Text: Various, “Current Poe Bibliography,” Poe Studies, December 1978, Vol. XI, No. 2, 11:32-38


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Current Poe Bibliography

This checklist supplements “Current Poe Bibliography” appearing in Poe Studies, 10 (1977), 21-27. 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 Benjamin F. Fisher IV, Hahnemann Medical College. The Committee will be pleased to receive offprints from any source. Send offprints to J. Lasley Dameron, Department of English, Memphis State University, Memphis, Tennessee 38152.

The Committee wishes to thank the Mississippi Quarterly 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 to acknowledge the editorial assistance of Mrs. Ruby Jean Powell of the State Technical Institute at Memphis, Tennessee, for her aid in preparing this list.

Abbate, Carolyn. “Heart Laid Bare: In Search of Debussy’s Second Opera, Inspired by a Short Story by Edgar Allan Poe,” Opera News, 42 (March 4, 1978), 30-32. [On Debussy’s adaptation of Poe’s “Usher.”]

‘Abdul-Hai, Muhammad. “A Bibliography of Arabic Translations of English and American Poetry (1830-1970),” Journal of Arabic Literature, 7 (1976), 120-150. [See p. 138 for listing of Arabic translations of Poe’s poetry.]

Anderson, Gayle Denington. “Demonology in ‘The Black Cat,’ ” Poe Studies, 10 (1977), 43-44. [Imagery suggests the narrator may be demonically possessed.]

Anon. “Poe at Sullivan’s Island,” Southern Living, 12 (October 1977), 72-73. [Poe’s life and duties as a soldier at Fort Moultrie.]

Asselineau, Roger. “The impact of American Literature on French Writers,” Comparative Literats~re St~dies (Univ. of Illinois), 14 (1977), 119-134. [Seepages 125-127.]

Autrey, Max L. “Edgar Allan Poe’s Satiric View of Evolution,” Extrapolation, 18 (1977), 186-199. [Poe presents man as “falling far below the potential of his kind” in participating “in a most grotesque movement back to what evolutionists insisted were early stages in the development of the speciesC those of the amphibian and the anthropoid.”]

Bagby, Alberto I., Jr. “Machado de Assis and Foreign Languages,” Luso-Brazilian Review, 12 (1975), 225-233.

Bandy William T. “Huysmans and Poe,” Romance Notes, 17 (;977), 270-271. [Points out that Huysmans’ A rehours did little to extend Poe’s reputation in France.] ————————. “A Poe Detractor Unmasked,” Poe Studies, 10 (1977), 28. [On Barry Cornwall, who assailed Poe’s character in the Edinburgh Review for April 1858.] Barker, Christine R. “Edgar Allan Poe and Fritz Usinger: Two Cosmologies,” New German Studies (Univ. of Hull, England), 3 (1975), 165-171. [The cosmologies of Poe and Usinger both stress the poet’s capacity “to reach out into the world [column 2:] beyond the self” and thereby to regain “a vision of the universe in its entirety.”]

Barthes, Roland. “Textual Analysis of a Tale by Edgar Poe,” trans. Donald G. Marshall, Poe Studies, 10 (1977), 1-12. [A structuralist reading of Baudelaire’s translation of Poe’s “The Facts in the Case of M. Valdemar.” According to the author, “Our goal is to come to conceive, imagine, live the plural of the text, the opening of its signifying.” See also “Translator’s Note,” pp. 1-2.]

Barzun, Jacques, and Wendell H. Taylor. A Catalogue of Crime, Being a Reader’s Guide to the Literature of Mystery, Detection and Related Genres (New York: Harper and Row, 1971). [Poe and the mystery tale, pp. 70-78.]

Beaver, Harold. “Introduction,” The Narrative of Arthur Gordon Pym of Nantucket by Edgar Allan Poe (Harmondsworth, Middlesex, England: Penguin Books, 1975), pp. 7-30. [Pym, despite its qualities of a parody and a hoax, has a plot reflecting Poe’s intended aesthetic design.]

Becker, Carol. “Edgar Allan Poe: The Madness of the Method” (Doctoral Diss., Univ. of California, San Diego, 1975). Abst.: DAI, 36 (1976), 5290A. [Focuses upon the method of Poe’s narratives of “obsession,” especially the narrators’ methodology of “understanding or misunderstanding their world.”]

