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Glenn Ligon, Study for Frankenstein #1 Copyrighted Material Black Frankenstein The Making ofan American Metaphor Elizabeth Young N EW YORKU NIV ER SI T Y PR ESS New Yor k and London Copyrighted Material Copyrighted Material NEW YORK U N IV E RS IT Y PRE SS New York and London www.nyupre!;S.org 1I:l 2008 by New York University All rights reserved Extract from "Dreaming Frankenstein" from Dr~amil1g Fra n ke nst~ i l1 and Collected Poems by l iz lochhead is reproduct'd by perm ission of Polygon, an imprint of Bi rlinn I.ld. (wwwbuhnn.co.uk). A portion ofchapter 4 originally appeared in "Here Comes the Bri,k Wedding Gender and Race in Bride of Frankel1Sl e i n .~ Feminist Stud ies 11. 3 (fall 1991): 403- 37. I [BRARY O F CO NGRESS C AT A L O G I I' G · [N · PUB liC A TI O l' OATA Young, Elizabelh. Black Frankenstein : the making of an American metaphor I Elizabeth Young. p. em. Includes bibliographical references and index. ISBN- 13: 978 - 0-8[47-9715-0 (cloth : alk. paper) ISBN - IO: 0- 8147- 9715- 6 (d oth : aIk. paper) ISBN- 13: 978- 0-8'47-97'6-7 (pbl.. : alk. paper) ISBN - Io: 0-8147-97[6- 4 (pbk. : alk, paper) J. American literature-While authors -c- Htstory and criticism. 2. American literature- African American authors-History and criticism. 3. African Americans in literature. 4. Ract' in li terature. 5. Race relations in literature. 6. Frankenstein (Fictitious character) inlilerature. 7. Frankenstein (Fictiliom character)-Polilical aspects. 8. Monsters in literature. 9. Mctapbor in literature. 10. Monsters in motion pictures. I. Title. PSI73.S4Y68 2008 810.9'352996073-dc22 2008008049 New York L:nivers ity PIt'SS books are printed on acid·frrt papt'r, and tht'ir binding materials art' choSt'n for slrength and durability. We strive to use environment ally responsible supplien and materials to the greatest extent possible in publishing our b<xlks. Manufactured in the United State, of America Cl098 765432 1 P,098 7 6S4 321 Copyrighted Material Copyrighted Material Contents List ofIllustrations ix Acknowledgments xr Introduction , , United States of Frankenstein '9 z Black Monsters, Dead Metaphors 68 3 The Signifying Monster >07 4 Souls on Ice ' 59 Afterword "9 Notes 23' Index 293 About the A uthor 308 vii Copyrighted Material Copyrighted Material Illustrations t , Frank Bellew. "The Modern Frankenstein" 39 ,. Henry Louis Stephens, "I he New Frankenstein" 49 3· Atlanta University Bulletin 6, 4· Peter Newell, "In the Laboratory" 85 5· Edison Fra nkenstein , 64 6. Edison Frankenstein , 65 7· Edison Frankenstein , 66 8. Edison Frankenstein , 67 9· Birth of a Nation ro. Bride of Frankenstein '"78 u . Bride of Frankenstein ,85 t z. Bla ckenstein '9' ' 3· Bla ckenstei n ' 93 ' 4· Blackenstein ' 94 ' 5· Blackenstein poster ' 95 , 6. Jerry Yulsman, Dick Gregory photograph ' °5 ,? Milton Glaser. Dick Gregorys Fra nkenstein "4 , 8. Glenn Ligon, Stu dy for Frankenstein #1 "3 tx Copyrighted Material Introduction You can teach an old mc taphor new tri cks. In the Fratlken­ stein story, first introduced in the nonl by Mary Shelley in t8J8 and made famou, On film by lam c'S Whale in 19.;1, a mon. ter, a"embled (rom corp'" and reanim.ted , rebd, violen tly ag.in,t hi, creator. The Franken· stein story has a long history of be ing used as a political metaphor, and at the star! of the twemy-first centu,y, it C<lO tinues to shape political de­ b.te, Co nsider. for examp le. critiques of U.S, foreign policy in the wake of 91t1. In "We Finally Got Our Franken' tcin:' fi lmmaker )'l iehacl Moore c"mpare, Iraq ; leader Sadd . m Hussein to the Franke n,tein mo nster: "We ha d a virtual love fest with this Fran kenstein whom we (in part) created. And, ju, t lih the myt hical Franken,tein, Saddam eventually , pun oul of controt. He would no longer do what he w"' told by his master. Saddam ha d to be (O ught." Moore con,iders Hu,-ein One of ma ny mon, te" cre­ ated by the U.S. govern m<'nl, including Chama bin Laden - "Our other Frankenstein"- and a roster of right-wing dictato rs: "We liked playing Dr. Fran ken,tein. We er"ated a 101 of mon ,ters - the Shah o(Iran, s"mo?; of Nicaragua, Pinoc het of Ch ile- and then we expressed ib'l1 0ranCC or , hock when they ran amok and massacred people."' Moore uses the Fran kem tein metaphor