← Betwixt The Sheets: The History of Sex, Scandal & Society
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Hi, I'm your host Kate Lister. If you would like Betwixt the Sheets ad free and get early access. Sign up to History Hit with a History Hit subscription. You can also watch hundreds of original documentaries with top history presenters and enjoy a new release every single week. Sign up now by visiting historyhit.com subscribe.
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A
Hello my lovely betwixters. It's me, Kate Liston. You are listening to Betwixt the Sheets. Hello and welcome back. But before we can proceed together, I have to tell you, from now until the day the show gets cancelled, this is an adult podcast, spoken by adults to other adults about adult things in an adultery way, covering a range of subjects. And you should be an adult too. I don't know why we have to keep telling you that. I mean really, what would you be listening to? I mean really, why would you be listening to a podcast called Betwixt the the History of Sex Scandal in Society if you weren't expecting a serious bucket of sauce to be assailing your ear holes. But never mind, let's get on with it. Eight foot tall, translucent yellow skin pulled taut over the body, accentuating the muscles and the blood vessels beneath. His eyes are watery but somehow glowing, and his face is half hidden beneath a mop of long black hair. I mean, I think I've dated worse. That is how the monster built by Frankenstein is described by Mary Shelley and not the choice made in the latest movie adaptation where the monster is played by Jacob Elordi, who is fit as fuck. But never mind, we press on. The original wasn't. But what do we know about Mary Shelley? Who was the young girl who came up with such A bonkers and enduring creation. Well, her life had every bit as much drama as anything she put on the page. So let's find out more.
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C
Foreign.
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A
Hello, and welcome back to Betwixt the Sheets, the history of sex scandal in society with me, Cait Lister. Mary Shelley is a name that is now part of the annals of horror history. She is iconic and a woman persistently dogged by rumors and scandal and general naughtiness, so she's a perfect subject for this particular podcast. For example, did she really lose her virginity on her mother's grave? What an odd thing to do. What's wrong with round the back of the bike sheds like the rest of us, Mary? Well, today I'm joined by none other than Fiona Sampson, author of loads of books, including In Search of Mary Shelley, the Girl who Wrote Frankenstein. And if anyone can help us sort fact from fiction and to get a better understanding of who Mary Shelley really was, it's Fiona. And although this episode is about Mary Shelley, unfortunately her chosen husband, Percy Shelley, is not going to come out of this very well at all. In fact, we could have included this episode in our little miniseries on history's fuckboys. But if you like a bit of Mary Shelley celebration and a bit of Percy bashing, this is the episode for you. Let's do it. Well, hello and welcome to Betwixt the the Shades is only Fiona Sampson. How are you doing?
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C
I'm very well, thanks, Kate. It's great to meet you at last.
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A
It's fabulous to meet you, too. You have got multiple accolades to your name, MBE leading British poet, biographer and writer, and crucially for today, the author of In Search of Mary Shelley, the Girl who Wrote Frankenstein.
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C
Yes, indeed. We're gonna be talking about Mary Shelley today.
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A
Mary Shelley, what a fascinating character. Do you remember when you. I was gonna say we first met her, but when you first became aware of her. I'm curious as to. What's the backstory to this book?
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C
Yes, I think it's a really good way of putting it because I think when you're a biographer, you do take it personally. You develop a relationship with your subject and often the person, as it were, you end up meeting isn't the person you thought you went looking for. I actually would never have pitched to do Mary Shelley as my first literary biography because, I mean, she's such a great subject. But I was commissioned, which was wonderful, and I was commissioned because I had done the Faber Poet to Poet edition of Percy Bysshsse Shelley of his poems, which is a great irony because of Course, in my book, I'm actually not that patient with Percy, thank God.
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A
I get so irritated with that man and persevering.
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C
Okay, yeah, exactly. I mean, I just think that when I was reading his work, I was kind of winnowing it down with. There's so much verbiage, there's so much as it were, peacocking and showing off and so much posturing and sense of himself as a great writer. But there is some wonderful poetry, but you really have to winnow out too many words to find the Percy who's worth sticking with. And when I think about Mary Shelley, I think about her kind of patience with Percy, perhaps her susceptibility to his kind of self invention. And also I think about how loyal she was and the way she actually really created his reputation. Because although he was known in his lifetime, he wasn't famous in his lifetime as his friend or enemy, Lord Byron was. It's a really a posthumous reputation and that reputation was made by Mary in the two posthumous editions she made of his work. So yeah, it's a kind of story about loyalty and invention and rereading. And she made more than one monster. Maybe she didn't just make Frankenstein and his creature, she also created the literary legacy of Percy Bysshe Shelley.
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A
See, I hadn't even thought of that before, but you're completely right, he wasn't that famous in his lifetime. In fact, he spent most of it broke, if memory serves.
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C
Well, yes, of course, the reason he was broke was because his income came entirely from being the heir to a baronetcy and because his father disapproved of his life choices correctly, one might say he had to draw down indentures which kind of betted on his inheriting. But the result of that was that there were always money lenders who were and moneylenders who weren't prepared to lend these indentures to lend against this future inheritance. And I also think Percy was pretty bad at managing money as he was pretty bad at managing life. So those two things put them together and you get this kind of financial chaos that's going on all the time around this young couple, then the household, then you know, their friends.
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A
He's entirely chaotic. I'm always fascinated by these great men from history, especially like your Percy Bysshe types. Byron is another one where their reputation of this great mind, this romantic poet, this philosophical thinker, this pioneer of free love, and you just look at, you go, well, that's all very well, Percy, that's great, but what was it like to live with that what was it like to try and be married to that?
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C
Absolutely. And the kind of lack of joined up thinking because, you know, Percy saw himself well. He was an advocate of revolution, of class struggle and social revolution. But I mean, his own income, his own status would have been the first thing to be swept away if there had been an English or British revolution like the French Revolution. He actually met Mary by being a disciple of her father, William Godwin, who of course was a radical philosopher, a utilitarian, advocating the abolition of monastery, the abolition of the aristocracy, abolition of traditional institutions like marriage, the relationship of the church and state. I mean, all of this. So I think Percy was perhaps just an excitable young man who was really interested in the moment of revolution and change. He was a schoolboy chemist and he loved, I think, throwing up the cards in the air and seeing where they'd land. Another thing that was always going on was that they were always moving, they were always moving house. It was trying to reinvent this ideal life they wanted to find in one place or another. And that was the case before Percy met Mary as well. So I think there's this kind of attraction to flux. Probably someone with a little bit adhd, someone who had problems with concentration, which is fine, but then top that up with almost unbridled narcissism, and you really get a life that's sort of out of control.
