Perspectives on Edgar Allan Poe – serie

The essays in this collection were originally presented as talks at the Poe Studies Association's Third International Edgar Allan Poe Conference: The Bicentennial in October 2009. All the essays in this volume deal with Poe's influence on authors from the United States and abroad; in addition, the collection also includes two examples of primary texts by contemporary authors whose work is directly related to Poe's work or life: an interview with Japanese detective novelist Kiyoshi Kasai and poems by Charles Cantalupo.This volume includes interpretative essays on international authors whose work reflects back on Poe’s work: Edogawa Rampo from Japan; Lu Xun from China; Fernando Pessoa, Eça de Queirós and Ramalho Ortigão from Portugal; Angela Carter from England; and Nikolai Gogol from Russia. The essays in this collection complement and extend a project begun by Lois Vines' Poe Abroad (University of Iowa Press, 1999) and take a wider perspective on Poe's influence with essays on Poe's impact on American authors William Faulkner, Mary Oliver, Joyce Carol Oates, Nathaniel Hawthorne, Herman Melville, and Harriet Jacobs.

The essays in this collection were originally presented as talks at the Poe Studies Association''s Third International Edgar Allan Poe Conference: The Bicentennial in October 2009. All the essays in this volume deal with Poe''s influence on authors from the United States and abroad; in addition, the collection also includes two examples of primary texts by contemporary authors whose work is directly related to Poe''s work or life: an interview with Japanese detective novelist Kiyoshi Kasai and poems by Charles Cantalupo.This volume includes interpretative essays on international authors whose work reflects back on Poe’s work: Edogawa Rampo from Japan; Lu Xun from China; Fernando Pessoa, Eça de Queirós and Ramalho Ortigão from Portugal; Angela Carter from England; and Nikolai Gogol from Russia. The essays in this collection complement and extend a project begun by Lois Vines'' Poe Abroad (University of Iowa Press, 1999) and take a wider perspective on Poe''s influence with essays on Poe''s impact on American authors William Faulkner, Mary Oliver, Joyce Carol Oates, Nathaniel Hawthorne, Herman Melville, and Harriet Jacobs.

Founder of the detective genre and author of works on cryptography, Edgar Allan Poe possessed what Shawn Rosenheim called a “cryptographic imagination.” Not only was Poe’s work influenced by secret writing, it inspired future critics to search his texts for secret clues and that fostered new modes of reading. Poe’s acclaimed complexity owes as much to a long and sophisticated tradition of his interpretative reading as it does to the “undercurrent of meaning” ciphered in his texts. Grounded in previous scholarly work, Deciphering Poe: Contexts, Subtexts, Subversive Meanings explores the hoaxing and subversive nature of Poe’s art and expands this contextual framework. Contributors to the volume offer a highly nuanced picture of Poe’s engagement in the major discourses of the time—religious, philosophical, social, and literary. Twelve essays of the collection discuss Poe’s debt to baroque tradition, his response to Catholicism, his tribute to philosophical idea of sublimity, his complex response to racial issues, and his controversial afterlife reception. The volume includes new readings of Poe’s texts explicitly using codes, secret writing or techniques of detection—“The Gold Bug,” The Narrative of Arthur Gordon Pym, and the Dupin tales. The essays in the collection were originally presented as talks at the Poe Studies Association’s Third International Edgar Allan Poe Conference: The Bicentennial in October 2009. The contributors are Poe scholars from the United States, France, Germany, and Canada: Amy C. Branam, Lauren Curtright, Daniel Fineman, William E. Engel, John C. Havard, Henri Justin, John Edward Martin, Sean Moreland, Philip E. Phillips, Stephanie Sommerfeld, and Timothy N. Towslee.

