Text: Various, “Current Poe Bibliography,” Poe Studies, June 1977, Vol. X, No. 1, 10:21-27


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[page 21, column 2:]

Current Poe Bibliography

This checklist supplements “Current Poe Bibliography” appearing in Poe Studies, 8 (1975), 43-46. This listing was compiled by a Committee composed of J. Lasley Dameron, Chairman, Memphis State University; John E. Reilly, College of the Holy Cross; Thomas C. Carlson, Memphis State University; and Juty Osowski, University of Wisconsin-Stout. The Committee will be pleased to receive offprints from any source. Sent offprints to J. Lasley Dameron, Department of English, Memphis State University, Memphis, Tennessee 38152.

The Committee wishes to thank the Mississippi Quarter1y for granting permission to include listings from its annual bibliography of criticism on Southern Literature. In some instances, moreover, annotations from various bibliographical sources like the MLA International Bibliography and American Literature are utilized. Foreign entries are not annotated, and reprints of earlier Studies are listed but not annotated unless additional bibliographical information is required. The Committee wishes also to acknowledge the aid of several scholars in compiling this list, especially Professors Burton R. Pollin, Alexander Hammond, and Benjamin Franklin Fisher IV.

Aldiss, Brian Wilson. “‘A Clear-Sighted, Sickly Literature’: Edgar Allan Poe,” Billion Year Spree (Garden City, N.Y.: Doubleday, 1973), pp. 40-56. [Poe, primarily a Gothic writer whose characters are given to much reflection and internalizing, composes a group of narratives that are akin to science fiction, including The Narrative of Arthur Gordon Pym.]

Angyal, Andrew J., and Kent Ljungquist. “Some Early Frost Imitations of Poe,” Poe Studies, 9 (1976) , 14-16. [Frost “immersed himself in Poe’s work” and may have composed four poems based on Poe’s poetry.]

Armistead, J. M. “Poe and Lyric Conventions: The Example of ‘For Annie,’” Poe Studies, 8 (1975), 1-5. [As a love lyric, Poe’s “For Annie” is transitional, revealing Poe’s capacity to create a new genre from old forms and “to transform egotistical expression into formal, publicly pleasing artifice.”]

Asarch, Joel Kenneth. “A Telling Tale: Poe’s Revisions in ‘The Murders in the Rue Morgue,’” Library Chronicle (Univ. of Pennsylvania), 41 (1976), 83-90. [Poe’s revisions reveal _ change in “emphasis from a theoretical study of analysis to a practical demonstration of the imagination.”]

Asselineau, Roger. “Edgar Allan Poe 1809-1849,” American Writers, ed. Leonard Unger, 4 vols. (New York: Charles Scribner’s Sons, 1974), III, 409-432. [First appeared in the series Pamphlets on American Writers, No. 89 (Minneapolis: Univ. of Minnesota Press, 1970).]

Bandy, W. T. “Hugo’s View of Poe,” Revue de Litterature Comparee, 49, No. 3 (1975), 480-483. [Quotes passages from an interview with Hugo from a newspaper clipping found in a scrapbook assembled by Amelia F. Poe. Hugo briefly praises Poe and comments on Whittier, Lowell, Holmes, and Paul Hayne.]

————————. “Poe’s Alone: The First Printing,” Papers of the Bibliographical Society of America, 70 (1976), 405-406. [page 21:] [Poe’s “Alone” first appeared in Baltimore Sunday News for 29 August 1975.]

Beaver, Harold. “Introduction,” The Science Fiction of Edgar Allan Poe, ed. Harold Beaver (New York: Penguin Books, 1976), pp. vii-xxi. [Poe — living in an age of electro-chemistry and sensational news reports of events like ballooning and premature burials — fused hoax, science, and apocalyptic vision in prose compositions that can be categorized as science fiction. This anthology includes sixteen selections, including Eureka, along with editorial notes and commentary.]

Bedford, Richard C. “Shadowing Poe’s Raven,” Asphodel ( Doshisha Women’s College, Kyoto), 7 (July 1974), 1-12. [Poe’s speaker in “The Raven” engages in a “completely unrealistic dialogue with the emblematical Raven” and reflects the struggle of a soul caught between fantasy and reason.]

Benton, Joel. In the Poe Circle, with Some Account of the Poe-Chivers Controversy, and Other Poe Memorabilia (Norwood, Pa.: Norwood Editions, 1975). [Reprint of the 1899 edition.]

Benton, Richard P. “Current Poe Activities,” Poe Studies, 9 (1976), 31-32. [Announces forthcoming publications, organizational meetings, and other matters of interest to Poe students.]

Bickman, Martin. “Animatopoeia: Morella as Siren of the Self,” Poe Studies, 8 (1975), 29u32. [Explores elements of Jungian psychology and metaphysics in Poe’s “Morella.”]

Bishop, Jim. “Edgar Allan Poe — A Tragedy of Genius,” Miami Herald, 28 July 1976. [A sketch of Poe’s life with emphasis upon Poe’s hardships.]

Boos, Florence and William. “A Source for the Rimes of Poe’s ‘The Raven’: Elizabeth Barrett Browning’s ‘A Drama of Exile,’” Mary Wollstonecraft Journal, 2, No. 3 (1974), 3031. [Passage from “A Drama of Exile” may be the source of the “nevermore” rimes of “The Raven.”]

Bronzwaer, W. “Deixis as a Structuring Device in Narrative Discourse: An Analysis of Poe’s The Murders in the Rue Morgue,” English Studies, 56 (1975), 345-359. [Because of certain language features and story structure, Poe’s “The Murders in the Rue Morgue” becomes a tale of “Ratiocination” emerging out of a “Tale of Terror.”]

Brooks, Curtis M. “The Cosmic God: Science and Creative Imagination in Eureka,” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 60-68. [Also appears in Poe as Literary Cosmologer, Studies on Eureka: A Symposium, ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1975), pp. 60-68.]

Cameron, Kenneth W. “Young Poe and the Army: Victorian Editing.” American Transcendental Quarterly, No. 20, Part IV (Fall 1973), Supplement, pp. 154-182. [Submits copies of Poe papers found in the Adjutant General’s office and points out that biographers of Poe have had to depend upon badly edited transcripts of these papers.]

