POE Studies Association Newsletter Published at Penn State Berks

VOLVME XXVIII
NUMBER
1
SPRING
1999
POE Studies Association Newsletter
Published at Penn State Berks-Lehigh Valley College
Conferences
Poe
at the AlA
Two Poe panels sponsoredby the PSA are scheduled for the ALA
this May in Baltimore. The first panel, "Poe's Criticism," chaired
by TerenceWhalen will meet on Friday, May 28, 1999 at 10:30 a.m.
in Maryland E. Panelists include Stephen Railton, University of
VIrginia, "Criticism asFiction; " Meredith McGill, RutgersUniversity,
"The Ruins of Shelley: Poe, Elizabeth Barrett Browning, and Poetic
Inheritance;" BarbarnCantalupo,Penn StateUniversity, "In Prniseof
Macaulay (or Teasing the Titmice');" and Scott Peeples,College of
Charleston,"'I Might Term Him a Magazinist': Poe and N. P.Wlllis."
Organized by Joel Myerson, the second panel, .'Poe and His
Contemporaries,"will be chaired by Barbarn Cantalupo, Penn State
University and will meet on Sunday, May 30, 1999 at 9 a.m. in
Maryland E. Panelists include: Noelle Baker, Georgia State
University, "Phrenology, Literary Theory, and Biographical
Porb"aiture:Tactical Minefields in Whitman's DefenseofPoe;" Mary
DeJong, Penn State Altoona, "Rufus Griswold, Anthologist and
Editor;" and Richard Kopley, Penn State DuBois, "ReadersWrite:
Nineteenth-Century Annotations in Copies of the First American
Edition of Poe'sThe Narrative of A11hurGordon pym."
In addition to these two panels. a seminar entitled. "The Poetry of
Edgar Allan Poe." run by Leo Lemay of the University of Delaware
will meet from 12 noon to 1:45 p.m. on Friday. May 28. 1999 in
Maryland E.
International
Edgar
AUan
Poe
Conference
The International Poe Conference, honoring the sesquicentennial
of Poe's death and sponsoredby the Poe Studies Association and
the PoeMuseum (with support from PennStateand Louisiana State),
will take place on October 7-10, 1999 in Richmond, VIrginia. The
conference will feature forty sessions-one hundred and twenty
papers--concerning varied aspects of Poe's life and work. The
countries represented on the program will be Canada, France,
Germany, India, Italy, Japan, Singapore, and the United States.
Among the speakerswill be Nina Baym, Silvia Campanini, Eric
Carlson, JoanDayan, Ben Fisher,Alex Harnmond, Daniel Hoffman,
M. Thomas Inge, John Irwin, Henri Justin, J. Gerald Kennedy,David
Ketterer,Philip uvine, Meredith McGill, Elsa Nettels, Burton Pol1in,
Louis Renza, John Reilly, Sumanyu Satpathy,Dave Smith, Reiner
Smolinski, G. R. Thompson, and Uchigoro Uchida. The guest-ofhonor will be John Dunning, author of the murder mystery novels
Booked to Die and Bookman's Wake. John Astin, renowned actor
and formerly of "The Addams Family," will perform in the oneman play, "Once Upon a Midnight."
To register for the conference, call (800) 778-8632 or e-mail
[email protected] reservea room at the conference
hotel, The Jefferson (http://www.jefferson-hotel.com),
call
(800) 424-8014. Special conference rates are as follows:
single/double-$145 per room per night ($163.13 with tax);
triple-$155 per room per night ($174.38 with tax); quad-$165
per room per night ($185.63 with tax). When making your
reservation, please mention the Poe Studies Association.
All participants in the Poe Conference must be current ( 1999)
members of the Poe Studies Association. Therefore, if you
are not alre-ady a member of the Poe Studies Association or if
you have not yet renewed your dues, please send your check
for $8, payable to "Poe Studies Association," to Roberta Sharp,
Secretaryrrreasurer, Poe Studies Association, 1010 Rosemary
Lane, La Verne, CA 91750.
Poe
Festival
in Prague
Peter Fawn is the chair and organizer of a three-month Poe festival,
"Edgar Allan Poe-Illustrations of a Tormented Mind," arranged
by The Edgar Allan Poe Society of Prague and sponsoredby AIG
Insurance, American Express, and Hotel Intercontinental in
cooperation with Charles University, Praha 2000, and the Prague
Castle Administration. The conference has been three years in
planning and will begin on August 3, 1999 and run through the end
of October. The festival felltures an exhibition of illustrations,
original manuscripts, first editions, Poe's personal possessions,and
recreationsof scenesfrom Poc~'s
fiction with items on display from
the collections of Susan Jafte Tane, Stephen Loewentheil, Holt
Edmunds, the Poe Museum of'Richmond, and the Edgar Allan Poe
Society of Prague.
Fawn chose Prague as the site of the conference becauseof "the
Gothic qualities that lend themselves to Poe's works and form a
perfect backdrop for the festival." The opening of the exhibition
will be at the Carolinum, Charles University with a gala concert of
Sergei Rachmaninov's "The Bells" as well as other "Poe-inspired"
pieces in the Rudulfinum Concert Hall "poised on the banks of the
RiverVlatava which runs through the heartof the old city of Prague."
A seriesof opera performancl~sinspired by Poe'swork will be held
in October and "staged in the.magical and very apt settings of the
cellars of the Old Kings Palacein PragueCastle. The audiencewill
be privileged to witness this spectaclein what will be only the second
time this century that the public has been allowed accessto this
special area of Prague Castle." Chamber music concerts will also
be staged during October when, Fawn writes, "we will discover
some interesting musical interpretations of Poe'sworks dating back
to 1855." A series of films on Poe and his works sponsoredby the
Czech National Film Archives and the British Film Institute will be
screenedduring Septemberand October. Lectures by Burton Pollin
and Richard Kopley will be featured in September. For further
information, contact Peter Fa'Nn, President, The Edgar Allan Poe
Society at [email protected] or at the festival contact
address: Peter Fawn, Edgar Allan Poe Society of Prague, c/o
14 Watling Road, Southwick, Brighton, England BN424DSD.
Poe
in
Cyberspace
At times the World Wide Web is a houseof cards. Primary e-text sites
may be the root of second-and third-generationpageswhich either
copied the original content (often without credit) or linked to it. As
successivegenerationsbuild up the processof recopying or relinking,
the original site is often forgotten. What happens,then, if a root or
primary e-text site is suddenly removed? Will the result be a small
chain reaction? Such a potential catastropheactually took place in
the realm ofPoe e-textswhen the important VIrginia Tech Eris Books
source dropped out of service without warning in September 1998.
Predating the expansion of the World Wide Web, the VIrginia Tech
Eris Books collection contained plain e-texts of 133 authorsEnglish, American, classic, and foreign. The Poe section contained
more than 140 works in 122 files; for many years it was the largest
readily available electronic edition of Poe on-line. But anyone
putting in an Internet request after September 1998 to the usual Poe
address (gopher://gopher:vt.edu:10010/11/134) would receive this
curt message:"Server error: Sorry, accessdenied." (perhapsthe old
gopher protocol itself, initially a menu for basic ftp network, had
finally been supersededby the Web's own http protocol.) Persistent
snooping on the Ens Books site yielded this terse explanation:
The Eris Books have been removed from this site. The
works that were on this site can be found at the Project
Gutenberg site at http:/lwww.promo.netlpg/. We are sorry
for any inconvenience this may cause.
[email protected]
Sept. 23, 1998
gopher://gopher:vt.edu: 70/00/erisbooks.
Not unexpectedly, for a few months other Poe lists continued to
link to the dead Eris Books site. By March 1999, more than five
months later, the Poe texts had not yet surfaced as promised at the
Project Gutenberg site, although it is hoped that they will yet do
so. The better specialist indexes, such as Voice of the Shuttle,
Internet Public Library, and the CMU English Server, had trimmed
the luxuriant but dead Eris shrubbery. But the Web has no method
of automatically treating "bit rot," the problem of abandoned or
changed pages or sites, and even the best web search engines
continue to show deadlinks. (If you think it's hard to get information
onto a computer network, try getting it off.)
The extent of the problem is shown by a recent Altavista search,
which revealed 65 Internet sites with links to the defunct Eris
Books Poe e-text site. (Let's not even think about links to the
other 132 Eris authors!) Some of the lists needing updating are
at such normally honorific locations as Book Stack (Oxford),
Xroads (Virginia), Carrie (Kansas), IAT (UNC), Mimi (Keele),
Poets (Cornell), Favorite Authors (Ohio State), Forrest's Fall of
the House of Usher, and Great Books (Mindspring). Of course,
the usual crop of dead links can be found on personal pages at
AOL, Geocities, and Tripod. (My embarrassing discovery was
that the leading offenders here were my own forgotten drafts of
old Poe webliographies, orbiting like abandoned space debris.)
