Counterfactual obstetrics
Mary Wollstonecraft’s Frankenstein
in Counterfactual Romanticism
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

In creative-critical mode, this chapter develops a theory of critical obstetrics, exploring a series of counterfactual scenarios beginning with Mary Wollstonecraft’s recovery from puerperal fever in September 1797 and resulting in the ‘miracle counterfactual’ of (a version of) Mary’s Shelley’s Frankenstein being written by Wollstonecraft at the close of the 1790s. Analysing the nature of the counterfactual prompts that suggest such a scenario, the chapter uncannily appropriates Frankenstein as the mother’s text in order to explore not only what a necessarily ‘zombie’ Wollstonecraft might have gone on to create, but also the nature of our own critical and affective relation with her death. Seeking to challenge pious memorialisations of Wollstonecraft and the tyrannous stratifications of literary historiography, the chapter – in uncanny speculative mode – profiles the novel of the Irish Rebellion that Wollstonecraft went on to publish in 1799, delivering the reader into a refreshingly troubled relation both to Wollstonecraft and to her daughter’s novel.


All Time Past Year Past 30 Days
Abstract Views 26 26 0
Full Text Views 2 2 0
PDF Downloads 0 0 0