Allow me to introduce you to Oliver. Oliver popped up one day on my twitter feed. Oliver’s pronouns are they/their and they are a high school student living in Michigan. Oliver has an incredible passion for poetry and Shelley in particular. Oliver started asking for book recommendations - and they devoured them. They started doing research and bringing new findings and perspectives to our twitter feeds. Oliver started engaging with a large cross-section of the online Shelley community - ranging from amateur fans to some of the most respected academic authorities in the world!
There’s something in the Romanticism of Percy Shelley that seems always on the verge of breaking down the gate-posts of history and gusting into our world. The archival shackles in which the academic humanities prefer to keep their spectral versifiers and yawping hobgoblins enclosed seem especially frangible and ill-suited to the reluctant baronet’s “sword of lightning, ever unsheathed, which consumes the scabbard that would contain it.” Shelley is present in our efforts to meet and counteract the predicaments of our moment (from the mendacious mis-rule of government elites to the devastation of natural habitats for profit) in a way that Wordsworth, scrummily in awe of Nature and his own perception of it, is not – or at least, not so fluently.
This is a Marxist evaluation of the poet Percy Bysshe Shelley by Eleanor Marx and Edward Aveling. It was delivered as a speech to the Shelley Society in April of 1888. This is the only complete and authoritative version of the speech that is available on line. It is almost impossible to find in a printed format.
Paul Bond’s essay is nothing less than a tour de force encapsulating and documenting Shelley’s reception by the radicals of his own era down to those of today. His article is wonderfully approachable, sparkles with erudition and introduces the reader to almost the entire radical dramatis personae of the 19th Century. I think it is vitally important for students of PBS to understand his radical legacy. And who better to hear this from than someone with impeccable socialist credentials: Paul Bond.
The Shelleys’ collaborative literary relationship never had a constant dynamic: as with the nature of any human relationship, it changed over time. In Dr. Anna Mercer’s research she aims to identify the shifts in the way in which the Shelleys worked together, a crucial standpoint being that collaboration involves challenge and disagreement as well as encouragement and support. Dr. Mercer suggests despite speculation about an increasing emotional distance between Mary and Percy, the shift in collaboration is not so black-and-white as to reduce the Shelleys’ relationship to one simply of alienation in the later years of their marriage.
The Frankenstein exhibition at the Fondation Martin Bodmer in Geneva provides a journey, in which you first encounter the Shelleys’ works, and then the connections within those works to Geneva itself. We are presented with contemporary scenes of Geneva (in order to understand the Swiss town as Mary would have seen it), and the more unchanging forms of the French Alps.
P B Shelley’s ‘Mutability’ can, in this way, promote discussion of the Shelleys’ creative collaboration. What we know of the Shelleys’ history provides evidence for their repeated intellectual interactions, as Mary Shelley’s journal shows an almost daily occurrence of shared reading, copying, writing and discussion. The Shelleys’ shared notebooks (not just the ones containing Frankenstein) also indicate that they would use the same paper to draft, redraft, correct and fair-copy their works.