Although the copycat nature of the Web can produce dead
links, it can also create backup copies which prove useful when
an original ceases to be available. Indeed, several lesser known
e-text file copies or mirror sites, relatively unimportant when
Eris Books was still functioning, can now be used to fill in
the gap. The miracle of these digital copies is that they can be
indistinguishable from the originals. Here are several alternate
locations for the Eris Books Foe e-text collection-not
yet
generally picked up by electronic bibliographers:
1. The University of Missouri at St. Louis (UM-StL) put up its own
set ofPoe e-textsfrom a Walnut Creek CD-ROM. quickly withdrawn
in 1992 after a copyright controversy over a dictionary it contained.
gopher://gopher:umsl.edu:70111Ilibrary/stackslbookslpoe
2. Stefan Gmoser, who formerly maintained links to the Poe Eris
e-texts, has now refurbished local text copies with readable HTML
typefaces. http:/lbau2.uibk.ac.at/sg/poe
3. Mindspring Thorazine has a C(>Pyof the Eris Foe e-texts, unfortunately
coded in HTML which produces white text on a black background,
impossible to print http:/!wwK(mindspring.coml-thorazine/Poel
4. The CD-ROM literary anthology Library of the Future (4th ed.),
contains a similar grouping: of Foe e-texts, as does" another
CD-ROM, Corel World's Greatest Classic Books (out of print).
Some members of this text falTlily contain Pym, some Eureka, some
neither, some both. By the wa~r,the provenance of these Poe e-texts
cannot be positively established. The Walnut Creek CD-ROM used by
UM-StL dates from 1992 ("Desktop Librnry CDROM, Ist ed. Aug.
1992, CDRMI017370").
The .VlIginia Tech Eris Books gopher site
obviously predates my first downloads from it, dated August 1, 1994.
Other CD-ROM editions may d2ltebackto 1990, making it seem likely
that some CD-ROM edition pI1Jbably came first. But regardless of
which electronic edition was thl~ earliest, where did all these textsover 140 tales, poems, and critil::isrns--come from in the first place?
There are two identifying marl<:sof this family of e-texts: first, the
works are grouped into about 120 files; and second,two of these
files, identified as"Criticism" and "Marginalia," areclusterscontaining
severalworks. Thesetwo charncteristicsare closely matchedin only
one printed edition, the BoIZoi Poe: The CompletePoemsand Stories
of Edgar Allan Poe (2 vols., Ne\NYork: A. A. Knopf. 1947, 1092 pp.,
with an Introduction by Arthur Hobson Quinn and Bibliographical
and Textual Notes by Edward H. O'Neill}.
After the Borzoi Poe was kept in print by Knopf well into the 19708,
it appeared under various reissue titles, the most recent being
Complete Tales and Poems (New York: Barnes and Noble, 1992.
ISBN 0-88029-366-7). This economy version can be found on
remainder tables as well as on the publisher's Web site,
www.bamesandnoble.com. B:y the way, you won't find it at the
rival web site, www.amazon.com!
Although the Borzoi edition is not a standardedition for scholarly
reference, as are the Harrison :md Mabbott-Pollin editions, it may
uniquely help to fill a definite pedagogicneed for combined printed/
electroniceditionsofPoe. For the most part, Poeeditionsareavailable
in print or electronically-rarely in both forms. There areno electronic
editionsof any of the standardprintededitionsofPoe, suchas Harrison,
Mabbott-Pollin, or the Library of America edition-the latter based
in part on Mabbott and recently issuedas a school paperbackedition.
On the other hand, there is no printed counterpart for the widely
availableelectronic family of some30 Poe texts, variously accessible
at Internet WIretap, the Oxford Text Archive, the VlIginia Electronic
Text Collection, and the Michi,gan Humanities Text initiative. (For
on-line links to thesePoeand other e-texts,see A "PoeWebliography"
at http://andromeda.rutgers.edu/-ehrlichlpoesites.html.)
To be sure, there are corresponding printed editions for such
historically-based e-texts as those which have appearedrecently in
the Poe Society of Baltimore, "A Digitized Library of Southern
Literature" at the University ofN,[)rthCarolina,the Michigan American
VerseCollection, the Michigan/,Comell Making of America project,
and the VIrginia/Chadwyck-HealeyEarly American Fiction projectbut they are likely to be found orlly in the rare book rooms of research
The notes accompanying this exhibit pointed out the "poor
likeness" of this portrait: "the portrait was dismissed by one
journalist as 'a gross wrong to Mr. Poe, and a fraud upon the
purchasers of the Magazine.'" The second Graham's picture
was a reproduction of the hand-colored engraving in the July
1941 number that Thomas Mabbot identified as Poe standing
next to Maria Clemm. The notes here explained that "others
have argued that Poe would not have allowed his image to be
used in this way, citing his comments about the 'contemptible
pictures' in Graham's Magazine." Also on exhibit was an
engraved portrait by Frederick T. Stuart, 1885, after a copy of
the "Thompson" daguerreotype ( 1849) and another engraving
by an unidentified
artist after the" Annie" or" Stella "
libraries. We need more photofacsirnile editions such as Jay B.
Hubbell's out of print textbook edition of the 1845 Tales and The
Ravenand Other Poems(Columbus, Ohio: CharlesE. Merrill. 1969.
SBN 675-09529-9 and 675-09530-1).
Meanwhile, the Borzoi-Eris combination may be useful despite its
faults. The Eris Poe e-texts are largely unverified, a task for which
the Borzoi texts are the appropriate tool. The original Poe texts of
the first generation, the editions from Borzoi and Eris Books, are
both gone now, but their printed and electronic sonscan stepforward
now in a meeting of ancestors and descendantswho, up to now,
have been total strangersutterly unaware of each other's existence.
Heyward Ehrlich
Rutgers University
daguerreotypes. Set aside with special note was one of the five
copies of the "Ultima Thule" daguerreotype by Samuel Masury
and S. W. Hartshorn. Here the exhibit noted Baudelaire's 1860
description of that image: "'Here he is very French; mustache;
no sideburns; collar folded down. ...His brow is enormous
both in breadth and height; he looks very pensive. ...Despite
the immense masculine force of the upper part of his head, it
is, all in all, a very feminine face. The eyes are vast, very
beautiful and abstracted." Included, as well, was an etching by
Nicolas-Fran~ois Chifflart of Poe that appeared in the 1884
edition of Baudelaire's translation of Poe's tales, and according
to the exhibit's notes, "it bears no resemblance to extant
photographs of Poe."
"Poe: The Ardent Imagination," an exhibit of over fifty personal
letters, manuscripts, portraits and rare printed editions of Poe's
work drawn entirely from the library's permanent collection,
opened on January 21, 1999 and ran through May 5, 1999 at
the Morgan Library in NYC. A lecture by the exhibit's curator,
Christine Nelson, "Poe and the New American Literature," sold
out for its noon presentation on March 24th. An adjoining
exhibit-"Detectives, Private Eyes, and Spies"-also displayed
Poets detective fiction along with works by Childers, Ambler,
Christie, Stout, Sayers, Collins and Hammett.
Impressive were the illustrated versions of Poe's works including
the 18 by 24 inch Mallarrne-Manet edition of "Le Corbeau" (Paris:
Richard Lesclide, 1875); also displayed was the framed wrapper
depicting a raven by Manet.
Equally intriguing was the
GustaveDore "Raven" (New
York: Harper & Bros., 1884
[i.e. 1883]) with box and the
first edition of Baudelaire's
Histoires extraoniinairespar
Edgar Poe (Paris: Michel
Levy Freres, 1856) which
includes his autograph
inscription to the writer
Emile Deschanel. Charles
Fouqueray's etchings on
"':
display illustrating "Murders
Upon entering the room of the Poe exhibit, the manuscript of
"The Tale of the Ragged Mountains," its eight sheets joined
with sealing wax forming a long scroll, was framed and hung
on the left wall. Nothing distracted from its presentation, an
indication of the care and attention given to the exhibit overall.
All of the material was positioned so that the viewer could easily
read Poe's small but clean, clear handwriting in the other seven
manuscripts on display: "Tamberlane," "The Bells," "Ulalume,"
"Politian: A Tragedy," "The System of Dr. Tarr and Professor
Fether," "Hans Phall," and " Annabel Lee." Viewers could easily
read Poe's minute print that fits "Hans Phall" onto an 8 x 6 inch
piece of paper, and could see the deliberate energy and
thoroughness that went into crosshatching out the epigraph Poe
had originally thought to use.
,b
LK Cor eau (The Raven)
in
"
the
Rue
Morgue"
and
.
poemepar EdgarPoe.lnlductionfrall~aisede
The Mystery
of Mane
Stephane
Mallarme.aveciIIustratioru,par
Roget" made expressly for
EdoualdManet,Paris. Richard~lide. 1875. Baudelaire's
text presented
1998(!;)
The PlerpontMorganLibrary.NewYork
. k ...
In addition to the above manuscripts, the exhibit provided
examples of Poe's criticism, both in notes and personal letters.
Most impressive was the display of Poe's notes for a projected
book, The Living Writers of America, Some Honest Opinions
about their Literary Merits, with Occasional Words of
Personality (ca. 1846) that includes the self-reflection: "Shall
I subject myself to the possible charge of vanity (in other words
of being proud of that of which none but a conceited ass could
help being proud)--or shall I suffer the public to remain un--."
(See the last page of the newsletter for a reproduction of this
text.) Also included were " A Chapter on Autography" from
Strl mg erotic Images o f
murder.