to condemn the U.S, govern · mem for · playing Dr. Fran k e n s tcin,~ con duc ting a scien! ific experimen! tha t i, also. "1 0,"" fc",t" gone wrong. :'>J ov"li,t Carl o, Fuent,·, ,,!f,·c• • simi­ lar cautionary talc but links the monster to a familial metaphor: "Sadda m Hussei n wos S. ddam Hussein becau, e the Unitcd State< gave him all po",ihle , upport. The Un itc'd States i, extr.ordinarily gitied in creating monsters like Fran kenstein. Then one fi ne day they di,cover that the,e Franken,tein' arc dre. dfuL However, for twenty yeo" they were the , poilt children, their pro tege,. and the b.bie5 of the United State':" lournal· ist :\-l aurccn Oo....d invoke, the idea of religiou, owrreaching when , he condemn, Vice Pre,ident Did Chem'y "and hi, era/y-eyed Ig"" at the Pentagon [for] their hung er to remake the Middle Ea.!. It', often 5ccn in , Inl,od"clio" s ~ a r y movies: you play God to ~reate something in your own image, and the mons tcr you mak c cnds up coming altcr you." Shc ren amcs Ihc " ice pre,ident "Dr. Cheney' tcin_~ " Even when thc mct aphor is nol direct ly n.mcd, Fra" ke"st<'in informs contemporary critiqu<" of U.s. foreign poli cy. "B l" whac k~ i' the term pop' ularil ed by Chalmers fohllsoll 10 describe contcmporary violence agai nsl the United States Ih. t rcsults from its foreign policy, "Thc mo st direct .nd obviou, f"rm of blowback oftell o~~ u r, when the v i ~tim , fI ght ha ck alter a sccrct Ame r ican bomb illg, or a u.S.-spo nsored ~ampaigll of state lerror­ i' m, or a CIA-enginee red o verthrow of a f"reign politi",l leader."' With ih plol of boo mcrang ..iolencc. Fra" kenstei" is thc embodime nt of blowback, or as another commentalor summari,.e'S the theo ry, "}Jaw the own>!cr has turn"" on ii' crealor."' In M" l/it",/e: \'I.'" , ""d [Jemonoq ill II.. Age of f:mpire (ao04), Antonio Il ardt and Michael Negri extracl a dilfercnt po ­ litical !csson from Fm"",", t,'i" . They open the volume, the sequel to their intluential Empire (aooo), with a discussion of the Fran kenstein monster . nd the golem, ."other fictiona l mo",ter who rebels agoi" st hi' cre.tor. Wr iting "under the cloud of war ... belween Seplember Il, 2001, ond Ihe 2003 Iraq War," Hard t an d "'egri suuest that both monster and golem are "whi, p,-ring to u, , e ~retly under the din of our global banlefield .. 0 lesson abo ut the mo nstrosity of war and our po"ible redemption through love." ' Later in th,- volum e, lI ardt and "'egri m e the f ranken,t,-in mOo­ 'Ier as the al1i rmative , ymb,,1 of the " m ulh tu de ,~ their mo del of a global democral ic proletariat. Since "Fra nkenstein is now a mem ber of the fam ­ ily; th y a"~rt, " [t]be n ~ "'" world of mon,ters i' w h ~ r ~ hum.nity h.. (" gra,p iis fu ture."' Hard t and Negri are vague on Ihe J etails of this vision, bUI Ihcy arc d early faithful to Mar y Shelley's own dcpict i" n of thc mon­ 'Ier as a sympathetic ligure. Thc "Iovc fcst" of ,\10o rc', "We Fillally Gol Ou r Fran kenstein" has become the "redemption thro u ~ lo..e" promptcd by mon,ter,. These are disparate examples. vary ing in tone, soph istication, and lar' ge!. .'vly interest is in the metaphor ic figure they employ as much as th e politica] gro"nd they " ecupy _or ra t h~r, in the way the figure . h" p ~< thf grou nd. )"1otJl'hors n,atler 10 culture and Ihought, and these examples all ' ugg,', t the conti " uing vitality of th~ franken,t,-in met.phor for ,hap­ ing ~onte m pora r)" polilical crilique and. in particular, for void ng di,­ scnt agJinst clites whose polleies arc seen as misgu ided in intention and di,astr"", in dkct. Cr itique" of U.S. power ar<' () nf inhe ritanc e of thf Franken,tein 'tory in a 1'0' 1' 9/ 11 worl d; expressions of , ympalhy for Ihe Imrodudicn mons tro u, violence that delin", that world are another. W hat we might call the "blowback" an d "sympathy" themes of the Fraokon,tein story extract dirf,'rent hut compkmont ory mcanings fr" m it, using it to "iti· oile monster-m, kers and to explain mon strous violenc e, if nOl to dd end mnn,t"" thcm solve. _ Highlighting .omo contomporary political uses of the Franken. tein mdaphor, these examp les also sugg'''1 snme amb iguitks intri nsic to Ihis me t. phor. Mooro omplo y_ "Fran h'mtcin» to ,ignal both monster .
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