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AbstractMary Shelley mined the ideas of international thought to help develop three new subgenres of modern political science fiction ('poliscifi'): post-apocalyptic, existential, and dystopian. Her two great works of poliscifi, Frankenstein (1818), and The Last Man (1826) – confront the social problems that arise from humanity's technological and cultural interventions in the wider environment. This article recovers The Last Man not only as the first modern post-apocalyptic pandemic novel, but also as an important source for the existentialist tradition, dystopian literature, and their intersections with what I call 'Literary IR'. Comparing The Last Man with its probable sources and influences – from Thucydides and Vattel to Orwell and Camus – reveals Shelley's ethical and political concerns with the overlapping problems of interpersonal and international conflict. The Last Man dramatises how interpersonal conflict, if left unchecked, can spiral into the wider sociopolitical injustices of violence, war, and other human-made disasters such as species extinction, pandemics, and more metaphorical 'existential' plagues like loneliness and despair. Despite these dark themes and legacies, Shelley's authorship of the great plague novel of the nineteenth century also inspired a truly hopeful post-apocalyptic existential response to crisis and conflict in feminist poliscifi by Margaret Atwood, Octavia Butler, and Emily St. John Mandel.

Twentieth-century feminist scholarship has largely ignored the foundational role of theology in Wollstonecraft's moral and political philosophy, and its role in shaping the development of her philosophy of the family through three distinct stages. Wollstonecraft was a traditional trinitarian Anglican in her early writings, a rationalistic unitarian Christian Dissenter in her middle writings, and a Romantic deist, skeptic and possible atheist in her late writings. The early Wollstonecraft views the traditional family as a cave that traps humanity in a morass of corruption with no hope of escape except in the next life; the middle Wollstonecraft believes that once the family takes a new, egalitarian form, it can serve as a "little platoon" (to use Burke's phrase) that instills the moral, social and political virtues in each generation of citizens; while the late Wollstonecraft fears that the traditional family is a prison from which women have little hope of escape, either in this world or through passage to the next.