Bell, Landon Covington. Poe and Chivers (Philadelphia: Richard West, 1977). [Reprint of the 1931 edition.]

Bellei, Sergio L. P. “‘The Purloined Letter’: A Theory of Perception,” Poe Studies, 9 (1976), 40-44. [Dupin’s and the inspector’s discovery procedures embody contrasting aesthetic theories: the former perceives structures of presentation, the latter of representation.]

Benton, Richard P. “Current Poe Activities,” Poe Studies, 9 (1976), 59-60. [Informative commentary on recent activities devoted to Poe, including publications, works in progress, and organizations.] ————————. “Journey into the Center — Studies in Poe’s Pym,” American Transcendental Quarterly, No. 37 (Winter 1978), pp. 1-115. [A collection of seven essays on Pym and a checklist of editions and translations of Pym with editorial preface and notes.] Berthel, Werner, ed. Die Grossen Detektive: Detektingeschichten mit August Dupin, Sherlock Holmes und Pater Brown (Frankfurt: Insel Verlag and Suhrkamp Taschenbuchverlag, 1975).

Bianchi, Ruggero. “II problema dell’arte e dell’artista in Poe Hawthorne e Melville,” Studi Americani (Rome), 18 (1972) 111-150.

Bickman, Martin Elliott. “Voyages of the Mind’s Return: A Jungian Study of Poe, Emerson, Whitman, and Dickinson” (Doctoral Diss., Univ. of Pennsylvania, 1974). Abst.: DAI, 36 (1975), 266A. [Focuses upon the “anima, or female soulmate” in selected tales by Poe.]

Black, Michael. “Why It Is So, and Not Otherwise,” New Literary History, 6 (1975), 477-489. [Poe and Coleridge on the inherent nature and context of poetry. See pp. 478-480.]

Brayner, Sonia. “Edgar Allan Poe e Machado de Assis,” Minas Gerais, Supplemento Literario, 19 (June 1976), 1-2.

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

Bretz, Sister Joan Helene, O. S. U. “The Tragicomic Eiron in Hawthorne and Poe: Dimensions of Irony within Their Fiction” (Doctoral Diss., St. Louis Univ., 1975). Abst.: DAI, 37 (1976), 2178A. [To Poe, irony is an “artistic tool” and a way of “viewing reality.”]

Breuer, Horst. “Wahmsinn im Werk Edgar Allan Poes: Literarkritisch-psychoanalytischer Versuch,” Deutsche Vierteliahrsschrift fur Literaturwissenschaft und Geistesgeschichte, 50 (1976), 14-43.

Bruss, Neal Howard. “The Psychoanalytic Function in the Language of Literature: Freudian Theory, Modern Linguistics and the Tales of Edgar Allan Poe” (Doctoral Diss., Univ. of Michigan, 1974). Abst.: DAI, 35 (1975), 7284A. [Poe’s “use of language for partial expression of repressed wishful material.”]

Budick, E. Miller. “The Fall of the House: A Reappraisal of Poe s Attitudes toward Life and Death,” Southern Literary Journal, 9 (1977), 30-50. [In some of Poe’s tales, [page 33:] the protagonists “manage to rise up again, out of the abyss, back to the surface of life.”] ————————. “Poe’s Gothic Idea: The Cosmic Geniture of Horror,” Essays in Literature (Western Illinois University), 3 (1976), 73-85. [Focusing on Eureka and “Ligeia,” the author argues that Poe’s gothicism evolves from his idealism and serves “to construct a symbolic cosmic drama.”] Buranelli, Vincent. Edgar Allan Poe. Twayne United States Authors Series. 2nd ed. (Boston: G. K. Hall, 1978). [Emphasizes the many facets of Poe’s writing; Poe as dreamer, “dine rationalist, the scientist, the hoaxer, the humorist, and the literary and social attic.” Author’s revisions in second edition chiefly concern Poe’s fiction.]

Burns, Robert W. “Poe and His Revisions: A Checklist of Materials,” Poe at Work: Seven Textual Studies, ed. Benjamin F. Fisher IV, (Baltimore: The Edgar Allan Poe Society, 1978), pp. 100-110. [Lists items pertaining to Poe’s “methods and intents in revising” his literary compositions.]