A pleasure to experience, this exhibit presented the many sides
of Poe-from
his personal struggles with alcohol (e.g.,
autograph letter to George Eveleth, 29 February 1848) to his
professional role as editor, from his biting response to an admirer
(autograph letter dated 10 September 1849) to his affectionate
letter to Annie Richmond about composing "The Bells" and
"Hop-frog." On display, too, was evidence of Poe's influence
on others. Included, for example, was poesies de Stephane
Mallarme (1932) illustrated by Henri Matisse, with the page
open to Matisse's etching of Poe, created to illustrate Mallarme's
sonnet about Poe's tomb. All in all, this exhibit provided a
comprehensive picture of Poe in an intimate setting, presented
with grace and integrity.
Graham's, xix, 5 (1841), a letter to Joseph Evans Snodgrass
(12 July 1841), and a letter to Horace Greeley (21 February
1847) expressing Poe's distress at Greeley's criticism: "[you]
do me a vital injury-to
wound and oppress me beyond
measure."
Six images of Poe were displayed. two from Graham's including
the portrait in the February 1845 number engraved by Welch &
Walter after a watercolor sketch by A. C. Smith. 1843 or 1844.
3
Reviews
Dosed on A£rount of Rabies. Produced by Hal Winner,
Shore Fire Media/Mouth
Almighty/Paris/Mercury
Records. NewYorkCity. December 1997. Two compact
disks (also cassettes). $20.00. (See~eII foc~offer. Ed.)
"swallowed" the absurd theory which the title connotes: the
Baltimore doctor's hypothesis about Foe's death through an
undetected rabies infection, developed by ignoring all but a single
small detail in one of sevel'al accounts issued over many years by
Dr. Moran, all the earlier diagnosesfrom Poe's three physicians of
the dangerouseffects of his binges, the episode of the Temperance
oath in Richmond, and his lifelong reform-pledging letters.
Mr. Willner expressed his regret about the impish title, adapted
from a film by his favorite, W. C. Fields, which used "molasses"
in the place of "rabies." Fields also furnishes him with the main
titles for the two separate<lisks: "Burglars Singing in the Cellar"
and "The Devil's Brew," implicitly referring to Foe's real causeof
death as well as the nefarious activities of some of his characters.
Popular music makers of the past were interested in Poe texts and
used recordings to publicize their partiality: e.g., Buddy Mocrow in
1960 (RCA); in 1963, John Habash's "Folk Ballads" from Poe's
"World" (Reprise) includes nine tales; and in 1969, "The Glass
Prism" (RCA) uses almost a dozen poems. The rise of rock music
in the seventiesevoked from England the "Allan ParsonsProject"
who usesfour tales and three poems for adaptedtexts (2OthCentury
Records). A bit later we find Poe texts used on recordings by the
Finnish group "Billy Boys," a folk song arrangementby Earl Dick,
"The Dream Lovers," and also Greg Kihn using "Annabelle Lee"
(sic) and a heavy metal group, "The Iron Maiden," offering Steve
Harris's adaptationof"The ...Rue Morgue" among other numbers.
Hosts of dramatic readersof the past often used musical effects for
atmospheric background or narrative hints, but never before has a
group of popular musicians, here of the rock genre, been assembled
specifically to present their reading, chanting, or dramatizing of
Poe texts with music as a background.
And now briefly we need consider the perfonnances of the twelve
celebrated "musicians [w'ho] read Foe" (Shore Fire Media's
publicity notice of December 1997), twelve of them for the same
number of works. In general, we should note that many depend
largely upon background sounds for "Gothic" effects, as in older
recordings of spoken word ;md on dramatized Foe disks and tapes,
with synthesizersadded to wind machines, glissandi on harps and
pianos, and many percussioninstruments and horns, but three entire
poems have specially composed vocal music. The credits for
everyone connected with tli1isproject are scrupulously listed for
each user.
Hal Willner and various associates,such asAllen Ginsberg, embark
upon this newly chartered ocean. This ambitious and highly
professional pair of CDs (issued also on cassettes)proves Willner's
long experience and expert ability to assemble fourteen varied
"performer artists" committed uniformly (except for one) to serious
presentation of twelve Poe texts. Fascinating are hints of the
evolution of the concept and partial enactment of portions of the
recordings through the years: Willner's very early love of Poe's
works, his discovery of Poe's "influence" on people he was
recording (e.g., Marianne Faithfull, Ken Nordine, and Diamanda
Galas), his adopting, slowly, executive producer Michael Minzner's
idea of an album on Poe using techniques of Willner's earlier
recordings and broadening the "spoken word" performances of
Vincent Price, Basil Rathbone and other male purveyors of the
"horror genre" on film and tape. The final stages included Allen
Ginsberg's coaching of his friend Jeff Buckley in "Ulalume" early
in 1997 before the death of both, mere months later, with Ginsberg
as spokesmanfor the director's opinion: "Everything leads to Poe
...[T]race all literary art to Poe's influence: Baudelaire, Genet,
Dylan" (liner notes). This review is not directed toward people
devoted to "rock" but, rather, to readers interested in how these
performers handle eloquent or dramatic Poe texts.
Number one is Marianne Failthful1,whoselow-pitched and effectively
theatricalvoice comesfrom (~Iy acting in Hamlet, Chekov,etc. She
provides an insightful appro;achto "Alone" with sea bird and music
box sound effects ("Waltzin!~" excerpts)as an effective introduction.
POE SlUDIES
A'.jSOCIATION
NEwslmER
The newsletter or tIle Poe Studies Association,
Inc.
Published at The !Pennsylvania State University,
Berks-Lehigh
Valley College
Editor:
Founding Editors:
Managing Editor:
Production:
Barbara Cantalupo
The Pennsylvania State University
Eric W. Carlson, Professor Emeritus
University of Connecticut
John E. Reilly, Professor Emeritus
College of the Holy Cross
Lyne BIObst
Penn State Lehigh Valley
Ann Collsin
Penn Stllte Lehigh Valley
The PoeStudiesAssociationNewsletteris publishedtwice a year. Subscriptions,
which come with membershipin the Poe SttldiesAssociation,are $8 per year. Send
checks,payableto Poe SttldiesAs,;ociation,to RobertaShaJp,1010RosemaryLane,
LaVerne,CA 91750. The PSANewsletteris publishedindependentlyof PoeStudies,
publishedat WashingtonStateUniversity,Pullman,WA 99164.
The Poe StudiesAssociation Newsletter provides a forum for the scholarly
and informal exchange of infomlation on Edgar Allan Poe, his life, works, and
influence. We will consider scholarly or newsworthy notes, which bear relevance
to the PSA memhership. Send materials to Barbara Cantalupo, 442 High Street,
Bethlehem, PA 18018, or e-majl [email protected],or contact vis a vis Web site:
http:llwww.an.psu.edu/bac7/poe.htrnl.We welcome suggestionsdesignedto make
the newsletter a more stimulatin~:and useful publication.
The early reception of the record in over two dozen press reviews
has been almost uniformly favorable, but more important to us is
the reviewers' realization of the beauty and importance of Poe's
texts. The reviewer of the Atlanta Constitution says, "Even the
language. ..intoxicated;" of Billboard, "a writer whose works
beg to be read aloud;" of People, "writing that continues to fascinate
and provoke 150 years after;" Publishers Weekly,"the potential to
radically re-invent canonical literature;" Post-Dispatch, "Poe's
haunting influence remains strong, true and unabated;" Boston
Herald, "reaffirms the damaged genius of Poe;" Cincinnati
Enquirer, [his] words demand to be performed;" Seattle Post,
"deepen the hypnotic effect ofPoe's words;" TampaTribune, "[the]
complement or introduction to a true original;" Washington Post,
"Willner [et al.] wanted to pay the maximum respect to Poe's
words." Only the Washington Post had severe reservations about
the merit of Willner's achievement, but then again, its reviewer
PSA CURRENT OFFICERS
J. GeraJd Kennedy
Louisitlna State University
Vice President:
Richard Kopley
The Pennsylvania State University
Secretary- Treasurer: Roberta Sharp
Califot7lia State University, Pomona
Members-At-Large:
Joel Myerson
University of South Carolina
Terence Whalen
University of Illinois at Chicago
President:
4
Number nine is Jeff Buckley's "Ulalume:' flatly and unemotionally
read with little variety of tone or phrasing and an insistently
monotonousand weird drum and electronic sound background. The
words seemno longerto "count" to the listenerby the end. Incidentally.
Mabbott has determined and indicated (Poems 419) Poe.s
pronunciation of the first syllable as "yoo" (like that of "Eulalie.'),
not Buckley's "00." Even a p<)ssiblederivation from "ululate" would
not grant his usage.
Number two presents "The Raven," read by Christopher
Walken, in an intelligent but rather too rushed utterance, with
more concern about avoiding Victorian oratorical rhetoric than
in communicating subtle emotional effects implicit in Poe's
deliberate artistry. His thick, dentalization of every
emphasized"d," the lack of any great range of pitch to express
the great emotional gamut of these lines of anguish, a
substitution once of "placid" for "pallid," of "Gil' yad" for
Gil' e ad" and an added "s" for "tempes~" in stanza
seventeen-all show a want of suitable preparation and serious
address. There are the usual sea bird background mewings,
sound effects of synthesizers, and guitar.
