cover illustration for Frankenstein (Mary Wollstonecraft Shelley). Cardano edition

publishing my own version of Frankenstein on Cardano

I’m extraordinarily pleased to say I’ve learned the trick to making the HTML NFTs display with all CSS styling intact in Pool.pm.

This has been a thorn in my side since I started doing this, and the answer was under my nose the whole time. It took a conversation with @ThisCrazyLife to figure out the issue, and he’s earned a lifetime subscription to dark mode press’s future classic lineup for this service.

His yellow skin scarcely covered the work of muscles and arteries beneath; his hair was of a lustrous black, and flowing; his teeth of a pearly whiteness; but these luxuriances only formed a more horrid contrast with his watery eyes, that seemed almost of the same colour as the dun-white sockets in which they were set, his shrivelled complexion and straight black lips.

Frankenstein; or, the Modern Prometheus

Mary Wollstonecraft Shelley

dark mode press is the name I gave to my publishing project, because I don’t intend just to publish my own work. I want to publish lots of peoples’ work. Especially if they are women, people of color, from the LGBTQ+ community, indigenous folks, or people with mental health challenges.

People whose voices are too often drowned out by voices of entitlement and privilege.

I don’t have anyone from any of those communities to work with yet, but there is lots of badass public domain literature out there, and the Alexandria Project library needs books.

First up: Frankenstein; or, the Modern Prometheus by Cardano’s matriarch, Mary Wollstonecraft Shelley.

If you’re not yet a Cardano person, you may not know yet that Cardano’s roadmap eras are named after super old-school influencers like Lord Byron and Voltaire. The Shelley era, named after Mary Shelley, established Cardano as a fully decentralized blockchain network.

This work is in the public domain. So I can do anything I want with it, up to and including rewriting it as a dystopian robot-themed musical with a score by Angelo Badalamenti. But instead I’ll keep it as is. With one exception.

These paragraphs are long as f*ck, and that’s terrible for online reading. Light from a screen is bad for your eyes as it is., and walls of text are bad UX.

I have to break up the long paragraphs. And I have to be careful about how I do it.

Reformatting something written by the queen of science fiction is not an undertaking I take lightly. But it’s not like I can email her or DM her on Twitter. Some breaks are easy to find. But for others I have to look for a shift in ideas.

Also, I’m aware that I’m changing the cadence of the narrative. And that, by making sentences that were buried in the middle of a huge paragraph the first sentence in a new paragraph, I’m changing the emphasis on certain ideas. So I’m editing as respectfully and thoughtfully as possible.

And that’s what I’ve been doing this weekend — editing Frankenstein for online reading so I can make an HTML book out of it and mint it as an FT for the library. And making the cover art.

More literature coming soon to Cardano’s bookshelf.

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