Buder, David W. “Usher’s Hypochondriasis: Mental Alienation and Romantic Idealism in Poe’s Gothic Tales,” American Literature, 48 (1976), 1-12. [Hypochondriasis, an illness recognized for centuries, is a significant element in Poe’s tales that deals with the parallels “between medical theories about the progressive derangement of the mind and romantic theories about the growth of the mind’s perceptive powers.”]

Cameron, Kenneth W., ed. “How Edgar A. Poe Died,” American Transcendental Quarterly, No. 29, Part III (Winter 1976), p. 25. [Poe, drinking with his West Point friends in Baltimore, became very drunk and was later beaten by ruffians who left him “insensible in the street overnight.” He died in a few days in a Maryland hospital. Reprinted from Chicago Tribune, April 4, 1872, p. 3, colt 7.]

Carlson, Eric, and Kent P. Ljungquist, eds. Poe Studies Association Newsletter, 6, No. 1 (May 1978), 1-3. [Includes announcements, brief notices on Poe scholarship, and brief commentary on recent performances (dramatic and musical) of Poe’s works.] ———————— , and Richard P. Benton, eds. Poe Studies Association Newsletter, 5, No. 2 (November 1977), 1-2. [Includes announcements and brief discussions of recent Poe criticism.] Cawelti, John G. Adventure, Mystery, and Romance: Formula Stories as Art and Popular Culture (Chicago: Univ. of Chicago Press, 1976). [Poe defined four aspects of the classical detective story. See pp. 80-105.]

Chase, Lewis Nathaniel. Poe and His Poetry (Folcroft, Pa.: Folcroft Library Editions, 1976). [Reprint of the 1913 edition.] ————————. Poe and His Poetry (Norwood, Pa.: Norwood Editions, 1977). [Reprint of the 1913 edition.] Clendenning, John. “Anydhing Goes: Comic Aspects in ‘The Cask of Amontillado,’” American Humor: Essays Presented to John C. Gerber (Scortsdale, Arizona: Arete Publications, 1977), pp. 13-26. [The grotesque and the arabesque, although distinct kinds of fiction, “function effectively as different, but harmonized levels” in “The Cask of Amontillado.”] Cortazar, Julio. “Poe as Poet and Story-Writer,” trans. John Incledon, Review, 17 (1976), 42-46. [English translation of excerpts from Cortazar’s preface to his translation of Poe’s works.] Crossley, Robert. “Poe’s Closet Monologues,” Genre, 10 (1977), 215-232. [Some of Poe’s tales are closet monologues in which the narrator writes rather than speaks.]

Dameron, J. Lasley. “Arthur Symons on Poe’s ‘The Fall of the House of Usher,’” Poe Studies, 9 (1976), 46-49. [Presents the significant passages from Arthur Symons’ nineteen-page introduction to “Usher” published privately in France in 1928; this introduction is “an early landmark of criticism that finds in Poe the techniques and concerns of the Decadent Movement.”] ———————— , et al. ‘Current Poe Bibliography,” Poe Stud ies, 10 (1977), 21-27. [Supplements “Current Poe Bibliography” appearing in Poe Studies, 8 (1975), 43-46.] Derrida, Jacques. “Le Facteur de la verite,” Poetique, 21 (1975), 96-147.

Deutsch, Leonard J. “The Satire on Transcendentalism in Poe’s ‘Ligeia,’” Bulletin of the West Virginia Association of College English Teachers, 3 (1976), 19-22. [“Transcendentalism contributes [column 2:] to the narrator’s madness in ‘Ligeia.’”]

Doinas, Stefan Augustin. “Edgar Poe, sau poemul ca edificiu in auz” [Edgar Poe, or the poem as auditory structure], Tribuna, 18 (1974), 12.

Dorsey, John. “How Poe, the Musical Poet, Inspired an Opera,” Baltimore Sun, Sunday ea., May 22, 1977, Sec. D, pp. 1-3. [Dominick Argento, the composer of “The Voyage of Edgar Allan Poe,” explains the qualities of Poe which stimulated the composition of his opera.]

Dumitre,scu-Busulenga, Zoe. “Edgar Poe si fantastical exact” [Edgar Poe and the Accurate Fantastic], Valori si echivdente umanistice (Bucharest: Editura Eminescu, 1973), pp. 432-447.

