It’s almost a decade since Ahmed Saadawi wrote and published Frankenstein in Baghdad (2013). Yet with its English translation by Jonathan Wright only published in 2018, its impact has been felt belatedly in many Anglo-centric literary circles. One can’t help but wonder at the conjunction of the novel’s publication with the two hundredth anniversary of its predecessor. Mary Shelley’s Frankenstein was first published in 1818, and it’s tempting to think that the introduction of English-speaking readers to Frankenstein in Baghdad was deliberately timed, however unlikely that may be. In any event, Saadawi’s novel functions not only as a fascinating retelling, but also as a darkly funny and moving story about war, loss, and vengeful bodies.
From the moment the giant, snarling werewolf emerges from the floor, you can see where From Software’s Bloodborne takes its inspiration.
We live in a time of remixes. Arguably, we live in a time that is itself a remix. Culture, history and politics all seem to repeat themselves, changed only slightly from one iteration to the next, with increasing rapidity. Whether it’s blockbuster movie sagas or wars in the Middle East, everything seems unpleasantly familiar.
It is 1816 and a nineteen-year-old Mary Shelley is staying in Geneva, Switzerland, with Lord Byron, John Polidori, her stepsister Claire Clairmont and her lover, Percy Bysshe Shelley. The group engage in a task: write a horror story. Excited, Mary begins, not knowing just how much her own story and characters will haunt her.
“There could be an opening of a mental space for novelists to explore this future, not in terms of travelling at 10 times the speed of light in anti-gravity boots, but in actually looking at the human dilemmas of being close up to something that you know to be artificial but which thinks like you. If a machine seems like a human or you can’t tell the difference, then you’d jolly well better start thinking about whether it has responsibilities and rights and all the rest.” – “Ian McEwan: ‘Who’s going to write the algorithm for the little white lie?’”
With this dismissive opinion of science fiction – writing that’s full of fun and gadgets, perhaps, but ultimately vapid and ignorant of more important concerns – Ian McEwan not only set the genre internet alight but also added himself to a list of hoary old authors and critics who’ve blithely dismissed genre fiction as little more than children playing with toys while the adults look on indulgently.