Cleopatra and Frankenstein

Cleopatra and Frankenstein is an example of contemporary fiction that combines both romance and grit. In recent years, literary fiction has highlighted both male and female characters who struggle to understand themselves within modern Western society’s capitalistic structures, an emphasis on sexual relationships over meaningful romantic ones, and identity crises. These novels are written to reflect the structures and pressures of the modern millennial world. Unlike traditional romances or coming-of-age stories, characters in this particular style of fiction are often flawed, aren’t always good to themselves or to others, and hit rock bottom before they can start considering how to change. Their journeys reflect the harsh realities of a life informed by capitalistic society in which money and productivity are difficult to come by and individual identities are warped by the onslaught of outside influences.

This trend is largely attributed to the Irish millennial author Sally Rooney. Her novels Conversations with Friends (2017), Normal People (2018), and Beautiful World, Where Are You (2021) feature a host of characters, both male and female, whose various levels of success and financial stability further enhance their ennui, their existential stress, and their unstable sense of self. Like Cleopatra and Frankenstein, Rooney’s novels glamorize anguish and don’t provide neat resolutions. Characters in these novels often fall into things, rather than actively pursue dreams, goals, or even loved ones. Unlike domestic novels such as Jane Austen’s in which women stayed at home, venturing out only to find a husband, novels like Cleopatra and Frankenstein and authors like Sally Rooney search for the gritty boundaries between people and environment when there is no home to return to.

In Cleopatra and Frankenstein, Cleo has no home; even when she is married with Frank she lives in his apartment. She survives by exchanging her beauty, youth, and adventurous spirit for the attention of men. Cleo has a difficult time living within the structures of a capitalistic society because she is an artist and has no family money to lean back on. In Cleopatra and Frankenstein, all the younger characters are notably attached to the idea that money comes from wealthy parents instead of jobs. Before marrying Frank, Cleo barely has a paid job. Her friend Quentin has a wealthy grandmother who funds his life. Zoe relies on her brother for money because she, like Cleo, barely has a paid job. The young people in this novel don’t work for money—their work is centered on their artistic passions. Thus, they struggle within their society and have an urgent need to always find the next city, the next temporary job, the next adventure. Though there is ultimately a happy ending in this novel, there are few resolutions. Cleo’s future is uncertain, and Frank’s sense of self is tied to another woman, not developed fully by himself. Zoe is perhaps with Jiro in a more serious way, and Quentin is lost to drug addiction. The lack of resolution highlights dissatisfaction and a feeling of being untethered: For the characters, happiness is elusive, and the closest they can come to joy is a modicum of stability.