Mary Shelley's son and daughter-in-law to "Victorianise" her memory by censoring biographical documents contributed to a perception of Mary Shelley as a more conventional, less reformist figure than her works suggest. Her own timid omissions from Percy Shelley's works and her quiet avoidance of public controversy in her later years added to this impression. Commentary by Hogg, Trelawny, and other admirers of Percy Shelley also tended to downplay Mary Shelley's radicalism. Trelawny's Records of Shelley, Byron, and the Author (1878) praised Percy Shelley at the expense of Mary, questioning her intelligence and even her authorship of Frankenstein. Lady Shelley, Percy Florence's wife, responded in part by presenting a severely edited collection of letters she had inherited, published privately as Shelley and Mary in 1882. From Frankensteins first theatrical adaptation in 1823 to the cinematic adaptations of the 20th century, including the first cinematic version in 1910 and now-famous versions such as James Whale's 1931 Frankenstein, Mel Brooks' satirical 1974 Young Frankenstein, and Kenneth Branagh's 1994 Mary Shelley's Frankenstein, many audiences first encounter the work of Mary Shelley through adaptation. Over the course of the 19th century, Mary Shelley came to be seen as a one-novel author at best, rather than as the professional writer she was; most of her works have remained out of print until the last thirty years, obstructing a larger view of her achievement. In recent decades, the republication of almost all her writing has stimulated a new recognition of its value. Her habit of intensive reading and study, revealed in her journals and letters and reflected in her works, is now better appreciated. Shelley's conception of herself as an author has also been recognised; after Percy's death, she wrote of her authorial ambitions: "I think that I can maintain myself, and there is something inspiriting in the idea." Scholars now consider Mary Shelley to be a major Romantic figure, significant for her literary achievement and her political voice as a woman and a liberal. Selected works History of a Six Weeks' Tour (1817) Frankenstein; or, The Modern Prometheus (1818) Mathilda (1819) Valperga; or, The Life and Adventures of Castruccio, Prince of Lucca (1823) Posthumous Poems of Percy Bysshe Shelley (1824) The Last Man (1826) The Fortunes of Perkin Warbeck (1830) Lodore (1835) Falkner (1837) The Poetical Works of Percy Bysshe Shelley (1839) Contributions to Lives of the Most Eminent Literary and Scientific Men (1835–39), part of