live on 19 March 2011 at Kirkstall Abbey in Leeds. The drama used popular music, such as "Wires" by Athlete, sung by Andrew Gower, portraying the Scientist, Frankenstein. Other members of the cast included Lacey Turner as Elizabeth "Liz" Lavenza and David Harewood as the Creature

2010: Mary Shelley's Frankenhole

2011: Frankenstein: Day of the Beast is an independent American horror film directed by Ricardo Islas.

2014: I, Frankenstein is a more action-based adaptation, which includes Frankenstein's monster, now named Adam, and a centuries-old feud between two immortal races.

2015: Victor Frankenstein tells the story from Igor's point of view.

2015: Bernard Rose's Frankenstein is a modern-set adaptation of the novel, with an emphasis on portraying elements which have not typically been included in screen adaptations, particularly the Monster's intelligence and organic (as opposed to reanimated) genesis. In the film, Victor Frankenstein and his wife Elizabeth create the Monster by manipulating DNA instead of reviving corpses, and the film unfolds from the Monster's point of view.

2019: is a modern adaptation of the novel written and directed by Larry Fessenden and centering on a soldier suffering from PTSD who creates life in a Brooklyn loft.

Between 1921 and 1922, H.P. Lovecraft wrote the serialized "Herbert West, Reanimator" in six parts, as a satirical send-up of Mary Shelley's original novel.

In the Mighty Mouse's 1942 cartoon Frankenstein's Cat, a community of mice and birds are living and playing peacefully until the arrival of the title character: a mechanical cat who wants to eat everything that comes his way.

A 1965-1968 cartoon series featured the overly-nice Milton the Monster and "Fangenstein".

In a 1968 episode of The Inspector entitled "Transylvania Mania", a smart Dracula-like character and a stupid Frankenstein-like creature try to steal the Inspector's brain to put it in a new creature that the vampire is building.

The 1968 Beatles movie, Yellow Submarine, featured a scene with the Frankenstein Monster drinking a potion and becoming John Lennon.

Franken Berry (1971), the mascot of the General Mills cereal of the same name, is a friendly parody of the Monster (cartoon and movie clip versions of the actual Frankenstein Monster have appeared in some commercials).

The Mel Brooks and Gene Wilder comedy Young Frankenstein (1974) borrows heavily from the first three Universal Frankenstein films, especially Son of Frankenstein. The production used many of James Whale's original laboratory set pieces and employed the technical contributions of their original creator, Kenneth Strickfaden. Wilder portrays Dr. Frankenstein's American grandson, Frederick, while Peter Boyle plays the Monster. A Turkish remake, Sevimli Frankestayn was released in 1975. Brooks later adapted his film for musical theater. The musical Young Frankenstein opened on Broadway in November 2007.

The Rocky Horror Picture Show (1975) was a musical parody of the story. In this twisted comedic tale, Dr. Frank N. Furter creates a creature for his own pleasure (named 'Rocky') and finds that his creature has heterosexual lusts as well.

The 1995 Disney Mickey Mouse short Runaway Brain features Mickey going to the nefarious Dr. Frankenollie and having his brain switched with a monster's.

The 1982 young adult novel Frank and Stein and Me by Kin Platt has the protagonist meet the strange Dr. Stein and his hulking creature Frank while on the run from smugglers. In the novel Frank is described as an accident victim that Dr Stein has saved from death and rebuilt. The book features a running joke with Stein being confused by references to Frankenstein, being unfamiliar with the story.

The 1985 teen comedy Weird Science stars two high school students, who are inspired by the original Universal film to create through a Memotech MTX512 home computer a virtual idealistic girlfriend, but the situation degennperates when they, hacking into a government mainframe for more power and engaging in a weird ritual, end up creating an actual girl. The film and the music video for the theme and the song of the same name by Oingo Boingo features a clip of the "It's Alive!" scene and frontman Danny Elfman doing an impression of Dr. Frankenstein in the music video.

Frankenhooker (1990) is a parody of the Universal films in which Jeffrey Franken gathers body parts from various streetwalkers in order to build the "perfect" woman. This same concept was borrowed for 2006's Perfect Woman (mentioned above).

Return of the Killer Tomatoes (1988) includes a scene in which the lead character is watching a movie called Frankenstein's Mummy (as a spoof of the 1940s sequel titles) on nighttime television. Return also features a character named Igor who parodies the "hunchbacked assistant" cliche upon his first appearance in the film.

Frank Enstein (1992) is a direct-to-video children's film about a robot named "Frank Enstein" who goes on an adventure.

The Addams Family (2019) features a scene where Wednesday brings the dead frogs in science class back to life a la Dr. Frankenstein in a parody of the 1931 film.

The Frankenstein story and its elements have been adapted many times for television:

A 1959 Hammer Film Productions half-hour pilot episode called Tales of Frankenstein. Anton Diffring played the Baron, and Don Megowan his creation. Curt Siodmak directed.

Boris Karloff reprised his role wearing the Frankenstein Monster makeup in a 1962 episode of titled "Lizard's Leg and Owlet's Wing" for Halloween. Also appearing in the episode were Lon Chaney Jr. as both the Wolf Man and the Mummy, and Peter Lorre.

Universal produced a television sitcom from 1964 to 1966 for CBS entitled The Munsters with Fred Gwynne as Herman Munster, a character physically resembling Universal's cinematic depiction of Frankenstein's Monster, who was the patriarch of a family of kindly monsters. The rest of the family included a grandfather resembling the Universal Dracula (who may actually be Dracula), a wife that resembles one of the Brides of Dracula, and a werewolf son. The Munsters' house at 1313 Mockingbird Lane can still be seen on the Universal Studios' backlot tour at Universal Studios in Universal City, California.

In the 1960s series The Addams Family, the family butler was Lurch, who looked and behaved very much like the Creature. Asked about his father in an episode of The Addams Family (1992 TV series), Lurch smiled and replied, "He put me together!" His vocabulary was limited, much like Boris Karloff's creature, but he became iconic for the catchphrase, "You rang?"

The 1965 serial features a sequence set in what appears to be a mysterious old house where various horror film monsters, including Frankenstein's Monster, menace first the Doctor and his companions and later the Daleks. The house is subsequently revealed to be a Haunted House exhibit at an event entitled the "Festival of Ghana, 1996"

A 1976 serial, The Brain of Morbius, has a Time Lord criminal brought back to life by a mad scientist, using the Time Lord's brain and a body composed of various alien races who had crashed onto the planet where Morbius' brain had been stored since his defeat.

The regeneration sequence of the seventh Doctor, Sylvester McCoy, into the eighth incarnation, Paul McGann, in the 1996 TV movie is set in a hospital morgue. The night attendant at the morgue is watching the 1931 Frankenstein in the next room, and scenes in which the monster is brought to life are intercut with images of the Doctor's "resurrection", his appearance out of the storage room then causing the attendant to pass out.

In The Famous Adventures of Mr. Magoo episode "Doctor Frankenstein", the titular nearsighted Mr. Magoo plays the mad scientist Victor in what is surprisingly a semi-accurate adaptation to the original book by Mary Shelley, even for a kid's cartoon, with some notable similarities not featured in the 1931 film, such as featuring the Monster being intelligent, Captain Walton and writing Victor's story into a letter, the Monster saving the little girl, and the possibility of a race of Monster-like beings that could take over the world.

Milton the Monster (1965-67) was a cartoon character developed shortly after The Munsters about a kind-hearted Frankenstein monster who famously "flipped his lid" (emitted steam out of the top of his head like a whale's blowhole) when angered, and who was constantly nearly kicked out of the lab by his scheming creator, Professor Weirdo.

The 1970-71 Saturday morning cartoon series Groovie Goolies was a parody of both the Universal monsters and Rowan and Martin's Laugh-In. The leads were the Monster Trio of Drac, Wolfie, and Frankie, a friendly version of the Monster. Howard Morris did Frankie's voice.

The 1971 Canadian series The Hilarious House of Frightenstein included a failed Frankenstein's-monster-like creation named Brucie who needed to be revived by Count Frightenstein in order to return from exile to Transylvania.

Frankenstein's Monster was one of the monster trio from various skits on The Electric Company, portrayed by Skip Hinnant.

Dan Curtis' 1973 adaptation had Robert Foxworth as Frankenstein and Bo Svenson as the Creature.

A 1973 Universal production, Frankenstein: The True Story, was more an amalgamation of various concepts from previous films than a direct adaptation of the novel. It starred Leonard Whiting as Frankenstein and Michael Sarrazin as the Creature, with a star supporting cast including James Mason, David McCallum, John Gielgud, Ralph Richardson, Agnes Moorehead and Jane Seymour.

In an episode of Fantasy Island, Dr. Anne Frankenstein, a descendant of Dr. Frankenstein, visits the island to try to find out about her ancestor. A being created by the elder scientist appears, and Anne is determined to take the being with her, naively believing that it will be treated with proper care in the 1980s.

CBS Television aired a 1979 series starring Jack Elam as Frank (the Monster) and Jeffrey Kramer as Ted Stein, a descendant of Dr. Frankenstein, called Struck by Lightning.

In an episode of The World's Greatest Super Friends, the Super Friends battle Dr. Victor Frankenstein and three of his monsters, one with all of the powers of Superman, Wonder Woman and Batman.