Carlson, Eric W. “ ‘William Wilson’: The Double as Primal Self,” Topic: A Journal of the Liberal Arts (Washington and Jefferson College), 16 (1976), 35-40. [This tale should be read as one of Poe’s “psycho-epic visions of the primal, unified Self suffering internal split, conflict, and disintegration.”]

———————— , and Richard P. Benton, eds. Poe Studies Association Newsletter, 4, Nos. I and 2 (May and November 1976), 1-3 and 1-3. [Editors comment on recent and forthcoming criticism devoted to Poe and include several brief announcements.]

Christie, James W. “Poe’s ‘Diabolical’ Humor: Revisions in ‘Bon-Bon,’” Library Chronicle (Univ. of Pennsylvania), 41 (1976), 44-45. [By establishing the narrator, Poe in his revisions of “Bon-Bon” (originally “The Bargain Lost”) demonstrates his concern with unity and design.]

Coskren, Robert. “‘William Wilson’ and the Disintegration of Self,” Studies in Short Fiction, 12 (1975), 155-162. [The tale demonstrates that self-disintegration is the result of “the inevitable curse of a finite self aspiring to infinite being.”]

D’Amato, Francis A. “Moral Vision in Edgar Allan Poe” (Doctoral [column 2:] Diss., Univ. of Connecticut, 1974). Abst.: DAI, 35 (1974), 2217A-2218A. [Poe stresses “the need for unity or totality of effect not only as art but as moral idea in human beings who . . . strive for the ideal life.”]

Dameron, J. Lasley, et al. “Current Poe Bibliography,” Poe Studies, 8 (1975), 15-21. [Supplements checklist of Poe criticism and scholarship appearing in Poe Studies, 6 (1973), 36-42.]

———————— , et al. “Current Poe Bibliography,” Poe Studies, 8 (1975), 43-46. [Supplements checklist of Poe criticism and scholarship appearing in Poe Studies, 8 (1975), 15-2l-]

De Falco, Joseph M. “Metaphor and Meaning in Poe’s The Narrative of Arthur Gordon Pym,” Topic: A Journal of the Liberal Arts (Washington and Jefferson College), 16 (1976), 54-67. [Pym as Poe’s naive narrator undertakes “a subjective journey into self and has managed to destroy all of the mental faculties that constitute a self in the real world.”]

Derrida, Jacques. “The Purveyor of Truth,” trans. W. Domingo et al. Yale French Studies, No. 52 (1975), pp. 31-113. [See pages 63-113 for a discussion of Poe’s Dupin and an examination of “elements” and “terms” involved in Poe’s “The Purloined Letter” — focusing on philosophical and psychological implications.]

Didier, Eugene Lemoine. The Poe Cult and Other Poe Papers (Norwood, Pa.: Norwood Editions, 1976). [Reprint of the 1909 edition.]

Dillon, John Milton. Edgar Allan Poe: His Genius and Character (Norwood, Pa.: Nonvood Editions, 1976). [Reprint of the 1911 edition.]

Doyle, Charles C. “The Imitating Monkey: A Folktale in Poe,” North Carolina Folklore Journal, 23 (1975), 89-91. [In the light of oral-lore accounts of the orangoutang, Poe’s “The Murders in the Rue Morgue” must be called a grotesque tale.]

Drake, William. “The Logic of Survival: Eureka in Relation to Poe’s Other Works,” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 15-22. [Also appears in Poe as Literary Cosmologer, Studies on Eureka: A Symposium, ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1975), pp. 15-22.]

Durham, Frank. “Poe on Sullivan’s Island,” The Gold Bug, illustrated by Elizabeth O’Neill Verner (Charleston, S.C.: Tradd Street Press, 1969), pp. 3-25. [On Poe in the Charleston, S.C., area.]

Eddings, Dennis W. “The Infernal Twoness: Poe’s Vision of Duplicity” (Doctoral Diss., Univ. of Oregon, 1973). Abst.: DAI, 34 (1974), 7746A. [Traces duplicity as theme and structure and concludes that Poe can be viewed as “an artistic confidence man.”]

————————. “Poe’s ‘Dream-Land’: Nightmare or Sublime vision?” Poe Studies, 8 (1975), 5-8. [Poe’s “Dream-Land,” although a “vision of the chaotic, disharmonic world of physical reality,” affirms the power of the imagination to transcend this disharmony.]

Edwards, C. Hines, Jr. “Three Literary Parallels to Faulkner’s ‘A Rose for Emily,’” Notes on Mississippi Writers, 7 (1974), 21-25. [cites images from Faulkner’s story that may have their source in Poe’s first “To Helen.”]

Ewers, Hanns Heinz. Edgar Allan Poe, trans. from German by Adele Lewisohn (Norwood, Pa.: Norwood Editions, 1976) . [Reprint of the 1916 edition.]

Fisher, Benjamin Franklin IV. “Ancilla to the Gothic Tradition: A Supplementary Bibliography,” American Transcendental Quarterly, No. 30, Part 11 (Spring 1976), pp. 22-36. [Lists hundreds of books and articles relevant to the Gothic mode from the eighteenth through the twentieth centuries — in literature, architecture, film.]

————————. “Poe and the Art of the Well-Wrought Tale,” Library Chronicle (Univ. of Pennsylvania), 41 (1976), 5-12. [Briefly reviews previous scholarship devoted to Poe’s [page 23:] revisions and introduces a series of essays on Poe’s craftsmanship that follow in the same issue of the Library Chronicle.]

————————. “Poe in the Seventies: The Poet among the Critics,” Mystery and Detection Annual, ed. Donald Adams (Pasadena, Calif.: Castle Press, 1973), pp. 129-141. [Surveys the diverse studies on Poe appearing in the early seventies and concludes “be they concerned with Poe’s unity, his traditions, his diversity, or his experimentation,” they all agree “on his general greatness as a literary artist.”]

————————. ed. Poe the Craftsman: The Changing Fiction. Essays in Honor of Richard P. Benton and Maureen Cobb Mabbott, Library Chronicle ( Univ. of Pennsylvania), 41 (1976), 5-99. [Special issue on revisions on Poe’s tales and matters of textual history.]

————————. “The Power of Words in Poe’s ‘Silence, “ Library Chronicle (Univ. of Pennsylvania), 41 (1976), 5672. [Poe’s “Silence — A Fable” indicates his “developing artistry because the tale moves from undeniable pastiche — with obvious dependence upon sources — into subtler refinements . . . the terror not of Germany, or literary Gothicism, but of the soul.”]