Eisiminger, Sterling. “Melville’s Small Debt to Poe,” American Notes and Queries, N.S. 15, (1977), 70-71. [A Melville image in Redburn and in “The Aeolian Harp” may have come from Pym.]

Engel, Leonard W. “Edgar Allan Poe’s Use of the Enclosure Device in The Narrative of Arthur Gordon Pym,” American Transcendental Quarterly, No. 37 (Winter 1978), pp. 35-44. [Poe’s extensive use of enclosures and enclosure images gives Pym a thematic unity and ultimately leads to Pym’s growing awareness of himself and the world about him.]

Evans, Walter. “ ‘The Fall of the House of Usher’ and Poe’s Theory of the Tale,” Studies in Short Fiction, 14 (1977), 137-144. [The structure and technique of “Usher” have much in common with some “lyric” short stories composed in the twentieth century but are not consistent with the principles of Poe’s theory stated in his Twice-Told Tales reviews.] ————————. “Poe’s ‘The Masque of the Red Death’ and Hawthorne’s ‘The Wedding Knell,’” Poe Studies, 10 (1977), 42-43. [Finds parallels between Poe’s tale and a story he praised highly in Hawthorne’s Twice-Told Tales.] Ewers, Hanns Heinz. Edgar Allan Poe, trans. from German by Adele Lewisohn (Philadelphia: Richard West, 1977). [Reprint of the 1916 edition.] Finholt, Richard D. “The Murder of Moby Dick: Mad Metaphysics and Salvation Psychology in American Fiction” (Doctoral Diss., Northern Illinois Univ., 1975). Abst.: DAI, 36 (1976), 7420A. [The “visionary” tradition in “A Descent into the Maelstrom”; see ch. VI.]

————————. “Poe’s Cosmology,” American Visionary Fiction: Metaphysics as Salvation Psychology (Port Washington, New York: Kennikat Press, 1978), pp. 83-97. [Focuses on “The Descent into the Maelstrom” and concludes that Poe’s story treats man’s capacity to think clearly and to understand his destiny by overcoming terror.] Fink, Guido. “Poe e Izzo, il calco ritmico,” Verri, 11 (1975), 69-75.

Fisher, Benjamin Franklin IV. “Poe’s ‘Tarr and Fether’: Hoaxing in the Blackwood Mode,” Topic, 31 (1977), 29-40. [This tale, among its other qualities, parodies Poe’s earlier tales, particularly “Usher,” “The Masque of the Red Death,” and the ratiocinative tales.] ———————— , ed. Poe at Work: Seven Textual Studies (Baltimore: The Edgar Allan Poe Society 1978). [A re-issue of Poe the Craftsman: The Changing Fiction, Library Chronicle (Univ. of Pennsylvania), 41 (1976), 5-99. Includes some changes in previously published essays along with an additional article, “Poe and His Revisions: A Checklist of Materials” by Robert Burns, pp. 100-110.] Forclaz, Roger. “Edgar Poe et La France. Vers la fin d’un Mythe?” Revue des Langues Vivantes, 43 (1977), 348-356. ————————. “A Voyage to the Frontiers of the Unknown: Edgar Poe’s Narrative of A. Gordon Pym,” trans. Gerald Bello, American Transcendental Quarterly, No. 37 (Winter 1978), pp. 45-55. [Pym occupies a central place in Poe’s work with respect to theme, mythic qualities, and character portrayal. Originally appeared in Etudes de Lettres, 7 (1964), 46-58.] Frank, Frederick S. “The Aqua-Gothic Voyage of ‘A Descent into the Maelstrom,’” American Transcendental Quarterly, No. 29, Part II (Winter 1976), pp. 85-93. [Poe seeks ideal beauty through descent and darkness.]

Franklin, Rosemary F. “The Cabin by the Lake: Pastoral Landscapes of Poe, Cooper, Hawthorne, and Thoreau,” ESQ, 22 (2nd Quarter 1976), 59-70. [The cabin by the lake is an [page 34:] image suggesting “an American addition to the Western tradition of pastoral literature.”]