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A
I don't think Percy's gonna come out of this particular episode very well. Let's take back before we even get to him, because Mary, who is often overshadowed by Percy Bysshe, but her pedigree, for want of a better word, is pretty impressive.
- [09:59]
C
Yes, that's right. She had. And she thought of herself as having this kind of big league intellectual pedigree. So both her parents were, well, really the best known radical philosophers in Britain of their generation. So her father was William Godwin. In 1793, he published two books which really changed political thinking. One was a novel, Caleb Williams, but, you know, a political parable really. And the other was Political justice, an Inquiry concerning Political justice. And that was his masterwork. And that was where he laid out this kind of radical alternative vision of what you might call citizenship, really, and advocated for, well, the dissolution of the state ultimately, but also the dissolution of most of the institutions that held that state in place. And her mother, Mary Wollstonecraft, is now famous for A Vindication of the rights of woman, 1792. But in 1790 she had also written A Vindication of the Rights of Men, which was a response to Edmund Burke and Edmund Burke's opposition to the French Revolution. And Mary Wollstonecraft, who saw herself as an educator and teacher and indeed that was how she'd earned her living, was herself enough of a active revolutionary that she'd gone to live in France during the French Revolution. Indeed, her first child was born there out of wedlock and in other words, living out her ideals. And unfortunately though, the person who took advantage of those ideals was adventurer, you know, Gilbert Imlay.
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A
So scallywag.
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C
A scallywag. Politely put, yes, absolutely. Someone who in the end, you know, so withdrew not only his support but his love that he drove her to attempt suicide, but who sent her, unaccompanied, apart from her child and a nursemaid, to Scandinavia to try and sort out one of his financial deals at a time of war when travel is enormously difficult. So she's like her daughter, she's somewhat susceptible to the bounder.
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A
I take a great deal of comfort from that. I mean, I'm very sorry it happened to Mary Wollstonecraft, but like if Mary Wollstonecraft, one of the trailblazers of modern feminism, the woman who first put pen to paper to go, hang on a minute, I think that women deserve a bit more than this. If she as well can find herself in Scandinavia because some pretty man said I love you, then, you know, you feel a little bit better about your own awful decisions.
- [12:22]
C
I think that's so true. Yes, I think that's true about Mary Shelley too, isn't it? I mean, I think what's quite interesting is the way that conservative institutions, obviously they keep privilege where it is, but the extent to which actually in this case they did protect women. I mean, you know, the institution of family is a. We think of it as a way to own women. I mean, the 19th century institution of family as a way to transfer women's rights and finances and agency to the bloke, clearly immensely problematic. But issues like paternity, however old fashioned we now see them as well, were a way to enforce subsistence for women, for mothers and their kids. And you know, both the Marys, in adventuring and living boldly beyond convention, really laid themselves open to exploitation.
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A
Tamer cropper, unfortunately. So Mary Wollstonecraft gets caught up with a bounder and a cad and boo, we don't like him. But then she meets Godwin and it's really interesting. These two philosophers are both vehemently opposed to marriage, but then they get married. What happens there?
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C
Absolutely. And I think that's not hypocrisy but learning from experience, I think Godwin didn't want the same for his child, his future child, as had been the fate of Mary's first child, Fanny, still living at this point, well, still living into adulthood, who, you know, had been abandoned and who in fact would be always kind of the spare for complicated reasons, some of them to do with how the family configured her, but. But some of them to do with how she was configured by lack of respectability in this very policed, organised society. And so he and Wollstonecraft got married when she had accidentally got pregnant, so they became lovers. First of all, they didn't like each other. They met at intellectual, not literary but intellectual salons, intellectual talking shops around St. Paul's Churchyard, where all the publishers then were, and which were therefore a kind of ferment of ideas. And first of all, he thought she was very opinionated, a woman who didn't know her place. But he couldn't manage to Weldon William absolutely managed nevertheless to fall in love and as I said, got her pregnant. And so they got married, which was great, except that when she was pregnant, obviously she was pregnant with our Mary. Mary was born in August 1797, 30th of August, but Mary Wollstonecraft died 10 days later of pure peril infection, you know, caused by a surgeon attending and having non sterile hands and, you know, it's sepsis, it's a terrible death. And what Godwin then did was in a sense, undo the good work of the marriage by, in his grief and perhaps because he was stubborn and inconsistent, but perhaps because he was irrational, because he was grieving. Write a memoir of the author of the Vindication of the Rights of Woman, in which he revealed that she had lived according to her principles, I. E. That she'd, you know, she'd had lots of sex outside marriage and she'd had one child born outside wedlock and one conceived outside wedlock, thus posthumously really damaging her reputation in a way that took a good couple of centuries to recover from and making things much more difficult for our Mary and for Fanny, because Fanny is then with no natural pairs with a stepfather. And she will acquire a step, step, as it were, Mother, when our Mary does too. And with this kind of label of illegitimacy with her mother, her late mother, being unrespectable, de respectabled and very dependent on her sister's activities for her own respectability. And when our Mary starts living unconventionally and so does the stepsister Clare, who comes into both their lives, that really Closes down every option for Fanny. Fanny cannot even earn her living as a tutor, a teacher, like her mother did, but will end up killing herself in her early 20s. Fanny is a really, really tragic figure.
- [16:32]
A
Mary's sort of born into this. I don't know, maybe it's not chaotic, but it's certainly dramatic family situation where her parents reputation, it's widespread, but it's also got a lot of scandal attached to it. And her mum has died and she's growing up in this environment. What kind of childhood did she have?
- [16:52]
C
I think you're right that she had a very, let's say, episodic one. So they're living in Summerstown, which was then aspirational, but very, very quickly became one of Charles Dickens rookeries. I mean, became, you know, occupied by multiple 10th houses and multiple occupancy and a lot of immigrants, particularly French immigrants. I mean, you could kind of count Wollstonecraft as one of them in a way. And so it was sort of declassee. And Godwin then would start very quickly to have problems with money because Godwin had trained as a preacher, as a religious preacher, and so he had a non conformist preacher. So he had lost all of that form of respectability also forms of ways of earning living when he launched out as a writer and he would very soon have to become a publisher and a bookseller in order to try and make ends meet. And that was quite declassee because fairly soon they would have to move to Smithfield, which was then very rough. It was a meat market. It was also prison nearby within sound of executions. I mean a really kind of gritty, let's say, environment. So William Godwin was sliding down a financial, therefore the social scale and obviously taking the family with him. When Mary was four, the woman who was renting the next door house in Summerstown in the Polygon before they moved to Smithfield, who was called Mary Jane Claremont. Actually Claremont was self styling. Really. Her name was Vile V I A L not Vile like horrible. Rented the next door house and quickly made a play for William Hooks. Obviously she had no means of support. She had done some light translation. He was a literary figure. So. So she used to whenever. Well, I used to call it a Claremont manoeuvre. Whenever William Goblin was in the garden, she'd rush out into her garden and exclaim audibly, oh, you great being, how I adore you.
