There are actually a few references to Frankenstein in the book. In Chapter 21, Marked for Greatness, the author discusses physical deformities as symbols for inner dysfunction or moral turpitude (depravity).
He discusses Mary Shelley's monster from a historical perspective; the atrocious figure of the monster explores nineteenth-century fears about the unholy alliance between science and supernatural quackery.
Thanks to Hollywood, the monster looks like Boris Karloff or Lon Chaney and intimidates us by its sheer physical menace. But in the novel, it's the idea of the monster that is frightening, or perhaps it’s really the idea of the man, the scientist-sorcerer, forging an unholy alliance with dark knowledge that scares us. The monster represents, among other things, forbidden insights, a modern pact with the devil, the result of science without ethics.
In fact, the dubious science of galvanism was the central premise that gave birth to Frankenstein, the monster. In Chapter 21, the author also introduces the hypothesis that Frankenstein unwittingly represents the ugly parts in all of us that we would rather keep hidden from public view.
Romanticism gave us the notion, rampant throughout the nineteenth century and still with us in the twenty-first, of the dual nature of humanity, that in each of us, no matter how well made or socially groomed, a monstrous Other exists.
What they share with Shelley’s monster is the implication that within each of us, no matter how civilized, lurk elements that we’d really prefer not to acknowledge – the exact opposite of The Hunchback of Notre Dame or “Beauty and the Beast,” where a hideous outer form hides the beauty of the inner person.
In the above quotes, the author makes the point that, when a writer takes the trouble to clothe a character with significant physical anomalies, he "probably means something by it," and we should try to understand the inherent symbolism behind his actions.