————————. “To ‘The Assignation’ from ‘The Visionary’ (Part Two): The Revisions and Related Marters,” Library Chronicle (Univ. of Pennsylvania), 40 (1976), 221-251. [Essay is the second of a two-part study, the first appearing in The Library Chronicle, 39 (1973) 89-105. Finds “the serious romanticism in this tale to be significant,” a romanticism which concerns Poe’s theory of beauty.]

Fleurdorge, Claude. “Discours et contre-discours dans The Tell-Tale Heart,” Delta, No. 1 (1975), 43u65.

Flory, Wendy Stallard. “Rehearsals for Dying in Poe and Emily Dickinson,” American Transcendental Quarterly, No. 18, Parts I and 11 (Spring 1973), pp. 13-18. [Both Poe and Dickinson “search relentlessly for the meaning of human existence and both imagine the search continuing after death.”]

Frank, Jerome. “Tamerlane at Auction,” Book Collector’s Market, 2 (August 1976), 22-23. [The University of Chicago’s Regenstein Rare Book Special Collection paid $123,000 for a copy of Tamerlane and Other Poems on 19 November 1974.]

Freeman, Fred B., Jr. “Poe’s ‘Miss B.’ and ‘Annie,’” American Notes and Queries, 12 (1974), 79-80. [On Poe’s attachment to Eliza Jane Butterfield, a young grammar school teacher in Lowell, Mass.]

Friedrich, Otto. “Madness in Our Time. Going Crazy by Otto Friedrich,” New York Post, 23 March 1976, p. 31. [Excerpts from Otto Friedrich’s Going Crazy concerning Poe’s use of alcohol and his enigmatic death.]

Fruit, John Phelps. The Mind and Art of Poe’s Poetry (Norwood, Pa.: Norwood Editions, 1975). [Reprint of the 1899 edition.]

Fusco, Richard. “Poe’s Revisions of ‘The Mystery of Marie Roget’ — a Hoax?” Library Chronicle (Univ. of Pennsylvania), 41

(1976), 91-99. [“The textual changes in the two versions of ‘The Mystery of Marie Roget’ reveal Poe’s craftsmanship, suggest his differing literary personalities, and provide keys to his theories of reasoning.”]

Gaillard, Dawson. “Poe’s Eureka. The Triumph of the Word” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 42-46. [Also appears in Poe as Literary Cosmologer, Studies on Eureka: A Symposium, ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1975), pp. 42-46.]

Gargano, James W. “The Distorted Perception of Poe’s Comic Narrators,” Topic: A Journal of the Liberal Arts (Washington and Jefferson College), 16 (1976), 23-24. [As in several of his serious tales, Poe treats “man’s defective intellectual and moral’sight’” in humorous tales like “The Spectacles,” “The Angel of the Odd,” “The System of Dr. Tarr and Professor Fether,” “The Sphinx,” and “The Devil in the Belfry.”]

Les Geants. Edgar Poe (Paris: Coedition Paris Match/Pierre-Charron, 1970).

Graham, Don B. “Yone Noguchi’s ‘Poe Mania,’” Markham Review, 4 (May 1974), 58-60. [Traces Noguchi’s admiration for Poe. The Japanese poet admits influence but denies plagiarism of Poe’s poems.] [column 2:]

Gross, Seymour. “Native Son and ‘The Murders in the Rue Morgue’: An Addendum,” Poe Studies, 8 (1975), 23. [Points out evidence that Richard Wright read Poe’s story during the composition of Native Son.]

Grunes, Dennis S. “The Romantic Brother” (Doctoral Diss., State Univ. of New York at Buffalo, 1974). Abst.: DAl, 35 (1974), 1623A. [“In Poe’s tragic stories . . . potentially loving brothers, instead of coming together, emerge as adversaries.”]

Guidacci, Margherita. “Su un racconto di Poe: ‘La maschera della morte rossa,’” Humanitas (Brescia), 29 (1974), 721-730.

Gunter, Bernd. Das Groteske und seine Gestaltung in den Erzahlsungen Edgar Allan Poes. Dissertation, Freiburg i. Br., 1974. [See English and American Studies in German, ed. Werner Habicht (Tubingen: Max Niemeyer Vertag, 1975), pp. 154157, for abstract in English. Publication is supplement to Anglia.]

Hammond, Alexander. “Edgar Allan Poe’s Tales of the Folio Club: The Evolution of a Lost Book,” Library Chronicle (Univ. of Pennsylvania), 41 (1976), 13-43. [Presents a history of Poe’s Folio Club Collection between 1831 and 1836 and examines “its evolution and its fortunes in the market place.”]

————————. “Funher Notes on Poe’s Folio Club Tales,” Poe Studies, 8 (1975), 38-42. [Discusses the Folio Club stories as a group with particular attention to “Raising the Wind; or Diddling Considered as One of the Exact Sciences,” “Loss of Breath. A Tale a la Blackwood,” “Siope — a Fable,” and “King Pest the First.”]

Harrison, James A. “Preface,” The Last Letters of Edgar Allan Poe to Sarah Helen Whitman, ed. James A. Harrison (Folcroft, Pa.: Folcroft Library Editions, 1974), pp. v-vi. [Reprint of 1909 edition.]

Haskell, John D. “Poe, Literary Soirees, and Coffee,” Poe Studies, 8 (1975), 47. [On Poe’s visits to the Amity Place home of John Russell Bartliett in New York City.]

Hennelly, Mark M., Jr. “Oedipus and Orpheus in the Maelstrom: The Traumatic Rebirth of the Artist,” Poe Studies, 9 (1976), 6-11. [“‘A Descent into the Maelstrom’ perceptively dramatizes the dynamics of Oedipal tension, return-to-the-womb desires, and the resulting rebirth of the Orphic artist into postpartum existence.”]

Hoberg, Perry F. “‘Poe’ Trickster-Cosmologist,” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 30-37. [Also appears in Poe as Literary Cosmologer, Studies on Eureka: A Symposium, ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1975), pp. 30-37.]

