Morin 1

Amelia Morin
Mrs. Jurczyk
Lit 1011 ECE
May 4th, 2016
Frankenstein Article Essay
Monstrous Interlocutor1
The article What is a Monster? by Peter Brooks attempts to explain the nature and
reasoning of the Monster in Mary Shelleys Frankenstein. Throughout the article, the author uses
a psychological school of thought known as Lacanianism. The Lacanian theory that is
predominantly used in this article is known as the Theory of the Three Orders, and it describes
three layers of the human psyche: The Imaginary, The Symbolic, and The Real. The Imaginary
Order describes the formation of the ego in a time known as the mirror stage, which is loosely
tied to the first eighteen months of a childs life. The mirror stage is when the child begins to
recognizes itself in the mirror, and it is the time when a child can begin to view their reflection as
a separate object outside of themselves. Another of the Lacanian Orders is the Symbolic Order.
The Symbolic Order is most closely linked to language and culture; it largely deals with the
conceptual ideas in language, or more specifically, the words that do not have a direct connection
to the physical world (i.e. freedom, peace, happiness, etc.). The third order is the Real; the Real
deals implicitly with all that is not part of the Imaginary or the Symbolic, and explicitly deals
with the truth as it refers to human existence and the experience of Self2. Peter Brooks uses the
Lacanian Theory of the Three Orders to give an explanation of the Monsters motives and
reasoning throughout Mary Shelleys novel, Frankenstein.

In the OED, Interlocutor is defined as One who takes part in a dialogue, conversation, or discussion. In pl. the persons who
carry on a dialogue.
2
In this instance, Self is defined as the collection of personal experiences unique to an individual.

Morin 2
In Peter Brooks article, the author only utilizes two of the aforementioned Lacanian
Orders: the Imaginary and the Symbolic. When the Monster first sees his reflection in the water,
even he is initially repulsed by the realization that the hideous figure in the pool is actually
himself. This is a direct relation to the order of the Imaginary, because this time is the Monsters
mirror stage. At the critical moment to build the Monsters ego, within his first eighteen months
of life, his ego is crushed under the weight of the countenance that the water mirrors back to his
eyes. As the Monster continues his journey through foreign sensations, he begins to learn
language. Despite initial difficulties, the Monster quickly grasps the words that are tied to the
physical world. He begins to learn and apply the words fire, milk, bread, and wood (Shelley
77), but remains [un]able as yet to understand or apply them; [words] such as good, dearest, and
unhappy (77). The order of the Symbolic is very closely related to conceptual words, and Peter
Brooks focuses on the Monsters eventual mastery of the concepts of loneliness and otherness. Brooks shows a continued interest in how the Monster uses this conceptual language to
indicate his desire for a mate to Frankenstein.
Another major focus of Brooks article is the importance of language; and he was
particularly interested in a type of framework known as a narrative contract. A Narrative
Contract is the the interaction of two conscious minds, where the listener willingly subjects
themselves to the emotional truth in the words of the speaker and where the end goal is for the
listener to be capable of reiterating the desires of the narrator and potentially take action to fulfill
those desires. Another linguistic feature that Brooks addressed was the signifying chain of
language, which is an assumed hierarchy of interaction and interpersonal relationships that is
formed by the existence of language. The signifying chain is the part of language that
distinguishes a king from a peasant, parents from children, teachers from mentors, and siblings
from each other. In Mary Shelleys novel, the Monster is excluded from this signifying chain

Morin 3
because his countenance is too hideous to be accepted. The fear that his face imbues is acutely
exemplified when the Monster stumbles into a village, after only recently gaining life, and the
villagers chase him from their town because he is too frightening. In his narration to M.
Frankenstein, the Monster states,
...but I had hardly placed my foot within the door, before the children shrieked,
and one of the women fainted. The whole village was roused; some fled, some
attacked me, until, grievously bruised by stones and other missile weapons, I
escaped to the open country. (Shelley 73)
The Monster seeks out his creator, M. Frankenstein, desiring a female mate. With the addition of
a female mate, the Monster can enter the signifying chain of language because there will finally
be another being who can understand his experiences and connect with him on a deeper level. By
creating another monster, the Monster will be granted access to the interpersonal relationships
that he has previously been denied.
The article What is a Monster? by Peter Brooks is well-written article based off of
poorly-written psychology. The school of Lacan is a widely discredited method of practice and
treatment, with a small, cult-ish following. Dylan Evans, a former Lacanian psychologist,
criticized Lacanian psychology for having a weak scientific base and for incorrectly treating
many of the patients it was used on. Evans also continued on to criticize Lacans followers,
claiming that they have taken Lacans writing as holy writ3. Another notable author who
decries the works of Jacques Lacan is Richard Webster. Websters publications detest Lacans
obscure definitions for his theories and Lacans arrogance concerning the correctness of his
theories. Webster acutely criticizes the formation of what he calls the cult of Lacan, Lacans
dedicated followers who practice and treat his theories similarly to gospel, and staunchly defend
any and all scientific bases that can be found in Lacanianism.
3

In the OED, writ is defined as Something written, penned, or recorded in writing; a writing.

Morin 4
Although the overall argument presented in What is a Monster? has valid points and
discusses valid reasoning for the Monsters overall motivations and desires, the structural support
that Brooks uses is extremely poor. By using the controversial and widely discredited
psychological school of thought, Lacanianism, Brooks opens his article to criticism that could
have been avoided if he had utilized different research to support his ideas. Ultimately, although
Jacques Lacans theories fit the Monsters motivations, Lacans work is simply too controversial
to be used as the basis of a credible argument.

Morin 5
Works Cited
Brooks, Peter. What is a Monster?. Body Work. Cambridge: Harvard University Press, 1993.
199-220. Rpt. in Frankenstein; or, The Modern Prometheus (The 1818 Text). By
Mary Shelley. New York: W. W. Norton & Company, 2012. 368-390. Print.
"interlocutor, n.1." OED Online. Oxford University Press, March 2016. Web. 8 May 2016.
"Jacques Lacan." Wikipedia. Wikimedia Foundation, 6 May 2016. Web. 10 May
2016.
Johnston, Adrian. "Jacques Lacan." Stanford University. Stanford University, 02
Apr. 2013. Web. 10 May 2016.
Shelley, Mary. Frankenstein; or, The Modern Prometheus (The 1818 Text). Ed. J. Paul Hunter.
New York: W. W. Norton & Company, 2012.
"writ, n." OED Online. Oxford University Press, March 2016. Web. 10 May 2016.