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Walter Dean Myers

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Sixteen-year-old Steve Harmon recounts his and James King ’s trial for the killing of Mr. Nesbitt , a drugstore owner, in a botched robbery in Harlem six months prior. Through personal notes and a screenplay he writes in his notebook, Steve recounts the 11 days between the start of the case and the jury’s verdict. He names the screenplay “ Monster ” after what the state prosecutor Sandra Petrocelli called him in court.

On the first day of the trial, Monday, Steve sits with his attorney Kathy O’Brien and listens to Petrocelli make her opening remarks: according to the state, late last December, James King and Richard “Bobo” Evans entered a drugstore, tried to rob Mr. Nesbitt, and accidentally shot the man with his own handgun. According to the prosecution, Steve Harmon and 14-year-old Osvaldo Cruz both acted as lookouts during the robbery, and are thus legally culpable for the man’s murder, as well. Nobody actually witnessed the murder, but Petrocelli presents her first key witness, a man who claims to have information that connects King and Bobo Evans with the murder. The man himself is a convict who testifies so that his own prison sentence will be reduced. King’s attorney Asa Briggs challenges the witness’s ability to be objective since he is benefiting personally from testifying at the trial. Steve’s mind wanders back to violent scenes from his childhood growing up in Harlem, even though he himself never sought out violence.

On Tuesday, Steve writes about how much he hates jail and how afraid he is—everyone there is violent and only talks about hurting each other. They attack people for no reason, and one of them carries a knife. In court, Petrocelli produces another witness, also a criminal who tells the same story as the first, in exchange for a reduced sentence. Once again, Briggs challenges the witness’s objectivity and moral character, and the judge adjourns the hearing for the day when Briggs starts to get heated. That evening, Steve lies in bed listening to two men beat and rape another inmate. He thinks about his younger brother Jerry and how much he misses him.

On Wednesday, Steve wakes up thinking about how in jail, they take people’s shoelaces and belts so inmates can’t kill themselves. Steve can’t help but think of himself as a monster, just as Petrocelli branded him. O’Brien told him that her job was to make the jury see Steve as a human being instead, and Steve understands why. In court, Petrocelli brings Detective Karyl in to testify, who (supposedly) investigated the murder and made the arrests, even though he never found any actual evidence at the crime scene. Steve recalls the night Karyl and his partner first questioned him. Karyl automatically assumed he was guilty and said he hoped Steve would get the death penalty, even though he’s just a kid. Back in the courtroom, Briggs accuses Karyl of not actually investigating at all, but just finding a few convicts who’d testify for him instead. O’Brien worries that none of this makes Steve look any more innocent, since half the jury will automatically think he’s guilty just because he’s a young black male. Osvaldo Cruz, a 14-year-old kid whom Steve had to be careful not to offend in Harlem, since he is part of a dangerous gang, testifies that he was pressured into participating in the robbery against his will by Bobo, who threatened him.

On Thursday, Steve writes about his relationship with O’Brien. He can tell O’Brien wants to know who he truly is, and Steve wants her to know that he’s a good person, but he doesn’t know how to make her see that. In the courtroom, Osvaldo continues his testimony against King, Bobo, and Steve, which he is giving in exchange for an acquittal, since he is young and claims he was coerced into participating. However, Briggs and O’Brien cross-examine Osvaldo and force him to reveal that not only is he a gang member with a violent history, but he has also at least once committed savage violence against strangers without reason, which ruins the credibility of his claim that he was afraid of Bobo. Later, Steve meets with his father Mr. Harmon , but realizes that their father-son relationship has broken. He thinks that his dad now sees a monster where his son should be. Steve also recalls watching the murder reported on the news and being arrested by the detectives two weeks later.

On Friday, four minor witnesses testify while Steve thinks about Mr. Nesbitt, lying on the floor, knowing he is about to die. Through the medical examiner’s testimony, Steve learns that Mr. Nesbitt was shot through the lung and died after drowning in his own blood. He is horrified.

On Saturday, Steve thinks about how horrible it would be to spend the next two decades of his life in prison, which seems the most likely outcome. He knows O’Brien privately thinks that he’s guilty, even though she’ll still defend him. Mrs. Harmon visits Steve in jail, but he knows it’s too painful for her to see her son as a prisoner. At night, as Steve lies in bed, he questions his own innocence and recalls King telling him that he was going to rob a place and asking Steve if he wanted to be in on it.

On Sunday, Steve attends a church service in the jail until a fight breaks out and everyone is put on lockdown for the morning. He thinks about how nothing feels real anymore outside of jail, not his memories of his old life or the baseball game on TV. Steve’s parents walk Jerry past the window so Steve can see him, though Jerry is not allowed in the jail because he is a child. If he wasn’t an inmate, Steve wouldn’t be allowed in either. His parents visit briefly, and Steve worries about Monday, which will be a critical day for the prosecution.

On Monday, a woman testifies that she was in the drugstore shortly before the murder and saw King and one other man enter, though she admits she had difficulty identifying King. Once she saw the two men fighting with Mr. Nesbitt, she fled the store. Bobo Evans testifies next, also in exchange for a reduced sentence. From what King told him, Bobo understood that Steve was supposed to be their lookout, and he saw Steve enter and exit the drugstore and walk away. After that, he and King entered and fought with Mr. Nesbitt. When Mr. Nesbitt took out a handgun, King wrestled it from him and shot the man, stole cash and cigarettes, and then both of them went to a fast-food restaurant to buy some food and lay low. Briggs and O’Brien cross-examine Bobo, forcing him to admit that Bobo never actually spoke to Steve himself, nor did he ever threaten Osvaldo to help them with the robbery; Osvaldo wanted to be in on the heist. Petrocelli announces that the prosecution has concluded.

On Tuesday, O’Brien admits that it doesn’t look good for Steve. Bobo’s testimony was damning and Briggs is going to try to associate King with Steve, since it will make King look better, as Steve is obviously a decent kid. King’s cousin testifies and gives a weak alibi for King on the day of the murder. O’Brien wants Steve to testify and present himself to the jury as a good kid. She coaches him on what sort of answers to give and Steve realizes that the truth is less important than making the right case.