Hoffmeister, Charles C. “‘William Wilson’ and The Double: A Freudian Insight,” Coranto, Journal of Friends of the Libraries (Univ. of Southern California), 9 (1974), 24-27. [Poe’s “William Wilson” depicts “an unbalanced psyche, the ego of which fails to reconcile the id and superego”; Dostoyevsky’s The Double “depicts a victim of acute schizophrenia.”]

Horstmann, Ulrich. Antsatze zs’ einer technomorphen Theorie der Dictung bei Edgar Allan Poe (Bern and Frankfurt: M. Lang, 1975). [See English and American Studies in German, ed Werner Habicht (Tubingen: Max Niemeyer Verlag, 1975), pp. 152-153, for abstract in English. Publication is supplement to Anglia.]

Howe, Mark Anthony De Wolfe, “Edgar Allan Poe,” American Bookman (Freeport, N.Y.: Books for Libraries Press, 1972), pp. [74]-98. [An essay devoted to Poe’s life, with pictures and illustrations. First printed in 1898.]

Hussey, John P. “Narrative Voice and Classical Rhetoric in Eureka,” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 37-42. [Also appears in Poe as Literary Cosmologer, Studies on Eureka: A Symposium, ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1975), pp. 37-42.]

The Illustrated Edgar Allan Poe (New York: Drake Publishers, 1975). [The text of some of Poe’s tales and poems is accompanied by illustrations from recent popular films depicting Poe’s works.] [page 24:]

Jackson, David K. “Addendum to a Footnote: ‘The Bells,’” Poe Studies, 8 (1975), 47. [On George Newell Lovejoy’s fictitious account of Poe’s writing of “The Bells.”]

————————. “A Poe Bibliographical Note,” Library Notes (Duke Univ.), No. 46 (September 1946), 29-31. [Poe’s review of Washitonii Vita, first appearing in the December 1835 issue of the Southern Literary Messenger, was reprinted as a testimonial in a second edition of the book.]

————————. “Two Notes: A Joseph H. Clarke Manuscript and Something about a Mr. Persico,” Poe Studies, 9 (1976) , 22. [Quotes a comment on Poe in a letter by Joseph H. Clarke, one of Poe’s Richmond schoolmasters, and cites facts concerning Poe’s attempt in March 1835 to get a teaching job in a Baltimore public school.]

Jacobs, Edward Craney. “A Possible Debt to Cooper,” Poe Studies, 9 (1976), 23. [Poe may have borrowed from Cooper’s The Last of the Mohicans the heraldic motto found in “The Cask of Amontillado.”]

Jacobs, William J. Edgar Allan Poe: Genius in Torment (Nev. York: McGraw-Hill, 1975). [A biography written for juveniles with some attention to some of Poe’s most popular stories and poems.]

Kennedy, J. Gerald. “ The Infernal Twoness’ in Arthur Gordon Pym,” Topic: A Journal of the Liberal Arts (Washington and Jefferson College), 16 (1976), 41-53. [Poe’s hoaxing has generic significance in Pym: the “reader’s encounter with a treacherous text mirrors the narrator’s encounter with a duplicitous world,” a world in which “man’s search for truth and meaning culminates not in transcendent harmony but cognitive confusion.”]

————————. “The Test of Reason: Realistic Techniques in the Fiction of Edgar Allan Poe” (Doctoral Diss., Duke Univ., 1973). Abst.: DAI 34 (1974), 5975. [Poe’s tales “imaginatively treat the question of how the rational consciousness interprets its perception of external reality.”]

Kent, Charles William, and John S. Patton, eds. The Book of the Poe Centenary. A Record of the Exercises at the University of Virginia, January 16-19, 1909, in Commemoration of the one hundredth birthday of Edgar Allan Poe (Norwood, Pa.: Norwood Editions, 1975). [Reprint of the 1909 edition.]

Ketterer, David. “Protective Irony and ‘The Full Design’ of Eureka,” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 46-55. [Also appears in Poe as Literary Cosmologer, Studies on Eureka: A Symposium, ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1975), pp. 46-55.]

————————. “The S[cience] F[iaion] Elements in the Work of Poe: A Chronological Survey,” Science Fiction Studies, 1 (1974), 197-213. [Lists Poe’s writings (seventy-three tales, ten essays, and three poems) that touch upon science fiction, along with a checklist of criticism on Poe and science fiction.]

Koroteva, Liudmila Nikolaevna. Natsional’noe svocobrazie Edgara Pourozaika i ego mesto v mirovom literaturnom protsesse [Leningradski: gos. pedagog. in-t im. A. 1. Gertsena, 1974). [Abstract of thesis.]

Lecompte, C. “L’Homeo-Cameleopard, ou la mort de Dieu,” Delta, No. 1 (1975), pp. 83-94.

Leigh, Oliver [“Charles Quarles”]. Edgar Allan Poe (Norwood, Pa.: Norwood Editions, 1975). [Reprint of the 1906 edition.]

Levine, Stuart and Susan. “History, Myth, Fable, Satire: Poe’s Use of Jacob Bryant,” ESQ, 21 (1975), 197-214. [Jacob Bryant (1715-1804), author of Mythology (1774), had some effect upon Poe’s view of history, his wit and humor, as well as A his complex attitudes towards his material and his craft in general.”]

————————. The Short Fiction of Edgar Allan Poe (Indianapolis: Bobbs-Merrill, 1975). [Offers extensive commentary, pictures, diagrams, and other visual aids along with a selected bibliography. Each Poe story is presented under one of fifteen categories; each category has its own preface, and each story is followed by notes that are both factual and explanatory.] [column 2:]

Ljungquist, Kent. “Poe and the Sublime: His Two Short Sea Tales in the Context of an Aesthetic Tradition,” Criticism, 17 (1975), 131-151. [With the exception of Eureka, Poe tends to move away “from the aesthetic of the sublime to a preference for circumscribed space even in external landscape.”]

Mabbott, Thomas Ollive, ed. Al Aaraaf . . . Reproduced from the Edition of 1829, with a Bibliographical Note (Norwood, Pa.: Norwood Editions, 1976). [Reprint of the 1933 edition. Also reprinted by Folcroft, Pa.: Folcroft Library Editions, 1973]

Marcade, Bernard. “Pour une psychogeographie de l’espace fantastique: Les architeaures arabesques et grotffques chez E. A. Poe,” La Revsue d’Esthetiqsue, 27 (1974), 41-56.