The 1980s cartoon Drak Pack featured Frankie, a descendant of the Monster who could assume his form as a superhero guise.

One of Arale's classmates in Dr. Slump was named Monsuta (a.k.a. Frank).

A 1984 Yorkshire Television version starring Robert Powell as Victor, David Warner as his Creature, and Carrie Fisher as the doomed Elizabeth.

An episode of The Catillac Cats has Riff Raff as a mad scientist about to be beaten up by Mungo/Frankenstein's Monster.

In Dragonball, young Goku befriends a cyborg named Number 8 (whom he nicknames Ha-chan) who was similar in appearance to Frankenstein's Monster.

(1987) In The Comic Strip, he has a son named Franky who attends Camp Mini Mon.

In the television movie Scooby-Doo and the Ghoul School, Scooby, Shaggy and Scrappy-Doo meet the daughters of several monsters at "Miss Grimwood's School for Girls". One of the 'girl ghouls' (as they are called in the movie) is named Elsa Frankenteen, her father being Frankenteen Sr. Frankenteen Sr. is the best representation of Boris Karloff's creature, with his daughter more closely resembling Elsa Lanchester's interpretation of the Bride of Frankenstein. "Frankenteen" is also a portmanteau of "Frankenstein" and "teen" because Elsa is a teenager.

The New Adventures of Winnie the Pooh episode "Frankenpooh" is a parody in which Pooh is the Monster and Piglet is the scientist who made him.

In The Simpsons 2003 installment of the Treehouse of Horror series, Treehouse of Horror XIV, there is a segment entitled "Frinkenstein", whereby Professor Frink uses his universal multi-tool to resurrect his dead father, who then goes on a rampage stealing organs from others until his son is forced to kill him. In Treehouse of Horror XVIII, Bart wears a costume resembling the Monster. In Treehouse of Horror XX, he appears as one of the monsters at Homer and Marge's Halloween party wearing modern costumes after being teased by Jimbo, Kearney and Dolph, and in Treehouse of Horror XXI as the monster Frink created in his lab. Also in Treehouse of Horror III, Lewis is wearing a Halloween costume of the Monster at the Halloween party with Bart and Lisa.

The 1995 Fox "Tiny Toon Adventures" special Tiny Toons' Night Ghoulery offers about a dozen shorts introduced in the style of the 1970s program Night Gallery, with Babs Bunny stepping in for Rod Serling. One of the segments, "Frankenmyra & Dizzigor", is a parody of Frankenstein.

A 1992 production for the American TNT cable network, with Patrick Bergin as Victor and Randy Quaid as his hapless creation.

There were two instances where the concept of Frankenstein's Monster was used in the Super Sentai and Power Rangers series. In Kyōryū Sentai Zyuranger, the monster Dora Frank was an obvious nod to the Monster, as well as its Mighty Morphin Power Rangers counterpart, which was simply referred to as the "Frankenstein Monster". Then, in Mahou Sentai Magiranger one of the main villains, Victory General Branken, was inspired by Frankenstein's Monster. Branken's Power Rangers: Mystic Force counterpart was Morticon.

In a 1993 episode of Mighty Morphin Power Rangers, Frankenstein's Monster was created by Rita Repulsa to destroy the rangers.

In the 1994 animated series Monster Force, Frankenstein's Monster, alias "Frankenstein" or "the Monster", becomes humanity's ally in a desperate fight against evil Creatures of the Night.

The comedy series called Weird Science (1994-98) was inspired by the Frankenstein storyline (just as the 1985 film of the same name was). The series follows the adventures of two high school students who design their "perfect" woman simulation by filling their computer with various forms of data and images, which is accidentally turned into life after a freak lightning storm.

"Frankenbone", a 1995 episode of the PBS children's series Wishbone, had an adaptation of Shelley's novel that stayed true to the original story with the canine star in the role of Victor and Matthew Tompkins as the Monster.

The Animaniacs episode "Phranken-Runt", featuring Rita and Runt, parodied both the overall Frankenstein plot and elements of The Rocky Horror Picture Show.

The 1996-98 Fox Kids series Big Bad Beetleborgs (later Beetleborgs Metallix) featured a "hulking stitched-up" character named Frankenbeans, "brought to life" by David Fletcher. The zany character owes a great debt to Herman Munster and Peter Boyle in Young Frankenstein. Strangely, the character is celebrated every year on the Thursday before the last Friday of October on a day called Frankenbeans Thursday.

The children's animated series has an episode depicting a reenactment of the night the novel was created. Titled Fernkenstein's Monster, it was described as: "Inspired by Mary Shelley's Frankenstein, Fern tells a tale so scary that Arthur and the gang become afraid of her. Can Fern prove her skills as a writer and create a different story that's fun instead of frightening?"

Nightmare! The Birth of Horror (U.S. title: Nightmare! The Birth of Victorian Horror) was a BBC miniseries with Professor Christopher Frayling. There were four episodes on classic horror tales: Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde, and The Hound of the Baskervilles. Each episode began on looking at the author's nightmares or encounters with the nightmarish and how it inspired their novel.

Buffy the Vampire Slayer has also faced "Frankensteinian" creations. In the season 2 episode "Some Assembly Required, the creation was Darryl Epps, a reanimated high school jock whose brother reanimated him after an accident, but after his brother refused to complete a project to create a bride for him as the rapid decay rate of brain tissue would have required him to actually kill someone, Darryl allowed himself to die in a fire rather than have to live alone. The season 4 Big Bad was Adam, a conglomeration of robot, human, and demon parts created by a government scientist in charge of a demon research facility who rebelled against his creator, whom he referred to as 'Mother', mirroring the statements of the Creature, who believed that Frankenstein should have been a better father, and tried to create a new society of creatures like him before he was destroyed.

In the episode "Super Writers", at the end of a sketch about Edgar Allan Poe publishing "The Raven", Mary Shelley appears (portrayed by Charity Bazaar dressed as the Bride of Frankenstein) to pitch the book to Sammy Melman.

An episode of SpongeBob SquarePants called "Frankendoodle" involves SpongeBob using a human artist's "magic pencil" to create a living, evil doodle of himself.

The 2000 anime television series Argento Soma draws a large amount of inspiration from Frankenstein. The series' plotline revolves around an ambitious scientist assembling a giant silver creature from scattered components. The giant (aptly nicknamed "Frank") possesses a tender and compassionate nature but has a bizarre and hideous exterior and the potential to inflict death and destruction.

A 2004 production titled Frankenstein for the American USA Network starred Thomas Kretschmann as Victor and Vincent Pérez as his original creature, named "Deucalion" (because he was the "son" of the "Modern Prometheus". It was not a direct adaptation but a postmodern Gothic reinvention set in present-day New Orleans.

In the series Kamen Rider Kiva, Dogga's race, the Franken, is an obvious nod to the Monster, along with Kiva's Dogga form.

In the original Transformers episode "Autobot Spike", Sparkplug Witwicky creates an Autobot using mismatched robot parts that he names Autobot X, but the robot is a mindless monster and goes berserk. Later, Spike Witwicky is injured and his consciousness is transferred to the giant robot body. Spike makes several direct references to the invention as a "robot Frankenstein Monster".
Also, the character of Rampage in the Transformers: Beast Wars series has a great many similarities to Frankenstein's Monster, especially his origins as a product of science gone horribly wrong; the main differences are his status as an irredeemable psychopath and that his body was not created by piecing others together. In a later episode, Megatron's cloning of Dinobot bears a strong resemblance to the creation of the Monster.

In an episode of Time Warp Trio entitled Nightmare on Joe's Street, Mary Shelley accidentally draws her first impression of the Monster in The Book, causing her dream to become a reality. Unlike typical versions of the Creature, which have one-colored complexions, this render of the Monster is seen with patchwork-colored skin, signifying his construction from various corpse parts.

In a 15-minute episode of Sonic the Hedgehog, Rotor the Walrus, assisted by Antoine, creates a robot named Ro-Becca. Antoine accidentally activates Ro-Becca and she falls in love with him.

Two segments from Braingames showed Frankenstein's monster. One was "Splatnarnt", in which two scientists assembling a Frankenstein's-monster-like creature using interior body parts whose names were scrambled; the idea was for the viewer to unscramble the names. The other was "Whosamawhatchamacallits", in which Frankenstein's Monster was the last character portrayed in the game.

Dr. Frankenstein and Frankenstein's Monster appeared in Mad Monster Party?, Mad Mad Mad Monsters and Alvin and the Chipmunks Meet Frankenstein, while Frankenstein's Monster appeared in Scooby-Doo and the Reluctant Werewolf.

The fifth-season episode of Highlander: The Series titled The Modern Prometheus has Mary Shelley draw her inspiration from two immortals battling during the long winter in the Swiss Alps. Upon seeing Byron (in the series secretly an Immortal) restored to life by lightning, she asks Methos why her child rots in her grave while Byron simply gets up and walks away. Methos admonishes her to pity their kind, for life can go on when it should not. The isolation he describes enables Shelley to write her classic.

Two animated segments from Sesame Street teaching basic geography were hosted by Dr. Geo and his Frankenstein-like unnamed assistant who would mimic everything Geo said behind his back. One segment talked about the concept of a globe and the other about mountains.