On the stand, Steve testifies that he was nowhere near the drugstore on the day of the murder (though he’s privately admitted that he was) because he was working on a film project all week. He also testifies that his relationship with King is minimal; he’s just some guy he saw at the playground occasionally when people were playing ball. When Steve is finished, his film teacher Mr. Sawicki provides a character witness and testifies that Steve is an honest, sensitive kid who makes uplifting films about his neighborhood. Briggs makes his closing remarks, claiming that his client King has no connection with Bobo Evans and did not participate in the robbery in any way. O’Brien claims the same for Steve in her own closing remarks, and adds that there is not enough evidence against Steve to lock up a young kid for the rest of his life. The jury leaves to make their decision and Steve and King are taken back to jail.

That Friday, Steve and King are brought back to the courthouse to hear the jury’s verdict. King is found guilty and duly sentenced for a felony murder charge. Steve is found not guilty. He spreads his arms to hug O’Brien, but she turns stiffly away. He remains with his arms outstretched as the image blurs and fades until Steve’s silhouette looks like “some strange beast, a monster.”

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Themes and Analysis

By walter dean myers.

Walter Dean's ‘Monster’ is loaded. Justice, hope and family as themes explored, are just a tip of the iceberg.

Article written by Chioma Julie

Degree in M.C.M. Awarded Best Graduating Student in Literature-in-English at UNISEC.

‘ Monster ’ by Walter Dean Myers has many lessons to teach. The reader has no option but to think critically. Some themes are subtle and might even attach themselves to bigger themes as subthemes. But most of them are clear and stand-alone themes. Now, let us pan our imaginary camera towards this thought-provoking masterpiece to explore for ourselves these themes, some of which will be handled side by side opposites or otherwise.

Monster Themes

Let’s dive into the captivating themes of ‘ Monster ‘ by Walter Dean Myers together. We’ll explore each focal point to unravel the essence of this compelling novel.

Crime and Consequence

Guilt or innocence, hope or hopelessness, humanity/empathy, connections/relationships, disappointment, dissatisfaction, and regret.

This is arguably the major theme in ‘ Monster .’ Most parts of this crime drama take place in the courtroom and the prison yard. We are all here, following Steve Harmon’s camera because a crime was committed. Mr. Nesbitt, a fifty-five-year-old black man, was murdered in his drugstore in Harlem City, with his own for which he had a license.

Anyone who commits a crime should very well be ready to do the time, for actions have consequences. People, including gangsters with criminal records, testify. The gangsters testify, hoping to get breaks from the times they are doing for the crimes they have committed. As long as it wasn’t any of them that murdered Mr. Nesbitt, any other crime must be excusable, they think. Bobo casually describes himself as cold-hearted to get a break. Osvaldo indicts himself. Cruz exposes himself to get a break. Actions have consequences, and James King was going to pay for his eventually.

Everyone is innocent until proven guilty. That is not even my line. It is a popular phrase. Are things that way, though? Are things not always that way, even though they should be that way? I would say ‘yes’ to the second question. Sometimes, prejudice contributes, and it shows. There was something O’Brien said, and it stuck. Rephrasing what she said, the pressure rests on the defendant. The prosecutor goes about walking like the ‘good one’.

One time, Steve says he’s not guilty, and she tells him to say instead that he is innocent. The defendant’s job is to prove, not that the prosecutor is lying, but that he or she is mistaken. James King and Steve Harmon were each to be pronounced guilty or Innocent. The verdict is read, and the latter is to be freed, while the former is to be locked up. Perhaps he would go on to appeal, perhaps he would not.

What is life without hope? Steve lost hope in himself, his mother, the judge, the system in general, and even O’Brien at some point. It was then he began to realize why shoelaces and belts are taken away from people before they are locked up. Someone who has lost all hope would likely be depressed, and someone who is depressed would likely not be far from considering committing suicide. They don’t want that in there. Steve also gets to realize why people go on to appeal after they have been found guilty. All hope is not lost after all, for what is life without hope?

This is highly demonstrated in Steve’s life, earning this theme a place reserved for the major themes. Mrs. Harmon loves Steve so much. His situation makes her cry. One time, she brings Steve a Bible while visiting and tells him to read a passage out loud. Steve sees his father sob. It is his first time witnessing that. Jerry misses his big brother. Steve’s situation breaks Mrs. Harmon’s heart and makes her cry many times, and this in turn breaks Steve’s heart. At some point, Steve wishes Jerry was with him. No, not in prison but just with him, somehow. Jerry’s visit gladdened his heart so much. Steve Harmon’s family made life worth living for him even while in jail, especially while in jail.

We see the guards cruelly teasing the prisoners, even when some of them were yet to be found innocent or guilty. This depicts a complete lack of empathy and humanity, something O’Brien had in abundance. Yes, O’Brien was Steve’s lawyer. But nothing prevented her from keeping things strictly official. Bobo, James King, Osvaldo, and Cruz were all wanting in this area. Empathy cannot be faked, at least, not for long.

When O’Brien sees Steve writing ‘Monster’ (something he was already getting used to being called) repeatedly in the courtroom, she collects the pencil from him and cancels them out. When she sees Steve visibly shaking after taking the stand, his head bowed after one of the students on an excursion smiled at him, he smiled back, but she turned away quickly, she tells him that if he doesn’t believe in himself, no one else would.

Before Steve takes the stand (her idea by the way) she plays a ‘cup’ game with him to ensure that he answers exactly what would help his case. She was to ask questions and any time Steve gives an inappropriate answer, she was to turn the cup upside down. Steve learned from this game that it would be better to present himself as differently as possible from the others: James King, Bobo, and the rest. We also see her asking to know how Steve was feeling at some point. O’Brien had a lot of empathy to give, and she didn’t hold back even one bit.

If Steve had not associated with the likes of James King, he would not have found himself in the middle of a felony murder case as one of the accused. The saying ‘Birds of a feather flock together’ will always remain true. Clearly, he had a whiff of the robbery. He knew a robbery was being planned. He may not have participated actively in the whole thing, but he was aware that these folks planned to rob someone.

The type of people one chooses to associate with affects one in one way or another, whether one likes it or not. This is why the distance between him and his father continues to grow wider, even after he was pronounced not guilty. He just couldn’t come to terms with the fact that his son, his well-behaved son (or so he thought) could associate with gangsters even enough to get roped in a felony murder case. Some of what his father sees now, O’Brien must have seen. That explains why she moved away when Steve made to hug her after they won the case.