Marder, Daniel. “Exiles at Home in American Literature,” Mosaic, 8 (Spring 1975), 49-75. [Poe carried out an “unrestrained search of his internal world.” See pp. 59-61.]

Matei, ion. “Obervatii asupra imaginii poetice la Poe si Baudelaire,” Analele Universitdtii, Bucuresti, Literatura Universala Comparata, 20, i (1971), 137-145.

Matsuyama, Akio, trans. The French Face of Edgar Poe by Patrick Quinn (Tokyo: The Hokuseido Press, 1974). [First appeared in English in 1954 (Ph.D. dies.) and published by the Southern Illinois Univ. Press in 1957.]

Mazouv, Julia. “The Survival Theme in Selected Tales of Edgar Allan Poe,” Studies in American Fiction, 3 (1975), 216-223. [Poe’s treatment of the survival theme attests his affirmative view of life and mankind.]

————————. “The Undivided Consciousness of the Narrator in Eureka,” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 55-60. [Also appears in Poe as Literary Cosmologer, Studies on Eureka: A Symposium, ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1975), pp. 55-59]

McCarthy, Kevin M. “Unity and Personal Identity in Eureka,” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 22-26. [Also appears in Poe as Literary Cosmologer,

————————. Studies on Eureka: A Symposium, ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1975), pp. 22-26.]

McKeithan, D. M. “Poe and the Second Edition of Hawthorne’s Twice-Told Tales,” Nathaniel Hawthorne Journal, 4 (1974), 257-269. [Suggests that Poe’s reading in Twice-Told Tales may have inspired the composition of “The Oval Portrait” and “The Masque of the Red Death.”]

Meyers, Terry L. “An Interview with Tennyson on Poe,” Tennyson Research Bulletin, 2 (November 1975), 167-168. [Tennyson praises Poe in an interview described in the New York Times, 13 February 1886, p. 2, colt 6.]

Miller, John C. “Poe’s Biographers Brawl,” American History Illustrated, 11, No. 7 (November 1976), 20-29. [Focuses on the significant contribution of John Ingram between 1873 and 1916 as a leading biographer and defender of Poe.]

Mottram, Eric. “Poe’s Pym and the American Social Imagination,” Artful Thunder: Versions of the Romantic Tradition in American Literature, In Honor of Howard P. Vincent, ed. Robert J. DeMott and Sanford E. Marovitz (Kent, Ohio: Kent State Univ. Press, 1975), pp. 25u53. [“Poe’s novel . . . is a paradigm of both social relations and personal’ need,” revealing Poe’s attitude toward the American scene and his own unique way of accepting it.]

Mourier, Maurice. “Le tombeau d’Edgar Poe,” Esprit, No. 441 (December 1974), pp. 902-926.

Neal, John, and Mayne Reid. Letters to Edgar A. Poe (Norwood, Pa.: Norwood Editions, 1975). [Reprint of two items first published by E. B. Hill, Ysleta, Texas in 1933 (enticed “Edgar Allan Poe by M. Reid”) and in 1942 (entitled “John Neal to Edgar A. Poe”).]

Nettesheim, Josefine. Poeta doctus: oder, Die Poetisierung der Wissenschaft von Msssaus bis Benn ( Berlin: Duncker and Humblot, 1975) . [page 25:]

Nielsen, Erik A. “Fortolkringsflolset,” Kritik (Copenhagen), 29 (1974), 28-46.

Obuchowski, Peter. “Unity of Effect in Poe’s ‘The Fall of the House of Usher,’” Studies in Short Fiction, 12 (1975), 407-412. [Through his narrator, Poe “focuses the story on one of the universal’ and most terrifying of fears — the loss of sanity.”]

Oostrum, Wa.R.D. van. “Misdeed nu ook binnen het voortgezet onderwijs,” Spektator (Amsterdam), 3 (1973), 48-52.

Osowski, Judy. “Fugitive Poe References: A Bibliography,” Poe Studies, 8 (1975), 21-22. [Lists current publications that do not focus on Poe, but which discuss him within a larger perspective or special angle of vision.]

Pace, Eric. “Poe Devotees Are Gloomy over Losses and Vandalism at His Cottage in the Bronx,” New York Times, 3 April 1974, p. 45. [Factual background information concerning the significant features of the Poe cottage in the Bronx which has been subject to neglect and vandalism.]

Peithman, Stephen E. “The Pervasive ‘1’: Narrative Point of View in Poe’s Tales” (Doctoral Diss. Univ. of California, Davis 1973). Abst.: DAI, 35 (1974) 2236A. [Defines Poe’s “narrative point of view” which achieves a vision that is both “inward and outward.”]

Perez Botero, Luis. “El principio poetico de Poe y el arielismo de Rodo,” Revista de Letras, 6 (1974), 55-61.

“Photo of Poe Brings Record $9,250,” New York Times, 13 October 1973, p. 31. [A Poe daguerreotype, perhaps taken in 1848, is sold at a Chicago public auction.]

Pitcher, Edward W. “Anagrams in Poe’s Stories,” American Notes & Queries, 12 (1974), 167-169. [Suggests that critics examine evidence of Poe’s word play in “The Domain of Arnheim,” “Eleonora” and the colloquies.]

————————. “The Arnheim Trilogy: C06mic Landscapes in the Shadow of Poe’s Eureka,” Canadian Review of American Studies, 6 (Spring 1975), 27-35. [Finds that Poe’s cosmic landscapes reveal a vision that progresses “from a mere glimpsing of the’supernal realm’ to a full mapping of the spatial and temporal cosmic plan.”]

Poe, Edgar A. “El Cuervo / The Raven,” Venezuela, 17 (June - July, 1976), 12-15. [Juan Antonio Perez Bonalde’s translation of “The Raven” and the text of Poe’s poem with a brief introduction.]

————————. Edgar Allan Poe’s Contributions to Alexander’s Weekly Messenger, by Clarence S. Brigham (Norwood, Pa.: Norwood Editions, 1975). [Reprint of the 1943 edition.]

————————.Eureka. A Prose Poem. New Edition with Line Numbers, Exploratory Essay, and Bibliographical Guide, ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1973). [See pp. i-ii for essay entitled Cross-Lights on Poe’s Eureka” and pp. 1-6 for checklist of criticism on Eureka. Both appear in American Transcendental Quarterly, No. 22, Part I (Spring 1974), pp. i-ii, 1u6.]

