The Last Man

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Dover Publications, 2012 - 342 Seiten
From the author of "Frankenstein" comes this apocalyptic tale of a world devastated by plague. Mary Shelley's 1826 "roman a clef" takes place in the late twenty-first century, as England's last king abdicates and a charmed circle of idealistic political reformers plunges into a maelstrom of war, pestilence, and anarchy.
Shelley wrote this gripping novel after the untimely deaths of her husband, Percy Bysshe Shelley, and their comrade, Lord Byron. She modeled a pair of characters on the charismatic poets and based the narrator--the sole survivor of a pandemic--on her own persona. This parable of humanity's destruction by plague is widely regarded as a repudiation of Romanticism and its failure to solve the world's problems through art and philosophy. It reflects the ways utopian ideals, unchecked by moral and ethical standards, can shatter society.
Misunderstood by nineteenth-century readers, Shelley's visionary novel disappeared for over a century, only to reemerge to critical acclaim as a precursor of science fiction and a forerunner of modern apocalyptic tales. Novelist Muriel Spark hailed it as the harbinger of "an entirely new genre, compounded of the domestic romance, the Gothic extravaganza, and the sociological novel," and pronounced it Shelley's "most interesting, if not her consummate work."

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Autoren-Profil (2012)

Mary Shelley (1797-1851), the only daughter of writers William Godwin and Mary Wollstonecraft, and wife of Percy Bysshe Shelley, is the critically acclaimed author of Frankenstein, Valperga, and The Last Man, in addition to many other works. Mary Shelley's writings reflect and were influenced by a number of literary traditions including Gothic and Romantic ideals, and Frankenstein is widely regarded as the first modern work of science fiction. Today's scholarship of Mary Shelley's writings reveal her to be a political radical, as demonstrated though recurring themes of cooperation and sympathy, particularly among women, in her work, which are in direct conflict with the individual Romantic ideals of the eighteenth and nineteenth centuries.

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