Imagine a world where classic tales of monsters and mayhem collide with the uncertainties of tomorrow – that's the electrifying promise of Polygon's upcoming Dark Futures series, set to captivate readers in 2026 and beyond. This exciting new venture builds on the success of their Darkland Tales, which brought together Scottish literary giants like Denise Mina, Alan Warner, David Greig, Val McDermid, and Graeme Macrae Burnet to breathe fresh life into pivotal moments from the nation's history. But here's where it gets controversial: instead of delving into the past, Dark Futures boldly thrusts us into speculative futures, reenvisioning beloved stories in ways that might ruffle the feathers of traditionalists who cherish the originals unchanged.
As Polygon explains it, while Darkland Tales invited Scotland's finest writers to reinterpret historical events, Dark Futures flips the script entirely. It focuses on the 'what ifs' of tomorrow, crafting short speculative fiction novels – that's stories exploring imagined technologies, societies, or scenarios that could emerge from our current world – that update and reframe classic works or timeless narratives, all anchored in a futuristic or imminent-future Scotland. For newcomers scratching their heads at speculative fiction, think of it as sci-fi lite: stories that blend real-world issues with fantastical twists, like exploring how climate change or AI might warp everyday life, using familiar myths as a springboard.
Kicking off this ambitious lineup is Jenni Fagan's The Fall of Frankenstein, hitting shelves in August 2026. Fagan, who previously dazzled with her Darkland Tale Hex – a bold retelling of the North Berwick Witch Trials – brings her signature flair to Mary Shelley's iconic monster story. Polygon editor-at-large Jamie Crawford offers insight into the series' spirit: 'The Fall of Frankenstein captures the essence of our new collection perfectly. Shelley's masterpiece is transported to a near-future Scotland, featuring a secretive Independent Bureau of Lost Words nestled on the East Lothian coast. This agency grapples with the eerie vanishing and aggressive resurgence of language itself, portraying words as both terrifying foes and heroic rescuers.' And this is the part most people miss: While each novella stays rooted in Scotland or ties back to it, the series draws inspiration from global sources, aiming to weave in diverse cultural threads for a richer tapestry.
Crawford secured global rights for the book from The Wylie Agency, with Fagan now represented by Clare Conville at C&W Agency. Conville gushes about the project: 'It's incredibly exciting to help launch The Fall of Frankenstein by the extraordinary Jenni Fagan to eager fans. Jenni excels across genres – from novels and personal memoirs to poetry – and following her stunning Hex, who could overlook her masterful take on this enduring classic?' To give you a taste, here's Fagan's own vivid synopsis: 'Victor Frankenstein is trapped in a fever dream. He's unearthed Mary Shelley from her grave and unwittingly unleashed the Creature once more. Accidentally sacrificing his best mate Finn to gift a heart to his secret love interest, he watches as she sips a negroni in a speeding sports car through East Lothian's scenic landscapes.
Meanwhile, language worldwide morphs into a beast. Words fade away inexplicably. Rain seems to have perished in the Forth estuary. Affections vanish from cab drivers' lips just as they're about to express them. At the Independent Bureau of Lost Words, the fresh curator – Mary Shelley herself – collaborates with her creative spark, Victor Frankenstein, plotting to snare the Creature. But a chilling truth dawns: this time, it's targeting its progenitor via her very tool – language.'
What a provocative setup! This reinterpretation raises eyebrows: Is it disrespectful to tamper with literary sacred cows like Frankenstein, or does it honor them by sparking new conversations? For instance, portraying words as 'monsters' could be seen as a warning about misinformation in our digital age, but some might argue it diminishes the emotional depth of Shelley's original. Do you agree that classics deserve futuristic facelifts, or should they remain untouched? Is the idea of language 'disappearing' a metaphor for cultural erosion in Scotland today? Share your opinions in the comments – I'd love to hear if you're excited, skeptical, or somewhere in between!