Frankenstein's Monster and the Bride of Frankenstein's Monster are the father and mother of Frankie Stein in Monster High.

2009: Wizards of Waverly Place, episode 1 season 3 "Franken Girl", Justin's monster.

Episode 7x07 of Criminal Minds deals with a serial killer who murders young men and removes their body parts in an attempt to build a new body for his deceased brother.

In the anime/manga Soul Eater, Professor Frank N. Stein is a teacher and meister at the DWMA (Death Weapon Meister Academy).

In 2014, PBS and Pemberley Digital created a webseries based on the original novel, called Frankenstein, M.D.; the series brings the story to modern days, following the medical student who subsequently becomes Doctor Victoria Frankenstein.

In the Supernatural season 10 episode "Dark Dynasty", Eldon Styne reveals that his family, the Styne Family and the main enemies of Book of the Damned, Dark Dynasty and The Prisoner are in actuality members of the House of Frankenstein, one of the oldest families in Europe.

Victor Frankenstein, the Creature and the Bride are major characters of the Showtime series Penny Dreadful.

In the television series , the sixth season episode "The Son Also Rises" features a group of scientists attempting to bring the son of one of their number back to life in a Frankenstein-esque experiment, but their work goes wrong when the reanimated body was created using the body parts taken from dead wesen, causing an extreme reaction that provokes the scientists to try and kill him, prompting the boy to go after them in revenge.

In the first episode of the animated television series VeggieTales, "Where's God When I'm S-Scared?", the plot of the first story revolves around Junior Asparagus's fear of an in-universe version of Frankenstein's Monster called "Frankencelery."

The Halloween episode of Animaniacs (2020 TV series) had a segment parodying Frankenstein called "Bride of Pinky", in which Dr. Brainenstein builds a female monster in a plan to take over his village, only for Pee-Gor to fall in love with her.

Phineas and Ferb had a Frankenstein parody in "The Monster of Phineas-and-Ferbenstein" in which the boys' ancestors build a giant monster version of Perry. Also, the episodes "One Good Scare Ought to Do It!" and "That's the Spirit!" both feature Ferb dressed as Frankenstein's Monster, with Phineas dressed as Dr. Frankenstein in the former.

In the Mickey Mouse (TV series) Halloween special "The Scariest Story Ever!", the first story Mickey tries to scare his and Donald's nephews with is a parody of Frankenstein, with Goofy, Donald and Mickey as Dr. Goofenstein, Duckor and the Monster, respectively.

Both of the TV shows Mister Magoo and The Famous Adventures of Mr. Magoo had adaptations of Frankenstein.

In the Cloudy with a Chance of Meatballs (TV series), there is an episode called "Flintenstein" when Flint Lockwood and the class watch the original Frankenstein movie. However, Flint is disappointed as he considers it to be "Hollywood science", as Flint believes that Dr. Victor Frankenstein in the movie does not behave the way normal scientists would and says he makes other inventors look bad. However, to prove it is actual science, he just grabs whatever junk he can find in the lab and then Flint's creation comes to life after the lab is struck by a lightning bolt. However, Flint's monster is really kind and friendly and calls him "Daddy", despite Flint trying his best to prove that this monster is not his son. After hanging out though, Flint feels close to his creation until the citizens of Swallow Falls form a mob and try to get rid of him. By the end, however, Flint has to transport his creation into another universe with a portal machine and finds a lover.

Both versions of Wacky Races have a parody of the Monster as half of the Gruesome Twosome.

The 1962 novelty song "Monster Mash" is narrated by a Dr. Frankenstein-like character, who talks about his Monster learning a new dance.

"Frankenstein" is a 1973 instrumental by the Edgar Winter Group - so named because it was constructed from bits and pieces of several different takes.

The video for Yazoo's song "Don't Go" featured a Frankenstein theme.

In the video for her 1983 song "Telephone (Long Distance Love Affair)", Sheena Easton is pursued through a haunted house by Frankenstein's Monster.

In The Dead Milkmen video "Big Time Operator" lead singer Rodney is depicted as FrankenElvis.

For their 1987 single, "Doin' It All for My Baby", Huey Lewis and the News used a Frankenstein theme in a video performance.

The lyrics of T'Pau's 1987 song "China in Your Hand" reference Frankenstein.

"Frankenstein" is a song by funk metal band Clutch from Pure Rock Fury.

"Dr. Stein", a song produced by the power metal band Helloween for their 1988 album Keeper of the Seven Keys, Pt. 2, is based on Victor Frankenstein and his Monster.

Hillbilly Frankenstein was the name of a band formed in 1988 in Athens, Georgia.

Rock musician Alice Cooper recorded a song titled "Teenage Frankenstein" for his 1986 album Constrictor, and recorded "Feed My Frankenstein" for his 1991 album Hey Stoopid. The latter song was also featured in the 1992 film Wayne's World.

Electric Frankenstein is an American punk rock band from New Jersey.

Frankenstein Drag Queens From Planet 13, a horror punk band formed in North Carolina in 1996.

How I Made This, the multimedia musical composition of Ukrainian-born Russian composer Evgeni Kostitsyn, won first place at the First International Competition for Composers in the Ukraine in 1998.

Sam Cooke's song "Another Saturday Night" includes a verse that goes: "Another fellow told me / He had a sister who looked just fine. / Instead of being my deliverance, she had a strange resemblance / To a cat [guy] named Frankenstein."

"Some Kind of Monster" is a 2004 song by Metallica which uses themes from Frankenstein.

"Jesse James meets Frankenstein's Daughter" is a song by American Folk musician Space Mandino.

The Rammstein song "Mutter" is about a monster that kills its creator or mom in this case.

The Abby Travis music video for her 2011 single Lightning Squared is a cartoon parody of the Frankenstein story, with the Monster and his Bride as doomed lovers forever on the run from an angry mob.

The punk band Crass referenced Frankenstein in the song "Reject of Society".

Dr. Frankenstein a concept album/rock opera written by Cuban/Mexican musician José Fors, was based on both the original novel and James Whale's films. It was released in 2009.

East Bay hardcore punk band The Nerve Agents included a song called "Planet Frankenstein" on a split EP they released in collaboration with New York hardcore punk band Kill Your Idols in 2000.

Toy Love released a 1980 single, "Bride of Frankenstein".

The German band Oomph!'s song "Brennende Liebe" details a sort of Frankenstein scenario, and the video features Frankenstein, his wife, and the scientist and his associates.

The rock band Glass Wave included a song about Frankenstein's Monster (entitled "Creature") on their 2010 album. The lyrics are sung through the Creature's voice.

Kevin Max's song "Jumpstart Your Electric Heart", from his 2005 album The Imposter is a modern-day retelling of Shelley's Frankenstein.

In the "Weird Al" Yankovic song parody, "Perform This Way", Frankenstein was mentioned on the lyrics.

Pop singer Chisu released a single titled "Frankenstein" in 2012 with Finnish lyrics. It was also used as the theme song for a dark comedy TV series in Finland, Helsingin herra, in 2012.

Bob Dylan's 2020 song "My Own Version of You", featuring a narrator who wants to "bring someone to life" using the body parts of disparate corpses, was inspired by Shelley's novel and makes several explicit references to it in the lyrics.

In their song "Maniac" from the EP (2022), Stray Kids encourages listeners to embrace the odd sides in themselves and show how maniac they can be using the metaphor of Frankenstein. They included the Frankenstein reference in their lyrics, choreography, and promotional photos.

In Swedish House Mafia and ASAP Rocky's "Frankenstein" from Paradise Again, ASAP Rocky compares himself and frequent collaborator Tyler, the Creator to Victor Frankenstein and Igor, respectively, the latter of whom has an album called which refers to the character's archetype.

On August 3, 1931, Alonzo Dean Cole adapted the novel as a 30-minute episode of his program The Witch's Tale. It was redone on March 7, 1932 and July 17, 1935.

In 1932, George Edwards produced a 13-part, 3-hour series for radio. It follows the structure and spirit of the novel closely.

On January 8, 1944 it was adapted as a 30-minute drama on the syndicated program The Weird Circle.

On December 13, 1947 it was adapted as a 30-minute drama on the program Favorite Story.

In 1952, an adaptation was broadcast on NBC Presents: Short Story.

In 1994, BBC Radio 4 broadcast a two-part adaptation written by Nick Stafford and directed by Claire Grove, with Michael Maloney as Frankenstein and John Wood as the Creature.

In 2012, BBC Radio 4 broadcast a two-part adaptation as part of their Gothic Imagination series written by Lucy Catherine and directed by Marc Beeby, with Jamie Parker as Frankenstein, Shaun Dooley as the Monster and Susie Riddell as Elizabeth.

In 2014, Big Finish Productions released an audio version by Jonathan Barnes directed by Scott Handcock starring Arthur Darvill as Victor Frankenstein, Nicholas Briggs as Waldman/the Creature, Geoffrey Beevers as Alphonse Frankenstein/DeLacey, Georgia Tennant as Elizabeth and Terry Molloy.

Parodies have been broadcast on radio:

On January 12, 1945 Boris Karloff guest-starred on Duffy's Tavern and appeared in a parody of Frankenstein.

On January 27, 1957 The Goon Show broadcast The Curse of Frankenstein (which actually had nothing to do with the Frankenstein story except for the title).