————————.Histoires extraordinaires. Preface de Julio Cortezar. Traduction de Charles Baudelaire precedee de Edgar Poe, sa vie et ses ocuvres par Charles Baudelaire ([Paris]: Gallimard, [1973]).

————————.Letters and Documents in the Enoch Pratt Free Library, ed. Arthur H. Quinn and Richard H. Hart (Norwood, Pa.: Norwood Editions, 1975). [Reprint of the 1941 edition.]

Poe, Elizabeth Ellicott, and Vylla Poe Wilson. Edgar Allan Poe: u High Priest of the Beautiful (Norwood, Pa.: Norwood Editions, 1976). [Reprint of the 1930 edition.]

Pollin, Burton R. “Contemporary Reviews of Eureka: A Checklist,” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 26-30. [Also appears in Poe as Literary Cosmologer, Studies on Eureka. A Symposium, ed. Richard P. Benton (Hartford, Conn.: Transcendental’ Books, 1975), pp. 26-30.]

————————. “The Narrative of Benjamin Morrell: Out of ‘The Bucket’ and into Poe’s Pym,” Studies in American Fiction, 4 (1976), 157-172. [On Poe’s knowledge and possible use of Benjamin Morrell’s Narrative of Four Voyages [column 2:] (1832) in composing Pym, with focus upon Morrell’s use of hoax, “melodrama about massacring cannibals,” and inaccurate, bizarre detail. Morrell’s Narrative was actually ghostwritten by Samuel Woodworth (1784-1842), author of a poem entitled “The Bucket” (later “The Old Oaken Bucket”).]

————————.“Nicholas Nickleby in ‘The Devil in the Belfry,’” Poe Studies, 8 (1975), 23. [Some of the concepts and atmospheric touches of Poe’s “The Devil in the Belfry” came from Dickens’ Nicholas Nickleby.]

————————. “Poe and Daniel Defoe: A Significant Relationship,” Topic: A Journal of the Liberal Arts (Washington and Jefferson College), 16 (1976), 3-22. [In reviewing Robinson Crusoe in 1836, Poe had begun to “codify some of his ideas about the necessary identification of an author with the creatures of his imagination, toward the aim of producing a convincing similitude of reality, whether ordinary or strange.”]

————————. “Poe and Hemingway on Violence and Death,” English Studies, 57 (1976), 139-142. [Suggests that Hemingway utilized specific thematic elements from some of Poe’s tales.]

————————. “Poe’s ‘Diddling’: More on the Dating and the Aim,” Poe Studies, 9 (1976) , 11-13. [Argues that Poe’s “Diddling” is not related to John Neal and does not belong to the Folio group.]

————————. “Southey’s Curse of Kehama in Poe’s ‘City in the Sea,’” The Wordsworth Circle, 7 (Spring 1976), 101-106. [Emphasizes parallels in language and form.]

————————. “Three More Early Notices of Pym and the Snowden Connection,” Poe Studies, 8 (197S), 32-3S. [Discusses early notices of Pym from Alexander’s Weekly Messenger, Sunday Morning News (New York), and Snowden’s Ladies’ Companion.]

Portis, Rowe. “The Berg Tamerlane,” Book Collector’s Market, 2 (August 1976), 23. [Background information on two copies of Tamerlane and Other Poems held by the Berg Collection of English and American literature at the New York Public Library.]

Pry, Elmer R. “A Folklore Source for ‘The Man That Was Used Up,’” Poe Studies, 8 (1975), 46. [The basic idea of Poe’s Story may come from folk narrative about American Indians.]

Raneri, Marietra R. “The Self Behind the Self: The Americanization of the Gothic” (Doctoral Diss., Pennsylvania State Univ. 1973). Abst.: DAI, 34 (1974), 5200A-5201A. [Discusses Poe’s “The Fall of the House of Usher” within the context of English and American Gothicism.]

Ransome, Arthur. Edgar Allan Poe. A Critical Study. (Norwood Pa.: Norwood Editions, 1975). [Reprint of the 1910 edition.]

Reece, James B. “Poe’s ‘Dream Land’ and the Imagery of Opium Dreams,” Poe Studies, 8 (1975), 24. [Notes the similarities between the imagery of Poe’s “Dream-Land” and current literature describing opium dreams.]

Rees, Thomas R. “Why Poe? Some Notes on the Artistic Qualities of the Prose Fiction of Edgar Allan Poe,” Forum (Houston), 12 (Spring 1974), 10-15. [Poe’s principal appeal is his “consummate artistry.”]

Reid, Mayne, and John Neal. Letters to Edgar A. Poe (Folcroft, Pa.: Folcroft Library Editions, 197S). [Reprint of the 1933 edition.]

Reilly, John E. “Book Reviews,” Mississippi Quarterly, 28 (1975), 531-535. [Essay review on Edgar Allan Poe: A Bibliography of Criticism 1827-1967 by Dameron and Cauthen, and Edgar Allan Poe: An Annotated Bibliography of Books and Articles in English, 1827-1973 by Esther Hyneman.]

————————. “Current Poe Activities,” Poe Studies, 8 (1975), 47-48. [Announces forthcoming publications, organizational meetings, works in progress, and other matters of interest to Poe students.]

————————. “Current Poe Studies,” Poe Studies, 7 (1974), 27-28. [Announces forthcoming publications, organizational [page 26:] meetings, and other matters of interest to Poe students.]

————————.The Image of Poe in American Poetry. A Lecture Delivered at the Fifty-third Annual Commemoration Program of the Edgar Allan Poe Society of Baltimore, 5 October 1975 (Baltimore: Enoch Pratt Free Library, 1976). [Since 1830, poetry devoted to Poe has represented Poe as “a type of symbol of an aggregate of Romantic myths, myths such as the Casanova, the poete maudit, the alienated artist, the aesthetic victim of a utilitarian culture.”]

Ricardou, Jean. “‘The Singular Character of the Water’” trans. Frank Towne, Poe Studies, 9 (1976) , 1-6. [Analyzes critical interpretations of the passage from Poe’s The Narrative of Arthur Gordon Pym that depicts the veined water on Tsalal, suggesting the work as a whole may be read as a self-referential “journey to the bottom of the page.”]

