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BHA83.666: Frankenstein, The Elephant Man & Logotherapy in Practice on 'Lighting the Void'
This week, I share with you my most recent guest appearance on my longtime friend Joe Rupe's show, Lighting the Void.
You can listen to the episode right here or wherever you stream your podcast action!
By telling the traditional story of Mary Shelley's Frankenstein (which is far more alchemical and esoteric than the Universal rendition), the heartbreaking and triumphant story of Joseph 'Elephant Man' Merrick, and discussing some of Viktor Frankl's survival of the Auschwitz concentration camp (and development of logotherapy), we try to understand the struggles in our own personal lives a bit more. Relativizing one's own suffering can be problematic, surely, and should be done with caution -- but looking into the stories of people with struggles far greater than your own can give great perspective and inspiration.
We hope you dig the listen!
BHA Linktree with my books, website and all
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Exploring The Inherent Queer Undertones Of Mary Shelley's "Frankenstein"
Earlier this month, the National Theatre in London made its 2011 production of Frankenstein, adapted for the stage by Nick Dear and directed by Danny Boyle, available to stream for free via their YouTube page. There were two separate recordings of this play, one featuring Jonny Lee Miller as Victor Frankenstein and Benedict Cumberbatch as the Creature, and the other featuring the actors in swapped roles (Miller and Cumberbatch alternated the parts throughout the production’s run).
"Frankenstein" is a novel of many meanings. It is not only a distinctly queer work, but a feminist work, a work of social critique and an examination of the human condition.
The motive behind this theatrical switcheroo is rooted in the themes of Mary Shelley’s classic novel and Dear’s adaptation: it highlights the dichotomy of these two supposedly different beings, the idea that they mirror each other in every way. As such, the line between man and monster, between “good” and “evil,” is so thin, it's practically invisible. However, Dear chooses to punch up this aspect of Frankenstein into truly grotesque territory, injecting his play with violence and a graphic scene showing the Creature rape Eliza