On August 7, 2008, in the Bleak Expectations episode "A Happy Life, Cruelly Re-Kippered", the antagonist Gently Benevolent is brought back to life using electricity by the mad scientist Francis Norman 'Frank N.' Sternbeater, one of many of Benevolent's step-siblings who serve as his evil accomplices.

On November 20, 2014, in Series 4 Episode 6 of the BBC Radio comedy series John Finnemore's Souvenir Programme, when Finnemore's storyteller character is invited to Castle Krupenstein for a scientific demonstration, he is greeted by a slow, groaning character (voiced by Simon Kane) who he believes is 'Krupenstein's monster', but who is in fact her husband. Dr. Gretchen Krupenstein is revealed to have invented a time machine, not a means of reanimation.

A Broadway adaptation of the story by Victor Gialanella played for one performance on January 4, 1981 (after 29 previews) and was considered the most expensive non-musical flop ever produced to that date. However, the New York Times writer Carol Lawson observed that "critics have remarked that Mr. (Bran) Ferren's work on this play (the special effects and sound designer), which included the spectacular destruction of Dr. Frankenstein's laboratory by his Monster, had the lavishness that audiences have come to expect in films, but have never before seen in the theater." It is noteworthy for John Carradine's playing the part of the blind "DeLacey". Also starring were David Dukes as "Victor Frankenstein", Dianne Wiest as "Elizabeth", John Glover as "Henry Clervel", and Keith Joachim as "the Creature".

The Guthrie Theater in Minneapolis commissioned Barbara Field to write a response/adaptation to Shelley's novel. The play, called "Frankenstein - Playing with Fire," went on a national tour in early 1988 before playing at the Guthrie during the summer of 1988. The Guthrie restaged the play in September-October 2018.

Catalyst Theatre's musical adaptation premiered in 2007 in Edmonton and had subsequent productions in Banff (Eric Harvie Theatre), Vancouver (The Cultch), Saskatoon (Persephone Theatre), Calgary (Theatre Calgary/High Performance Rodeo), Whitehorse (Yukon Arts Centre), and Toronto (Canadian Stage). Book, music and lyrics by Jonathan Christenson, from the original novel.

Joined At The Heart is a musical with music and lyrics by Graham Brown and Geoff Meads, book by Frances Anne Bartam and directed by Frances Brownlie. It tells the love story of Victor Frankenstein and his step-sister Elizabeth, a young orphan girl taken in by Victor's parents and cared for as if she were their own daughter. When Victor's mother dies, he vows to end the suffering that death brings by pursuing eternal life. Joined At The Heart reached the final of the Worldwide Search for Musicals competition. The show was produced at The Junction 2 in Cambridge, UK from 1-4 August 2007 and at the Edinburgh Fringe in Scotland from 12-18 August 2007.

Young Frankenstein, a musical theatre adaptation of Mel Brooks' Young Frankenstein, opened in November 2007 and closed in January 2009.

Frankenstein - A New Musical, a pop-opera adaptation which adhered closely to the original novel, opened at 37 Arts Theatre, New York, in autumn 2007 and closed in December 2007. The first UK performance was at The Stables Theatre Hastings in May 2009. Music was by Mark Baron, book by Jefferey Jackson and Gary P. Cohen.

A performance storytelling production of Frankenstein is currently touring both in the UK and internationally. It is performed by storyteller Ben Haggarty and the composer, singer and musician Sianed Jones.

Frankenstein, a play adapted by Nick Dear from the original novel, premiered at the Royal National Theatre in 2011. This production originally starred Benedict Cumberbatch and Jonny Lee Miller alternating in the roles of Victor Frankenstein and the Creature. A recording of the performance was broadcast live in cinemas worldwide in March 2011. It was later produced in the Sydney Opera House and the Denver Center for the Performing Arts.

A Korean musical adaptation of the book, written and directed by Wang Yong-beom and songs by Lee Seong-joon, premiered on March 11, 2014. The show achieved unprecedented level of success for an original domestic production, and it has since been produced in Japan and China as well. Each country's top stars, such as Park Eun Tae and Akinori Nakagawa have been in it.

FRANKENSTEIN, a musical theatre adaptation by Eric B. Sirota (book, music and lyrics) opened at St. Luke's Theatre, an Off-Broadway venue in NYC on Oct. 9, 2017, and continued to run there into its fourth calendar year until the pandemic. It is described as "a sweeping romantic musical about the human need for love and companionship."

The Royal Ballet's production of Frankenstein in collaboration with San Francisco Ballet was produced and choreographed by Liam Scarlett, score by Lowell Liebermann and costume and set by John Macfarlane, with Federico Bonelli as Victor, Laura Morera as Elizabeth and Steven Mcrae as 'the Creature' on opening night. It was also broadcast live to cinemas on 18 May 2016. The production premiered 4 May 2016 and the run lasted until 24 May 2016. The ballet is being revived for the first time in the 2018/2019 season from the 5-23 March 2019 with a run of nine shows.

The story of Frankenstein and " Frankenstein's monster", has formed the basis of many original novels over the years, some of which were considered sequels to Shelley's original work, and some of which were based more upon the character as portrayed in the Universal films. Yet others were completely new tales inspired by Frankenstein.

1957: French screenwriter Jean-Claude Carrière wrote six Frankenstein novels in 1957 and 1958 for Angoisse, the horror imprint of publisher Fleuve Noir, under the house pseudonym of Benoît Becker (with plotting assistance from Guy Bechtel for the first novel).

1. La Tour de Frankenstein [The Tower of Frankenstein] (FNA No. 30, 1957)

2. Le Pas de Frankenstein [The Step of Frankenstein] (FNA No. 32, 1957)

3. La Nuit de Frankenstein [The Night of Frankenstein] (FNA No. 34, 1957)

4. Le Sceau de Frankenstein [The Seal of Frankenstein] (FNA No. 36, 1957)

5. Frankenstein Rôde [Frankenstein Prowls] (FNA No. 41, 1958)

6. La Cave de Frankenstein [The Cellar of Frankenstein] (FNA No. 50, 1959)

Carrière followed the footsteps of the Monster, christened Gouroull, as he made his way back from Iceland, to Scotland, and then Germany and Switzerland, from the late 1800s to the 1920s. The plots have the Monster pursuing his own evil agenda, unafraid of the weaker humans. Even people who try to help or reason with him are just as likely to be killed by the inhuman fiend. Two further novels were published in the series by Black Coat Press. The books, The Quest of Frankenstein and The Triumph of Frankenstein, were written by Frank Schildiner.

1972: Popular Library published a series of nine novels called The Frankenstein Horror Series. Despite the title of the series, only the first book, The Frankenstein Wheel (catalog #01544), by Paul W. Fairman, actually concerns the further exploits of Frankenstein's creation. The remaining eight books were unrelated stories using different horror themes.

1973: Frankenstein Unbound, by Brian Aldiss, combining the titles of Mary Shelley's novel with Percy Bysshe Shelley's Prometheus Unbound (1820), sends a time traveler from the 21st century back to Geneva in 1816, when Mary Wollstonecraft Godwin (as she was known then) was engaged in writing the original Frankenstein story.

1975: Robert J. Myers wrote a sequel to Shelley's novel called The Cross of Frankenstein (ISBN 0-397-01086-9), in which the illegitimate son of Victor Frankenstein finds the Creature alive and well and plotting the destruction of mankind in the wilds of America in 1816. Myers followed up the novel in 1976 with a second novel called The Slave of Frankenstein (ISBN 0-397-01126-1), where racism is added to the Creature's long list of sins as Frankenstein's illegitimate son again thwarts his plans to create a race of perfect slaves in the pre-Civil War America of 1859. A third novel in the series was announced, but never published.

1978: Allan Rune Pettersson wrote two novels in 1978 and 1989

1986: Margaret Tarner wrote an adaptation of the novel for elementary students as part of the Macmillan Readers series from Macmillan Publishers (ISBN 978-0435271060). An audiobook of this version was published in 1992 (ISBN 978-0435272876).

1994: Leonore Fleischer wrote a novelization of the Kenneth Branagh film.

2003: Jim Benton has written a series of children's chapter books about a female mad scientist that goes by the name Franny K. Stein

2005: Joseph Covino Jr. wrote the first novel in a planned trilogy adapting and combining the characters and scenarios of the horror classics Frankenstein and Dracula, preserving the original stories of both perfectly intact without corrupting or distorting either: Frankenstein Resurrected.

2008: Peter Ackroyd's The Casebook of Victor Frankenstein is a postmodern retelling of the original story in which Victor Frankenstein encounters Percy Bysshe Shelley while studying in London. (ISBN 978-0-7011-8295-3)

2015: Mackenzi Lee's debut novel,This Monstrous Thing, is a young adult retelling of Frankenstein set in an alternate fantastical world. The novel's protagonist, Alastair Finch, uses clockwork technology to resurrect his (deceased) brother. Interestingly, Shelley's Frankenstein is published in Finch's world, so both men (human and Monster) hide as society tries to identify the "real" subjects in Shelley's tale. (ISBN 978-0062382788)

2017: In Monstrumfuhrer by Edward M. Erdelac Joseph Mengele discovers Frankenstein's lab journal and is ordered to recreate his experiments in his laboratory in Auschwitz. A young Jewish boy escapes and heads north to find the original Creature in the hope that he can convince him to stop Mengele.