Rice, Sara Sigourney. Edgar Allan Poe: A Memorial Volume (Folcroft, Pa.: Folcroft Library Editions, 1973). [Reprint of the 1877 edition.]

Richard, Claude. “Lu Double voix dans The Tell-Tale Heart,” Delta, No. 1 (1975), 17-41.

————————. “ L’ llcritu re d’ Arthur Gordon Pym,” Delta, No. 1 (1975), 95-124.

————————.Edgar Allan Poe / cahier . . . dirige par Claude Richard (Paris: Cditions de L’Herne, 1974).

Robbins, Peggy. “The Defamation of Edgar Allan Poe,” American History Illustrated, 10 (October 1975), 18-26, 27-28. [Poe’s “Reputation as a drunken, drug-addicted madman has endured for well over a century — just as his first biographer (Rufus Griswold) had hoped.”]

Robinson, David. “The Romantic Quest in Poe and Emerson: ‘Ulalume’ and ‘The Sphinx,’” American Transcendental Quarterly, No. 26 (Spring 1975), Supplement, pp. 26-30. [Poe’s “Ulalume” and Emerson’s “The Sphinx” are contrasting “dramatizations of the human response to the ideal.”]

————————. “‘Ulalume’ — The Ghouls and the Critics,” Poe Studies, 8 (1975), 8-10. [The ghouls in Poe’s “Ulalume” lead the speaker to remorse and frustration.]

Roche, Arthur J., III. “A Literary Gentleman in New York: Evert A. Duyckinck’s Relationship with Nathaniel Hawthorne, Herman Melville, Edgar Allan Poe, and William Gilmore Simms” (Doctoral Diss., Duke Univ., 1973). Abst.: DAI, 34 (1974), 4282A. [Duyckinck aided Poe in the latter’s attempts to achieve journalistic success.]

Roth, Marrin. “The Poet’s Purloined Letter,” Mystery and Detection Annual, ed. Donald Adams (Pasadena, Calif.: Castle Press, 1973) pp. 113-128. [Finds that Poe’s “The Purloined Letter” reveals Poe’s cosmological and cosmographic concerns. As a fable, the story suggests, among other things, that Dupin “does not find a hidden letter but dreams a new letter into the world of time and space.”]

Roomer, Marc Leslie. “What William Wilson Knew: Poe’s Dramatization of an Errant Mind,” Library Chronicle ( Univ. of Pennsylvania), 41 (1976), 73-82. [Poe’s revisions of “William Wilson” “clarify the ironic relationship between Wilson’s eye for detail and his inability to associate detail with his life’s moral framework, in effect making more explicit the string of dues leading to the substantiation of Wilson’s moral obtuseness.”]

Sainer, Arthur. “Let’s Be Serious about Poe!” Village Voice, September 1974, pp. 71-72. [A brief review of a performance of Stanley Nelson’s Poe: From His Life and Mind.]

Schmidt-Garre, Helmut. “Edgar Allan Poe’s Musikasthetik,” Neue Zeitschrift fur Musik, 132 (1971), 414-417.

Sherman, G. W. “Poe’s Friend Downey Identified,” Poe Studies, 9 (1976), 23. [Poe’s soldier friend was Thomas Downey of Reading, Pennsylvania.]

Sippel, Erich W. “Another of Poe’s ‘Savans’: Edward Tatham,” Poe Studies, 9 ( 1976), 16-21. [Evidence suggests that Poe consulted Tatham’s The Chart and Scale of Truth in composing Eureka.] [column 2:]

Solomon, Petre. “In atelierul poetului,” Secolul XX, 16, x (1973), 150-153.

Soule, George H., Jr. “Another Source for Poe: Trelawney’s The Adventures of a Younger Son,” Poe Studies, 8 (1975), 35-37. [Finds parallels between Trelawney’s sea narrative and some of Poe’s tales, notably “MS. Found in a Bottle,” Pym, and “William Wilson.”]

St. Armand, Barton L. “Poe’s Emblematic Raven: A Pictorial Approach,” ESQ, 22 (1976), 191-210. [Interprets “The Raven” in the light of an emblem tradition, “in which natural objects are designed to convey a certain rigid meaning, without intruding between the reader and the idea.”]

————————. “ ‘Seemingly Intuitive Leaps’: Belief and Unbelief in Eureka,” American Transcendental Quarterly, No. 26 (Spring 1975), pp. 4-15. [Also appears in Poe as Literary Cosmologer, Studies on Eureka: A Symposium’ ed. Richard P. Benton (Hartford, Conn.: Transcendental Books, 1975), Pp. 4-15.]

Stedman, Edward Clarence. Edgar Allan Poe (Folcroft, Pa.: Folcroft Library Editions, 1974). [Reprint of the 1909 edition.]

————————.Edgar Allan Poe (Norwood, Pa.: Norwood Editions, 1976). [Reprint of the 1909 edition.]

Steinbrunner, Chris, and Otto Penzler, eds. “Poe, Edgar Allan,” Encyclopedia of Mystery and Detection (New York: McGraw-Hill, 1976), pp. 310-315. [Biographical sketch with some attention to Poe’s contribution to the detective story. Offers a checklist of movies adapted from Poe writings and comments briefly on recent radio and television versions of his narratives.]

Stovall, Floyd. “Edgar Poe and the University of Virginia,” The Poe Messenger (Poe Foundation of Richmond, Virginia), 6 (Fall 1975), [5-6]. [An excerpt from the Virginia Quarterly Review, 43 (1967), 297-317.]

Strickland, Edward. “Dickens’ ‘A Madman’s Manuscript’ and ‘The Tell-Tate Heart,’” Poe Studies, 9 (1976) , 22-23. [Cites parallels.]

————————.”Poe’s ‘Ulalume,’ Stanza 10,” Explicator, 34 (November 1975), Item 19. [On the illusory character of the ghouls and the significance of “Astarte’s bediamonded crescent,” both of which guide the speaker on a fixed course.]

Sullivan, Ruth. “William Wilson’s Double,” Studies in Romanticism, 15 (1976), 253-263. [Poe disguises the identity of his narrator so effectively that the reader can view him from several points of view; hence “‘William Wilson’ is more ambiguous, more complex than it appears.”]