Founder of the detective genre and author of works on cryptography, Edgar Allan Poe possessed what Shawn Rosenheim called a “cryptographic imagination.” Not only was Poe’s work influenced by secret writing, it inspired future critics to search his texts for secret clues and that fostered new modes of reading. Poe’s acclaimed complexity owes as much to a long and sophisticated tradition of his interpretative reading as it does to the “undercurrent of meaning” ciphered in his texts. Grounded in previous scholarly work, Deciphering Poe: Contexts, Subtexts, Subversive Meanings explores the hoaxing and subversive nature of Poe’s art and expands this contextual framework. Contributors to the volume offer a highly nuanced picture of Poe’s engagement in the major discourses of the time—religious, philosophical, social, and literary. Twelve essays of the collection discuss Poe’s debt to baroque tradition, his response to Catholicism, his tribute to philosophical idea of sublimity, his complex response to racial issues, and his controversial afterlife reception. The volume includes new readings of Poe’s texts explicitly using codes, secret writing or techniques of detection—“The Gold Bug,” The Narrative of Arthur Gordon Pym, and the Dupin tales. The essays in the collection were originally presented as talks at the Poe Studies Association’s Third International Edgar Allan Poe Conference: The Bicentennial in October 2009. The contributors are Poe scholars from the United States, France, Germany, and Canada: Amy C. Branam, Lauren Curtright, Daniel Fineman, William E. Engel, John C. Havard, Henri Justin, John Edward Martin, Sean Moreland, Philip E. Phillips, Stephanie Sommerfeld, and Timothy N. Towslee.

Few, if any, U.S. writers are as important to the history of world literature as Edgar Allan Poe, and few, if any, U.S. authors owe so much of their current reputations to the process of translation. Translated Poe brings together 31 essays from 19 different national/literary traditions to demonstrate Poe’s extensive influence on world literature and thought while revealing the importance of the vehicle that delivers Poe to the world—translation.Translated Poe is not preoccupied with judging the “quality” of any given Poe translation nor with assessing what a specific translation of Poe must or should have done. Rather, the volume demonstrates how Poe’s translations constitute multiple contextual interpretations, testifying to how this prolific author continues to help us read ourselves and the world(s) we live in. The examples of how Poe’s works were spread abroad remind us that literature depends as much on authorial creation and timely readership as on the languages and worlds through which a piece of literature circulates after its initial publication in its first language. This recasting of signs and symbols that intervene in other cultures when a text is translated is one of the principal subjects of the humanistic discipline of Translation Studies, dealing with the products, functions, and processes of translation as both a cognitive and socially regulated activity. Both literary history and the history of translation benefit from this book’s focus on Poe, whose translated fortune has helped to shape literary modernity, in many cases importantly redefining the target literary systems. Furthermore, we envision this book as a fountain of resources for future Poe scholars from various global sites, including the United States, since the cases of Poe’s translations—both exceptional and paradigmatic—prove that they are also levers that force the reassessment of the source text in its native literature.

Few, if any, U.S. writers are as important to the history of world literature as Edgar Allan Poe, and few, if any, U.S. authors owe so much of their current reputations to the process of translation. Translated Poe brings together 31 essays from 19 different national/literary traditions to demonstrate Poe’s extensive influence on world literature and thought while revealing the importance of the vehicle that delivers Poe to the world—translation.Translated Poe is not preoccupied with judging the “quality” of any given Poe translation nor with assessing what a specific translation of Poe must or should have done. Rather, the volume demonstrates how Poe’s translations constitute multiple contextual interpretations, testifying to how this prolific author continues to help us read ourselves and the world(s) we live in. The examples of how Poe’s works were spread abroad remind us that literature depends as much on authorial creation and timely readership as on the languages and worlds through which a piece of literature circulates after its initial publication in its first language. This recasting of signs and symbols that intervene in other cultures when a text is translated is one of the principal subjects of the humanistic discipline of Translation Studies, dealing with the products, functions, and processes of translation as both a cognitive and socially regulated activity. Both literary history and the history of translation benefit from this book’s focus on Poe, whose translated fortune has helped to shape literary modernity, in many cases importantly redefining the target literary systems. Furthermore, we envision this book as a fountain of resources for future Poe scholars from various global sites, including the United States, since the cases of Poe’s translations—both exceptional and paradigmatic—prove that they are also levers that force the reassessment of the source text in its native literature.