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A
Who amongst us have not pulled that particular stunt?
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C
And of course it worked because William Goblin was.
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A
Of course it did.
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C
And anyway, he was a bloke so when Mary was four, if a man.
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A
Did that to a woman, it would not have the same effect. There would be a restraining order in place immediately.
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C
Exactly. Absolutely, yes. I hadn't thought of willow stalking. Exactly. And they again. William marries a second time. So there are now three girls. There's Fanny, who is not related to either Mary Jane or William. There is Mary, who is William's daughter. And there is Clare, who is Mary Jane's daughter. There's also a son. Mary Jane also brings a son. And this daughter, who is at present called Jane but will later style herself. Clare is the notorious Claire Clairmont, who is going to accompany Mary, our Mary and Percy on most of their adventures, unfortunately. So Mary acquires a stepmother at the age of four. Mary was very precocious in the apple of her father's eye before that. And the story is that she learned to read by tracing her own name on the letters of her mother's gravestone in nearby old St Pancras churchyard. Very sort of sad and. But iconic. But then Mary Jane comes along and obviously doesn't particularly want this daughter to outshine the stepdaughter, to outshine her own daughter close in age and all of that. So the kind of whole person education which Wollstonecraft had practiced and advocated and written books about. And she was a follower of Rousseau and whatever we think about Rousseau and his own issues with his own children and so on, his ideas about education were very modernizing. And on her Deathbed during those 10 days it took her to die, she had made William promise that he would bring up their daughter according to those ideals. But that quickly slipped away once Mary Jane came on the scene. So there was some language classes, there were piano lessons, there was obviously her father's fantastic library. But she and Mary Jane really struggled with each other. And when she was only 11, she was sent away allegedly for her health because allegedly she had a skin infection on her arm, down to Kent, where she was in a boarding house, quite a dodgy boarding house for 11 months. Yeah, by herself. And when you actually read the correspondence between Mary Jane, who took her down to Kent, and William Godwin, it's quite clear that she's been sent away to punish her because she's being uppity and difficult. You know, she won't come back until she's better behaved and so on. She does return. By then the household is in Smithfield. So suddenly this girl who has thought herself as the heir of two intellectual giants is living over a bookshop, living over a shop in Smithfield and expected to help out in the shop. And very soon she's sent away again, this time to one of a non conformist religious family who are like from William's old life, William Godwin's pre his old religious ministerial life up in Scotland. So Mary then spends a couple of years in Dundee between the ages of 13 and 15. Very formative time by herself. Dundee we shouldn't forget in the context of Frankenstein was in a great whaling port and the house is right on the sort of river estuary she sees the whalers coming and going. You know whaling and what it means to find the true north to go all the way to North Pole is central to what's going on in Dundee. And Dundee's was a bit like Newton Aberdeen in oil now was then it was Dundee and whaling. And of course whaling will form the frame for her Frankenstein story some years later. And you know she's kind of half educated at 16.
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A
I'll be back with Fiona and Mary after this short break.
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B
And Doug here we have the Limu emu in its natural habitat helping people customize their car insurance and save hundreds with Liberty Mutual. Fascinating. It's accompanied by his natural ally Doug Limu is that guy with the binoculars watching us. Cut the camera. They see us. Only pay for what you need@libertymutual.com Liberty Liberty Liberty Savings Ferry Unwritten by Liberty Mutual Insurance Co. Affiliates excludes Massachusetts NetCredit is here to say yes to a personal loan or line of credit when other lenders say no, apply in minutes and get a decision as soon as the same day. Loans offered by Netcredit or lending partner banks and serviced by Netcredit Applications subject to review and approval. Learn more@netcredit.com partners she is about 15.
- [23:36]
A
16, a mess of hormones. We all are at that point. And now enter stage right. Who comes along? Damn it Percy Bysshe how did he end up there? Because as you alluded to earlier he had quite a. Quite a privileged start. He had a very privileged start. So how does he end up in a bookshop?
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C
It's such a good question. So Percy, you know the Eton schoolboy who's been to Oxford but has been sent down from Oxford for atheism because he was reputed with Thomas Jefferson Hogg his at this time best closest friend to have co written a pamphlet on the necessity of atheism. He's anonymous but he didn't deny it when brought before the university proctor didn't.
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A
He send that wrote the necessity of Atheism and then sent it to. Was it like the deans of the university or like local vicars or something?
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C
Utterly, he says, yeah, exactly. When they questioned him, he didn't deny it, he didn't deny that he'd written it. And so he was sent down from the university and so left Oxford without a degree, but was very interested because he's this young man in love with change in revolutionary ideas and very interested in William Godwin's ideas. So when he was sent down from university, his kind of solution to what to do next with his life was to elope with a 16 year old called Harriet. And so they went to Gretna Green and got married and then they wanted to settle somewhere, so they ended up going to Wales because Wales was mountainous and romantic and not that far from Gretna Green. If you think you've come back down the sort of northwest corner of Britain, past the Lake District, they lived in the Elan Valley, they lived in a couple of houses where he had relatives, where he had stayed earlier. And then they became very interested in an attempt at an ideal community, a model community, inland from what's now Portmyran, but Porthmadoc on the west coast of Wales. And Porthmadoc is a huge enterprise. There's a. Well, it's an estuary that's dammed by a great bar that's built across it, and a model village, not a very big model village in fact, but there is a model village, so it's very expensive. So Percy went down to London to try and raise money for this enterprise from idealists, famous philosophers. So he went to William Godwin, whose books he admired. I mean, hilarious, because obviously Percy actually had a lot more money than William Godwin, but still went to Godwin. Godwin's flattered by the arrival of Percy and Hogg and, you know, sees them and they visit often and they have meals there and so on.
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A
He's early 20s by this point, is he? Percy?
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C
He's 20. Yeah, he's 20.
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A
Okay.
