Scott Graham

Setting aside the reading of the prose from the Regency Period and Victorian Era, this novel was an incredible disappointment. I think that the praise heaped upon the novel is more for the story from subsequent adaptations than this source novel. Victor, the coddled son of a well off family goes off to study anatomy and physiology and quickly knows more than his mentors (ohhhhkaaaay) and in seeing a tree rent asunder by lightning suddenly knows the secret of creating life (ohhhhkaaaaay). A few lab jars and some time later, he has created his “monster” and immediately abandons him, completely. Some may consider the question of the nature of monstrosity in the story to be stridently determined by the later adaptations of the work, but I suggest that Frankenstein is more the monster than his creation, in the utter abandonment of him to an unsympathetic and superstitious public who shun and attack the creature. The creature reacts in kind, coincidentally hitting Frankenstein close to home, twice in one night. Time passes and a few more incredible coincidences later, a vendetta is formed, the chase is on and no one ends happily. The book reads like the piffle of an 18 year old 4th year high school student or university freshman. I suggest that history agrees with me in that no faithful adaptations of the novel have been made; copious additions have been made in all cases to flesh out the story, pardon the pun, to much greater effect. Give me Igor (an addition), torch and pitchfork wielding mobs (an addition) and a burning windmill (an addition) any time. Actually, give me Frau Blücher, a performance of Puttin’ on the Ritz, and Madeline Kahn as Elizabeth, even better.

Another Compelling Story from Mr Barzak.

A very imaginative and compelling read, more overtly magical than One for Sorrow and The Love We Share..., but just as wrapped up in love and death as each. Strongly recommended. Note to author: I look forward to reading your autobiography one day. There has got to be a very interesting story behind your unique vision.

Logical and effective conclusion to the life and career of Hercules Poirot.

Anna Madrigal is one of those characters who become one of the family.

My September 2025 foray into the Victober book challenge was interesting both historically and as an early example of a drawing room mystery. The ill-gotten yellow diamond called the moonstone is vindictively presented to the daughter of the plunderer’s cousin, and it quickly demonstrates the curse placed on it in antiquity to guard against its theft. The gem is stolen, the household is put asunder, lovers are separated and death follows in the wake. Action follows the pursuit of the thief and the diamond, from the feckless police to the emotional servants and family of the house, and various retainers, until the mystery is sol-ved. There is no Jane Marple or Hercule Poirot here. Many facts are hidden from the reader until their divulging is required in the narrative, and the florid prose uses 20 words when only 5 are needed for a contemporary audience, but the colorful characters and satisfying ending forgive most sins and leaves the reader with a sincere appreciation for the place of the novel in Victorian and mystery literature canon.