In number ten, Dr. John makes a travesty out of his reading of
"Berenice:' but not deliberately. In a gritty, low-pitched voice, this
New Orleansjazz singer tackles a most difficult text with its literary
vocabulary, many Latin titles, involved sentences,and abstract and
refined long explications of (:oncepts. The accompaniment, often
soundinglike a piano or banjo being tuned,is distracting. eventhough
the pace is far too slow. Almost all "ing" verb forms are reduced to
"in:' almost every "nt" as in ."mental" loses its "t:' and long Latin
and French passagesare consistently presentedwith a half or totally
English pronunciation, e.g., "Madarnemoiselle Salle" or "Mamsel
Saal:' as sounded out, has nolt "idees" but "aidees;" and dire is the
fate of Tertullian's resounding Latin with its "credibile" and
"impossibile." Even the spc~aker'sname capriciously becomes
"Agaeus." It is ironic that he has "loitered away [his] boyhood in
books" but says "they is" for iPoe's"there is" and "wull" for "will"
and "in'a pieces" for "into pieces." Dr. John has, indeed, been well
coached about many elements in this reading, however, and may
find rapt ears in some listeners.
Number three is "The Tell-Tale Heart" read by Iggy Fop,
renowned associate of "The Stooges." An insistent music
box accompaniment hypnotically suggests the character's
obsessivemadness. Effective is the monotonously slow, even
pacing of three different well chosen musical excerpts.
Controlled, although unfortunately inelegant is the general
diction
confronting
Foe's vocabulary,
such as
"dissimoolation," and even "none" sounds like "noan," not
"nun." Impressive are the initial scene of approach and the
last, of self-betrayal at the end of the tale. The intermittent
drumbeats throughout are effectively varied in tempo and
dynamics, with all being well dramatized.
The fourth is Ken Nordine ' s "Conqueror WOnI1,"in a similarly
deep and gravelly voice, but with far better diction than Pop's.
Sound effects of bass, synthesizer and piano are helpful in
evoking a horror film orientation (his specialty) as a simplistic
approach to a more thematic poem than appears here.
The erroneoustitle given to number eleven,"City and [sic for in] the
Sea" bodes ill for the .'performance" by Deborah Hany and 'The
JazzPassengers."They afford ill a simple and dull melody for a massed
chorusof poor male voicesand female voiceschanting monotonously
to the drum and horns chiefly, with other instruments interspersed,
sometimesweaving in unintegriltedarabesques.Suddenlystanzathree
producesa lively,jazzy sectionon the refrain .'Deathlooks gigantically
down" to return in the fifth stanza. Stanzafour is whispered(a hint of
Foe's "winds") to effective o~an-like keyboard music, and uneasy
riff, returns as a coda. Altogedler a strangeeffort!
In number five, Diamanda Galas inappropriately readsthe male
abuser'sconfessionof 'The Black Cat." Her elaborately staged
"Mask of the Red Death" as part of "Plague Mass" in 1990
leadsto no dramaor contrastsin this monotonously slow-paced,
unvaried-in-pitch,growly monologue,with many harp and cello
background stretches and occasional bird caws. Menace,
secrecy,and deliberatenessprevail. The effect? A reading of
well-mouthed syllables and carefully nuanced phrasessave at
faint sentenceendings, projecting no real emotions, for horrorlovers of tender years. Theatrical "camp" might be the verdict,
at thirty-seven minutes, the interminably longest of all!
Number
twelve
Faithfull,
with a background
is a sensitive
reading,
as expected,
chorus from "Priory
No.2"
by Marianne
by P. Williams.
Gabriel Byme, ushered in the thlmderclaps, later forebodingly repeated,
melodramatically reads well "Masque of the Red Death." Varied
excerpts from Bach, Rossini, ;md "Mein Bruder" of somber organ
music are adroitly suited to the separate texts, with bells increasingly
inserted.
Number six presents Gavin Friday in "For Annie;' read with
a monotonous forward voice thrust so that all phrases lose
their variety and also some syllables-the
"no" in "no
muscle" and the second of "dif-fer-ent." All lines become a
series of gasps and sussurations without real meaning. The
dentalized t's and d's are indistinct or unpleasant. Here the
background sounds bear no relation to the words.
Number fourteen is a brief excerpt, again from "The Raven:' now
read by "shock master" Abel F;errara as though amid a background
party group. His muttered, carelessly pronounced and phrased lines
tease bouts of laughter and queries from them antiphonally during
the two-rninute performance. It originated in a Halloween Poe concert
at a Brooklyn church a few years back, which also fostered several
others on this recording, here specially re-performed for us.
Number seven presents Ed Sanders in "To Helen" clearly
and inappropriately sung to Sanders' tune that is rhythmic
and well arranged for trap drums and flugel. As a swinging
tune, it is fine, but not for that text. Ned Rorem's 1985
choral-orchestral arrangement of the same poem to a waltz
tune shows a like latitude of musical spirit with more
concord. Poe's finest text is utterly irrelevant here. Most
of the reviews ignored or disfavored this item.
All told, the records deserveto be in every Poe student'scollection,
for the amazingscopeand varie~yof theseperfonnances,all interesting
for the reasonstoo briefly detailed. I must expressdeepappreciation
to Hal Willner and Bill Adler, the company president,who provided
useful materials,including many of the reviews,publicity sheets,and
helpful telephoneconferencetime.
The next, "The Haunted Palace," irrelevantly has a country
rock setting, with gasping stressesand a monotonous melody
for small combo, clearly sung by composer Sandershimself.
It, too, has a background of twittering voices and other sound
effects, for another disastrous effect.
Burton
R.
Professor
The
~
City
University
Pollin
Emeritus
of
New
York
ShawnJamesRosenheim. SecretWriting/ from Edgar
Poe/ to the Internet: THE CRYPTO/CiRAPHIC/
lMACiINATION.
Baltimore and London: The Johns
Hopkins University Press,1997. $47.50.
Shawn James Rosenheim'sSecret writing/ from Edgar Poe/ to the
Internet: 11fE CRYPTO/GRAPHICRMAGINATION is a welcome
addition to the canon of Poe scholarship and criticism. I've tried to
reproducethe title as it appearson the cover of the book becausethe
designer was onto something, a realization that the author wrote
two books that have been ingeniously intertwined: one book is on
Poe's interest in and use of codes and on his indebtedness to
communications technology of the Dineteenth century, while the
other is on the phenomenonof cryptography as it developedthrough
the nineteenthcentury and as it relates to contemporary advancesin
communications and computer technology. Hence, in the title on
the cover of the book, Poe is given priority of mention, while
cryptography is given priority of visual appearance. And in the
content of the title, Poe servesas a link in a chain connecting "secret
writing" to the "internet," while "the cryptographic imagination,"
set off by a colon, standsby itself in bold face, and the single word
"cryptographic" dominates the cover space and catches the eye
instantly.
Nevertheless,Rosenheirn'sbook is a welcome addition to Poe studies,
becauseto those of us who believe that Poe definitely belongs in the
company of the great American writers and, indeed, in the company
of the greatest of Western writers, it is always reassuring to have
one more confimlation. As is too often felt to be necessaryin Poe
books, Rosenheirn takes pains to reassert Poe's worthiness in the
face of the many critics and writers who have seenfit to disparage
him, even as they took from him. Certainly, one of the mysteries
that is Poe is the resiliency of his reputation in the face of determined
efforts to trash his achievement as a writer. Rosenheirn writes at
one point, perhaps too apologetically: "Indeed, although it seems
mad to say it, the combined effects of Poe's fictionalization of
cryptography and his invention of the detective story are so great
that it would only just overstatethings to say that the cryptographic
fascination with Shakespeareis a function of Poe's own writing"
(10). There is no doubt that Poe penetrated and nurtured the
imaginations of an amazingly large number of significant readers,
and Rosenheirn does not fail to mention the long line of writers,
from Baudelaire on, who thought of themselvesas reincarnations
of Poe. So, yes, it is good to have one more knowledgeable and
devoted study of Poe's continuing presence,in this instance, in the
postmodem technological society.
That said, however, I must add that the returns of cryptographic
analysis in terms of helping us to understandthe Poe mystery and
in getting at deeper levels of meaning in Poe's stories are meager,
and it seems to me that some of Rosenheim's claims are
unsubstantiated.He asserts,for example,that "poststructuralthought
has stimulated the best recent work on Poe." Yet in two of the
measly three stories Rosenheirn analyzes at length as examples of
Poe's "cryptographic writing," ("The Gold-Bug," and "The Murders
in the Rue Morgue"), he relies, for his insights, not on
poststructuralist thought, but on the insights of critics who did not
work in the poststructuralistmode. On "The Gold-Bug," Rosenheim
cites Barton St. Armand's enabling essayon Poe'suse of alchemy in
the story. Rosenheirn's own contribution to our understanding of
the way that Defoe's Robinson Crusoe influenced Poe'sstory is quite
informative, but beyond that, I don't believe Rosenheirncontributes
much that is new.