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C
So yes, he's early 20s. So this is how he meets Mary. And by now he has one child with Harriet, and Harriet is pregnant again with their second child. So within sort of three months, although William, once he notices, tries to put a stop to their liaison and locks Mary up. You know, Mary's not allowed out and Percy manages to smuggle his work to her. And with its say on vegetarianism, it's so narcissistic.
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A
So do you know what it just gives to me? The super rich trust fund kid who's trying to like slum it as a socialist. And what do they call trustafarians when super rich kids trying do that, like giving her his poetry to read when really he should be fucking off home to his wife, quite frankly.
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C
Absolutely. But of course, Mary being, you know, 16, 16, doesn't really understand that the implications of him having a wife and kids.
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A
It's all terribly romantic, isn't it?
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C
Exactly. She believes that she's been brought up by her parents to believe for her father and her dead mother to believe, the ghost of her dead mother to believe there is such a thing as true love which trumps any tedious human institution like marriage or indeed a family. And she believes that theirs is the one true love. And you know, she's naive, she. I don't think she's bad, I don't even think she's suffering. She's just really, really naive. And he's kind of grooming her. I'm a pretty ineffective way to groom, one would have thought a book of poetry, but nevertheless it works.
- [27:47]
A
He must have seemed terribly dashing to her. She's like, you know, she's been raised in this melee of literary greats and literary geniuses, but it's kind of like sort of now a bit tawdry, and she's living above a bookshop, she's clinging to these dreams and suddenly a poet, a young poet, a handsome 20 year old, a revolutionary atheist who's been thrown out of Oxford is here with his book of poems. It's just. I can see what happened exactly.
- [28:14]
C
It's too good to be truly, isn't it? Of course, it's kind of a solution to what she will do next in her life. Is she supposed to just become a teacher like a mum? And in a way, William also precipitates it by not. Although obviously he couldn't allow the relationship because Percy is a married man. By not letting it burn out under his, you know, wing, as it were, he kind of almost forces the elopement. Obviously he doesn't. It's Percy's responsibility and Mary's that she, you know, she goes for it. But nevertheless she does go for it. And in a moment of extraordinary idiocy, she takes with her her stepsister Clare.
- [28:50]
A
Weirdest thing. Oh, before we get to that, can I ask you about the story that she lost her virginity on her mother's grave to Percy? That's a story that does the rounds every once in a while.
- [28:58]
C
It's a story that does the rounds. And although her mother's grave was vertical, not horizontal, and therefore there are practical, difficult.
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A
There you go. That's a pretty good piece of information for that story.
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C
I do think that there's gonna be at least a grain of truth in it. Because clearly her mother's grave was a significant place. It was the one place where she could touch her mother. Her mother's great portrait hung above the fireplace in her father's office. But, you know, they had not lived very far from the graveyard. And then they moved to Smithfield. And that was a sense of a severance. And obviously her mother supported her in displacement. So there would have been a sense of kind of, as it were, taking the young man home to meet her mother, taking him to the graveyard. And St. Pancras churchyard then was, unlike now, kind of tree lined. And there was a brook and it was, you know, quite attractive. There wasn't yet a railway line and hardy tree and so on. It was rural. It was a little village. It's a pretty church. Anyway, it was a rural, picturesque spot. So kind of quite a good spot to take someone you're courting. Anyway. So I'm sure there was a certain amount of stuff that went on at her mother's grave, whether or not she actually lost her virginity there. However, I also think it is pretty likely that she lost her virginity in London and before they eloped, because her first child is born in the spring of the following year.
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A
Oh, there we go. Right.
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C
And because it's fairly obvious that she has morning sickness during the elopement because she's quite often feeling poorly. While Percy and Clare go off and have a high old time shopping in Paris, for example.
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A
All right, so we've got to talk about Claire. It's the weirdest setup that the whole of this story. You could just keep looking at Claire and just keep going, why are you here? What's happening? It's bad enough that Mary, I think she's 15 or 16 by this point, she's decided to elope with this poet who's got a pregnant wife and a child at home. But then to bring the sister as well.
- [30:55]
C
What on earth is going on here exactly? I mean, Ampitumi thinks she kind of panicked at the last minute and thought, I can't do this by myself. I've got to take. You know.
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A
Because when we say they elope, where do they go? They've gone across Europe, haven't they?
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C
Yeah, they go. They nearly die crossing the Channel in a small boat. Then they get to Paris. They make their way to Paris. What they're aiming for is to Go to Switzerland, because Switzerland is seen as the home of Romanticism because it's the birthplace of Jean Jacques Rousseau. Coming back to Wolstenham, Carter and Rousseau, and it's seen as not politically utopian, but democratic, further ahead in the democratic process than even France, and therefore an ideal place to go and found an alternative community, which is what they want to do, of course. Actually, the ideal community closely resembles a harem because it will consist of Percy, Mary, Claire and Percy writes from Paris back to Harriet, inviting her to come along too.
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A
Did she say yes? Did she say, what a brilliant idea, Percy, thanks for that. I'll bring the children.
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C
Yeah. Oddly, Kate, she didn't exactly.
- [31:57]
A
Of course she didn't. With your big ideas about free love. He really irritates me. It's like, it's so selfish, this behavior.
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C
It is so 70s rock star, isn't it? I mean, so, you know, throw off the bonds of liberation.
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A
Girls and my bonds of liberation.
- [32:16]
C
Exactly. So they're in Paris and their plan is to go across France. So they've realised they haven't really got enough money to hire sort of Lando and Stagecoach.
- [32:25]
A
They're very dangerous at this point, isn't it? This is through a war zone.
- [32:29]
C
Yeah. It doesn't seem to enter their calculations at all. Again, the girls are 16, but Percy is just about a grown up and he will not be unaware of these facts. So their remedy is to buy a donkey. But Percy and Clare go and buy the donkey while Mary's once again throwing up at home or in their lodgings in the hotel. And the donkey they buy is lame, presumably because they're busy having a great old time. Presumably.
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A
Well done, everyone.