2017: The Strange Case of the Alchemist's Daughter by Theodora Goss depicts Adam as an antagonist to a group of "monstrous" women, each of whom "must contend with the monstrous bodies they've been given, in most cases against their will, by men acting on ideological impulse." As well as Adam himself, the protagonists include Justinia Frankenstein, the "bride" Frankenstein created in the novel from the corpse of the family's dead servant, who was brought back to life without her original memories.

The Monster has also been the subject of many comic book adaptations, ranging from the ridiculous (a 1960s series portraying The Monster as a superhero; see below), to more straightforward interpretations of Shelley's work.

Dick Briefer's Frankenstein (1940-1954)

In 1940, cartoonist Dick Briefer wrote and drew a Frankenstein's-Monster comic book title for Crestwood Publications's Prize Comics, beginning with a standard horrific version, updated to contemporary America, but then in 1945 crafting an acclaimed and well-remembered comedic version that spun off into his own title, Frankenstein Comics. The series ended with issue #17 (Jan.-Feb. 1949, but was revived as a horror title from #18-33 (March 1952 - Oct.-Nov. 1954). The original Prize version served as catalyst for an intra-company crossover, where all characters starring in Prize Comics at the time teamed up to fight Frankenstein.

DC Comics' Movie Comics #1 (April 1939) featured an eight-page fumetti adaptation of the film Son of Frankenstein.

The Monster appeared in No. 143 (February 1961), in a story entitled "Bizarro Meets Frankenstein!"

In 1973 the "Spawn of Frankenstein" appeared in the Phantom Stranger comic, written by Len Wein. The portrayal of the Monster was as a reclusive, sympathetic character who had been living alone in the Arctic since the death of his creator.

A 1995 Batman special called Batman: Castle of the Bat by Jack C. Harris and Bo Hampton amalgamates Batman and Frankenstein. Bruce Wayne fills the role of Victor Frankenstein, wishing to revive his deceased father. Having successfully done so, his creation becomes the monstrous "Bat-Man", a hulking figure in a rough analogue of the Batman costume who preys upon highwaymen, similar to the one who took the lives of the (this story's) parents of Bruce Wayne. Batman's butler Alfred Pennyworth is changed to a hunchbacked dwarf named Alfredo, filling the "Igor" role.

In The Superman Monster ( 1999), Lex Luthor is Viktor Luther, the creator. He discovers the spacecraft that would have carried the infant Superman to Earth. Inside, however, is only the skeleton of a child. Using the Kryptonian technology, he is able to animate his (unintentionally) super-powered creature, which initially resembles Bizarro. The creature flees and is raised by the kindly couple Johann and Marta Kant. They name the creature Klaus, after their dead son. The story features the Lois Lane character becoming "the Bride" to Superman's Creature.

DC Comics and Roy Thomas revived the character "The Spawn of Frankenstein" in Young All-Stars; he then appeared in Grant Morrison's Seven Soldiers of Victory. Here, Frankenstein is a Milton-quoting, gun-toting warrior battling to prevent the end of the world. In addition, DC's team of movie monster-esque soldiers known as the Creature Commandos featured a character that resembled the Universal Pictures version of Frankenstein's Monster; Private Elliot "Lucky" Taylor was nearly killed after stepping on a land mine, but was grotesquely reconstructed into a "Patchwork Creature" (as designated by the Who's Who in the DC Universe entry on the Creature Commandos), and later rendered mute by a suicide attempt. Later, DC Comics debuted an unrelated superhero (and member of the Teen Titans) called " Young Frankenstein."

In Warren Ellis and John Cassaday's , the protagonist, Elijah Snow, discovers an abandoned laboratory, filled with patchwork undead monsters. It is heavily implied that the lab belonged to Victor Frankenstein, and that, alongside Count Dracula, the Invisible Man, and Sherlock Holmes, Frankenstein had been part of a covert 19th century conspiracy to shape the direction of the future.

In the comic book Major Bummer, Louie defends the common misnaming of the monster as "Frankenstein": Dr. Frankenstein is, so to speak, the monster's "father", and it is only right that a son should have his father's family name. This is also the argument taken by the Seven Soldiers incarnation.

In September 2011, rebooted DC's continuity. In this new timeline, the Seven Soldiers' version of the character is re-established in the ongoing series Frankenstein, Agent of S.H.A.D.E..

The monster appeared as a foe to Marvel Comics' X-Men in issue #40 of their eponymous series (January 1968). In the story, written by Roy Thomas, the monster had various powers, including incredible strength, optic beams, and magnetized feet. He was an ambassador sent to Earth by aliens in the 1850s, but upon arrival, he went berserk. His fellow aliens followed him to the North Pole, where he was frozen. In the present, he was discovered by scientists and thawed. According to Professor X, this android was the inspiration for Shelley's novel.

The Monster of Frankenstein, the first five issues of which (Jan.-September 1973) contained a faithful (in spirit at least) retelling of Shelley's tale before transferring the Monster into the present day and pitting him against James Bond-inspired evil organizations. The artist, Mike Ploog, recalled, "I really enjoyed doing Frankenstein because I related to that naive monster wandering around a world he had no knowledge of - an outsider seeing everything through the eyes of a child."

In Invaders #31, the Invaders, searching for the Human Torch and Toro, disappear in Switzerland. The Invaders' investigation brings them face to fist with Frankenstein. A wheelchair-bound Nazi scientist and Japanese doctor plan to transplant said Nazi scientist's brain into Captain America's body. The Invaders have to fight Frankenstein in the issue (Frankenstein is dressed as a Nazi officer)

Classic Comics #27 (December 1945), reprinted in Classics Illustrated #26, had versions of the Shelley novel.

Dell Comics published a superhero version of the character in the comic book series Frankenstein #2-4 (September 1966 - March 1967; issue #1, published Oct. 1964, featured a very loose adaptation/update of the 1931 Universal Pictures movie).

In 1972, French comics publisher Aredit devoted seven issues of its digest-sized Hallucinations horror comic magazine to adapt Jean-Claude Carrière's Frankenstein novels.

In 1973, Dargaud published Dracurella, by Spanish born comic creator Julio Ribera (1927-2018), in the French comic magazine Pilote, which featured both Victor Frankenstein and his monster.

In 1991, Dark Horse Comics issued an adaptation of the 1931 Universal film.

The Monster is Monster in My Pocket #13. He appears among the good monsters in the comic book (1991), the video game (1991), the animated special (1992), and the 2003 animated series. In the comics, he was relatively inarticulate, represented by hyphens between each syllable he spoke, but possessed of simple wisdom and strong morals. This characterization was essentially characterized in the video game, where he was a playable character, and his only line of dialogue in the cut scenes was "Yeah..." In the animated special, he was known as "Big Ed" and was essentially a comic simpleton.

Junji Ito serialized a manga adaptation of the novel, which was collected and published by Asahi Sonorama as the last tankōbon volume of The Junji Ito Horror Comic Collection in 1999.

In 2001, Curtis Jobling released a picture book titled Frankenstein's Cat, which focused on Frankenstein's first creation; a cat named Nine (due to being made up of nine different cats). A television adaption aired in 2008 on CBBC.

2004 saw the debut of Doc Frankenstein, written by the Wachowskis, the writer-director team of ), and drawn by Steve Skroce. The book tells the continuing adventures of Frankenstein's monster, who has since adopted his creator's name and became a hero through the ages.

In 2004, manga artist Atsushi Ōkubo produced the manga Soul Eater; in the fifth chapter, a character known as Franken Stein made his debut; much of his design was referenced from the novel Frankenstein, including his body being covered in dozens of self-inflicted stitches. Like his namesake, Franken Stein is both a skilled doctor and scientist, actually accomplishing in resurrecting another character into a zombie. But otherwise, the rest of Victor Frankenstein's character was mostly tossed aside (the character was obsessed with taking things apart, usually with scalpels, and he was also a skilled fighter, especially in hand-to-hand combat); the major difference between Franken Stein and Mary Shelley's Victor Frankenstein is the fact that Franken Stein has the classic personality of a psychopath or serial killer.

In 2005, Dead Dog Comics produced a sequel to the Frankenstein mythos with Frankenstein: Monster Mayhem, written by R. D. Hall with art by Jerry Beck. In Dead Dog's version, the Monster sets out to create his own Necropolis.

Also in 2005, Speakeasy Comics put out their sequel, The Living and the Dead, written by Todd Livingston and Robert Tinnell, with art by Micah Farritor. In it, Victor, now calling himself Hans, must create a new body for his first cousin who wants her syphilitic son to remain alive after a vicious beating, and she coerces him to do so under fear of exposing him for who he really is. Half-crazed due to the disease, the newly-born monster proceeds to start a Grand Guignol theater in Ingolstadt until Victor puts him down with the help of the first Monster he ever created. As thanks, Victor begins work on the last attempt he will make at playing God, and begins to build the original Creature a mate.

In 2005, Puffin Books released a graphic novel adaptation adapted by Gary Reed with art from Frazer Irving.

The 2006 Beckett Entertainment/Image comics graphic novel The Cobbler's Monster: A Tale of Gepetto's Frankenstein features an amalgamation between Gepetto and Victor Frankenstein, who reanimates his dead son.