In bringing his discussion of "The Gold-Bug" to a close, Rosenheim
advises that, "[ w ]ithout much effort, one could elaborate a Lacanian
reading of Foe's story. On this account, the tale's systematic
cryptanalysis would function as a myth about the ability to master
language,
as we see Kidd's unmeaning
signs waver into
meaning"(64). First, we are tempted to ask: if the Lacanian reading
is worth "elaborating," then vlhy didn't Rosenheim do it? Secondly,
what is Rosenheim suggestin~~when he says that "the tale's systematic
cryptanalysis would function as a myth about the ability to master
language?" How so? According to poststructuralists, aren't all
linguistic ttansactions a form of cryptanalysis? And if so. would
the cryptanalysis in the tale function as a myth or as a representation
of a universal truth? ThirdJly, why does Rosenheim say "Kidd's
unmeaning signs"? Obviously, the lesson of the story is precisely
that the signs were not "unmeaning," but very meaningful, indeed,
to anyone who could decipher them. Finally, 1 am surprised that
Rosenheim, concentrating on so few stories, seems to have been
unaware that something like tile kind of Lacanian reading he suggests
had already been done by Michael J. S. Williams in A World of
Words: Language and DispL~cement in the Fiction of Edgar Allan
Poe,pp.127-140,ina
section entitled, "'The Gold-Bug': 'the language
of the cipher.'" (Emphasis is WIlliams's.)
What Rosenheim concludes about cryptography itself in his reading
ofPoe's story is what may be the most puzzling aspect of his analysis.
"Although much of'The Gold-Bug,'" he writes, "is devoted to the
ttanslation and explication of a coded map, cryptography is not,
finally a form of mapping. lIt is not topographic, but thaumaturgic,
leading the reader into mysteries of sign, depth, and transforrnation-mysteries notably figured in the West by the story of Christ's birth,
death, and ttansubstantiation"(64).
What is surprising here is the
leap into transcendence, which comes without warning and without
any prior preparation and is actually antithetical to the main thrust
of Rosenheim's thesis. Else,1Vhere,for example, Rosenheim had
maintained that "the hierogl)'Ph implicitly suggests a strategy for
suturing the fundamental split in human identity between corporeal
presence and symbolic consciousness "(21 ). (Does Rosenheim intend
the positivistic "corporeal pre:;ence and symbolic consciousness" as
synonyms for the more Spiritultlist "body and soul"?) Before making
his leap of faith, Rosenheim was not concerned with insoluble
"mysteries" in "The Gold-Bug," but rather with cryptographic
problems that are susceptible of solution by rational analysis. He
makes his leap of faith on the basis of the bones Legrand and the
narrator find buried with the Ireasure. Rosenheim's leap, however,
is enabled not by "poststructuralist thought," but by St. Annand's
essay on Poe's use of the lore of alchemy in the tale.
Ironically, Rosenheim's leap of faith is not justified by the details of
this particular story and constitutes a misreading of the tale. "The
Gold-Bug" is not one of Poe's apocalyptic tales, like "The Pit and
the Pendulum" or "The Power of Words." It is a "prophetic" tale,
one with a moral that is conveyed by the ironic ending. "With its
connotations of permanence afld spiritual worth," Rosenheim writes,
"the gold is not only a materi2tl reward that accrues to Legrand; it is
also a symbol of pure meaninl~." Nothing could be further from the
truth. To some extent, Rosenheim has fallen into Poe's trap, but to
some extent, he has just read carelessly. The "treasure" uncovered
by the three protagonists consists not only of gold; it is made up of
many kinds of worldly goods, including gold coins, to be sure, but
also jewels and other valuables. Nor is it certain that the entire
treasure "accrues" to Legrand; the narrator's use of the first person
plural in his description of thl~ treasure scene suggests, rather, that
the wealth has been divide<l, at least between Legrand and the
narrator: "We estimated the entire contents of the chest, that night,
at a million and a half of dollars; and, upon the su~uent
~
of ~
trinkets and jewels (a few being retained for our <:r.vnuse), it was fourxl
that we had greatly undervalued the treasure" (Collected Works,
m:828).
Rosenheim is so intent on C~{ptography that he misses the ironic
moral of the ending, which is an analog to the moral of Shelley's
"Ozymandias," alluding to the parable in Luke 12:12-26, and
specifically verse 21: "the man who amasseswealth for himself
and remains a pauper in the sight of God." The irony of the
ending of "The Gold-Bug" is that neither Kidd nor his two
henchmen have profited from the wealth they robbed,
accumulated and buried. They have amassed the wealth of this
world at the price of their souls, only to have to leave it behind.
Rosenheim's leap into apocalypse actually exposes what is
probably the major weakness of his book. Although
he
concentrates enormous effort on the study of cryptography and
asserts the centrality of cryptography to Poe's oeuvre, he applies
extensive detailed cryptographic-analytic readings to only three
of Poe's stories. Cryptographic analysis seems to have no
bearing on Poe's "other" tales, that is, on tales like "Ligeia"
and "The Oval Portrait," that are not explicitly tales of
ratiocination, but rather what Poe took to be explorations of
the human soul. The abiding mystery of Poe's genius remains
unaddressed by Rosenheim's figure of the cryptographic
imagination:
that is, the question of how we are to reconcile
the author of the ratiocinative tales with the author of the tales
and poems that are of the soul.
The other Poe story that Rosenheim analyzes at length is "The
Murders in the Rue Morgue." But here, again, cryptographic
analysis rediscovers hidden meanings that had already been
unearthed, not by poststructuralist thought, but by conventional
reading. For example, one of Rosenheim's insights is that "'Rue
Morgue' repeatedly stages the violent separation of heads and
bodies, literal and figurative, and although Dupin and the
orangutan are the most visibly polarized emblems of this split,
the form of the tale repeats this pattern, joining its analytic
head to its fictive body by the most insecure of narrative
ligatures" (76). In a dazzling and witty essay published in 1982,
"The Psychology of 'The Murders in the Rue Morgue,"' Leo
Lemay conveyed the same insight: "In the conclusion of 'The
Murders in the Rue Morgue,' Edgar Allan Poe wrote three
metaphors which challenge the reader. ...All three tropes point
to a head-body dichotomy and all concern sex" (165).
Rosenheim writes of "the tale as an allegory of the superiority
of brain to brawn, in which Dupin handily defeats both the
sailor's evasions and the ape's brute indifference" (75). Lemay
had made virtually the same point more than a decade earlier:
"Dupin and the narrator represent the analyzing and creative
intelligence--aspects of reason;. ..the orangutan and the sailor
represent animality and sexuality--the body alone" ( 188).
Rosenheim finds that, "[a]lthough the Prefect is figured as a
'creature,' it is just his failure to negotiate between head and
body that prevents him from imagining the animal nature of
the killer" (84 ). Again, Lemay had made the same point years
earlier: "Literally, Dupin seems to be saying that the Prefect
failed to solve the mystery because he failed to take sex into
account--or because he failed to integrate the entire person,
head and body, intellect and sex" (165).
Despite its faults. Rosenheim's inquiry into Poe's "cryptographic
imagination" is a contribution to our understanding of Poe's
relation to postmodemity. even if cryptography does not provide
the key to all of Poe's writings. Rosenheim's contribution might
have been even more impressive ifhe had simply acknowledged
that there was meaningful Poe scholarship and criticism before
the advent of postmodemism.
David H. Hirsch
Brown University
The bibliography below does not claim to be complete, but is an
effort to synthesize material published on Foe, his work and his
influence in 1997 and 1998, noting a few publications from 1999.
The list includes nine books on Foe, three editions of Foe's work,
nine books on Foe in languagc:sother than English (French, Spanish,
Swedish), sixteen books WitJl articles devoted to Foe's work, and
four reissuesof classic Foe criticism along with numerous journal
articles. The editor thanks JlanaArgersinger of Poe Studies who
graciously shared the notes :md references sent to her by Burton
Follin, and, of course, thanks go to Burton Follin who assiduously
collected numerous referen<:esespecially those in French. The
editor also wishes to thank those who sentin responsesto the request
for citations on the FSA listst:rve.
Achilles, Jochen. "Composite (Dis)Order: Cultural Identity in
Wieland, Edgar Huntly, and Arthur Gordon pym." 16501850: 1deas,Esthetics, and 1nquiries in the Early Modem
Era, 111.Eds. Kevin Cop~ and Laura Morrow. New York:
AMS, 1997,251-70.
"Edgar Allan Poe's Meltillg Pot: Skeptical Soundings of
Cultural Composition." /:lnglia: Zeitschrift fur Englische
Philologie 115,3 (1997): 352-74.
Bate, Nancy Berkowitz. "I Tllink, but Am Not: The Nightmare
of William Wilson." Poe Studies 30, 1-2 (1997).
Berchthold, Jacques. L 'Etriente abhorrie: peur et phobie des
rats dans la liuerature et le cinema. La Rochelle: Rumeur
des ages, 1995.
Beum, Robert. "Ultra RoyaliSl1lRevisitOO:An AnnotatOO
Bibliography." Modern AgE'XXXIX, 3 (Swnmer 1997): 291-316.
Bing, Stanley. "The Broker: A Poem of Gothic Horror." Fortune
(27 April 1998): 77.
Bloom, Clive. Ed. Gothic Honvr: A Reader's Guidefrom Poe to
King and Beyond. New York: St Martin 's Press,1998.