- [32:58]
C
Not paying attention anyway, to the donkey and its hooves. Also in Paris, Mary has brought with her, rather touchingly, all her juvenilia in a chest which is lost. So kind of really symbolically, Mary's sense of herself as she and Percy are writers, are going to go and forge a destiny, a literary destiny, you know, a new way of living, whatever is kind of truncated, if you excuse the pun at that moment. So they start to make their way across France and the journal, which Mary keeps, which occasionally Percy writes in as well, is weird. It's really sad because she obviously doesn't really get that it's a war zone, only she's very uncompassionate. She just complains about the dirt and she hasn't been given enough to eat and so on. It's really self absorbed and childish, actually. There's no other word for it, even Though I fell in love with Mary Shelley, her journal of their trip across France is sad and childish. It doesn't show her in her best light. Anyway, they get ripped off with fair points. They can't, you know, use the donkey. But they finally arrive in Switzerland and they discover they've got no money. Percy's got no money left. They can't afford it. They're staying. The only place they can afford is squalid and disgusting. It's not an ideal, it's a horrible life. So very quickly they turn around again and they will be home within six weeks. So it's an extraordinarily rapid transit, really, considering the way they're traveling too. I mean, they're obviously young and strong, and so they need to get back to Britain as quickly and cheaply as they can. And so they go by riverboat, which is not then a way of cruising. It's the quickest, most pragmatic, cheapest way of going. And that's really relevant for Frankenstein because they sleep out on deck at least some of the time. And they are joined by some other, you know, not very well off young people, students, medical students, German medical students, three of them, who are also paying their passage to get back to Cologne. And Mary's journal is really interesting about them. There's a kind of real sense of the two sides of personhood, really. So there's a kind of one she doesn't really mention. There's one who she thinks is really boorish and awful and then she doesn't understand why the other one who she thinks of is really good looking and really well mannered and so on. She doesn't really understand why they're friends. So there's a kind of two sides of the coyness going on with these two guys, these two German medical students like Frankenstein. And the night that they are out on deck, they stay. There's one night where they all sleep out on deck. We know that from the journal. And that's the night that they pass. They come up to Cologne and they will pass within sight of the mountain range on which there are three Frankenstein castles in Germany, but one of them sits. And the Frankenstein castle that sits. You can't see the castle from the Rhine, but you can see the mountain range is a castle which has loads of myths around it. You know, there's buried treasures, a dragon, but also a real life story, which is there really was in the 17th century an alchemist who lived there who claimed he'd found the secret of life. Oh, look at that. Look at that. In Frankenstein Castle. So it seems inconceivable that the coincidence of medical students chatting to each other, passing and within sight of them, it's obviously kind of like interrailers. They're chatting to each other and obviously Mary gets told the story of Frankenstein. Castle Frankenstein, of course, is a very ordinary name. It just means the castle of the Frankish knights. Ah. You know, it's a Frankenstein. But of course, in English here, it's a fabulous word and you can't help but feel that's another way reason why it landed and Mary remembered it.
- [36:41]
A
Do you think that Claire Clairmont and Percy were getting it on? That's been debated and discussed by scholars for a very, very, very long time, ranging from people going, no, as if he would do that, to people going, yeah, definitely, that's absolutely what was happening. What's your take on it?
- [36:58]
C
My take on it is that although we don't yet have any proof, alas, I'm certain that they were. Critics very nicely say that I write the new biography. That's to say, you know, I care about the storytelling, but I am really, really forensic. I do the normal scholarly research and I'm really forensic. I never invent. So if I'm speculating or positing a theory, I always say, could it be. And what that could it be means is kind of close reading, the balance of the evidence. And the evidence really seems to me to stack up. Number one, the number of entries in the journal. Also, when they're back in London, where Percy and Clare have gone off again together, just gone out for the day.
- [37:38]
A
But they have, weird for the time, unchaperoned young woman on her own, weird for the time.
- [37:44]
C
That's it exactly. And Mary writes with regret about it. You know, she's been left behind. She's a bit jealous, Bit jealous. And even I think that for the longest time she had instincts of jealousy, but she believed in this great love. And that couldn't be true. The great love which justified everything she'd done, wouldn't be true if Percy could just like casually get it on with Clare or seriously get it on with Claire. I mean, even on the elopement, you know, Percy and Clare are telling ghost stories to each other after Mary's gone to bed, you know.
- [38:14]
A
Yeah, weird. Yeah, yeah.
- [38:16]
C
And then there is, by the time, almost as soon as they're back in Britain, Mary is asking Percy for the absence of Claire absentia clarae. And he is in letters and he doesn't oblige. I mean, he doesn't oblige and doesn't oblige. And although the timescale from 1814 to 1820, when she finally moves off, doesn't seem that long to us, of course, it's an enormous timescale in the terms of the future of Cellis. So Mary and Percy's relationship and Mary's young life, all that Ty and Clare is with them and has a determining role in where they go, where they live. Except that in 1815, she's sent off to Lynmouth for a few months, which is just long enough to be discreetly having a child, and then the child's, you know, nursing the child, maybe. And then it's after that time when she's off in lodgings in Lynmouth that she comes storming back and sets her cap at Lord Byron. If I can't have your poet, I'll have a bigger, better one.
- [39:18]
A
That's just what this situation needed, isn't it? Lord Byron. Bloody hell.
- [39:23]
C
Absolutely. I'm sure they were.
- [39:25]
A
Yeah, me too.
- [39:25]
C
Me too. Exactly. But the scholar in me says we can't say for sure.
- [39:29]
A
Yes, agreed.
- [39:30]
C
It's like there.
- [39:31]
A
Evidently, I'm with you on that one. Just remember, the entire time that Percy is around, she's almost always pregnant or she's just given birth or. Unfortunately, lots of these children die, don't they, as he's dragging these two teenage girls around Europe through a war zone.
- [39:47]
C
Yes, they do. So Mary's first child is born in 1815, back in London Spring, and is premature, apparently, though I'm not sure that premature. I think that she was just earlier than she thought, but doesn't survive. And already at that point, Percy is trying to get Mary to practice free love with his best mate, Thomas Jefferson Hogg Fogskin. Mary isn't. And so obviously a kind of a get out clause. If she does it too, then he can with.
- [40:17]
A
Oh, yes, yes, it is.
- [40:22]
C
Shameless.
- [40:22]
A
Oh, it gets on my nerves, it really.
- [40:25]
C
And then she has William Wilmouth, who is born in January 1816, and he will live a little while, he will live a few years, he will die as a young child. Later, when they're in Rome and there's a cholera epidemic, and then she will.
- [40:43]
A
Have, as the result of being dragged across Europe by a mad, feckless father and who keeps. Keeps doing this to his pregnant wife and their very, very young children.
- [40:51]
C
They're in Rome because they've had to go into exile, he thinks, because British government is really cracking down on radicals and taking away the right of free to Speech, free political speech. And the government keeps suspending habeas corpus, the right to a fair trial. So early in 1818, Mary and Percy and Clare go off into European exile. And then the third child that they have that dies is Clara, who dies most tragically because she is dragged across Italy, the whole width of Italy in a heat wave because Percy has been with Clare in Lord Byron's villa. Byron turns up and Percy demands that Mary arrive to provide an alibi for his being there with Claire Twat. I know.
