Defining what a monster is, is no easy feat. Is it a big, ugly, scary, mythological creature? Or are the real monsters humans with a lack of humanity, emotional spectrum, and conscience? Jeffrey Jerome Cohen (1996) characterises monsters as “pure culture and exist ‘only to be read’”; and he goes on to further suggest “they are other and exist beyond, policing the borders of our societal norms…humans and monsters are intrinsically connected.” (Sfgarcia, A teen's short guide to monster theory 2021).  Arguably, one of the most famous monsters to exist is Frankenstein; many naming him ‘the original beast.’

The origin of Frankenstein was written in 1818 by Mary Shelley and depicts the ambition of a scientist who created a monster out of his own selfish curiosity. However, when analysed on a deeper level, the real purpose of the story goes on to explore several themes of the psychology of humankind and the indirect nature of internal human fallibility. The characters of Frankenstein pertain significantly to Jeffrey Cohens seven monsters thesis’, as their relatability is ingrained deep in the novel of their origin. The first thesis “the monsters body is a cultural body” refers to emotional responses that give them life and a significant independence. In other terms, explaining that the monstrous body is pure culture as they incorporate fear, anxiety, remorse and so on (Vasak, 2021). Several times throughout the novel, Dr Frankenstein epitomises fear as he is afraid of what happens to our bodies after death; in addition to desire, as he endeavours to acquire power and become superior to humanity through his scientific work (Watts, 2017). Cohens second theory “the monster always escapes” states that while the damage created by the monster remains, the monster itself vanishes only to appear in another place or time (Kim, 2017). This is demonstrated by Frankenstein himself as he commits terrible acts within the novel, disappears and goes unpunished, only to return in a different setting and act immorally again. This is seen as he kills William Frankenstein, Henry, and Elizabeth; each time he leads Victor around in a chase lasting months, leaving clues and trails so that Victor can follow him but never catch him.

Cohens third thesis, “The Monster is the Harbinger of Category Crisis,” describes the monsters innate nature to defy categorisation, laws, and rational order within society (Kim, 2017). Existing in a ‘grey’ area, there is simply no class for Frankenstein and things become uncomfortable as humanity struggles with the unknown and undefined. He is born from the pieces of human flesh and yet he is outcast as a disgust and fear, how do these two ideas exist together?

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Additionally, the fourth thesis, “The Monster Dwells at the Gates of Difference,” further explores the ideas of thesis three, explaining that the monster is of different flesh that comes to exist among us (Watts, 2017). Frankenstein’s exterior appearance is of complete opposite to the general population of humanity; however, it is below the skin surface that we can form connections between individual and beast.  For example, many of Frankenstein’s experiences are extremely analogous to that of an unsought and rejected child. He is created and brought into an environment he never asked for and then consequently was rebuffed by humanity without exception; having to adapt to surviving on his own, all the while being helpless and craving mutual interaction (Watts, 2017).

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The fifth thesis, “The Monster Policies the Borders of the Possible,” regards the monster as a physical warning of exploring the unknown. As such, curiosity is penalised (Kim, 2017). Especially in the sense of ill-mannered, or negative curiosity. Within the novel, William Frankenstein mocks the monster for being ugly; although initially Frankenstein wasn’t endeavouring to hurt the boy, his acknowledgment of their indifference at the hands of their mutual creator sends him into a rage which ends the boy’s life (Shmoop.com, 2019). Here we see how negative curiosity resulted in a much larger consequence at the hands of the unknown beast. Cohens sixth theory, “Fear of the Monster is Really a Kind of Desire” emphasises the monster as an attractive force that tempts humanity into dangerous and evocative fantasies of taboo. This is further demonstrated through the cultural popularity of Shelley’s monster creation; as it allows humanity to experience extended fantasises of aggression and domination. Experiencing varied identities though safe visualisation and expression. (Kim, 2017).

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Lastly, Jeffrey Cohens final and seventh thesis, “The Monster Stands at the Threshold…of Becoming” highlights the idea that we as humans are the real monsters within society (Kim, 2017). This is evidenced by Victor Frankenstein as he takes it upon himself to negate his conscience throughout his process of creating Frankenstein for his own self-appointed selfish prowess. As such, he participates in grave robbing and human mutilation (Watts, 2017), stating in a direct quote that “a churchyard was to me merely the receptacle of bodies deprived of life” (Shelley, 1818). His absolute lack of respect or consideration for human life only exacerbates humanity’s ability to be monstrous in our own sense and poses the question; are ‘monsters’ only monsters because we come from a society of xenophobes?; and is humanity is the real and terrifying threat to our existence?