Bradley, Patricia. "Mark Twain's 'Carnival of Crime' and
Anxieties of Influence." j~entuckyPhilological Review 12
(March 1997): 20-8.
Brennan, Matthew. The Gothic Psyche: Disintegration and
Growth in 19th Century English Literature. Columbia:
Camden, 1997.
Britton, Wesley. "Edgar Allan Poe and John Milton: 'The
Nativity Ode' as Source for 'The Bells."' 11,2 (Spring 1998):
29-31.
Canada,Mark. "The Right Brain in Poe'sCreative~."
The
SouthernQuarterlvXXXVI, 4 (Swnmer 1998): ~105.
Carter, Steven. "From Room to Room: A Note on the Ending of
'The Pit and the Pendulum."' Poe Studies 31, 1-2 (1998).
"The Two Tams: A Note on 'The Fall of the House of Usher'
and Chapter II of Walden." Thoreau Society Bulletin 223
(Spring 1998): 1-2.
Clack, Randall A. "Above and Below: Pre's Hennetic Gardenand
the Maniage of HeavenandEarth." PoeStudies31,1-2 (1998).
Cluny, Claude-Michel. Le Livre des quatre corbeaux: Poe,
Baudelaire, Mallarmi, Pessoa. illustrations de julio Pomar.
Paris: La Difference, 1998.
LesTroif EnqUetes
du ChevalierDupin. Toulouse:Ombres,1m .
~
j. I.asley. "Five More Analogues and Resourcesfor Poe."
Poe Studies 31, 1-2 (1998).
"Poe, Plagiarism, and American Periodicals." Poe Studies 30,
1-2 (1997).
"Poe, 'Simplicity,'andBlackwO<xl's
Magazine."Mifsifsippi
Qua11erly
51,2 (Spring1998):233-42.
DeNuccio, jerome. "History, Narnltive, and Authority: Poe's
'Metzengerstein."'CollegeLiterature 24,2 (june 1997): 71-81.
DeShell, jeffrey. The Peculiarity of Literature: An Allegorical
Approach to Poe's Fiction. Cranbury: Fairleigh Dickinson
UP, 1997.
Donaldson, Susanand Anne jones. Eds. Haunted Bodies:
Gender and Southern Texts. Charlottesville: UP of VIrginia,
1997.
Dubois, Rene. Edgar A. Poe et le bouddhisme. Paris: Editions
Messene, 1997.
Ehrlich, Heyward. "The Electronic Poe." Poe Studies30, 1-2
(1997).
Eilert, Heide. "Der Akt stehtnicht: zur Problematisierungder
Maler-Modell-Beziehungin literarischenTexten zwischen
Romantik und Frohmodeme." Pantheon50 (1992): 116-24.
Elmer, jonathan. "The jingle Man: Traumaand theAesthetic." Eds.
LesleyMarx, l..(x:sNas and Lara Dunnell. Fissionsand Fusions.
Bellville: Universityof the WesternCape,1m, 131-45.
Engle, Sherry D. "DesperatelySeekinga Foe: SophieTreadwell's
Plwnes in theDust." AmericanDroma 6, 2 (Spring 1m): 25-42.
Eskin, Blake. "Mad Dogs and English Professors." Lingua
Franca 7,1 (December/january 1997): 10-11.
Franz, Thomas R. "Unamuno and the poeNalery Legacy.
Revista Hispanica Moderna 50, 1 (June 1997): 48-56.
Frederick, Frank, and Tony Magistrale, Eds. The Poe
Encyclopedia. Westport: Greenwood, 1997.
Freixas, Laura. "EdgarAllan Pre y Compafiia" El Pais(3 May 1997).
Frushell, Richard "Poe's Name 'Ligeia' and Milton." ANQ 11, I
(Winter 1998): 18-20.
Garber, Frederick. "Assisting at the Light." Ed. Larry H. Peer.
Romanticism Across the Disciplines. New York: UP of
America, 1998.
Ginsberg, Lesley. "Slavery and the Gothic Horror of Poe's 'The
B1ackCat."' American Gothic: New Inventions in a National
Narrative. Ed. Robert Martin. Iowa City: U of Iowa P, 1998,
99-28.
Goddu, TeresaA. Gothic America: Narrative, History, and
Nation. New York: Columbia UP, 1997.
Gruesser,john. "Pre's 'The Cask of Amontillado" Explicator 56, 3
(Spring 1998): 129-30.
Harnmond, j. R. An Edgar Allan Poe Chronology. New York:
Macmillan, 1998.
Harrison, Charles. Art in Theory, 1815-1900: An Anthology of
Changing Ideas. Oxford: Blackwell, 1998.
Harrowitz, Nancy A. "Criminality and Poe's Orangutan: The
Question of Race in Detection." Eds. janet Lungstrum and
Elizabeth Sauer. Agonistics: Arenas ofCreative Contest.
Albany: SUNY P, 1997,177-95.
Harvey, Ronald. The Critical History of Edgar Allan Poe'.\,The
Narrative of Al1hur (Tordon pym: A Dialogue with Unreason.
New York: Garland, 1998.
Herbert, Rosemary. Ed. TwelveAmerican Crime Stories.
Oxford: Oxford UP, 1998.
Hoffman, Daniel. PoeP(j'ePoePoePoePoePoe.
Garden City:
Doubleday, 1972. Baton Rouge: Louisiana State UP. 1998.
Holland-Toll, Linda J. "'Ligeia': The Facts in the Case." Studies
in Weird Fiction 21 (:)umrner 1997): 10-16.
Hovey, Kenneth A. '~;e Many Pi~ Are YetOneBook': 1re
Book-VnityofPoo'sTaJe-CoIleclions."
PoeSnidies31, 1-2(1998).
Iehl, Dominique. Le Gro'tesque. Paris: Pressesuniversitaires da
France, 1997.
Isani, Mukhtar Ali. "Poe and the Lamentation of Ibn Zayyat."
Poe Studies 30, 1-2 (l997).
Kidwai, A. R. "The Bunting Heart in Poe's 'Al Aaraaf' Another
Possible Source." Notes and Queries 44, 3 (September 1997):
365-6.
King, Laurie R. "Diary of Edgar." Annchair Detective 30, 3
(1997): 280-6.
Laffal, Julius. "Union and Separationin EdgarA1lanPoe." Literary
and Linguistic Computing 12,1 (April 1997): 1-13.
Leverenz, David. "Poe and Gentry Virginia: Provincial
Gentleman, Textual P.ristocrat, Man of the Crowd." Eds.
Anne Jonesand SusanDonaldson. Haunted Bodies: Gender
and Southern Texts. I:harlottesville: UP of VIrginia, 1997,
79-108.
Lewler, JamesR. "'Le genie le plus devin'L:' RLC 72 ( 1998):
137-45.
Lirnat-Lefellier, Nathalie and Marie Miguet-Ollagnier, Eds.
L 'Intel1egtualite.Besancon: Annales litteraires de
I'Vniversire de Franche-Comre, 1998.
Ljungquist, Kent P. "Ed~:arAllan Poe." Ed. Richard Kopley.
Prospectsfor the StUtiyof American Literature. New York:
NYU P, 1997,39-57.
'The 'Little War' and l..JJngfellow'sDilernrna: New Documents
in the PlagiarismControversyof 1845:' Resoun:esforAmerican
Literary Study23, 1 (1997): 28-57.
"Valdemar' and the 'Frogpondians': The Aftermath of Poe's
Boston Lyceum Appe:arance." Eds. Wesley Mott and Robert
Burkholder. Emersonian Cin:les. Rochester: V of Rochester
P, 1997,181-206.
Loeffelholz, Mark. .'Who Killed Lucretia Davidson? Or, Poetry
in the Domestic-Tutelary Complex." YaleJournal of
Criticism 10,2 (Fall 1997): 271-93.
Marcou, Lolv. De Chat noir et autres contesfantastiques. Paris:
Flammaricon, 1997.
Martin, Ernrnanuel and Daniel Mortier, Eds. Nouvelles Histoires
Extraoniinaires. Paris: Pocket, 1998.
Merivale, P. "Gunshoe [Gumshoe?] Gothics: The Man of the
Crown and His Follo1Ners."Narrative Ironies. Ed. Raymond
A. Prier and Gerald CJillespie. Amsterdam: Rodopi, 1997.
Miller, Perry. The Raven and The Whale. NY: Harcourt Brace,
1956. Baltimore: JoltmsHopkins UP, 1997.
Mitchell, Robert W. "Thc~Natural History ofPoe's Orangutan."
Poe Studies 31, 1-2 (1998).
Miyajima, Tatsuo. "Similarities between Vocabularies." Journal
of Quantitative Linguistics 4, 1-3 (December 1997): 164-75.
Miyanaga, Takashi. "E. j\.. Poe and Shohei Ooka." Shakai Rodo
Kenkyu 44, 2 (1997): 44-58.
"E. A. Poe and SosekiNatsume:' Shakai Rodo Kenkyu 45, 1
(1998): 56-70.
Moldenhauer, JosephJ. "Poe'sDebut as Magazinist and Critic."