Fulcher, James William. “The Mask Idea in Selected Fiction of Poe, Melville, and Twain” ( Doctoral Diss., George Peabody College for Teachers, 1975). Abst.: DAI, 36 (1976), 6082A6083A. [Finds national idealism in some of Poe’s tales treating the “mask idea,” a philosophical stance that touches upon the various conceptions of “the hidden nature of truth.”]

Gallo Carcer, Maria Berta. Edgar Allan Poe: “El corazon delator” analisis estructural ([Montevideo]: Sudamerica Publicaciones, n.d.)

Gargano, James W. The Masquerade Vision in Poe’s Short Stories (Baltimore: Enoch Pratt Library, the Edgar Allan Poe Society, and the Library of the University of Baltimore, 1977). [Poe makes a “most insistent and compelling use of the masquerade to convey a complex view of life.”]

Gasc, Rene. “Une lecture conventionnelle de The Tell-Tale Heart?” Delta, No. 2 (1976), 165-168. [A review of the 1975 issue of Delta.]

Gelpi, Albert J. “Edgar Allan Poe: The Hand of the Maker,” The Tenth Muse: The Psyche of the American Poet (Cambridge: Harvard Univ. Press, 1975), pp. 113-151. [Poe was “ideally an Apollonian god extending his masterful hand over the confusion of things in the shaping act of language.”]

Ghali, Samir. “La Portee d’Edgar Poe sur la pensee et l’oeuvre de Paul Valery,” Publications of the Arkansas Philological Association, 2 (1976), 33-40.

Girgus, Sam B. “Poe and R. D. Laing: The Transcendent Self,” Studies in Short Fiction, 13 (1976), 299-309. [The writings of existential psychiatrist R. D. Laing “can provide some insights into the existential condition of many of Poe’s characters in terms of their . . . divided, disembodied and false selves.”]

Goetz, T. H. “Addenda: Fugitive References, Poe and France,” Poe Studies, 9 (1976), 51-52. [Lists entries from French criticism appearing in print from 1970-1975.]

Grossman, Joan Delaney. “ ‘Varon’: Notes on the Purposes and Cross-Purposes of Translation,” Mnemozina: Studia Litteraria Russia in Honorem Usevolod Setchiarev, eds. Joachim T. Baer and Norman W. Ingham (Muncher: Wilhelm Fink Verlag, 1974), pp. 153-162.

Gustafsson, Ake. ‘Edgar Poe: Portratt med nukleotider,” Veckojournalen (Bockernas Varld), 13 (1972), 30-33.

Hammond, Alexander. “The Composition of The Narrative of Arthur Gordon Pym: Notes Toward a Re-Examination,” American Transcendental Quarterly, No. 37 (Winter 1978), pp. 120. [Argues that Poe completed Pym during the spring of 1837; its composition history suggests Poe wrote “an ironically transparent self-referential imitation” of a hoax.]

Harap, Louis. “The ‘Pre-established Affinities’ of Poe and Baudelaire,” Praxis, I (1976), 119-128. [Finds that the “inner” exile Baudelaire shared with Poe had a variety of origins.]

Heldman, Elizabeth Ann. “The Dilemma of the Fragmented Self: Psychological Allegories in the Major Tales of Edgar Allan Poe” (Doctoral Diss., Univ. of Pittsburgh, 1975). Abst.: DAI, 36 (1975), 2206A. [Poe explores the crisis of self-identity.]

Henigan, Robert. “Poe’s ‘To Helen’ and Christian Platonism,” Scholia Satyrica, 7 (1975), 45-48. [Helen is the Platonic idea of beauty.]

Highsmith, Patricia. “The Talented Mr. Poe,” Times Literary Supplement, 23 December 1977, p. 1492. [Essay review of David Sinclair’s Edgar Allan Poe.]

Hinz, Evelyn J., and John J. Teunissen. “Poe, Pym, and Primitivism,” Studies in Short Fiction, 14 (1977), 13-20. [The authors focus on satiric treatment of the title character in The Narrative of Arthur Gordon Pym and trace three primitivistic modes found throughout Poe’s novel.]

Hirsch, David H. “‘The Duc De L’Omelette’ as Anti-Visionary Tale,” Poe Studies, 10 (1977), 36-39. [In treating metempsychosis, one of Poe’s favorite themes, the tale demonstrates its author’s “awareness of the visionary tradition in British Romantic poetry” and at the same time “his willingness to take an anti-visionary stance.”]