In 2006, Eros Comix published Adult Frankenstein, a comic book with Frankenstein X-rated stories (featuring also other classic monsters) all written by Enrico Teodorani (creator of Djustine), with cover by Joe Vigil and interior art by some of the best Italian authors in the erotic comics field.

The 2007 manga series Embalming-The Another Tale of Frankenstein-, published by Shueisha, is based on the idea that Victor Frankenstein actually existed and created an artificial human from body parts of dead people and that 150 years after this event, numerous doctors across Europe are using what is left of his notes to try and create their own monsters. The series also features characters reading Frankenstein; or, The Modern Prometheus.

In 2009 Papercutz published a Classics Illustrated Deluxe Graphic Novel adaptation of Frankenstein by French cartoonist Marion Mousse. His adaptation was originally published in French in three volumes, and was all collected and translated into English for the Papercutz version. Of all the comic book adaptations, this one is probably the most faithful to the original book.

Frankenstein's Monster appears in the Konami video game series Castlevania numerous times, with its name being "the Monster" or "the Creature", often as a major boss, but sometimes as a regular enemy. The Monster usually has the appearance of the Karloff/Universal version; however, the 2010 series reboot Castlevania: Lords of Shadow features a completely different-looking boss known as the "Mechanical Monstrosity", created some time prior to 1047 by "Friedrich von Frankenstein".

Several other video game version are also available, including Bride of Frankenstein ( Commodore 64 and ZX Spectrum), Frankenstein: Through the Eyes of the Monster - A Cinematic Adventure Starring Tim Curry (PC CD-ROM) and Mary Shelley's Frankenstein, ( Super NES, Genesis, Sega CD) based on the 1994 film of the same name. Other games featuring the monster include Frankenstein: The Monster Returns for the original Nintendo Entertainment System and Frankenstein's Monster for the Atari 2600.

In the 1995 Super NES game Donkey Kong Country 3: Dixie Kong's Double Trouble!, Kong's archenemy, King K. Rool, assumes the persona of Baron K. Roolenstein.

Frankenstein's Monster also appears in the video game adaptation of the film Van Helsing. He only appears as a non-playable character.

The role-playing game Promethean: The Created by White Wolf Publishing, focuses on beings created from human remains and animated by "the Divine Fire" who seek to attain humanity. One of the "Lineages" (groupings) of said creatures is that of the Frankensteins, who, like their namesake, are crafted from the best parts of multiple corpses and brought to life by lightning. The Monster himself, going by the name John Verney, appears in some of the book's fiction and illustrations.

In 1989, the line of action figures for The Real Ghostbusters featured figures of several Universal Monsters, including Frankenstein's Monster.

In 2002, LEGO released a Dr. Frankenstein and Monster set as part of the LEGO Studios toy line. In 2011, a new green-skinned Minifigure called Monster resembles the creature.

In 2019, Plaid Hat Games released Abomination: The Heir of Frankenstein, a board game sequel to Mary Shelley's Frankenstein; or, The Modern Prometheus, taking place 20 years after the events of the novel. In Abomination, the Creature lives and recruits scientists in Paris (the role of the players) to carry on the work of Victor Frankenstein, while Captain Walton seeks to stop the competition and fulfill his vow.

Also in 2019, Steel Wool Studios released Curse of Dreadbear, a Hallowe'en-themed downloadable content pack to their virtual reality game Five Nights at Freddy's: Help Wanted. The eponymous Dreadbear is a Frankenstein version of series mascot Freddy Fazbear, and was initially named "Franken Freddy" during Curse of Dreadbear's development. Dreadbear is included in merchandise and cameos in Five Nights at Freddy's: Security Breach on cardboard cutouts.

Frankenstein's Monster appears in the horror fighting game Terrordrome 2: Reign of the Legends. This version of the Monster considers himself the legitimate son of Victor Frankenstein, explaining why the game calls him 'Frankenstein' instead of 'Frankenstein's Monster'.

The Creature of Dr. Frankenstein appears as the main character in the 2019 video game 'The Wanderer: Frankenstein's Creature' ( Nintendo Switch, PC, iOS/Android). The game was co-produced by La Belle Games and Arte and is a point-and-click narrative adventure which features a story based more closely on Mary Shelley's novel than a number of modern popular culture references to Frankenstein.

The popular Fashion-Doll line Monster High (the concept of the line being children of famous monsters attending a high school) has a character called "Frankie Stein", who is the daughter of Frankenstein's Monster and his Bride.

In the 1920s, carbon monoxide was regarded as the Frankenstein of civilization in the context of humankind's industrial production of the gas and widespread problems with carbon monoxide poisoning leading to the notion of carbon monoxide as "the automaton that turns on its maker, pursues him to the ends of the earth and finally destroys him".

Science fiction author Isaac Asimov coined the term Frankenstein complex for the fear of robots.

Frankensteining is a term used by abusers of crystal methamphetamine to calm themselves by diassembling and reassembling objects. The term is used in that subculture and is recently gaining wider currency: it has been used in an episode of and has four different definitions in Urban Dictionary, all with the same meaning of assembling parts from diverse sources.[citation needed ]

Frankenstein or Franken- is sometimes used as a prefix to imply artificial monstrosity as in "Frankenfood", a politically charged name, coined by the American academic Paul Lewis, for genetically manipulated foodstuffs. The Franken- prefix can also mean anything assembled haphazardly from originally disparate elements, especially if those parts were previously discarded by others-for example, a car built from parts salvaged from many other cars. For many years Eddie Van Halen played a guitar built in such a manner which he called the " Frankenstrat".

In 1971, General Mills introduced " Franken Berry", a strawberry-flavored corn cereal whose mascot is a variation of the Monster from the 1931 movie.

"Frankenstein" is the name of a character in the 1975 movie Death Race 2000 and its 2008 remake . The first incarnation was portrayed by veteran actor David Carradine and the second by Jason Statham.

The hit song China in Your Hand by the British rock band T'Pau employs the story of Frankenstein, and Mary Shelley's writing of it, in its role as a classic cautionary tale.

In David Brin's science fiction novel Kiln People, defective golems that become autonomous are called "frankies".

Mewtwo of the franchise has been likened to Frankenstein's Monster in regards to being born through an artificial means and discontent with the fact.

Stitch, the main protagonist of Disney's Lilo & Stitch franchise, was somewhat influenced by the Monster, as he was created by a scientist from miscellaneous alien DNA. Unlike Shelley's Monster, however, his intentions were initially evil until he discovered an inner loneliness, causing him, and eventually his creator, to turn from crime to justice. Throughout the franchise, Stitch also demonstrates the Monster's Herculean strength and childlike curiosity.

In season 3 of Megatron clones Dinobot, making a Frankenstein's Monster out of the clone by transmetallizing him with the Transmetal Driver and adding the half of Rampage's mutant spark he cut out earlier. The result was an extremely mutated Transmetal II minion under the influence of his "half-brother's" evil.

In 2006, the book The 101 Most Influential People Who Never Lived listed Dr. Frankenstein's Monster (sic) at #6.

The California Medical Association, in a rather humorous gesture, chose Halloween 2006 to announce that Dr. Richard Frankenstein had been elected president of the organization. He had previously been president of the Orange County Medical Association in 1995-1996.

Pop artist Eric Millikin created a large mosaic portrait of Frankenstein's Monster out of Halloween candy and spiders as part of his "Totally Sweet" series in 2013.

The character Professor Franken Stein from Soul Eater is a composite of Victor Frankenstein and the Monster, covered in stitches with a screw through his head as the result of self-experimentation.

In Hellsing, Alexander Anderson is based on Frankenstein's Monster, given that his name came from a song that has a reference about Frankenstein's Monster, his abilities are similar and he is referred to as God's Monster after using the nail of Helena.

Frankenstein's Monster appears as the Berserker class Servant of the Black Faction in the Fate/stay night spin-off Fate/Apocrypha. This depiction of the Monster is a young female homunculus in a wedding gown.

The 2015 film is a film noir retelling of the Frankenstein story with a 21st-century femme fatale android.

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Frankenstein in popular culture - Wikipedia

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Mary Shelley's 1818 novel Frankenstein; or, The Modern Prometheus , and the famous character of Frankenstein's monster, have influenced popular culture for at least a century. The work has inspired numerous films, television programs, video games and derivative works. The character of the Monster remains one of the most recognized icons in horror fiction.

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Mary Wollstonecraft Shelley Quotes (Author of Frankenstein)

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1195 quotes from Mary Wollstonecraft Shelley: 'Nothing is so painful to the human mind as a great and sudden change.', 'Beware; for I am fearless, and therefore powerful.', and 'Life, although it may only be an accumulation of anguish, is dear to me, and I will defend it.'

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"Over 55 Years of Experience

Custom Quality Work "

- After my father's business card for his upholstery business

About my life and work

I was born in Chicago in 1954, the third child and only daughter in a family of seven children. I studied at Loyola University of Chicago (B.A. English, 1976) and the University of Iowa (M.F.A. Creative Writing, 1978).

I've worked as a teacher and counselor to high-school dropouts, as an artist-in-the-schools where I taught creative writing at every level except first grade and pre-school, a college recruiter, an arts administrator, and as a visiting writer at a number of universities including the University of California, Berkeley, and the University of Michigan, Ann Arbor.