Sweet, Charles A., Jr. “‘Ligeia’ and the Warlock,” Studies in Short Fiction, 13 (1976), 85-88. [Emphasizes the role of Poe’s narrator in “Ligeia” as a warlock who “gains the lady of his desire through his occult ritual and loses a soul.”]

————————. “Retapping Poe’s ‘Cask of Amontillado,’” Poe Studies, 8 (1975), 10-12. [Suggests that Fortunato is Montresor’s “mirror image”; hence Montresor’s revenge “is not a ritual of sacrifice, but of scapegoating.”]

Tate, Allan. “The Poetry of Edgar Allan Poe,” Memoirs and O pinions, 1926 -1 974 (Chicago: Swallow Press, 1 975), pp. 115-127. [First appeared in Sewanee Review, 76 (1968), 214225, and later as introduction to Edgar Allan Poe: Complete Poetry and Selected Criticism (New York: New American Library, 1968), pp. vii-xviii.]

————————. “Three Commentaries: Poe, James, and Joyce,” Memoirs and Opinions, 1926-1974 (Chicago: Swallow Press, 1975), pp. 155-169. [First appeared in the Sewanee Review, 58 (1950), 1-15.]

Thomas, Dwight. “James F. Otis and ‘Autography’: A New Poe Correspondent,” Poe Studies, 8 (1975), 12-15. [Identifies a Griswold MS (796) in the Boston Public Library as a letter to Poe from James F. Otis, who was to be included in Poe’s “Autography.”]

Thompson, G. R. “Poe,” American Literary Scholarship: An Annual, 1974, ed. James Woodress (Durham, N.C.: Duke Univ. Press, 1976), pp. 29-42. [A review essay evaluating Poe scholarship for the year indicated.] [page 27:]

Thorpe, Dwayne. “The Limits of Flight: Poe and ‘The Poetic Principle,’” Topic: A Journal of the Liberal Arts (Washington and Jefferson College), 16 (1976), 66-80. [Poe “links the worlds of time and the ideal” in “The Poetic Principle,” defining “severe limits to man’s flight toward the ideal.”]

Ticknor, Caroline. Poe’s Helen (Norwood, Pa.: Norwood Editions, 1975) . [Reprint of the 1917 edition.]

Tritt, Michael. “‘Ligeia’ and ‘The Conqueror Worm,’” Poe Studies, 9 (1976), 21-22. [Poe’s poem “The Conqueror Worm” “heightens the dramatic impact of the will’s triumph in “Ligeia.”]

Troubeekoy, Ulrich. “The Artist James Carling,” New Dominion Life Style, 2, No. 4 (June-July 1975), 27-33. [On James Carling (1833-1883) and his 43 illustrations of Poe’s “The Raven” presently housed in the Edgar Allan Poe Museum in Richmond, Va.]

Umansky, Paul. “The Mysterious Mr. Poe . . . His Life and Death in Baltimore,” Baltimore, 66 (January 1973), 18-21, 48-49. [Largely factual, this article focuses very clearly on how Poe lived and fared in Baltimore.]

Unrue, Darlene. “Poe and the Subjective Reality,” Ariel, 7 (July 1976), 68-76. [Poe emphasizes “individual impression” in his stories depicting “aberrant personalities upon whose distorted view hang both the effect of the tale and the interest.”]

Vincent, Mireille, “La Grand singe fauve,” Delta, No. 1 (1975), 67-82.

Vines, Lois D. “L’influence d’Edgar Allan Poe sur Paul Valery” (Doctoral Diss., Georgetown Univ., 1973). Abst.: DAI, 34 (1974), 4293A-4294A. [Finds that Poe had a discernible effect upon Valery’s fiction and, to a degree, upon Valery’s method of thinking as well as on his critical theory of poetic composition.]

Visser Ab. Wie is de dader: De misdaadliteratvvr van Edgar Allan Poe tot heden. Literaire verkenningen (Leiden: Sijthoff, 1971).

The Voyage of Edgar Allan Poe (Minneapolis, Minn.: Minnesota Opera Company, 1976). [Program of an opera entitled The Voyage of Edgar Allan Poe, music by Dominick Argento and libretto by Charles M. Nolte.]

Watson, Charles N., Jr. “Premature Burial in Arthur Gordon Pym and Israel Potter,” American Literature, 47 (1975), 105107. [Israel Potter’s “three-day entombment in the stone cell of Squire Woodcock’s mansion” bears “close resemblance to Pym’s initial adventure on the Grampus.” Parallels suggest that Melville “read Poe’s novel and read it well.”]

Wells, Daniel A. “ ‘Bartleby the Scrivener,’ Poe, and the Duyckinck Circle,” ESQ, 21 (1975), 35-39. [In “Bartleby,” Melville seems to be drawing his characters from the world of New York journalism; Nippers suggests Poe, and Turkey suggests Cornelius Mathews.]

Westburg, Barry. “How Poe Solved the Mystery of Barnaby Rudge,” Dickens Studies Newsletter, 5 (June 1974), 38 40. [Poe’s solving the mystery of Dickens’ Barnaby Rudge can be largely attributed to Poe’s reading only one edition of the novel — the first edition of 1841.]

Whitla, William. “Sources for Browning in Byron, Blake, and Poe,” Studies in Browning and His Circle, 2 (1974), 7-16. [Browning’s “Householder” echoes Poe’s “The Raven.” See pp. 14-16.]

Woodberry, George E. “Poe in Philadelphia: Selections from the Correspondence of Edgar Allan Poe,” American Book Collector, 25 (January-February 1975), 6-14. [Reprinted from The Century Magazine, NS 26 (September 1894), 725-737.]

Wright, Nathalia. “Roderick Usher: Poe’s Turning-of-the-Century Artist,” Artful Thunder: Versions of the Romantic Tradition in American Literature, In Honor of Howard P. Vincent, ed. Robert J. DeMott and Sanford E. Marovitz (Kent, Ohio: Kent State Univ. Press, 197S), pp. 55-67. [“As an artist, Roderick Usher has distinguished company among poets, painters, musicians and choreographers for at least a century after his time.”]

Zion, Rhoda P. “Sublimity and Effect in the Short Fiction of Edgar Allan Poe” (Doctoral Diss., Univ. of Tennessee, 1973). Abst.: DAI, 34 (1974), 5130A-5131 A. [Discusses the ways in which Poe uses sublime imagery to achieve unity of effect.]


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[S:0 - PS, 1977]