- [41:37]
A
And also there's Mrs. Percy that we've forgotten about. Harriet. Cause he is married, everybody with other children, what happens to.
- [41:46]
C
Well, so Harriet is going to survive until 1817. So in 1816, Clare comes back from Lymouth, you know, sets her cap at Byron. Byron is about to leave the country because of his divorce proceedings. It not only is he getting divorced, but the divorce proceedings will reveal that he's had anal sex, which is illegal in Britain at the time. So he has to leave the country for good.
- [42:13]
A
Great choice, Claire.
- [42:14]
C
Exactly. So Claire manages a one night stand with him and he's really not interested in her. And he writes, you know, to his if. Well, he writes to his beloved half sister, you know, who's his great, you know, confidant, maybe lover. Another story, violence story, not our Mary's, that, you know, what could I do? She set a cap at me, you know, what she's supposed to do when it's young.
- [42:36]
A
What else? What could you possibly have done?
- [42:38]
C
Exactly. So she knows that he's going to Geneva, that's where he's gonna start his exile. Because once again, Switzerland is a place for political exiles. Although his exile is actually sociosexual, not political, but never mind. And she says to Percy and Mary, oh, I'm sure you'd find Byron's really intellectually fascinating. Why don't we go and follow him to Geneva? And bizarrely, Percy and Mary go.
- [43:01]
A
Yes, what a great idea that is.
- [43:04]
C
So in 1860, in the summer of 1860, 16, they follow actually they get there before Byron, but they go to Geneva in the footsteps, so pre. Footsteps of Byron and he rents a flash villa, you know, beautiful villa actually, Villa Deodati in the village of Coligny, which is, that's like couple of miles from Geneva city overlooking the lake. And they rent a smaller house down through the orchards at the bottom on the lakeshore where there's a jetty and Percy loves sailing so you know, they're going to sail up and down the lake and it's at Villa Diodati, that Lord Byron ends up proposing the writing competition which will lead to Frankenstein, because 1816 is a year without a summer. So there are storms, there's not just frost in May, there's frost in August. Thousands staff across Europe again, Percy and Mary and Claire will have passed through this and kind of doesn't get a mention in their journals and letters. France does particularly badly because, of course, it's already, you know, catastrophically weighed down by the human cost of the Napoleonic Wars. And so the situation there is really desperate. But what that means for the people on Lake Geneva is there's no sunshine, even though it's summertime. And so there's a lot of dark and stormy nights, all gathering in the salon at Barons Villa and reading each other. Horror stories and Gothic novels have become a thing already in Britain, novels like Otranto. But they want something. They want more thrills, they want something harder. So they read German shudder fiction and they read it in French translation, which shows us they don't actually have German. So the conversations with the medical students must have been in a kind of smattering of languages. But they read Phantasmagoriana, which is a collection of 12 of these shower romance shudder stories. They're really all about necromancy, all about raising the dead again. We can see that tracing its way in the writings. And so Lord Byron says, according to Mary's own words in her introduction to the 1832 edition of Frankenstein, you know, Lord Byron said, we'll have a competition. We'll each write a ghost story. So the we is Claire Clermont, who doesn't take part at all. Percy Mary, who, although she says she listened to their discussions about, you know, the. What's the spark of life now? We don't believe in God and so on. I was a devout and nearly silent listener, she says, but she doesn't think she's so devout and nearly silent. She's not going to take part in the writing competition. Byron and Byron's personal doctor, John William Polidori, who, Byron doesn't know this, but has a contract from Byron's own publisher to write a kind of. Not kiss and tell, but a kind of memoir of his travels with Byron. Oh, so he's a doctor, but he really wants to be a writer. And he, as a result of this competition, is going to eventually write the short story of the Vampire, which is the first vampire fiction and starts that genre. And he's first published as being by Byron, to both Byron's and Polidori's Fury Byron himself starts a kind of starts prose, an orientalist short story, but it sort of starts with a scenario of an Englishman in a Turkish graveyard and then it like obviously doesn't know how to unpack it, so it stops, it's just a fragment. And Shelley starts writing something autobiographical, which also hasn't survived. And Mary can't get started. Can't get started, can't get started. But then does start the Frankenstein story. And then after that summer, at the end of the summer when Claire Claremont has got herself pregnant by Byron, Byron is fed up with them all, you know, because Claire's pregnant, he doesn't want anything to do with the child. And because Percy has become tedious and clingy and is banging on about vegetation, he's got sick of them. And they go back to London, autumn 1816. That's when Mary will write up Frankenstein actually largely in Bath, because they go to Bath again because of Claire Clairmont, because Clare can't be pregnant. We would say pregnant again, but we don't know that pregnant in sight of, as it were the London gossips. So Bath is not actually the most discreet place you could choose. This is the bath of Jane Austen and married fashionable, you know, the whole fashionable world turning up in Bath. But Clare is discreetly housed away from the centre while she waits for her child, for Byron's child to be born. Mary meanwhile is stuck also in Bath because of Clare. Percy is in London. He's not around. Yeah, exactly. But Mary rents above a bookseller's right by right next door to the Pump Room. I mean she couldn't be more central. The Pump Room and the Abbey are right next door to each other. Abbey churchyard. Now it's where the Roman bars are, but at this stage in the early 19th century they haven't been re excavated, they haven't been discovered. In fact, the house where Mary wrote Frankenstein, most of Frankenstein is now the lavatories of, oh, the Roman baths. And their plaque, horribly is by the door to the ladies was just awful.
- [48:07]
A
Oh, oh no. I'll be back with Fiona and Mary after this short break.
- [48:25]
C
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C
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B
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- [49:22]
A
When you read Frankenstein, there's so many different interpretations that you can actually take on it. But I'm always struck by the fact that when you boil it right down to it, Frankenstein is a young, ambitious man who is full of ego and narcissism and who has these ridiculously overly romantic dreams. But actually what happens is it ends up destroying everyone and everything around him. And I just read that and I wonder, was she thinking of Percy? I think she might have been.
- [49:50]
C
I agree, yes, totally. I think so. I think whether she knew it or not, the motive for that portrait of Frankenstein is Percy, because it's extraordinarily precocious to, well, to create a myth in one year, leave alone in one century, you know, and two archetypes, you know, the overreaching golden boy and the othered, you know, the creature who is othered and by his, as it were, father, his maker. And therefore, as a result of the bio society, as a result, gun who goes to the bad. And I, yeah, I can't but think Percy is very pleasant Frankenstein and, you know, everything about his good looks, his good manners, which we were constantly given as assurance in the novel of Frankenstein's goodwill, but I don't think he's any argument for his goodwill.