My books include a chapbook of poetry, Bad Boys (Mango Press, 1980); two full-length poetry books, My Wicked Wicked Ways (Third Woman Press, 1987; Random House, 1992) and Loose Woman (Alfred A. Knopf, 1994); a collection of stories, Woman Hollering Creek and Other Stories (Random House, 1991); a children's book, Hairs/Pelitos (Alfred A. Knopf, 1994); the novels The House on Mango Street (Vintage, 1991) and Caramelo (Knopf, 2002), and the picture book Have You Seen Marie? (Knopf 2012). A House of My Own: Stories from My Life (Alfred A. Knopf, 2015) is a collection of personal essays, and Puro Amor (Sarabande 2018) is a bilingual story that I also illustrated. Forthcoming works include the Spanish and English story Martita, I Remember You/Martita te recuerdo (Vintage 2021) and a poetry collection, Mujer Sin Vergüenza (2022).

The House on Mango Street, first published in 1984, won the Before Columbus Foundation's American Book Award in 1985 and is required reading in middle schools, high schools, and universities across the country. It has sold over six million copies since its initial publication and is still selling strongly. 2009 marked the 25th anniversary of the publication of The House on Mango Street in the United States and I traveled to twenty cities to celebrate with readers. I am currently working with composer Derek Bermel on House on Mango Street, The Opera. Prior to the pandemic, previews of the opera were held at at Yale and Chautauqua.

Woman Hollering Creek and Other Stories was awarded the PEN Center West Award for Best Fiction of l99l, the Quality Paperback Book Club New Voices Award, the Anisfield-Wolf Book Award, the Lannan Foundation Literary Award, and was selected as a noteworthy book of the year by The New York Times and The American Library Journal, and nominated Best Book of Fiction for l99l by The Los Angeles Times.

Loose Woman won the Mountains & Plains Booksellers' Award.

was selected as a notable book of the year by several journals including The New York Times, The Los Angeles Times, the San Francisco Chronicle, the Chicago Tribune, and the Seattle Times. In 2005 Caramelo was awarded the Premio Napoli and was short listed for the DublinInternational IMPAC Award. It was also nominated for the Orange Prize in England.

Vintage Cisneros, published in 2004, is a compilation of selections from my works.

Have You Seen Marie?, a picture book for grown-ups with illustrations by Ester Hernández, was published by Knopf in 2012. The book is now available in eBook and paperback editions.

A House of My Own: Stories From My Life was released in 2015. It is now available in paperback. The collection of essays won the 2016 PEN Center USA Literary Award for creative nonfiction.

My books have been translated into twenty-five languages, including Spanish, Galician, French, German, Dutch, Italian, Norwegian, Japanese, Chinese, Turkish, and, most recently, into Arabic, Greek, Farsi, Thai, and Serbo-Croatian. Each of my books has been translated into Spanish and is available in the U.S., and they're available as audio books read by me.

and The House on Mango Streethave been selected for manyOne City One Book projects in numerous communities including LosAngeles, Miami, Fort Worth, El Paso, Milwaukee, St. Louis, Santa Ana,and Kansas City with several more in the works.

In 1995, I was awarded the MacArthur Foundation Fellowship, and I subsequently helped organize the Latino MacArthur Fellows - Los MacArturos - a caucus of Latino awardees united in community service.

I've received many other honors, including the Texas Institute of Letters Dobie-Paisano Fellowship, l984; and an Illinois Artists Fellowship, l984; the Chicano Short Story Award from the University of Arizona, l986; the Roberta Holloway Lectureship at the University of California, Berkeley, l988; two National Endowment for the Arts Literature Fellowships in poetry and prose, 1982, 1988; an honorary Doctor of Letters from the State University of New York at Purchase, l993; an honorary Doctor of Humane Letters from Loyola University, Chicago, 2002; and honorary degrees from DePaul University in 2014 and from the University of North Carolina at Chapel Hill in 2016; the Texas Medal of the Arts, 2003; the Fifth Star Award presented by the Chicago Department of Cultural Affairs and Special Events, 2015; Tia Chucha's Lifetime Achievement Award; the Fairfax Prize in 2016. I received the Ford Foundation's Art of Change Fellowship and was recognized as part of The Frederick Douglas 200 in 2018. Most recently, I was awarded the Ruth Lilly Poetry Prize by the Poetry Foundation.

I founded both the Macondo Foundation, an association of socially engaged writers, and the Alfredo Cisneros Del Moral Foundation, a grant-giving institution that served Texas writers for fifteen years.

Currently, I live with two San Miguelense chihuahuas, Luz de Mi Vida and Osvaldo Amor, a xolo-chihuahua named Nahui Ollin, and a new addition, a dachshund-Leopoldine Puffina.

Top photo by Diana Solis, Chicago, 1982.

"Más de 55 años de experiencia

Trabajo de calidad personalizado"

- Inspirado en la tarjeta de presentación de mi padre para su negocio de tapicería

Sobre mi vida y mi obra

Nací en Chicago en 1954, siendo la tercera y única hija de una familia de siete hermanos. Estudié en la Universidad Loyola de Chicago (Licenciatura en Letras Inglesas, 1976) y en la Universidad de Iowa (Maestría en Creación Literaria, 1978).

He trabajado como profesora y consejera de alumnos que abandonaron sus estudios, y como artista en las escuelas enseñando escritura creativa en todos los niveles, excepto en primer grado y en preescolar. He sido reclutadora (?) universitaria, administradora de las artes y escritora visitante en varias universidades, entre ellas la Universidad de California en Berkeley y la Universidad de Michigan en Ann Arbor.

Entre mis libros figuran una plaquette de poesía, Bad Boys (Mango Press, 1980); dos libros completos de poesía, My Wicked Wicked Ways (Third Woman Press, 1987; Random House, 1992) y Loose Woman (Alfred A. Knopf, 1994); una colección de relatos, El arroyo de la Llorona y otros cuentos (Vintage Español, 1996); un libro infantil, Hairs/Pelitos (Alfred A. Knopf, 1994); las novelas, La casa en Mango Street (Vintage Español, 2009) y Caramelo (Vintage Español, 2003), y el libro ilustrado, ¿Has visto a María? (Vintage Español, 2014). Una casa propia: Historia de mi vida (Vintage Español, 2016) es una colección de ensayos personales, y Puro Amor (Sarabande Books, 2018) es un cuento bilingüe que también he ilustrado. Entre mis próximos libros se encuentran un relato en español e inglés titulado Martita, I Remember You/Martita, te recuerdo (Vintage, 2021) y un poemario, Mujer Sin Vergüenza, que se publicará en 2022.

La casa en Mango Street, publicado por primera vez en 1984, ganó el American Book Award de la Before Columbus Foundation en 1985 y es una lectura obligatoria en las escuelas primarias, secundarias y universidades en los Estados Unidos. Ha vendido más de seis millones de ejemplares desde su publicación inicial y sigue vendiéndose con fuerza. En 2009 se cumplió el 25th aniversario de la publicación de La casa en Mango Street en Estados Unidos y viajé a veinte ciudades para celebrarlo con los lectores. Actualmente trabajo con el compositor Derek Bermel en House on Mango Street, The Opera. Antes de la pandemia, los preestrenos de la ópera se realizaron en Yale y Chautauqua.

El arroyo de la Llorona y otros cuentos fue galardonado con el PEN Center West Award for Best Fiction en 1991, el Quality Paperback Book Club New Voices Award, el Anisfield-Wolf Book Award y el Lannan Foundation Literary Award. Fue además seleccionado como libro destacado del año por The New York Times y The American Library Journal, y nominado como mejor libro de ficción de 1991 por Los Angeles Times.

Loose Woman ganó el Mountains & Plains Booksellers' Award.

fue seleccionado como libro notable del año por varios periódicos como el The New York Times, Los Angeles Times, San Francisco Chronicle, Chicago Tribune y The Seattle Times. En 2005, Caramelo fue galardonado con el Premio Napoli y fue preseleccionado para el Premio Literario Internacional IMPAC de Dublín. También fue nominado al Premio Orange (ahora llamado Premio de Ficción Femenina) en Inglaterra.

Vintage Cisneros, publicado en 2004, es una recopilación de selecciones de mis obras.

¿Has visto a María?, una fábula para adultos con ilustraciones de Ester Hernández, fue publicado por Knopf en 2012. Este libro ya está disponible en libro electrónico y en ediciones de bolsillo.

Una casa propia: Historia de mi fue publicado en 2015. La colección de ensayos ganó el PEN Center USA Literary Award 2016 en no ficción creativa. Ya está disponible en edición de bolsillo.

Mis libros se han traducido a veinticinco idiomas, incluidos español, gallego, francés, alemán, holandés, italiano, noruego, japonés, chino, turco y, más recientemente, egipcio, griego, iraní, tailandés y serbocroata. Cada uno de mis libros ha sido traducido al español y están disponibles en los Estados Unidos.

y La casa en Mango Street han sido seleccionados para muchos programas de One City One Book en diversas ciudades como Los Ángeles, Miami, Fort Worth, El Paso, Milwaukee, San Luis, Santa Ana, Kansas City y varias más en preparación

En 1995 me concedieron la beca de la Fundación MacArthur. Posteriormente ayudé a organizar los Latino MacArthur Fellows ―Los MacArturos―, un grupo de premiados latinos unidos por el servicio a la comunidad.