Hodgson, John A. “Poe’s Criticism: The Circular Pursuit,” The Centennial Review, 21 (1977), 140-149. [Poe’s theory of poetry posits the mental disorder and perversity of his fictional narrators.] [column 2:]

Inagaki, Sadahiro. “‘Les Eux profondes’ dans L’Eav et les reves,” Annual Reports of Studies (Doshisha Women’s College of Liberal Arts, Kyoto, Japan), 27 (1976), 338-356. [In Japanese.]

Jackson, David K. “A Man Named Bool: A Shadow on the Wall,” Poe Studies, 10 (1977), 44. [Identifies Henry W. Bool, to whom Poe refers in a 10 August 1829 letter to John Allan.]

Jacobs, Robert D. “The Self and the World: Poe’s Early Poems,” Georgia Review, 31 (1977), 638-668. [By 1831, Poe’s poems shift from self-expression “to a pictorial mode of representing speculative ideas about the human condition.”]

Johnson, Barbara. “Frame of Reference: Poe, Lacan, Derrida,” Yale French Studies, No. 55-56 (1977), pp. 457-505. [An analysis of the language and structure of Poe’s “The Purloined Letter,” Jacques Lacan s Seminar on that tale, and Jacques Derrida’s reading of Lacan’s reading, “Le Pactessr de la verite.”]

Johnson, Tom. “Cadet Edgar Allan Poe,” American Heritage, 27 (1976), 60-63, 87-88. [Poe’s experiences at West Point, with particular emphasis on his becoming a “legendary plebe.”]

Jones, Buford, and Kent Ljungquist. “Monsieur Dupin: Further Details on the Reality Behind the Legend,” Southern Literary Journal, 9 ( 1976), 70-77. [Poe’s characterization of Dupin may owe something to commentary on Andre-Marie-Jean-Jacques Dupin, cited as a French hero in an 1841 review of Robert Walsh’s translation of Louis Leonard de Lomenie’s Sketches of Conspicuous Living Characters of France.]

Joyce, John Alexander. Edgar Allan Poe (Norwood, Pa.: Norwood Editions, 1977). [Reprint of the 1901 edition.]

Jungman, Robert E., and Charles A. Sweet. “Demonology in ‘The Raven,’” Tennessee Folklore Society Bulletin, 43 (1977), 6566. [Poe’s raven may owe something to Lemegeton, a group of treatises on modern magic.]

Keiley, Jarvis. Edgar Allan Poe: A Probe (Norwood, Pa.: Norwood Editions, 1977). [Reprint of the 1927 edition.]

Keller, Mark. “Dupin in ‘Rue Morgue’: Another Form of Madness?” Arizona Quarterly, 33 (1977), 249-255. [Dupin suffers from an exaggerated analytical faculty.]

Ketterer, David. “Devious Voyage: The Singular Narrative of A. Gordon Pym,” American Transcendental Quarterly, No. 37 (Winter 1978), pp. 21-33. [Pym’s structural integrity derives from Poe’s use of the “pseudocrisis” — “all those incidents in Pym and in much of Poe’s work where a dire situation is survived, almost magically.”]

Kime, Wayne R. “The American Antecedents of lames De Mille’s A Strange Manuscript Found in a Copper Cylinder,” Dalhousie Review, 55 (1975), 280-306. [De Mille’s novel was influenced by Poe, especially by Pym. See pp. 281-285.]

Kirkland, Joseph Madison. “Poe’s Universe: A Critical Study of Eureka” (Doctoral Diss., Texas Christian Univ., 1976). Abst.: DAI, 37 (1976), 970A. [Eureka is a “bringing together of the many varied works” Poe wrote throughout his life.]

Kisner, Madeleine. “Color in the Worlds and Works of Poe, Hawthorne, Crane, Anderson, and Welty” (Doctoral Diss., Univ. of Michigan, 1975). Abst.: DAI, 36 (1975), 3714A. [Poe uses white and black to convey the “natural shades of his unreal world.”]

Kolodin, Irving. “Debussy and The House of Usher,” The Opera Omnibus (New York: E. P. Dutton, 1976), pp. 4-5. [Debussy planned to compose musical scores on the thematic elements suggested in “Usher” and in “The Devil in the Belfry.” They were not completed.]

