The Monster

(After Guillermo del Toro's Frankenstein)

The Monster

Somewhere—in a forest or
In a lab or in a server room—
A creature opens its eyes for
The first time, in the gath’ring gloom.

Wonders: why do I feel so alone?

Our fingers trace the scars
That map this assembled geography,
The need to start each heart,
Creator’s burden and an ecstasy.

Between Maker and Made,
In delicate distance, the question dwells
Of what is ours to save
As world darkens and the music swells?

Should we love this monster of our making?
An eye looks up from forest floor, unblinking.

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Microseason 53, October 28-November 1

Dear Ones,

If Frankenstein is a story you enjoy, I highly recommend seeing Guillermo del Toro‘s new movie, which is currently playing in limited release.

There are as many ways to direct this film as there are people to make it, and I admire del Toro for staying true to his own distinctive voice—to his lifelong dream of this telling. This new version of Frankenstein is so timely, and I loved the pacing of it. While violence is an intrinsic part of Mary Shelley’s tale, in del Toro’s style, those scenes seem to speed-up in time. Whereas, the scenes of tenderness—especially between the monster and Elizabeth, and the monster and Victor—are almost painstakingly slow. Here, we linger, feeling a delicate awe and motherliness towards a newly animated and impossible being.

I feel the performance of Jacob Elordi, who plays the monster, is particularly fine. In him, we experience the weight of the monster’s unbearable loneliness and longing for a companion. He yearns for true love and sympathy, as a way to bear the endless cycle of his tortured days. But he is denied this by Victor Frankenstein, who refuses to create a mate for him. This propels the action of the story, which begins and ends on a ship in the frozen Arctic Ocean at the North Pole.

My favorite part of a movie is usually the set design, and these scenes are lushly layered and beautifully lit—so immersive on the big screen. The costumes are jaw-droppingly gorgeous, and the musical score deepens the emotion of every scene. I’m sure I’ll watch the film again when it makes its way onto Netflix, but I’m glad I got to have the theater experience, first.

I think this classic story might be raising questions for our modern age about the creation and rise of Artificial Intelligence, as we witness the passion and subsequent terror of Victor, as he realizes what he has done. His obsession takes on its own force, of which, he is not in control. And like Victor, we’re beginning to consider the damage we are now doing, which cannot be undone. I know we are already experiencing important benefits, of course—but these must be carefully managed. I’ll not comment further, as I am no expert in the field of AI.

But I can only wonder: How might our past, current, and future mistakes be incorporated into the fabric of daily forgiveness? Will we be able to foster a willingness to move forward in inovative and humane ways—always imagining ourselves in a more generous, loving, and open light—before it’s too late?

Meanwhile, I’m enjoying a recently published version of the 1818 original story. This is the design creation of Jason D. Batt, who has put great care into the reading experience for all of us who want to slow down and really savor the classic text. The illustrations also compel me. As a nurse, I have great respect for the beauty of human anatomy. The carefully chosen vintage scientific illustrations add an artistic layer to the story for me in this new edition.

I hope this coming week of Halloween is playful and safe for you—whether or not you celebrate the holiday.

Please take good care of each other. I’ll see you in a new microseason.

xo Ann

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