The essays in this collection were originally presented as talks at the Poe Studies Association's Third International Edgar Allan Poe Conference: The Bicentennial in October 2009. All the essays in this volume deal with Poe's influence on authors from the United States and abroad; in addition, the collection also includes two examples of primary texts by contemporary authors whose work is directly related to Poe's work or life: an interview with Japanese detective novelist Kiyoshi Kasai and poems by Charles Cantalupo.This volume includes interpretative essays on international authors whose work reflects back on Poe’s work: Edogawa Rampo from Japan; Lu Xun from China; Fernando Pessoa, Eça de Queirós and Ramalho Ortigão from Portugal; Angela Carter from England; and Nikolai Gogol from Russia. The essays in this collection complement and extend a project begun by Lois Vines' Poe Abroad (University of Iowa Press, 1999) and take a wider perspective on Poe's influence with essays on Poe's impact on American authors William Faulkner, Mary Oliver, Joyce Carol Oates, Nathaniel Hawthorne, Herman Melville, and Harriet Jacobs.

Founder of the detective genre and author of works on cryptography, Edgar Allan Poe possessed what Shawn Rosenheim called a “cryptographic imagination.” Not only was Poe’s work influenced by secret writing, it inspired future critics to search his texts for secret clues and that fostered new modes of reading. Poe’s acclaimed complexity owes as much to a long and sophisticated tradition of his interpretative reading as it does to the “undercurrent of meaning” ciphered in his texts. Grounded in previous scholarly work, Deciphering Poe: Contexts, Subtexts, Subversive Meanings explores the hoaxing and subversive nature of Poe’s art and expands this contextual framework. Contributors to the volume offer a highly nuanced picture of Poe’s engagement in the major discourses of the time—religious, philosophical, social, and literary. Twelve essays of the collection discuss Poe’s debt to baroque tradition, his response to Catholicism, his tribute to philosophical idea of sublimity, his complex response to racial issues, and his controversial afterlife reception. The volume includes new readings of Poe’s texts explicitly using codes, secret writing or techniques of detection—“The Gold Bug,” The Narrative of Arthur Gordon Pym, and the Dupin tales. The essays in the collection were originally presented as talks at the Poe Studies Association’s Third International Edgar Allan Poe Conference: The Bicentennial in October 2009. The contributors are Poe scholars from the United States, France, Germany, and Canada: Amy C. Branam, Lauren Curtright, Daniel Fineman, William E. Engel, John C. Havard, Henri Justin, John Edward Martin, Sean Moreland, Philip E. Phillips, Stephanie Sommerfeld, and Timothy N. Towslee.

Edgar Allan Poe often set the scenes of his stories and poems with music: angels have the heartstrings of lutes, spirits dance, and women speak with melodic voices. These musical ideas appear to mimic the ways other authors, particularly Romanticists, used music in their works to represent a spiritual ideal artistic realm. Music brought forth the otherworldly, and spoke to the possible transcendence of the human spirit. Yet, Poe's music differs from these Romantic notions in ways that, although not immediately perceptible in each individual instance, cohere to invert Romantic idealism. For Poe, artistic transcendence is impossible, the metaphysical realm is unreachable, and humans cannot perceive anything but their own failure of spirit. In this book, I show how we can look at Poe's poems and stories on the whole to discover this, and in doing so, unpack some of Poe's mysticism along the way.

Edgar Allan Poe often set the scenes of his stories and poems with music: angels have the heartstrings of lutes, spirits dance, and women speak with melodic voices. These musical ideas appear to mimic the ways other authors, particularly Romanticists, used music in their works to represent a spiritual ideal artistic realm. Music brought forth the otherworldly, and spoke to the possible transcendence of the human spirit. Yet, Poe''s music differs from these Romantic notions in ways that, although not immediately perceptible in each individual instance, cohere to invert Romantic idealism. For Poe, artistic transcendence is impossible, the metaphysical realm is unreachable, and humans cannot perceive anything but their own failure of spirit. In this book, I show how we can look at Poe''s poems and stories on the whole to discover this, and in doing so, unpack some of Poe''s mysticism along the way.

Edgar Allan Poe often set the scenes of his stories and poems with music: angels have the heartstrings of lutes, spirits dance, and women speak with melodic voices. These musical ideas appear to mimic the ways other authors, particularly Romanticists, used music in their works to represent a spiritual ideal artistic realm. Music brought forth the otherworldly, and spoke to the possible transcendence of the human spirit. Yet, Poe's music differs from these Romantic notions in ways that, although not immediately perceptible in each individual instance, cohere to invert Romantic idealism. For Poe, artistic transcendence is impossible, the metaphysical realm is unreachable, and humans cannot perceive anything but their own failure of spirit. In this book, I show how we can look at Poe's poems and stories on the whole to discover this, and in doing so, unpack some of Poe's mysticism along the way.