Labrador Gutierrez, Tomas. “Presencia de Edgar Allan Poe en Antonio Machado,” Archivo Hispalense, 57 (1974), 87-119.

Laverty, Carroll D. “Poe’s Vision of the Future,” Journal of the American Studies Association of Texas, 4 (1973), 38-45. [Poe’s vision of the future with respect to social problems and social situations is largely accurate and specific.]

Lee, Grace Farrell. “Pym and Moby Dick: Essential Connections,” American Transcendental Quarterly, No. 37 (Winter 1978), pp. 73-86. [On the mythic pattern “of descent and return, and its analogue, death and rebirth,” in the two works.]

Leeds, Fredric M. “The Mountains of the Moon in ‘Eldorado,’” Poe Studies, 10 (1977), 44. [Poe’s allusion may have come from Charles Anthon’s Classical Dictionary.]

Leigh, Oliver. Edgar Allan Poe (Philadelphia: Richard West 1977). [Reprint of the 1906 edition.] Levine, Susan and Stuart. “Poe’s Use of Jacob Bryant in ‘Metzengerstein,’ [page 35:]Poe Studies, 9 (1976), 53. [Bryant’s Analysis of Antient Mythology: A New System (London, 1807) as a source for Poe’s horse in “Metzengerstein.”] Lipking, Lawrence. “The Marginal Gloss,” Critical Inquiry, 3 (1977), 609-655. [Poe and Valery on marginal notes. See especially pp. 609-613.]

Lippit, Noriko Mizuta. “Natsume Soseki on Poe,” Comparative Literature Studies (Univ. of Illinois), 14 (1977), 30-37. [His essays on Poe suggest Soseki’s link to a group of writers in the Taisho era (1912-26) who brought Poe to Japan.] ————————. “Tanizaki and Poe: the Grotesque and the Quest for Supernal Beauty,” Comparative Literature, 29 (1977), 221-240. [Tanizaki’s “exposure to Poe’s world of ‘negative romanticism,’ with its central concept of grotesque transcendence,” was significant in developing Tanizaki’s own romanticism in the Japanese literary tradition.] Ljungquist, Kent. “Descent of the Titans: The Sublime Riddle of Arthur Gordon Pym,” Southern Literary Journal, 10 (1978), 75-91. [Argues that Poe conceived the conclusion of Pym as a “sublime evocation” in the light of the myth of the descent of the Titans which Poe could have known from his reading of a variety of sources, especially Jacob Bryant’s A New System; or, An Analysis of Antient Mythology.] ————————. “The Influence of ‘Adonais’ on ‘Eleonora,’” Poe Studies, 10 (1977), 27-28. [In “Eleonora,” Poe does not stress the “Platonic immortality of the Spirit” as does Shelley in “Adonais,” although the images in both works can be readily compared.]

————————. “Poe’s ‘The Island of the Fay’: The Passing of Fairyland,” Studies in Short Fiction, 14 (1977), 265-271. [In “The Island of the Fay,” Poe reveals a “critical detachment from an entrance into a world of evanescent magic and unstable beauty.”]

————————. “Poe’s Landscape Aesthetics and Pictorial Techniques” (Doctoral Diss.: Duke Uuiv., 1975). Abst.: DAI, 36 (1976), 6687A. [Poe’s use of the sublime, the picturesque, and the beautiful.]

————————. “Poe’s Nubian Geographer,” American Literature, 48 (1976), 73-75. [Suggests that Jacob Bryant’s A New System; or, An Analysis of Antient Mythology (1807) is a significant source for “A Descent into the Maelstrom.”]

————————. “Poe’s Raven and Bryant’s Mythology,” American Transcendental Quarterly, No. 29, Part I (Winter 1976), pp. 28-30. [Jacob Bryant’s A New System; or, An Analysis of Antient Mythology (1807) could have provided Poe with traditional myths associated with the raven.] Lloyd, Rosemary. “Sur Hoffman, Poe et Baudelaire,” Bulletin Baudelairien, 11 (1976), 11-12.

Loving, Jerome. “The Good Gray Poe: Poe’s Reburial and William Douglas O’Connor’s Forgotten Tribute,” Poe Studies, 10 (1977), 18-21. [William Douglas O’Connor (1832- 1889), the well-known defender of Walt Whitman, praises Poe in a letter to Miss Sara Sigourney Rice on the occasion of Poe’s “reburial in Baltimore on November 17, 1875.”]