He recibido muchos otros reconocimientos, entre ellos la beca Texas Institute of Letters Dobie-Paisano y la beca Illinois Artists(1984); el Chicano Short Story Award de la Universidad de Arizona (1986); la Holloway Lectureship de la Universidad de California en Berkeley (1988); dos becas del National Endowment for the Arts Literature en poesía y prosa (1982 y 1988); un Doctorado Honorario en Letras de la State University of New York at Purchase (1993); un Doctorado Honorario en Letras Humanas de la Universidad Loyola de Chicago (2002); títulos honoríficos de DePaul University (2014) y University of North Carolina at Chapel Hill (2016); la Medalla de las Artes de Texas (2003); el Fifth Star Award otorgado por el Departamento de Asuntos Culturales y Eventos Especiales de Chicago (2015); el Tia Chucha's Lifetime Achievement Award y el Fairfax Prize (2016). Recibí la beca Art of Change de la Fundación Ford (2018) y fui reconocida por la asociación Frederick Douglass 200.

Soy fundadora de la Fundación Macondo, una asociación de escritores comprometidos con la sociedad, y de la Fundación Alfredo Cisneros del Moral, una institución que concedió subvenciones a escritores de Texas durante quince años.

Actualmente vivo con dos chihuahuas sanmiguelenses: Luz de Mi Vida y Osvaldo Amor; un xolo-chihuahua llamado Nahui Ollin, y la última incorporación, un perro salchicha- Leopoldine Puffina

Top photo by Diana Solis, Chicago, 1982.

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Because we got a late start for Hispanic Heritage Month, (it actually started September 15), we are going to spend this whole week, the final week of this particular celebration, featuring Hispanic authors, scholars, educators, and speakers. Next week we'll get back to celebrating LGBT and Philipino American History.

Sandra Cisneros is an activist poet, short story writer, novelist, essayist and artist. Born in Chicago, she was the only daughter in a family with six brothers. The constant migration of her family between Mexico and the United States instilled in her the sense of "always straddling two countries ... but not belonging to either culture." She continues to be a dual citizen of Mexico and the United States.

Cisneros wrote her first poem at age 10. She describes much of her initial writing as trying on other voices, copying authors she admired. She didn't discover her own unique voice until working on a MFA degree in the Iowa Writers' Workshop. It was in this workshop that she discovered how her particular social position and cultural experience made her unique.

It wasn't as if I didn't know who I was. I knew I was a Mexican woman. But I didn't think it had anything to do with why I felt so much imbalance in my life, whereas it had everything to do with it! My race, my gender, and my class! And it didn't make sense until that moment, sitting in that seminar. That's when I decided I would write about something my classmates couldn't write about.

Even though she has been writing for over 50 years, she's also done many other things as well. She's worked as a teacher, a counselor, a college recruiter, a poet-in-the-schools, and an arts administrator, and has maintained a strong commitment to community and literary causes.
Cisneros's numerous awards include:

NEA fellowships in both poetry and prose

the Texas Medal of the Arts

a MacArthur Fellowship

several honorary degrees

both national and international book awards

the Ford Foundation's Art of Change Fellowship

Chicago's Fifth Star Award

the PEN Center USA Literary Award

the Arthur R. Velasquez Award from the National Museum of Mexican Art in Chicago

Loyola University's Arts & Science Damen Award

the 2015 National Medal of Arts, presented to her by President Obama at the White House

the Congressional Hispanic Caucus Institute's 2017 CHCI Chair's Award in Washington, D.C.

Cisneros is best know for her first novel, The House on Mango Street, a coming of age story that has sold over six million copies and been translated into more than twenty languages. Literary critic Claudia Sadowski-Smith has called Cisneros "perhaps the most famous Chicana writer," and Cisneros has been acknowledged as a pioneer in her literary field as the first female Mexican-American writer to have her work published by a mainstream publisher. At the ceremony where President Barack Obama presented Cisneros with a National Medal of Arts, he said Cisneros was being honored "for enriching the American narrative. Through her novels, short stories, and poetry, she explores issues of race, class, and gender through the lives of ordinary people straddling multiple cultures. As an educator, she has deepened our understanding of American identity."

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Hispanic Heritage Month: Sandra Cisneros - English | Colorado State University

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Because we got a late start for Hispanic Heritage Month, (it actually started September 15), we are going to spend this whole week, the final week of this particular celebration, featuring Hispanic authors, scholars, educators, and speakers. Next week we'll [...]

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"The older I get, the more I'm conscious of ways very small things can make a change in the world. Tiny little things, but the world is made up of t..." - Sandra Cisneros

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Zora Neale Hurston - Quotes, Books & Sweat

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Writer and anthropologist Zora Neale Hurston was a fixture of the Harlem Renaissance and author of the masterwork ‘Their Eyes Were Watching God.’

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5 Ways Zora Neale Hurston’s Work Influenced Black Literature And Black Womanhood

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Hurston’s legacy has influenced many conversations we’re having today.

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Photo: Tim Mosenfelder/Getty Images

Quick Facts

Name

Amy Tan

Birth Date

February 19, 1952 (age 69)

Education

University of California at Berkeley, San Jose State University, University of California at Santa Cruz, Linfield College, San Jose City College

Place of Birth

Oakland, California

Full Name

Amy Ruth Tan

Zodiac Sign

Pisces

Amy Tan is a Chinese American novelist who wrote the New York Times-bestselling novel 'The Joy Luck Club.'

Who Is Amy Tan?

Amy Tan is a Chinese American writer and novelist. In 1985, she wrote the story "Rules of the Game," which was the foundation for her first novel The Joy Luck Club. The book explored the relationship between Chinese women and their Chinese-American daughters. It received the Los Angeles Times Book Award and was translated into 25 languages.

Early Life and Education

Tan was born on February 19, 1952, in Oakland, California. Tan grew up in Northern California, but when her father and older brother both died from brain tumors in 1966, she moved with her mother and younger brother to Europe, where she attended high school in Montreux, Switzerland. She returned to the United States for college, attending Linfield College in Oregon, San Jose City College, San Jose State University, the University of California at Santa Cruz and the University of California at Berkeley.

'The Joy Luck Club'

After college, Tan worked as a language development consultant and as a corporate freelance writer. In 1985, she wrote the story "Rules of the Game" for a writing workshop, which formed the early foundation for her first novel The Joy Luck Club. Published in 1989, the book explored the relationship between Chinese women and their Chinese American daughters and became the longest-running New York Times bestseller for that year. The Joy Luck Club received numerous awards, including the Los Angeles Times Book Award. It has been translated into 25 languages, including Chinese, and in 1993, it was made into a major motion picture for which Tan co-wrote the screenplay.

Other Books

Tan's other two books, The Kitchen God's Wife (1991) and The Hundred Secret Senses (1995), have also appeared on the New York Times bestseller list. Her more recent novels include The Bonesetter's Daughter (2001), Saving Fish From Drowning (2005) and The Valley of Amazement (2013). Tan has also written two children's books: The Moon Lady (1992) and Sagwa, the Chinese Siamese Cat (1994), the latter of which was adapted for television.

Personal Life

Tan has been married to her husband, Lou DeMattei, for over twenty years. They live in San Francisco and New York.

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Name Amy Tan Birth Date February 19, 1952 (age 69) Education University of California at Berkeley, San Jose State University, University of California at Santa Cruz, Linfield College, San Jose City College Place of Birth Oakland, California Full Name Amy Ruth Tan Zodiac Sign Pisces Amy Tan is a Chinese American novelist who wrote the New York Times-bestselling novel 'The Joy Luck Club.'

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How Amy Tan “inspired me and so many others who followed to write the stories that only we could tell” | American Masters | PBS

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In the first grade, during circle time, when my teacher asked the class what we’d eaten for breakfast, students piped up “Pancakes!” “French toast!” — dishes that had never crossed the threshold of our home, dishes that I’d seen on television and read about in books. For my immigrant Chinese parents…

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Article on The Joy Luck Club - her most famous book

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Article on The Joy Luck Club - her most famous book

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Search results for “amy tan” (showing 1-20 of 648 quotes)

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Article on Their Eyes were watching guide

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Article on Their Eyes were watching guide

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Their Eyes Were Watching God - Wikipedia

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Their Eyes Were Watching God is a 1937 novel and the best known work by African-American writer Zora Neale Hurston. The novel narrates main character Janie Crawford's "ripening from a vibrant, but voiceless, teenage girl into a woman with her finger on the trigger of her own destiny."

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"Ships at a distance have every man's wish on board. For some they come in with the tide. For others they sail forever on the same horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his dreams mocked to death by Time. That is the life of men.

Now, women forget all those things they don't want to remember, and remember everything they don't want to forget. The dream is the truth. Then they act and do things accordingly."
― Zora Neale Hurston, Their Eyes Were Watching God

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Zora Neale Hurston Quotes (Author of Their Eyes Were Watching God)

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701 quotes from Zora Neale Hurston: 'There are years that ask questions and years that answer.', 'Love makes your soul crawl out from its hiding place.', and 'I love myself when I am laughing. . . and then again when I am looking mean and impressive.'