H.P. Lovecraft, one of the twentieth century’s most important writers in the genre of horror fiction, famously referred to Edgar Allan Poe as both his “model” and his “God of Fiction.” While scholars and readers of Poe’s and Lovecraft’s work have long recognized the connection between these authors, this collection of essays is the first in-depth study to explore the complex literary relationship between Lovecraft and Poe from a variety of critical perspectives. Of the thirteen essays included in this book, some consider how Poe’s work influenced Lovecraft in important ways. Other essays explore how Lovecraft’s fictional, critical, and poetic reception of Poe irrevocably changed how Poe’s work has been understood by subsequent generations of readers and interpreters. Addressing a variety of topics ranging from the psychology of influence to racial and sexual politics, the essays in this book also consider how Lovecraft’s interpretations of Poe have informed later adaptations of both writers’ works in films by Roger Corman and fiction by Stephen King, Thomas Ligotti, and Caitlin R. Kiernan. This collection is an indispensable resource not only for those who are interested in Poe’s and Lovecraft’s work specifically, but also for readers who wish to learn more about the modern history and evolution of Gothic, horror, and weird fiction.

H.P. Lovecraft, one of the twentieth century’s most important writers in the genre of horror fiction, famously referred to Edgar Allan Poe as both his “model” and his “God of Fiction.” While scholars and readers of Poe’s and Lovecraft’s work have long recognized the connection between these authors, this collection of essays is the first in-depth study to explore the complex literary relationship between Lovecraft and Poe from a variety of critical perspectives. Of the thirteen essays included in this book, some consider how Poe’s work influenced Lovecraft in important ways. Other essays explore how Lovecraft’s fictional, critical, and poetic reception of Poe irrevocably changed how Poe’s work has been understood by subsequent generations of readers and interpreters. Addressing a variety of topics ranging from the psychology of influence to racial and sexual politics, the essays in this book also consider how Lovecraft’s interpretations of Poe have informed later adaptations of both writers’ works in films by Roger Corman and fiction by Stephen King, Thomas Ligotti, and Caitlin R. Kiernan. This collection is an indispensable resource not only for those who are interested in Poe’s and Lovecraft’s work specifically, but also for readers who wish to learn more about the modern history and evolution of Gothic, horror, and weird fiction.

H.P. Lovecraft, one of the twentieth century’s most important writers in the genre of horror fiction, famously referred to Edgar Allan Poe as both his “model” and his “God of Fiction.” While scholars and readers of Poe’s and Lovecraft’s work have long recognized the connection between these authors, this collection of essays is the first in-depth study to explore the complex literary relationship between Lovecraft and Poe from a variety of critical perspectives. Of the thirteen essays included in this book, some consider how Poe’s work influenced Lovecraft in important ways. Other essays explore how Lovecraft’s fictional, critical, and poetic reception of Poe irrevocably changed how Poe’s work has been understood by subsequent generations of readers and interpreters. Addressing a variety of topics ranging from the psychology of influence to racial and sexual politics, the essays in this book also consider how Lovecraft’s interpretations of Poe have informed later adaptations of both writers’ works in films by Roger Corman and fiction by Stephen King, Thomas Ligotti, and Caitlin R. Kiernan. This collection is an indispensable resource not only for those who are interested in Poe’s and Lovecraft’s work specifically, but also for readers who wish to learn more about the modern history and evolution of Gothic, horror, and weird fiction.

This collection explores how anthologizers and editors of Edgar Allan Poe play an integral role in shaping our conceptions of Poe as the author we have come to recognize, revere, and critique today. In the spheres of literature and popular culture, Poe wields more global influence than any other U.S. author. This influence, however, cannot be attributed solely to the quality of Poe’s texts or to his compellingly tragic biography. Rather, his continued prominence as a writer owes much to the ways that Poe has been interpreted, portrayed, and packaged by an extensive group of mediators ranging from anthologizers, editors, translators, and fellow writers to literary critics, filmmakers, musicians, and illustrators. In this volume, the work of presenting Poe’s texts for public consumption becomes a fascinating object of study in its own right, one that highlights the powerful and often overlooked influence of those who have edited, anthologized, translated, and adapted the author’s writing over the past 170 years.

