Chapter One: Frankenfictions - Gothic Remixed - Monstrous Adaptations - The Many Faces of Frankenfiction - Twenty-First-Century Remix Culture - Frankenfiction as Remix - Frankenfiction as Adaptation - Frankenfiction as Appropriation - Hauntings and Illegitimate Offspring Chapter Two: Adapting the Monster - From 'Miserable Wretch' to 'Modernity Personified': Defining the Twenty-First-Century Monster - 'Ourselves Expanded': Anno Dracula and the Neoliberal Vampire - The Empire Strikes Back: Victorian Monsters and The League of Extraordinary Gentlemen - 'We Are All Monsters': Reclaiming Privilege in Penny Dreadful - ' Monstrum Sum ': Intersectional Monstrosity in The Extraordinary Adventures of the Athena Club - The Promises of Monsters Chapter Three: Mashing Up the Joke - Camp as Sincere Parody - The Irony of Pride and Prejudice and Zombies ; Or, Taking Historical Fiction Seriously - Literature with a Twist: Parodying the Classics - Parodying Neo-Victorianism - Taking the Past Seriously; Or, The Limits of Postmodern Irony - Conclusion: Beyond Postmodern Irony Chapter Four: Remixing Historical Fiction - The Gothic and Historical Fiction - The 'Look' of the Past: Visual Gothic Histories - Sublime Metamorphosis: Dan Hillier's Victorian Illustrations - Foreign Animals: The Immigrant Portraiture of Travis Louie - Meet the Family: Colin Batty's Victorian Cabinet Cards - Flux Machine: Kevin J. Weir's Animated Horrors - Conclusion: Unnatural History Chapter Five: Appropriating the Author - Frankenfiction and Romantic Authorship - Frankenfiction and the (Un)Death of the Author - Frankenfiction and Transmedia World-Building - Women's Work: Mary Shelley as Remixer/Remixed - Feminist Frankenfiction? - Conclusion: The Monster Always Escapes - Bibliography.