- [50:41]
A
There's lots of birth imagery in Frankenstein, which is really about, you know, creating life. But then, like the descriptions of Frankenstein's laboratory, which is like a sordid workshop, it's called, and I wonder as well, like, did her constant pregnancy and child loss, did that play into this as well?
- [50:59]
C
I think she can't. I think you're right. I think she can't not have been thinking about birth and its alternatives. I mean, I think one of the strange things about the picture she paints of Villa Deodati and the men are talking, you know, about, oh, what's the spark of life? Is she's the only one who knows about it because she's by then had two children and indeed she's pregnant while writing up Frankenstein, latterly while writing up Frankenstein, of course, also her mother died as a result of giving birth to her. She cannot not be aware of that. And however normalized it is for her, because it's absolutely the story of her life. You know, it's her founding myth, in a way. She can't but see birth as a dangerous. Obviously, everyone in those days saw, understood birth was a dangerous passage for mother and child, but, you know, as really close to death, you know, it's really visceral. I mean, again, everyone's had a child knows that, but, yeah, I mean, she's really the first to kind of bring those visceral into the literary culture, isn't she? The Frankenstein myth is astonishing myth, isn't it? And one of the things that I have really, really learned over the years now of kind of revisiting it, retalking about it, we're talking about with different people in different contexts and so on, is just how spacious it is, how many things it opens out into.
- [52:21]
A
And it's incredible, really. It's an amazing piece of work.
- [52:24]
C
It is, isn't it? And one of the things that it does, I think, open out into is mothering. The question not only of birth, but of mothering after birth and upbringing. Wollstonecraft believed in adoption. Wollstonecraft specifically wrote that, you know, nurture could be as important as nature in bonding. And I think that Mary, who never had stepchildren, but had been a stepdaughter, did and didn't believe that. But I think that one of the things that Frankenstein, her novel, does puzzle over is the unprotectedness. You know, we are thrown into the world, and she tries to stage that with the creature. You know, he's okay. He's supposed to be beautiful. Frankenstein wanted him to be beautiful. He took lots of the most beautiful parts of dead bodies and put them together, and, of course, the result was not beautiful. When the creature gives his great account for himself to Frankenstein, which Frankenstein will then tell to the sea captain going to the ultimate north Dundee, what the creature says is that, you know, I was naked, you know, when you ran away from me in horror, out of your workshop, I was naked. I had nothing. I didn't have language. I understood nothing. He's like a Spartan baby, kind of exposed on the hillside. I mean, it's he himself who runs out of the workshop also. But he has to learn everything. He has to learn how to be human, which, of course, we all have to do. But most of us have helping hands. Yeah, exactly.
- [53:45]
A
So we've got this young girl pregnant all the time, baby loss, weird sister around. She's written this incredible novel. Mrs. Percy has killed herself by this point, hasn't she?
- [53:56]
C
While Mary is writing Frankenstein, there were two suicides the second one is Harriet, who walked into the serpentine and the freezing serpentine, and he's pregnant for the third time. And Percy uses that sweetly as an opportunity to claim that, you know, she is a fallen woman. And, you know.
- [54:13]
A
Oh, he really is a piece of work, isn't he? My God. Right. Okay.
- [54:17]
C
He's been in London all this time while Mary's been in Bath, and Harriet's suicide note implicates him. She doesn't say, I am pregnant by you, but she says, you abandon me again is the last straw.
- [54:32]
A
Right.
- [54:33]
C
Okay. Again, the scholar in me says we can't be sure, but it just does. When you close, read the evidence very lightly. It was Percy's child. So she kills herself. And Percy will then, at the beginning of the new year, marry Mary again for expedient reasons, because he hopes that that will mean that the Lord Chancellor awards him custody of his children. In fact, the Lord Chancellor doesn't. He doesn't think he's a fit father. So they don't get custody. Well, exactly. The Lord Chancellor was white. It's such a mess, isn't it? It's such a mess. And meanwhile, also a couple of months earlier, Mary's half sister Fanny has killed herself. So Mary's half sister Fanny is described by everyone in the family as really plain. And I discovered the report in the local newspaper, the Canberra News, which actually still exists, of the discovery of her anonymous suicided body in Swansea Hotel. Why is she in Swansea? Because she's living in London. Well, she's in Swansea because her aunts, so Wollstonecraft's sisters, had promised her that she could come and teach with them in Ireland to a school they were setting up. And they'd sailed from Swansea to Ireland, but at the last minute, they told her she couldn't come because she wasn't respectable. Because of our Mary's shenanigans. Oh, no. Annie is then left with no hope and she follows them to Swansea. But very oddly, she doesn't take the usual connections you can use that word for stagecoaches from London to Swansea. She goes via Bath and she changes at Bath. We know this because in the newspaper report, there's a witness statement from someone who was on the stagecoach with her who says she seemed very upset. She got on at Bath. We. We traveled from Bath together. So why did she come to Bath? Did she come to see Mary? Or did she come to see Percy? Or did she come.
- [56:25]
A
No.
- [56:26]
C
And then Mary's journal for the day. I know. For the day in which Fanny Changes stagecoaches in Bath and the places where the stagecoach the state. The coaching inns are really close to the center, really close to Abbey Churchyard, where Mary and Percy live. Percy, when he comes, you know, when he visits. Not like the other end of Bath. And it's a big city. No, no, like 200 yards away. Mary says, went for a walk to South Parade. I think it's South Parade, which is like, why would you write that in your journal? It's like two streets over. It's like an alibi. And she also says she has a drawing lesson, but it's not the day for her normal weekly drawing lesson. So it's like she's writing an alibi again. We can't be sure, but it's really peculiar. And then the newspaper report says, among other things, which are very touching light, that the dead woman has mwg Mary Wollsoncraft Godwin embroidered the initials embroidered into her stays. And she has a little bead necklace, but nothing to identify her. But she has a gentleman's red silk handkerchief. Who gave that to. Is it Percy's handkerchief? Who knows?
- [57:32]
A
Oh, he just needs to be put in the bin immediately. I just like the wake of heartbreak that this man leaves in his trail.
- [57:42]
C
Is unreal because he instantly, when they know, oh, it's strange we haven't heard from her, he instantly leaps up. He says, I must go to Swansea. So he kind of knows something's wrong.
