There are quite a few reading lists for those at home during Pandem-Mania 2020, especially for those readers on furlough from work-at-the-office as well as those confined to home and unemployed who want their imagination to feed on apocalyptic stories of plague, pestilence, even influenza. For a sampling of these lists, see here, here, here, here, and here.
I am neither staying at home nor unemployed; my Muggle job that pays my bills whilst I write my thesis is in a grocery store which the state of Oklahoma has deemed an “essential business” akin to marijuana dispensaries and abortion clinics and unlike casinos and churches. It has been, consequently, a relatively unstressful time for me as my daily routine has only been changed in how I must dress at work (face mask required) and the atmosphere of fear the grocery store customers bring to their shopping. I wish that these small troubles were the rule for HogwartsProfessor readers during this unprecedented lockdown and pray that it ends soon, ends well, and that the country is back to work and free of this contagion.
I did order a copy of Mary Wollstonecraft Shelley’s The Last Man and read it. Forgive me if this confession is disappointing to you but I had never heard of the novel before seeing it one of the lists above and I consider myself a great fan of Frankenstein. I have written three posts at this website on the alchemy and chiastic structure of that novel and have spent more time than I should perhaps in private meditation on its relationship with Coleridge’s ‘Ancient Mariner,’ a poem the young Mary Wollstonecraft overheard at its first reading by the poet to her parents.
In brief, The Last Man is the first person narration of Lionel Verney of his experiences in the United Kingdom from the years 2073 to 2100. It has only just survived in print rather than flourished as has Frankenstein largely because it is assumed to be Shelley’s portrayal in fiction of her life with Percy Shelly and Lord Byron, and, more recently, because it seems to be the first post-apocalyptic novel to reach print and a major audience (cue cat-calls and counter-claims). I confess to being largely indifferent to both these critical concerns; my hope in purchasing the Dover facsimile reprint of the 1826 first edition was that Mary Shelley’s reflection on life in the time of plague would be as challenging and insightful as her critique of biological and medical science in Frankenstein.
I was disappointed in this hope, alas. The plague does not appear on the scene until Chapter 2 of Volume 2, page 130 of a 341 page book and only in Volume 3 does the action of the story turn entirely on the effect of the disease on the country and the principal characters. The writing is wonderfully or interminably florid depending on your taste for such things, the far-distant future is envisioned as being almost exactly as life in the Edwardian period except for the Wollstonecraft wish-fulfillment fantasy of the monarchy being disestablished (and the rightful king eventually becoming the country’s savior by election…), and the relationships and fates of the heroic Adrian, Lord Raymond, Lionel and their wives and loves are, again, melodramatic in a way that only Romantic era writers would attempt and that only those with a taste for what approaches camp will enjoy.
I recommend it, nonetheless, beyond my enjoyment of this kind of writing which idiosyncrasy you may share.
For one thing, the conceit of how Shelley finds the manuscript of a first person account from the future without aid of a Time Machine is absolutely first rate. It’s all shared in the introduction, which you can read online here in only a minute or three, so I won’t ruin it for you.
For another, any three volume publication of this period, not to mention one written by an artist of the proven alchemical and chiastic structure and style concerns of Mary Shelley, is an exercise book for careful reading by serious readers.
And religious and medical professionals — not to mention politicians — do not come off well in this book, at least during the plague time of the novel’s last two volumes. Shelley rips into the idols of democratic government and progress with no mercy given. The Romantic disdain for scientism and exoteric religious ritual is a pre-modern assault on modernity’s empty positivism and serves as a corrective, even a disinfectant to the excesses and corrosive ennui of postmodernity. Those critical of institutional responses to Covid-19 by church, science, and state will find that Shelley is something of a prophet in The Last Man.
Last, Constantinople is won from the Turks by crusading Greeks. It doesn’t end well for the Great City or the invaders, but, still, for an Orthodox Christian reader and closet Byzantine, this temporary victory was almost worth the effort to get there — it is the story pivot, believe it or not — and the disaster of the unfolding plague that follows.
I hope in the comment boxes below that you will share your thoughts on The Last Man if you have read it. Failing that, please let me know what you are reading of English literature’s vast stream of plague novels.
And, failing that, go ahead and share your experiences of the lockdown. I only ask that, if you choose to ‘go there,’ that you try not to share your feelings about those who are entirely on board with the shutdown of the economy if you are not and vice versa. I’d much rather read about what you’re reading and thinking than your acceptable window of righteousness defined by social distancing compliance and hypochondriac over-kill. De gustibus.
Manson was a friend of 
I’m not a misanthrope. I’m not a nihilist. I’m not an atheist. I believe in spirituality, but it really has to come from somewhere else. I learned a long time ago, you can’t try to change the world, you can just try to make something in it. I think that’s my spirituality, it’s putting something into the world. If you take all the basic principles of any religion, it’s usually about creation. There’s also destruction, but creation essentially. I was raised Christian. I went to a Christian school, because my parents wanted me to get a better education. But when I got kicked out I was sent to public school, and got beat up more by the public school kids. But then I’d go to my friend’s Passover and have fun.
Mix all that together and I think it’s a good bet that Strike5 will be a nightmare trip into the Satanist rock and roll scene via Jeff Whittaker with a soundtrack provided by the recordings of Marilyn Manson. Serious Striker Joanne Gray has written me to suggest the title of Strike5 could be Manson’s heavy metal 2012 album 
A Team Effort Guest Post by Kelly Loomis and myself! At my urging, knowing her skills as a literary detective, Kelly watched the Fantastic Beasts DVD with the ‘Original Screenplay’ in hand. She noted any differences between published text and released movie. We already knew that the ‘Original Screenplay’ was actually not the shooting script, which included at least fifteen scenes, props, and plot points that didn’t make it to us in the theaters. Kelly’s check of ‘Original Screenplay’ with the actual movie reveals that there are even major differences between the film and what seemed like just a transcript with enter-and-exit stage notes and descriptions. Enjoy her findings and our shared thoughts on their meaning!
Second, incredibly, even the published ‘Original Screenplay’ doesn’t match up with the movie. Having compared the one with the other, scene by scene, I‘ve found that even the final printed screenplay is different in some areas than the film. Prompted by John, I’ve put these into writing for you all to ponder.
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