that the creature possesses which they can resonate with. It is enough that he is objectively different from the identifying criteria. To be fair, Malchow qualifies his argument by stating Shelley did not specifically create Frankenstein’s creature in the fashion of a “Negro monster [...], but rather [...] she dredged up a bogyman which had been constructed out of a cultural tradition of the threatening ‘Other’” (103). Shelley knows that groups do not need an explicit identity to discriminate against an individual; conjuring up an exotic canvas, in which they can impress their own biases and discrimination, serves Shelley’s narrative immensely. Thus, in a sense, Lew is right in identifying that the root of how Shelley incorporates the discrimination of others in her text is by using the imagination associated with oriental exoticism. Importantly, Shelley defines society within the confines of Europeanness. She constructs these limitations on the definition of membership thus allowing the De Lacey family to accept Safie. Especially given historical context, continentals would not culturally accept peoples from the Ottoman Empire. Besides religious and cultural differences between Turkey and mainland Europe, nineteenth century Europeans discriminated on the basis of literal physical appearance due to their construction of racial hierarchy. Nevertheless, Safie, who society should consider a traditional Other, integrates with society and stands apart from the otherness of