The story of ‘ Monster ’ is about justice. It is about seeking justice. Everyone has that right, or at least, everyone should have that right. Everyone has the right to live and pursue happiness if he or she so wishes. It is only just. Mr. Nesbitt’s murder, a crime against humanity, has the state seeking justice. Justice for the dead, yes? And, a loud and clear warning to anyone who might want to go the route that is criminality. Nesbitt would never come back to life, but justice can be served. The saying, ‘What is good for the goose is good for the gander’ holds sway here. Everyone is equal before the law (or should be, at least). Every life is precious.

These emotions were conveyed by O’Brien’s face when the verdict was given. She demonstrates these then, disappointed that she probably has helped the wrong person, someone that wasn’t particularly guilty or Innocent. Dissatisfaction, because she should have probed more, to know who exactly she was sticking herself out her neck for. Regret, that it is now too late to do all that. Mr. Harmon also displays disappointment in his son because of the type of people he chose to associate with, something that landed him in jail.

What important thing does one get to realize reading ‘ Monster?’

One important thing one gets to realize reading ‘ Monster ’ is that even though it is known that life in prison would not be easy, more of the unpleasantness of what is supposed to be a correctional facility was exposed.

What is the major lesson from ‘ Monster?’

The major lesson from ‘ Monster ’ is that life is not straightforward, most times, and it takes one wrong move (intended or not) for things to start plummeting for someone. We should all be careful about the type of people we associate with. Associating with gangsters was Steve Harmon’s major mistake.

What is the significance of Steve’s imaginary camera in ‘ Monster?’

The importance of Steve’s imaginary camera in ‘ Monster ’ cannot be overemphasized. A very significant tool in the story, it is Steve’s imaginary camera we follow throughout the trial and even beyond.

What is the central theme in ‘ Monster ?’

The central theme in ‘ Monster ’ is justice, however, it would be inappropriate not to mention other themes surrounding it. Race, guilt/innocence, hope/hopelessness, and so on, are also other major themes.

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About Chioma Julie

Chioma is a graduate from the University of Nigeria, Nsukka. She has a passion for music, movies, and books. Occasionally, she writes to unwind.

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54 pages • 1 hour read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Chapter Summaries & Analyses

Pages 89-200

Pages 201-281

Monster Additional Material

Character Analysis

Symbols & Motifs

Literary Devices

Important Quotes

Essay Topics

Summary and Study Guide

Monster , a YA novel about a Black New York teenager accused of murder, quickly became one of Walter Dean Myers's most acclaimed works when it was published in 1999, winning the Coretta Scott King Award , receiving the Prime Excellence Award of the American Library Association , named a National Book Award Finalist.

The completion and release of the novel occurred during the arc of the conviction and eventual exoneration of the Central Park 5, Black teenagers who were wrongfully accused of attacking a white female jogger in 1990, then released in 2002. The focus on a young man accused of a serious crime suggests a parallel, yet Monster is intentionally ambiguous regarding the guilt or innocence of the protagonist .

The 20th anniversary edition from Harper Teen, upon which this summary is based, includes several extra features, including a study guide and a candid interview with Myers. Readers should be aware that the text contains adult language. There are references and depictions of gun and physical violence, drug use, and sexual assault.

Plot Summary

Myers alternates between different points of view and genres of literature. Chronologically, the narrative starts with the main character, 16-year-old Steve Harmon , a Black high school student from Harlem who is incarcerated in the Manhattan Detention Center waiting to go on trial for murder.

Harmon introduces himself in the first person, journaling about the hell of being locked up, his constant fear , and the ways he has had to adapt to avoid physical and sexual assault. Steve’s escape from the surreal experience of jail is through imagining that he, a film student, is depicting events as a movie. Thus, much of the novel is presented in the form of a third person screenplay. Using an opening credit montage, Steve introduces the other main players in the movie: Kathy O’Brien , his defense attorney; Sandra Petrocelli , the prosecutor; James King , his co-defendant and the person accused of shooting Mr. Nesbitt, the drug store owner; Bobo Evans and Osvaldo Cruz, witnesses who have turned State’s evidence to avoid lengthy jail sentences.

Myers does not use chapters for breaks, instead cutting back and forth between the ongoing trial and previous events in Steve’s life that pertain to what is currently happening.

Before presenting evidence against the defendants, the prosecutor calls a series of witnesses to demonstrate how the police came to identify the suspects in the case. The defense attorneys (Kathy for Steve and Asa Briggs for James King) point out to the jury that witnesses against their clients have something to gain by presenting evidence against King and Steve. Privately, Kathy expresses concern that the prosecutor is working slyly to make Steve appear to be a stereotypical delinquent.

While the trial progresses, Steve catches glimpses of ordinary New York life entering and leaving court. He also remembers and longs for the life he had before he was locked up and has suicidal thoughts.

Flashbacks presented as scenes in his screenplay show Steve interacting with others who end up being involved in the trial. King approaches Steve to serve as a lookout for him and Bobo when they rob Mr. Nesbitt’s drugstore. In that pivotal flashback, King pressures Steve to enter the drugstore, check to make sure there are no police or customers inside, and signal as he leaves the store that it is clear of other patrons. Pointedly, the scene ends without Steve saying whether he will do so.

In the courtroom scenes, the prosecution ties its case together through the testimony of Bobo, who has taken a plea bargain for a lesser charge and a shorter sentence. Following Bobo’s testimony, Kathy is concerned that the jury is against Steven. She tells him he must testify and calls a very effective character witness, Mr. Sawicki, the teacher who runs the video club to which Steve belongs.

Steve and King are celled together as they await the verdict. King expresses bravado, while Steve admits that he is frightened. After deliberating, the jury returns a verdict of guilty for King, who is promptly led out of court. Steve is found not guilty. Elated, he opens his arms to embrace Kathy, who turns away.

In a final journal entry, Steve describes what his life has become after his acquittal. His thoughts are still haunted by his seven months in prison and even more by the accusation of the prosecutor that he is a monster. He continues to film himself as a form of self-evaluation, trying to determine what kind of a person he truly is.

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Truth & Lies

“Monster” by Walter Dean Myers: Characters & Style Essay (Book Review)

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Alongside with his poems, in 1999, Walter Dean Myers presented an excellent drama novel, Monster , about one 16-year-old black kid, Steve Harmon, who was charged with felony murder. One of the most attractive features of this book is its structure and style of writing. Monster by Walter Dean Myers essay shall provide an analysis of the characters of the book and author’s style. The reader is captivated from the very beginning of the story, as it is similar to the beginning of the famous Star Wars .