- [57:51]
A
Oh, he knows. Yeah, he knows. Oh, and then the silly sod up and drowns himself. Well, he doesn't do it on purpose, but he dies, doesn't he, after all of this.
- [58:02]
C
He dies after modifying his boat because he has got a boat envy because Byron has a bigger, better boat.
- [58:10]
A
That's a bit Freudian, isn't it?
- [58:11]
C
There we go. Personally modified. So by now they're living in Italy in exile. Frankenstein has come out, but anonymously, and they live for Pisa in Peter for a couple of years. And Byron's living nearby. And Byron, fair play to him, respects Mary as a writer, thinks Frankenstein is a great achievement. Really has a lot of time for her and never hits on her point.
- [58:29]
A
For Byron. Oh, okay. That's not what I'd expect from him.
- [58:32]
C
I know there's a kind of, you know, he really comes out of it very well, actually. He really comes out of Mary's story very well. And the other person who comes out of it really well is Alexandros Mavrokodatos, who will be the founder, in effect, of the modern state of Greece. Who. Okay, Byron goes Off he's going to fight for Greece and obviously he will die there. But it's Mavrokordatos who remains a kind of pen friend of Mary's, even while he's found in Greece. So again, someone, a man who really respects Mary and sees her as a thinker and a mind and a person, and doesn't seem to have hit on her, though maybe he did. So come 1822, Byron's got a boat. Percy's got a boat. Percy then has his boat modified with a longer prow to go faster and so on. Silly sod, but doesn't test it out. Sails kind of across the armpit of, as it were, of Italy, the kind of from near Genoa to Livorno. Coming back, is caught in a summer storm with the partner, the unmarried partner of the woman he is by then having a romance and probably an affair with.
- [59:34]
A
Oh, he just put it away for two minutes, Percy, my God.
- [59:39]
C
And leaves Mary, you know, a widow. And Mary will then have terrible difficulties because Percy has, by the end of his life, been telling everyone, my wife doesn't understand me. And it was so difficult for me, my genius would be untrammeled if only I could get rid of Mary and domestic considerations. And so when he dies, his circle do not support her, they really abandon her. Leigh Hunt has come to Italy to found a magazine. Suddenly, his funders, Shelley, has gone and Byron's lost interest, but he expects Mary to put him up. So Mary accommodates Leigh Hunt, his wife and their large family, paying all the bills for almost a year before she goes back to London, where she follows Jane, whose partner had also drowned in a boat with Percy, who has meanwhile been in London, saying, yes, I'm Percy's true love. Mary was such a nuisance, such an incumbent, she didn't understand him. So that when Mary gets in London, there's no support there either, and it's really difficult for us to survive. She has one surviving child, Percy, conceived in Florence. Percy, Florence is his name. Although he is then the heir to the baronetcy, his grandfather won't support him, wants to take custody of the child and you can see why. But Mary refuses fair play. And Sir Timothy then says, okay, you can have a really small allowance, but it will be a loan, it will be lent against his future inheritance, that's all. And so Mary has to work, become a jobbing professional writer in order to pay for Percy, Florence's education and upkeep. And her reward eventually, is that Percy, Florence, becomes a really devoted son and a kind of keeper of the Flame. And bizarrely, they end up in Bournemouth, of all places. And that is where Mary is buried and it's where she reburied her parents, and it's where she's buried with Percy's heart. So there will be.
- [61:27]
A
I was about to ask you that as a final question. Is it true then that she kept a piece of his heart?
- [61:34]
C
Well, I mean, it may not have been his heart, but it was a bit of gristle that was, you know, plucked from the flames, because.
- [61:39]
A
Sounds quite fitting actually, for this man. Gristle where her heart should have been?
- [61:43]
C
Well, cardiac. Been a pretty dried up Kermit of a heart, wouldn't it, if it were his heart? So when the boat goes down in a summer storm, eventually the bodies wash up. That's to say the cabin boy, Edward Williams, who's a partner of Jane Williams, and eventually Percy. And because they've been in the sea, but also because of quarantine regulations in Italy, always bodies would have to be covered in quicklime and left on the beach and then burnt on the beach. And so Trelawney, who was another of the dodgy characters who's kind of circling around the Shelley, Byron Nexus, is a kind of self declared sea captain and who is advised on the dodgy boat which has gone down, thrusts his hand into flames and pulls out what he claims has showed his heart, though quite how he would open the chest cavity, etc. Etc. It's probably a big toe or something. He snatches something. After a while, Mary has to really push for it because again, there's this story that, you know, Mary doesn't really love Percy. Mary isn't, you know, Percy's the keeper of Percy's flame. In turn, eventually Mary gets it and she keeps it in her writing desk and in a little bag and then.
- [62:52]
A
It'S, oh, my God, you have been incredible to talk to. I could keep you here for hours. Actually, we could just do more Percy bashing. He hasn't come out of this very well, but I think Mary does. And her work endures and her legacy endures.
- [63:10]
C
It does, doesn't it? I mean, I just went to see the preview of the Del Toro film last week and thought, yes, hurrah, you know, the double myth is, you know, being perpetuated. And of course, the other thing we shouldn't forget about Mary is we know about Frankenstein, but we forget about the Last Man. She also wrote the first dystopian novel and it's about a world ending pandemic.
- [63:28]
A
Oh, she was clever, wasn't she?
- [63:30]
C
Clever.
- [63:30]
A
Fiona, you have been magnificent to talk to. Thank you so much for fleshing out this incredible woman. If people want to know more about you and your work, where can they find you?
- [63:40]
C
Well, my website is fionasampson.co.uk. surprisingly enough, and all my books are there too. And it's In Search of Mary Shelley, the Girl who Wrote Frankenstein, which is rather a long title, but it kind of made sure we got Mary and Frankenstein in the title.
- [63:52]
A
Thank you so much. You have been marvelous.
- [63:55]
C
Thank you so much Kate. This is great.
- [63:59]
A
Thank you for listening. And thank you so much to Fiona for joining us. And if you like what you heard, don't forget to like, review and follow along wherever it is you get your podcasts Coming up, we have got an episode on how 600 women in Renaissance Italy murdered their husbands and what was Van Gogh really like? Challenging, I think is the word that you would generously use for him. If you would like us to explore a subject or if you just wanted to say hello, then you can email us@betwixtistoryhit.com join me again betwixt Twix the Sheets the History of Sex Scandal in Society, a podcast by History Hit. This podcast contains music from Epidemic Sound.
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