Review of Burton R. Pol1inand JosephV. Ridgely, Eds.,
Collected Writings of Edgar Allan Poe,Vol. 5, Writings in The
SouthernLiterary Messenger:Poe Studies31, 1-2 (1998).
Needleman, Deborah. "Sexing the Ostrich: Anal-Eroticism and
Homophobia in Lacan's 'Seminar on The Purloined Letter."'
Literature and Psychology 43,4 (1997): 57-71.
Nelson, Dana D. "The Haunting of White Manhood: Poe,
Fraternal Ritual, and Polygenesis." American Literature 69, 3
(September 1997): 515-46.
Nelson, Victoria. "Syrnrnes Hole: Or, The South Polar
Romance." Raritan 17,2 (Fall 1997): 136-66.
Nygren, Lars-Erik. Hemlightetsfulla Och Fantastiska Historier
pa svenska1860-1997. Psilander Grafiska: Per 01aisen
Forlag, 1998.
01ds, Marshall C. "Future Mallarme (present Picasso):
Portraiture and Self-Portraiture in Poetry and Art." Romance
Quarterly 45, iii (Summer 1998): 168-77.
Otero Ruiz, Efrairn. "'El Cuervo' de Edgar Allan Poe."
CuademosAmericanos 61 (Jan.-Feb.1997): 107-25.
Peeples,Scott. EdgarAlIan PoeRevisited New Yorlc Twayne.l~.
Picot, Jean-Pierre. "Les iles de Arthur Gonion Pym, hauts dieux
de la subversionpostique?" Ile des mervilles: Mirage, miroil;
mythes. Ed. Daniel Reig. Paris: L'Hannattan, 1997.
"Oeil-rniroir et regard de verre chez Philip K. Dick, G. K.
Chesterton et Edgar Poe." Imagesfantastiques du corps.
Grenoble: Universite Stendal-Grenoble, 1998, 153-71.
Pillai, Johann. "Death and Its Moments: The End of the Readerin
History." MIN 112, 5 (December1997): 836-75.
Poe, Edgar Allan. Complete Poemsof Edgar Allan Poe. Eds.
Jennifer Weintraub and J. H. Whiny. Ann Arbor: U of
Michigan Humanities Text Initiative, 1997. http://
www .hti.umich.edu:80/english/arnverse/
SelectedTales.Ed. David Van Leer. Oxford: Oxford UP, 1998.
The Collected Writings of Edgar Allan Poe. Vol 5. Writings in
the Southern Literary Messenger: Nonfictional Prose. Ed.
Burton Pollin. New York: Gordian,1997.
Poel, Robert. Retoura la maisonUsher. Paris: Archipel,1998.
Poger, Sidney and Tony Magistrale. "Foe's Children: The
Conjuction of the Detectiveand the Gothic Tale." Clues: A
JoumalofDetection 18,1 (Spring-Surnrner1997): 127-50.
Pollin, Burton R. "Dickens' Chimes and Its Pathway into Poe's
'Bells."' The Mississippi Quarterly (Spring 1998): 217-32.
"The flawed Compilation." Review of Frederick S. Frank and
Anthony Magistrale, Eds. The Poe Encyclopedia. Poe
Studies 31, 1-2 (1998).
"The Pathway of Edgar Allan Poe Traced in the Works of
Walter de la Mare." ELT 42, 1 (1999): 39-69.
"Poe: The 'VIrtual' Inventor, Practitioner, and Inspirer of
Modern Science Fiction." The-American Short Story: New
Perspectives.Santiago: Universidade de Santiago de
Compostela, 1997, 77-93.
'vrraces of Poe in Melville." Melville Society Extracts 109
(June 1997): 2-18.
Polonsky, Rachel. English Literature and the RussianAesthetic
Renaissance. Cambridge: Cambridge UP, 1998.
Power, Margo. "Short Honors." MysteryScene58 (1997): 20-1.
Priestrnan,Martin. Crime Fiction: From Poe to the Present.
Estover: Northcote House/British Council, 1998.
Pringle, Michael. "Intoxication, Antebellum Romanticism, and
Poe." Review of Nicholas 0. Warner Spirits of America:
Intoxication in Nineteenth-CenturyAmerican Literature. Poe
Studies 30, 1-2 (1997).
Quinn, Arthur Hobson. Edgar A/lan Poe: A Critical Biograph.,'.
NY: D. Appleton, 1941. Foreword by Shawn Rosenheim.
Baltimore: Johns HOI'kins UP, 1998.
Rachman, Stephen. "Rea(ling Cities: Devotional Seeing in the
Nineteenth Century." American Literary History 9,4 (Winter
1997): 653-75.
Raynaud, Jean. "Du Reli~~gieuxchez Edgar Poe." Le Populaire
a I'ombre des clocher~,. Ed. Antoine Court. Saint-Etienne:
PU de Saint-Etienne, 1997, 35-43.
Richard, Claude. AmericGInLetters. Trans.Carol Mastnmgelo
Bove. Philadelphia: u of PennsylvaniaPo1998.
Rosenheim, Shawn. The Cryptographic Imagination: Secret
Writing from Edgar Poe to the Internet. Baltimore: Johns
Hopkins UP, 1997.
Sapir, Michal. "Cryptognliphyin Artificial Light: Poe'sStoriesand
Nadar's Stills." Weber.S'tudies14, I (Wmter 1997): 18-28.
Schueller, Malini Johar. l.~S. Orientalisms: Race,Nation, and
Genderin I.itellltUre. ArmArtxJr. U of Michigan Po1998.
Severac,Deodat. Songs. {CD) London: Hyperion,I998.
Silva-Caceres,Raou1. "La fiesta o ceremoniainfernal en la obra
de Julio Cortazar." FifeS et Divertissements8 (1997): 215-20.
Smith, Don G. The Poe Cinema: A Critical Filmography of
Theatrical ReleasesBIlSedon the Works of Edgar Allan Poe.
Jefferson: McFarland, 1999.
Szumski, Bonnie and Carcll Prime, Eds. Readings on Edgar Allan
Poe. San Diego: Grec~nhaven,
1998.
Thomas, Peter. Detection I~ Its Designs: Narrative & Power in
Nineteenth-CenturyDetective Fiction. Athens: Ohio UP, 1998.
Tomlinson, David. "Eddie Didn't Do Stand-Up: Some Keys to
Poe's Humor." Ed. David Sloane. New Directions in American
Humor. Tuscaloosa: U of Alabama Po1998, 186-95.
Walsh, John Evangelist. hfidnight Dreary: The Mysterious Death
of Edgar Allan Poe. !'ifew Brunswick: Rutgers UP, 1998.
Walter, Georges. Enquete sur Edgar Allan Poe, poete americain.
Paris: Phebus, 1998.
Willensky, Samuel. More Stories by Poe. New York: Acclaim,
1997. (Comic book.)
--.Stories by Poe. (A COJIricbook followed by an essay.) New
York: Acclaim,I997.
Winter, Kari J. Review of Gothic America: Narrative, History,
and Nation by Teresa,\. Goddu. South Atlantic Review 63, 2
(Spring 1998): 168-9.
Woodberry, George. Edgar AI/an Foe. NY: Houghton-Miff1in,
1885. Introduction by R. W. B. Lewis. New York: Chelsea
House, 1997.
Warrensburg,
Baltimore,
Washington,
D.
C.
"2xPOE," a play by Fraudulent Productions adaptedby John Spitzer
from "The System of Dr. T:m-and ProfessorFether" and "The Case
of M. Valdemar" and directed by Dania A. Palanker was presented
at the D.C. Arts Center il11late March through April 24, 1999.
Washington Post theater reviewer, William Triplett, describes
FraudulentProductionsas "the ever-adventurousFrauds,who brought
us a lusciously creepy and intriguingly avant-gardestaging of The
Fall of the House ofUsher' last season"(24 March 1999). His review
of this prod1:1ction
is mixed: "The secondpiece, The System of Dr.
Tarr,' is everything 'M. V21ldemar'isn't-dramatic, multilayered,
excessiveand mean. You ,~antake it as allegory or at face value;
either way, it locks up your interest right away, despite the fact that
you figure fairly quickly tht~cynical but hilarious plot. ...Palanker
and her cast go to town with it all, as they should. She maintains a
marvelously deadpan toru~throughout the show and gets good
performances. ...Mitch
Finegold's sound design reverberates
ominously with industrial rumblings and banging. Rob Brooks's
lighting is austerebut effeclive. They work well in both plays. Too
bad only one works."
Baltimore Bach Society with a bagpipe tribute by the Calvert Pipe
Band. Jeff Jerome,curator of The Poe House, toastedPoe and raised
a glass, as well, to John Astin: "a better man never brought you to
life." The program began with Astin reading 'The Masque of the
Red Death" interwoven with the chorus singing selections from
Gabriel Fame's Requiem.
The riWal offerings at the grnvesite, once again, were perfonned by the
"man in black" who "tipped his black hat" at those watching from the
first floor window of the Westminster Church (Baltinwre SWl, 19 JanUaJ)'
1999). The Washington 1imes notes that the man who began the riWal
fifty y~ ago died in December; according to Jeff Jerome, he had "passed
the torch five y~
ago when he left a note saying someone else must
take his place. ..since then different men have perfonned the tribute"
(29 JanUaJ)' 1999,2).