Steve Harmon is the writer, director, and main character of Monster. Such a decision to present the story from one person’s point of view, divide characters into good and bad ones, appeal to the facts from one diary only, and use not a standard form of narration is unique indeed.

The style chosen by the author of this story takes several pages to get used to. Monster writing style attracts the attention of the reader due to the contrasting mix of such strategies as controlled development of thoughts and stream of consciousness, which create unique tone and mood in the story. However, such a manner of writing influences Meyers’ development of the theme only in a positive way. Why did Walter Dean Myers write monster in the format of a screenplay? It may be assumed that, by doing so, he wanted to show the feelings of the characters and the development of the conflict at the same time.

Monster is interesting to read because it provides the reader with a chance to create his/her own impression about the main character. The writer does not tell you what to think, but let you make decisions and conclusions independently. During the whole story, it is not mentioned whether the main character is good or bad.

It was pointed out that the character is surrounded by bad people, with bad guns, and bad intentions. Kathy O’Brien is Steve’s defense attorney, and she does believe that Steve is guilty and tries to prepare him for the worst. “Both you and this King character are on trial for felony murder. Felony murder is as severe as it gets. Sandra Petrocelli is the prosecutor, and she’s great. They’re pushing for the death penalty, which is really bad” (Myers 12). Family members also support Steve, though the ending of the book shows complicated relationships between them. Thus, in Monster by Walter Dean Myers, characters provoke ambiguous emotions in the reader.

Steve, as the author of this script, realizes that he is too young to be sentenced to death or spend about 20 years of his life in jail. “They’re pushing for the death penalty, which is really bad” (Myers 12). He also understands that this case will be rather challenging to win because of two simple reasons: (1) even his attorney, O’Brien, finds him guilty, and (2) he is a young black man that makes him being concerned with numerous crimes and larcenies.

He tries to prove that he was just in the wrong place and certainly at the wrong time. (Jones 190) He cannot accept such a reality and decides to do everything possible to evade this likely verdict. He decides to escape if necessary, even if it costs him his life.

O’Brien’s decision to turn away from Steve after the verdict was announced makes all the readers think about why she did it. What made her turn away? Was it the right decision? Maybe, she saw something wrong that even made the screenwriter title this story as Monster .

Young adult literature is one of the most significant steps up, which allows comprehending and analyze various themes from different perspectives (Suen 41), Monster is the story about the importance of making choices in life, possible challenges, and consequences. This book is one of the most brilliant messages to young adults.

It underlines a straightforward truth that only a person, himself/herself, is responsible for all choices he/she makes. The consequences of any decision will undoubtedly affect both the life of the person, who makes a choice, and the lives of other people. This is why it is crucially important to realize such significance and make wise and well-weight decisions.

Works Cited

Jones, D. Painless Reading Comprehension. Barron’s Educational Series, 2004.

Myers, W. D. Monster. HarperTemest, 2001.

Suen, A. Picture Writing. Writer’s Digest Books, 2003.

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IvyPanda. (2018, June 25). "Monster" by Walter Dean Myers: Characters & Style. https://ivypanda.com/essays/monster-by-walter-dean-myers-the-significance-of-personal-choice/

""Monster" by Walter Dean Myers: Characters & Style." IvyPanda , 25 June 2018, ivypanda.com/essays/monster-by-walter-dean-myers-the-significance-of-personal-choice/.

IvyPanda . (2018) '"Monster" by Walter Dean Myers: Characters & Style'. 25 June.

IvyPanda . 2018. ""Monster" by Walter Dean Myers: Characters & Style." June 25, 2018. https://ivypanda.com/essays/monster-by-walter-dean-myers-the-significance-of-personal-choice/.

1. IvyPanda . ""Monster" by Walter Dean Myers: Characters & Style." June 25, 2018. https://ivypanda.com/essays/monster-by-walter-dean-myers-the-significance-of-personal-choice/.

Bibliography

IvyPanda . ""Monster" by Walter Dean Myers: Characters & Style." June 25, 2018. https://ivypanda.com/essays/monster-by-walter-dean-myers-the-significance-of-personal-choice/.

Summary Of Monster By Walter Dean Myers

In his novel Monster, Walter Dean Myers argues that incarceration distorts people's identity through the gradual change of language, visual appearance, and the manner of actions prisoners perform while interned. The novel Monster shows the hardships of being a prisoner through Walter Dean Myers main protagonist Steve. In the story, Steve is being tried for felony murder and he is put in prison from his arrest to the end of his trial. In prison, Steve begins to notice that his identity begins to change in many ways. Walter Dean Myers shows that the identity of Steve in prison is clearly not static. Instead, the author argues that Steves identity takes a fluid approach while being interned. The reader also gradually notices the effect incarceration …show more content…

In the prison visitor center, Steve uses terminology that prisoners use, and his mother is shocked by this because he had never spoken like this before the internment of Steve. Some guys have done a whole calendar here. She looked at me puzzled” (Myers 147). This conversation between Steve and his mother shows that since Steve is being exposed to external influences, it is affecting who he is and how he uses different language terminology towards others. When Steve talks like this towards his mother, the reader can see, Steve clearly is exposed to this in his daily life while being incarcerated. The reader can also notice a gradual progression of language throughout the novel from Steve. Most of this language change the reader can see is the effect of incarceration on Steve in the novel which causes massive identity changes that the reader can notice as clearly as day. Walter Dean Myers argued that incarceration eventually leads to language change, which in turn distorts prisoners' identity. The fact that Steve’s language is changing around his loved ones secures that Steve’s identity is changing because of his time

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Research essay: a ‘monster’ and its humanity.

Professor of English Susan J. Wolfson is the editor of Mary Shelley’s Frankenstein: A Longman Cultural Edition and co-editor, with Ronald Levao, of The Annotated Frankenstein.  

Published in January 1818, Frankenstein: or, The Modern Prometheus has never been out of print or out of cultural reference. “Facebook’s Frankenstein Moment: A Creature That Defies Technology’s Safeguards” was the headline on a New York Times business story Sept. 22 — 200 years on. The trope needed no footnote, although Kevin Roose’s gloss — “the scientist Victor Frankenstein realizes that his cobbled-together creature has gone rogue” — could use some adjustment: The Creature “goes rogue” only after having been abandoned and then abused by almost everyone, first and foremost that undergraduate scientist. Facebook creator Mark Zuckerberg and CEO Sheryl Sandberg, attending to profits, did not anticipate the rogue consequences: a Frankenberg making. 