This collection explores how anthologizers and editors of Edgar Allan Poe play an integral role in shaping our conceptions of Poe as the author we have come to recognize, revere, and critique today. In the spheres of literature and popular culture, Poe wields more global influence than any other U.S. author. This influence, however, cannot be attributed solely to the quality of Poe’s texts or to his compellingly tragic biography. Rather, his continued prominence as a writer owes much to the ways that Poe has been interpreted, portrayed, and packaged by an extensive group of mediators ranging from anthologizers, editors, translators, and fellow writers to literary critics, filmmakers, musicians, and illustrators. In this volume, the work of presenting Poe’s texts for public consumption becomes a fascinating object of study in its own right, one that highlights the powerful and often overlooked influence of those who have edited, anthologized, translated, and adapted the author’s writing over the past 170 years.

This collection explores how anthologizers and editors of Edgar Allan Poe play an integral role in shaping our conceptions of Poe as the author we have come to recognize, revere, and critique today. In the spheres of literature and popular culture, Poe wields more global influence than any other U.S. author. This influence, however, cannot be attributed solely to the quality of Poe’s texts or to his compellingly tragic biography. Rather, his continued prominence as a writer owes much to the ways that Poe has been interpreted, portrayed, and packaged by an extensive group of mediators ranging from anthologizers, editors, translators, and fellow writers to literary critics, filmmakers, musicians, and illustrators. In this volume, the work of presenting Poe’s texts for public consumption becomes a fascinating object of study in its own right, one that highlights the powerful and often overlooked influence of those who have edited, anthologized, translated, and adapted the author’s writing over the past 170 years.

Edgar Allan Poe notoriously identified “the death . . . of a beautiful woman” as “the most poetical topic in the world.” Despite this cringeworthy claim, it is widely known that Poe drew creative inspiration from female authors and that women figure prominently among the artists and critics fascinated by the writer’s creative legacy. Filling a major gap in scholarship on Poe, this volume investigates the varied ways that women have influenced perceptions of Poe through biography, criticism, editorial work, and creative adaptation. Covering a timeframe from the mid-nineteenth century to the present, Poe and Women addresses a range of topics, including accounts of Poe written by female contemporaries, the scholarly efforts of women in establishing Poe’s worldwide reputation, and the revision of antebellum gender constructs in popular adaptations of Poe’s work. This collection will appeal not only to Poe specialists but also to anyone interested in the writer’s ongoing relevance to gender discussions inside and outside the academy.

Edgar Allan Poe notoriously identified “the death . . . of a beautiful woman” as “the most poetical topic in the world.” Despite this cringeworthy claim, it is widely known that Poe drew creative inspiration from female authors and that women figure prominently among the artists and critics fascinated by the writer’s creative legacy. Filling a major gap in scholarship on Poe, this volume investigates the varied ways that women have influenced perceptions of Poe through biography, criticism, editorial work, and creative adaptation. Covering a timeframe from the mid-nineteenth century to the present, Poe and Women addresses a range of topics, including accounts of Poe written by female contemporaries, the scholarly efforts of women in establishing Poe’s worldwide reputation, and the revision of antebellum gender constructs in popular adaptations of Poe’s work. This collection will appeal not only to Poe specialists but also to anyone interested in the writer’s ongoing relevance to gender discussions inside and outside the academy.

Occurring in a time of primitive medicine and inconsistent record-keeping, Poe’s death has become one of the enduring mysteries of American literature. David F. Gaylin’s book marks the first attempt to offer a comprehensive and balanced study of this historical event. After chronicling the circumstances that may have contributed to the poet’s death, the book examines key details about the story. It traces Poe’s movements and personal encounters before also exploring how Poe was handled and treated by others who attempted to come to his aid. Proceeding with the liveliness of a detective story, the discussion sheds new light on these events, and it offers new information about the burial of Poe’s body and the subsequent relocations of his tomb. With the addition of supplementary reference materials including a register of formally proposed causes of death, a timeline of relevant events, and a map of Poe’s final movements in Baltimore, this book is an essential resource for both scholars and general readers seeking answers to the mystery of Poe’s death.