J. Gerald Kennedy will be the presenter at The Edgar Ailan
Foe Society of Baltimore's
annual lecture on October 3, 1999
at 2:00 p.m. in the Edgar Allan Foe Room of the Enoch Fratt
Library (400 Cathedral Street).
North
York
In November 1998, Kevin f\ianin performed A Touch of Poe, cited for
its professional excellence by the Edinburgh Festival in 1996.
Maryland
The annual birthday dedication sponsoredby The Edgar Allan Poe
Society of Baltimore (http:/Iwww.eapoe.org) celebrated the 190th
year of Poe' s birth and featured perfonnancesby John Astin and the
Carrboro,
New
Richmond,
Virginiia
Carolina
In January,the Somnambulist Project presentedthe "quasifictional,
semihistorical account" of Poe's life, Dan Dilly Poe,a "rnixed-media
production [that] employs several types of puppetry, lighting and
stage effects" designed for "theater-goers of all ages." Written by
JasonArkles, the play tells the story of Poe's life as "poet, critic and
amateurmetaphysicianand the parallel life of David Poe-a possible
relation whose identity is inexplicably entangled with that of the
writer" (Chapel Hill Herald, 16 December 1998).
New
York,
New
The Jefferson Hotel
site of the
International Poe
Conference
October 7-10, 1999.
York
At the Miller Theater at Columbia University in February as part of
a series, "Opulent Music," The Lark Quartet played "Conte
Fantastique" by Andre Caplet based on "The Masque of the Red
Death." Jacqueline Chambord read from Baudelaire's translation
of Poe and Kristin Linklater read Poe in English to provide
background for the musical works. As New York 1imes reviewer
Paul Griffiths suggests,"the readings were finely done, they added
yet another set of connections and correspondencesto the musical
ones already ricocheting through the program and gave the evening
an educational air" (3 March 1999).
PSA
Financial
Report
Roberta Sharp, Secretaryrrreasurer, reports that the Poe Studies
Association
membership totaled approximately
230 in mid-
March, 1999. The investment account balance at the end of
February 1999 was $3,11 I .59 including $22.53 dividend for the
year to date. The PSA checking account balance is $7,198.14.
At Hunter College's Bertha and Karl Leubsdorf Art Gallery, " A
Painter's Poet: SrephaneMallanne and His Impressionist Circle"
was on exhibit in March. The catalogue for the exhibit is described
by New York nmes reviewer, Grace Glueck, as "infonnative, with
many scholarly contributions. ..an essential part of the show"
(12 March 1999). Included in the exhibit was Mallarme's
translation of "The Raven" (1875) and all of Manet's lithographs
that illustrated this edition, described as "sketchy, dark but very
legible vignettes much in the spirit of Poe's haunted rumination."
For more information, see "Special Offers" on page 11.
The PSA extends special tllanks to The Poe Society of Baltimore,
Roger Texier of The GordiJmPress,and Penn State Berks-Lehigh
Valley College for their generousdonationsoA thank you, as well,
to honorary members Darliel Hoffman and Jo Lasley Dameron,
and members Joan Mead, Shoko Itoh, William Zimmer, Ken
Emkey, M.Do, Glen Omans,Tsutomo Karasawa,Lars-Erik Nygren,
JoP. VanderMotten and Rene Van Slooten for their donations.
From April 9-11, "professional poets, amateurs and the curious
[partook] in over fifty poetry recitations, conversation groups,
competitionsandworkshops. ...at CooperUnion. ..[and] throughout
the downtown area" (NY Times 5 March 1999). Included were
"midnight readingsof erotic poetry and Edgar Allan Foe." For more
information, www.peoplespoetry.org
.
10
Another
Jeffrey Savoye ([email protected]) writes:
I am seeking confirmation of the two middle names of Poe's
correspondent E. H. N. Patterson. John Ostrom gives the name
as "Howard Norton," but The Poe Log gives the name as "Horton
Norton." Ostrom appearsto have taken Patterson'sfull name from
Eugene Field's book Some Letters of Edgar Allan Poe to E. H. N.
Patterson. .." (Chicago: The Caxton Club, 1898), itself taken
from the earlier article "Poe, Patterson and Oquawka" (America,
April and May, 1989). Kenneth Silverman, The Poe Encyclopedia
and others since 1987 appear to repeat "Horton Norton" from The
Poe Log. Both versions, of course, cannot be right. I am reluctant
to question Thomas and Jackson's extremely reliable Poe Log,
but "Horton N:orton" has the ring of a typographical error. Can
anyone provide a conclusive answer to this minor puzzle?
Ravlin'
The Raving
A Poe-etic Version oj: the BaskerviUe legend
Once upon a midnight dreary, while I pondered, weak and weary,
Over many quaint and curious volumes that were leather boundWhile I nodded, squinting, scowling, suddenly I heard a growling,
And then an awful, hideous howling, as from some gigantic hound"Tis somewatchdog," I mut1:ered,
"howling just to guard the groundOnly this or I'll be bound."
Heeding not Mortirner's warning, I vowed to sit until the morning
Perusing all the tomes and parchments in this chamber to be found
Lamplight pages was adorning, while I sat there sneering, scorning
All those tables of hellish ~Iarning of a supernaturalhound"Justsomewatchdog," Irepe3ted, "howling just to guard the groundOnlY this-Oh! What's that sound?"
Burton Pollin ([email protected]) writes:
Roger Texier (of the Gordian Press) and I are planning to reedit
and republish the Letters of Poe, 1948 (Harvard ed.), (Gordian
Press with Supplement). The revised two-volume edition will
incorporate all previous supplementsand changes. Knowledgeable
devotees of Poe are urged to communicate as soon as possible
any leads to other "new" letters of Poe that should accompany
those that he sent to Francis Liber (6/18/36); John C. Cox (9/11/
38); Thomas Wyatt (4/1/41); E. L. Carey (9/42); Robert Hamilton
(10/3/42); Elwood Evans (9/23/43); Nathaniel P. Willis (5/21/44);
John R. Thompson (I/31/49); John Sartain (2/2/49); Maria Clemm
(8/5/49); or Maria Clemm (9/10/49).
I had heard an eerie scratching on the window's wooden thatching,
Followed by more ghastly growling just outside my chamber doorThen therecamea sony whirling, asfrom somepuppy pleading,pining
To be let in for its dining as there was nothing on the moor"Poor old watchdog," I muttered, "looking for its soup du jourOnly this and nothing more."
Any data sent to the editors of Poe Studies or PSA Newsletter or
to R. Texier (Gordian Press, P. 0. Box 40304, Staten Island, NY
10304) or B. Pollin will be fully and gratefully acknowledged.
Swiftly I the door unbolted, and was violently jolted
By a creature so gigantic I (:ould barely see its shapeAs I fled through all the hallways, knowing it was with me always,
It would haunt me in the n12Ll1
ways, it was Rue Morgue's killer ape!
"Holmes and Dupin," I shouted, "Come and help me to escape!"
They just stood with jaws a:gape.
The Baltimore-Washington Beer Works (http:/Iwww.ravenbee1:com)
recently introduced in the U. S. the beer, "The Raven"-"a full
flavored, robust and beautifully hopped SpecialLager of rich golden
color"-brewed by Anker-Brauerei, Nagold, Gennany. As the flier
notes: "Experience the genius of Foe through a beer brewed in his
honour."
Then a shot from nowhere l-angout. "Good old Watson!" Sherlock
sang out,
As the ape sank to the floor, and Watson gave it even moreMeanwhile I was really raving, glad I had a life worth saving,
As I knelt upon the paving, thanking Watson in the door"How came it here?" Holmes wondered, "Dupin, tell us of its lore"
Quoth the Frenchman, "Ne,'airmore!"
The Gordian Press is offering to members of the Poe Studies
Association a 25% discount on all volumes of The Collected
Writings of Edgar Allan Poe: Volume I: The Imaginary Voyages,
Volume 2: The Brevities, and Volume 5: Writings in The Southern
Literary Messenger. Each has a list price of $75 and is available
to members at $57.25. Volumes 3 and 4: The Broadway Journal
with a list price of$loo per set is available at $75 per set. Pollin's
Word Index to Poe's Fiction is available at a special price of $25
when ordered with any of the volumes of The Collected Writings.
All orders are shipped postage-paid. Orders should be sent to
The Gordian Press, P. 0. Box 40304, Staten Island, NY 10304,
and the member discount should be mentioned.
<9Len Moffatt 1998
A Painter's Poet: Stephane Mallanne and His Impressionist
Circle is available from Dr. Jane Roos of Hunter College for
$22.50 (including
shipping).
Please e-mail her at
[email protected] if you are interested in purchasing this scholarly
and informative catalogue.
On the back:
Edgar Allan Poe, 'The Living Writers of America"
Autograph notes, [1846], for "the Literati of New-York City,"
published in Clodey's Lady's Book (1846-48).
The Pierpont Morgan Library. Purchasedby Pierpont Morgan,
1909, MA 614.
Closed on Account of Rabies, a 2-CD package, is available from
Mouth Almighty Records ([email protected]) at 516 West
25th Street, New York, NY 10001 for a special rate of $15 for
PSA members.
1998 @ The Pierpont Morgan Library; New York.
11
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