The original Frankenstein told a terrific tale, tapping the idealism in the new sciences of its own age, while registering the throb of misgivings and terrors. The 1818 novel appeared anonymously by a down-market press (Princeton owns one of only 500 copies). It was a 19-year-old’s debut in print. The novelist proudly signed herself “Mary Wollstonecraft Shelley” when it was reissued in 1823, in sync with a stage concoction at London’s Royal Opera House in August. That debut ran for nearly 40 nights; it was staged by the Princeton University Players in May 2017. 

In a seminar that I taught on Frankenstein in various contexts at Princeton in the fall of 2016 — just weeks after the 200th anniversary of its conception in a nightmare visited on (then) Mary Godwin in June 1816 — we had much to consider. One subject was the rogue uses and consequences of genomic science of the 21st century. Another was the election season — in which “Frankenstein” was a touchstone in the media opinions and parodies. Students from sciences, computer technology, literature, arts, and humanities made our seminar seem like a mini-university. Learning from each other, we pondered complexities and perplexities: literary, social, scientific, aesthetic, and ethical. If you haven’t read Frankenstein (many, myself included, found the tale first on film), it’s worth your time. 

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Scarcely a month goes by without some development earning the prefix Franken-, a near default for anxieties about or satires of new events. The dark brilliance of Frankenstein is both to expose “monstrosity” in the normal and, conversely, to humanize what might seem monstrously “other.” When Shelley conceived Frankenstein, Europe was scarred by a long war, concluding on Waterloo fields in May 1815. “Monster” was a ready label for any enemy. Young Frankenstein begins his university studies in 1789, the year of the French Revolution. In 1790, Edmund Burke’s international best-selling Reflections on the French Revolution recoiled at the new government as a “monster of a state,” with a “monster of a constitution” and “monstrous democratic assemblies.” Within a few months, another international best-seller, Tom Paine’s The Rights of Man, excoriated “the monster Aristocracy” and cheered the American Revolution for overthrowing a “monster” of tyranny.

Following suit, Mary Shelley’s father, William Godwin, called the ancien régime a “ferocious monster”; her mother, Mary Wollstonecraft, was on the same page: Any aristocracy was an “artificial monster,” the monarchy a “luxurious monster,” and Europe’s despots a “race of monsters in human shape.” Frankenstein makes no direct reference to the Revolution, but its first readers would have felt the force of its setting in the 1790s, a decade that also saw polemics for (and against) the rights of men, women, and slaves. 

England would abolish its slave trade in 1807, but Colonial slavery was legal until 1833. Abolitionists saw the capitalists, investors, and masters as the moral monsters of the global economy. Apologists regarded the Africans as subhuman, improvable perhaps by Christianity and a work ethic, but alarming if released, especially the men. “In dealing with the Negro,” ultra-conservative Foreign Secretary George Canning lectured Parliament in 1824, “we are dealing with a being possessing the form and strength of a man, but the intellect only of a child. To turn him loose in the manhood of his physical strength ... would be to raise up a creature resembling the splendid fiction of a recent romance.” He meant Frankenstein. 

Mary Shelley heard about this reference, and knew, moreover, that women (though with gilding) were a slave class, too, insofar as they were valued for bodies rather than minds, were denied participatory citizenship and most legal rights, and were systemically subjugated as “other” by the masculine world. This was the argument of her mother’s Vindication of the Rights of Woman (1792), which she was rereading when she was writing Frankenstein. Unorthodox Wollstonecraft — an advocate of female intellectual education, a critic of the institution of marriage, and the mother of two daughters conceived outside of wedlock — was herself branded an “unnatural” woman, a monstrosity. 

Shelley had her own personal ordeal, which surely imprints her novel. Her parents were so ready for a son in 1797 that they had already chosen the name “William.” Even worse: When her mother died from childbirth, an awful effect was to make little Mary seem a catastrophe to her grieving father. No wonder she would write a novel about a “being” rejected from its first breath. The iconic “other” in Frankenstein is of course this horrifying Creature (he’s never a “human being”). But the deepest force of the novel is not this unique situation but its reverberation of routine judgments of beings that seem “other” to any possibility of social sympathy. In the 1823 play, the “others” (though played for comedy) are the tinker-gypsies, clad in goatskins and body paint (one is even named “Tanskin” — a racialized differential).

Victor Frankenstein greets his awakening creature as a “catastrophe,” a “wretch,” and soon a “monster.” The Creature has no name, just these epithets of contempt. The only person to address him with sympathy is blind, spared the shock of the “countenance.” Readers are blind this way, too, finding the Creature only on the page and speaking a common language. This continuity, rather than antithesis, to the human is reflected in the first illustrations: 

In the cover for the 1823 play, above, the Creature looks quite human, dishy even — alarming only in size and that gaze of expectation. The 1831 Creature, shown on page 29, is not a patent “monster”: It’s full-grown, remarkably ripped, human-looking, understandably dazed. The real “monster,” we could think, is the reckless student fleeing the results of an unsupervised undergraduate experiment gone rogue. 

In Shelley’s novel, Frankenstein pleads sympathy for the “human nature” in his revulsion. “I had worked hard for nearly two years, for the sole purpose of infusing life into an inanimate body. For this I had deprived myself of rest and health ... but now that I had finished, the beauty of the dream vanished, and breathless horror and disgust filled my heart. Unable to endure the aspect of the being I had created, I rushed out of the room.” Repelled by this betrayal of “beauty,” Frankenstein never feels responsible, let alone parental. Shelley’s genius is to understand this ethical monstrosity as a nightmare extreme of common anxiety for expectant parents: What if I can’t love a child whose physical formation is appalling (deformed, deficient, or even, as at her own birth, just female)? 

The Creature’s advent in the novel is not in this famous scene of awakening, however. It comes in the narrative that frames Frankenstein’s story: a polar expedition that has become icebound. Far on the ice plain, the ship’s crew beholds “the shape of a man, but apparently of gigantic stature,” driving a dogsled. Three paragraphs on, another man-shape arrives off the side of the ship on a fragment of ice, alone but for one sled dog. “His limbs were nearly frozen, and his body dreadfully emaciated by fatigue and suffering,” the captain records; “I never saw a man in so wretched a condition.” This dreadful man focuses the first scene of “animation” in Frankenstein: “We restored him to animation by rubbing him with brandy, and forcing him to swallow a small quantity. As soon as he shewed signs of life, we wrapped him up in blankets, and placed him near the chimney of the kitchen-stove. By slow degrees he recovered ... .” 

The re-animation (well before his name is given in the novel) turns out to be Victor Frankenstein. A crazed wretch of a “creature” (so he’s described) could have seemed a fearful “other,” but is cared for as a fellow human being. His subsequent tale of his despicably “monstrous” Creature is scored with this tremendous irony. The most disturbing aspect of this Creature is his “humanity”: this pathos of his hope for family and social acceptance, his intuitive benevolence, bitterness about abuse, and skill with language (which a Princeton valedictorian might envy) that solicits fellow-human attention — all denied by misfortune of physical formation. The deepest power of Frankenstein, still in force 200 years on, is not its so-called monster, but its exposure of “monster” as a contingency of human sympathy.  

by Walter Dean Myers

Student Question

What are the key plot elements in Monster by Walter Dean Myers?

Quick answer:

The key plot elements in Monster include the exposition, where Steve is introduced and his trial for murder is explained. The rising action encompasses the trial, affecting Steve psychologically. The climax is the jury's not guilty verdict. The falling action involves Steve's emotional rebuff by his lawyer. The resolution shows Steve's post-trial isolation and sadness.

plot: climax

plot: resolution

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The exposition for Monster occurs when Steve is introduced, with an emphasis on his passion for film, and an explanation that he is on trial for murder.

The rising action comprises the entire trial up to the verdict. The prosecutor, Sandra Petrocelli, describes Steve as a "monster," and this has a profound psychological effect on him. His own lawyer, Kathy O'Brien, mounts a well-orchestrated defense and is able to show that Steve's involvement in the murder was peripheral at most. Steve records the events of the trial in the style of a screenplay as the witnesses and defendants are questioned.

The climax occurs when the jury deliver their verdict and Steve is found not guilty.

The falling action includes Steve attempting to hug Miss O'Brien and being rebuffed, leading him to wonder if she also sees him as a monster.

The resolution takes place five months later. Steve has been cleared of all charges and released from prison but remains isolated and saddened by his experience.

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Cite this page as follows:

Cavendish-Jones, Colin. "What are the key plot elements in Monster by Walter Dean Myers?" edited by eNotes Editorial, 12 Feb. 2022, https://www.enotes.com/topics/monster/questions/what-is-the-exposition-rising-action-climax-3017995.

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Essay on Monster

The Monster : The Meaning Of The Monster

are under beds, hiding in the dark, and slithering in the sea. The word, “monster”, has a specific meaning to it that most associate with a big, frightening figure. However, use of the word monster has changed throughout time do to pagan influences and American slang. It is still associated with a beastly creature, but can be used to describe amazing feats and wonders as the old French word once did. The definition of Monster has stayed consistent due to storytelling, yet evolved from its humble beginnings

The Creation Is A Monster

1. Look up the word monster in multiple dictionaries in order to get a full understanding of what the word means. Discuss in both literal and figurative terms whether the Creation is a monster. The word “monster” means a being of unnatural size with unnatural features that is sometimes imaginary and often causes fear due to wickedness, ugliness, and cruelty. In literal terms, the Creation is a monster. Based on the definition, he is of unnatural size and features as the Creation is characterized

Perfectionism As A Monster

became an unstoppable monster; a monster that had eaten away most of my time; a monster that kept me from progressing; a monster that forced me to go an extra mile even though it was unnecessary; a monster that caused too much anxiety; a monster that almost destroyed me. It caused me to hold myself in high expectations. It whispers anxiety as I stare at a blank piece of paper, failing to progress because of my fear that it would be mediocre. Perfectionism, it is the name of my monster. Being a wallflower

The Monsters Essay

INVISIBLE MONSTERS      To sacrifice oneself and save others is what we've known as human love, and we have also learned that we should respect those who could perform that in any situation, but in reality, the numbers of those people who don't care about what others do seems much greater than the number of those who do. In Stephen Crane's story, "The Monsters", Henry Johnson who sacrifices himself into the fire in order to save a little boy gets treated like a

Monsters Inc Reflection

This is the first time that I watched the movie “Monsters Inc” if not for the given task for us to write a reflection utilizing McKinsey 7S Model of Strategy. The story is both touching, entertaining and interesting. Foremost of the McKinsey 7S model is the element of strategy. Monsters Inc., as a business company, derives its product from scared children to produce energy. The children, as a source of energy were assigned one employee each called the scarer, and permanently assisted by another employee

Monsters In Todays World

Monsters in todays world can be seeing many different ways and forms an effect people differently. Everybody has their own monsters and has their own warn way that it will effect them. Monsters have been known to eat people wether it be mentally or physically. Many of the monster that the we have in the world today are mental monsters that will tear you down and eat you up mentally. Monsters have their own way beating you down till you cant go any more. Monsters have been around forever and have

Monster At A Window Meaning

describe how rageful you are? You’re so blinded by anger, that you do or say something that you would’ve never do when you’re calm, you’re not in “monster” form. Some say that being a “monster” is just like being uncivil, that depends on you. Even the most civilized, well-mannered, polished, enlightened people will still have their moments of “monster” mode. Well the definition of civilized is to bring (a place or people) to a stage of social, cultural, and moral development considered to be more

Chapter Three Of A Monster

Chapter Three A Monster in My Side We tore through the night down dark country roads, wind slamming into the pickup. Rain lashed the windshield. I didn’t know how Mom could see anything, but she kept her foot on the pedal. Each time there was a flash of lightning, I glanced at Simon sitting in the backseat, and I wondered if I’d gone mad or if he was wearing a robe, cone-shaped hat, and elf shoes. All I could think to say was, “So, um, you and my dad know each other?” Simon’s gaze flitted to the

Monster Culture Sparknotes

In “Monster Culture”, Jeffery Cohen develops an idea that “monsters” are essential to society. In fact, they construct what is “normal”, “rational”, and “civilized”. Specifically, “monsters” are foundational to how we view ourselves. “Monsters” contain all the traits deemed unacceptable and odd. It can be concluded that every outlier is a “monster”. In St. Lucy’s Home for Girls Raised by Wolves, Karen Russell tells the story of a pack of wolf girls who are transitioning into young ladies. Russell

Descriptive Essay : ' The Monster '

The monster giggles while I silently cry. It has curly short brown hair and blue eyes. Its nose is oval with giant, hairy NOSTRILS! Some parts of its skin are bright pink while others beige. It holds me with its two bulging hands, but I can barely endure it. It sits on the moist grass and holds me between its legs. It’s a shame that I had to be captured on such a sunny day. Now if you read the title, you should’ve realized by now that I am a toad, a rather big one. Here’s what happened: One day

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Bangladesh’s dictator flees—leaving behind a dangerous vacuum

The army tries to restore order after sheikh hasina, the country’s “iron lady”, escapes.

O N THE AFTERNOON of August 5th, televisions in Bangladesh broadcast images of a helicopter rising from the residence of Sheikh Hasina , the country’s prime minister until minutes before. The chopper was carrying her and her sister “to safety”. Shortly afterwards images appeared of gleeful protesters entering the prime minister’s residence, lounging in her bed and making off with pets and furniture. Others were filmed dancing in the streets of Dhaka. In an address to the nation, General Waker-uz-Zaman, the army chief, confirmed that Sheikh Hasina had resigned and said he would form an interim government. One of the world’s wiliest autocrats, and its longest-serving female head of government, she had been summarily dispatched by angry citizens. “She is a blood-sucker, a monster for us, for the young people,” said a protester. “She destroyed Bangladesh.”

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Home — Essay Samples — Entertainment — Movies — Monster

Essays on Monster

Choosing a monster essay topic: a guide to selecting the perfect topic.

When it comes to writing an essay on the topic of monsters, the possibilities are endless. From classic literary monsters to modern-day interpretations, the world of monster studies is vast and varied. However, with so many options to choose from, it can be challenging to narrow down a topic that is both interesting and manageable. In this guide, we will discuss the importance of selecting the right topic, offer advice on choosing a topic, and provide a detailed list of recommended essay topics, divided into categories.

The Importance of the Topic

Choosing the right topic for your monster essay is essential for several reasons. First and foremost, your topic will determine the direction and focus of your essay. A well-chosen topic will allow you to delve deeply into the subject matter, explore different perspectives, and develop a compelling argument. Additionally, a strong topic will pique the interest of your audience and make your essay stand out among others.

Furthermore, selecting an engaging topic will make the writing process more enjoyable for you. When you are passionate about the subject matter, you will be more motivated to conduct thorough research, analyze different sources, and craft a well-written essay.

Choosing a Topic

When choosing a topic for your monster essay, it is important to consider your interests, the requirements of the assignment, and the potential audience for your essay. Here are a few tips to help you select the perfect topic:

• Consider your interests and passions: Think about the aspects of monster studies that intrigue you the most. Are you drawn to classic monsters from literature and mythology, or are you more interested in modern interpretations of monsters in film and popular culture?
• Research the requirements of the assignment: Make sure to carefully read the assignment prompt and any guidelines provided by your instructor. Pay attention to any specific requirements or restrictions for the topic of your essay.
• Consider your audience: Think about who will be reading your essay. If you are writing for a general audience, consider choosing a topic that is widely known and easily accessible. If you are writing for a more specialized audience, you may choose a more in-depth or niche topic.

Recommended Essay Topics

Below is a list of recommended essay topics, divided into categories. These topics cover a wide range of subjects within the field of monster studies, from classic literature to contemporary media.

Classic Monsters

• The portrayal of monsters in ancient mythology
• The role of monsters in medieval literature
• The evolution of the vampire archetype in literature and film
• The significance of monsters in Gothic literature

Modern Monsters

• The representation of monsters in contemporary horror films
• The cultural significance of zombies in popular media
• The portrayal of monsters in young adult literature
• The use of monsters as metaphors for societal issues in modern literature

Monsters in Popular Culture

• The impact of monsters on fashion and consumer culture
• The role of monsters in video games and digital media
• The influence of monsters on music and art
• The representation of monsters in advertising and marketing

Monsters and Gender

• The portrayal of gender in monster narratives
• The role of monsters in feminist literature and theory
• The intersection of gender and monstrosity in film and television
• The representation of LGBTQ+ themes in monster narratives

These essay topics are just a starting point for your exploration of monster studies. Whether you are interested in classic monsters, modern interpretations, or the intersection of monsters and culture, there is a topic that will allow you to delve deeply into the subject matter and develop a compelling argument.

By carefully considering your interests, the requirements of the assignment, and the potential audience for your essay, you can select a topic that will allow you to showcase your knowledge and passion for monster studies. So, choose a topic that excites you, conduct thorough research, and craft an essay that will captivate and inform your audience.

Similarities Between Grendel and Frankenstein

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Beowulf Poem: The Humanity in Monsters

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Exploring The Sublime: Burke and Frankenstein’s Monster

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Intergenerational Trauma

Monster culture analysis, monster: descriptions, monster by dean myers summary, relevant topics.

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Tim Walz and the Weird Politics of Free School Lunches

By Paul Krugman

Opinion Columnist

You could say that Tim Walz became the Democratic vice-presidential nominee with one weird trick — that is, by using that word to describe Donald Trump and JD Vance, a categorization that went viral. In his maiden campaign speech he upgraded it a bit further to “ creepy and weird as hell .” (If you think that’s over the top, have you seen Trump’s bizarre rant speculating about whether Joe Biden is going to seize back his party’s presidential nomination?)

But Walz is more than a meme-maker. He has also been an activist governor of Minnesota with a strong progressive agenda. And I’d like to focus on one key element of that agenda: requiring that public and charter schools provide free breakfasts and lunches to all students.

Perhaps not incidentally, child care has long been a signature issue for Kamala Harris, and Walz’s policies may have played a role in his selection as her running mate.

In any case, free school meals are a big deal in pure policy terms. They have also met fierce Republican opposition. And the partisan divide over feeding students tells you a lot about the difference between the parties, and why you really, really shouldn’t describe the MAGA movement as “populist.”

Now, even many conservatives generally support, or at least claim to support, the idea of cheap or free lunches for poor schoolchildren. The National School Lunch Program goes all the way back to 1946, when it passed with bipartisan support and President Harry Truman signed it into law.

Why should the government help feed kids? Part of the answer is social justice: Children don’t choose to be born into families that can’t or won’t feed them adequately, and it seems unfair that they should suffer. Part of the answer is pragmatic: Children who don’t receive adequate nutrition will grow up to be less healthy and less productive adults than those who do, hurting society as a whole. So spending on child nutrition is arguably as much an investment in the future as building roads and bridges.

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My wife isn't 'just' a stepmom to my son. He sees her as his other mom.

• My wife has been in my son's life since he was 6 years old.
• She has taken on a parental role, stepping in whenever I need extra help.
• Even though she's his stepmom, my son considers her his other mom.

After Vice President Kamala Harris announced she was running for president, one criticism lobbed against her was that she is not a parent because she has never given birth to children. But she is the stepmother to her husband Doug Emhoff's two children.

Like Harris, my wife is a stepmother to my son.

I am no longer in a relationship with his father and have been in a new relationship for four years. My wife came into my son's life when he was 6 years old and quickly stepped into a parental role. It was a role she enthusiastically took on.

Although she didn't give birth to my son, my wife is absolutely his second mother.

My son and wife's relationship started friendly

My wife didn't immediately take an authoritative role or force him to treat her like a parent. At first, she was more like a grown-up friend — someone he knew he needed to respect, but someone who would take him on drives to get ice cream or let him pretend to drive her car while I was inside the grocery store.

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I was worried about parenting with another person all the time. As the primary parent, I wasn't used to dividing parenting duties . My wife was aware of that and always deferred to me as the primary parent.

But the bond between my son and my wife was instant. He had never met someone I was dating before, but he liked her immediately.

My wife has taken on more responsibility as a stepmom

Over the last four years, she's taken on more parental responsibility but never tried to act like she was more of a parent than myself or my son's father. She is a bonus mom, someone there to kiss him goodnight , help him with his homework, and love him unconditionally.

During the pandemic, my wife volunteered to take the lead in helping my son with virtual school so I could focus on work. She created a schedule for him, made him lunch, and ensured he kept up with assignments. When the playgrounds opened, she would take him to play, armed with a backpack full of whatever was needed.

I have gone on several overnight trips , leaving the two of them alone together. My son doesn't even call or text me when I'm gone because he's having so much fun hanging out with my wife. I never have to worry about him; I know my wife will make sure he takes a bath and goes to bed on time.

There are days when I will ask her to tag in and do the bedtime routine because I'm working or want a break, and she does it without question. My son knows that if he needs something, he doesn't have to come to me all the time.

Seeing my wife willingly step into a parental role with my son has strengthened our relationship. I knew I loved her almost immediately after we met, but seeing how my son responded to her made me more secure in my decision.

Sometimes, she still refers to him as mine, and I always remind her that she's his mom, too. We do everything as a team: school meetings, performances, birthday parties . Everyone knows us as his two moms, and there's no one else I could imagine doing this with.

My son now sees my wife as the missing piece to our family puzzle. He proudly claims her as his other mom.

"You're my mom too," my son will say when my wife calls herself his stepmom. He made that decision. My wife never wanted to force a close relationship on him, but he pushed for it.

Media has warped the perception of stepmoms

Popular media depictions of stepmoms are largely negative. The common trope is that they're evil.

For example, you have characters like Meredith Blake in the Lindsay Lohan version of "The Parent Trap," the Baroness von Schraeder in " The Sound of Music ," and, of course, the prototype: Cinderella's Evil Stepmother.

These women are always seen as temptresses who come in and seduce the father into marrying them before revealing they intend to get rid of his daughter so that she will be the only woman in his life.

Maybe there are stepmoms out there who fit this description, but by and large, stepmoms are there to be whoever their step kids want them to be.

I know that's exactly the role my wife plays, and my son and I are all the more lucky for it.

Watch: Why one mother fled Texas to keep her child safe

• Main content

by Walter Dean Myers

Monster irony, stage directions (situational irony).

"Set design, handcuffs, and prison outfits by the State of New York."

Steve chronicles his experience in prison by writing in the format of a screenplay. This narrative choice means that Steve must adhere to certain style conventions. In a screenplay, the writer sets the scene by describing the physical environment in which the story occurs. Steve pokes fun at the fact that he has decided to convert his traumatic experience into a screenplay. Instead of penning elaborate descriptions of costumes or set-design, Steve ironically expresses his appreciation for the State of New York in making these creative decisions for him.

Pessimism (Verbal Irony)

"Williams: This guy's only sixteen. They won't kill him.

Karyl: What are you, a pessimist? Hope for the best."

These words are exchanged between Williams and Karyl, the two detectives assigned to Steve's case. As they discuss the probability that Steve will receive the death penalty, Williams is convinced that the defendant will not be punished in this way. Karyl's rebuttal is an example of verbal irony, as it is optimistic, not pessimistic that Steve will be spared from such a harsh sentence. However, Karyl's comment also points to the violence prevalent in the American judicial system, revealing how police and prosecutors may actually want to see people executed.

Innocent Until Proven Guilty (Verbal Irony)

"I thought you're supposed to be innocent until you're proven guilty?"

Steve expresses his confidence in the adage that all alleged criminals are innocent until proven guilty. However, as Steve navigates prison and court, he realizes that everyone has already evaluated him and formed their impressions of him. In this way, many people involved in the judicial system are unable to view a defendant as entirely innocent due to circumstance.

Innocence (Dramatic Irony)

"But he felt he wasn't guilty. He had made a mistake in going into the store, but when the robbery didn't go down there was nothing he could do."

The feelings that Steve pens in his journal reveal a great deal of inner turmoil because, though Steve wants to convey that he is innocent, a part of him knows he might be found guilty. In another journal entry, Steve mentions that one of his fellow inmates, Ernie, is constantly trying to convince himself of his own innocence. Steve comments on Ernie’s behavior with confusion and disdain. This is ironic, because as we have seen, Steve’s journal entries express the same sentiments that he criticizes Ernie for expressing.

Monster Questions and Answers

The Question and Answer section for Monster is a great resource to ask questions, find answers, and discuss the novel.

Wednesday, July 8th

The script allows Steve to speak and express himself when in court... it symbolizes his reality.

Please post your questions separately.

Edgar Allan Poe

This depends on what you want to comment on. Can you be more specific? Is it a specific work that he has done?

what page number is "You do the crime, you do the time. You act like garbage, they treat you like garbage" on

Page numbers differ depending on your book copy but you can find this quote in chapter 6.

Study Guide for Monster

Monster study guide contains a biography of Walter Dean Myers, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Monster
• Monster Summary
• Character List

Essays for Monster

Monster essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Monster by Walter Dean Myers.

• Race and Identity: 'The Absolutely True Diary of a Part-Time Indian' and 'Monster'
• A Modernist Monster: Techniques and Social Messaging in Myers' Novel

Wikipedia Entries for Monster

• Introduction