Macy, John Albert. Edgar Allan Poe (Brooklyn, N. Y.: Haskell House, 1976). [Reprint of the 1907 edition.] ————————. Edgar Allan Poe (Norwood, Pa.: Norwood Editions, 1977). [Reprint of the 1907 edition.] Markish, T. B. Ob odnom metode analiza kbudozbestvennogo prozaicheskogo teksta, na materiale rasskazov E. A. Po [A Method of Analysis for Artistic Prose Texts, Based on Examples from Poe.] Sbornik nauchnykh trudov Moskovskogo institute inostrannykh yazykov (1973), 301-304.

Martin, Robert K. “Crane’s The Bridge, ‘The Tunnel,’ 58-60,” Explicator, 34 (1975), Item 16. [Hart Crane’s image of a “flushing urinal is derived from Poe’s ‘A Descent into the Maelstrom.’ ”]

Matthew, Marie-Louise Nickerson. “Forms of Hoax in the Tales of Edgar Allan Poe” (Doctoral Diss., Columbia Univ., 1974). Abst.: DAI, 35 (1975), 6722A. [Poe, in using four modes of hoax, depicts the pattern of self-deception pursued by his central figures.]

May, Charles Edward, ed. Short Story Theories ( Athens: Ohio Univ. Press, 1976). [Editor comments briefly on Poe in “Introduction,” p. 5, and presents passages from Poe’s review of Hawthorne’s Twice-Told Tales first appearing in Graham’s [column 2:] Magazine, May 1842. See pp. 45-51.]

Mazaw, Julia Wolf. “Survival and the Guide in Selected Works of Edgar Allan Poe: A Study of Narrative Voice and Meaning” (Doctoral Diss., Univ. of Houston, 1974). Abst.: DAI, 35 (1975), 6673A-6674A. [To Poe, survival is a major theme and motif and often involves a direct confrontation with “outre” events, implying “a going-beyond or transcendence of the experience which is narrated.”]

McIlvaine, Robert. “A Shakespearean Echo in ‘The Tell-Tale Heart,’” American Notes and Queries, N.S. 15, No. 3 (1976), 38-40. [The murder scenes in Poe’s “The Tell-Tale Heart” and in Macbeth are similar.]

Meyers, Terry L. “An Interview with Tennyson on Poe,” Tennyson Research Bulletin, 2 (1975), 167-168. [Notes Tennyson’s admiration for Poe’s love of beauty.]

Miller, John Carl. Building Poe Biography (Baton Rouge: Louisiana State Univ. Press, 1977). [Presents with editorial commentary letters received by John Henry Ingram (1842-1916), who devoted many years to amassing materials relating to Poe s life and work.] ————————. “Did Edgar Allan Poe Really Sell a Slave?” Poe Studies, 9 (1976), 52-53. [The author seeks verification of an “old document” (dated December 10, 1829, and reportedly found in the Baltimore Court House) recording Poe’s sale of a slave for Mrs. Maria Clemm.]

————————. “John Henry Ingram: English Architect of Poe Biography,” Topic, 31 (1977), 20-28. [Praises Ingram as the first serious contributor to modern Poe biography and discusses Ingram’s procedures of gathering relevant materials.]

————————. “The True Birthdate and the Hitherto Unpublished Deathdate of Susan Archer Talley Weiss,” Poe Studies, 10 (1977), 29. [Weiss, who knew Poe in the summer of 1849, was born in 1822, not in 1835 as generally recorded.] Moldenhauer, Joseph J. “Poe Texts in Transition,” Poe Studies, 10 (1977), 45-48. [Essay review of Poe the Craftsman: The Changing Fiction, ed. Benjamin Franklin Fisher IV.]

Montgomery, Marion. “Vision and the Eye for Detail in Poe and O’Connor,” Flannery O’Connor Bulletin, 6 (1977), 36-46. [Contrasts Poe and O’Connor with emphasis upon “William Wilson” in which Poe, by duplicating images and repeating phrases and words, allows “images to prove themselves empty and illusory.”]

Morin, Maurice H. G. “Poe’s Fiction: The Metaphysic of a Darkening Vision” (Doctoral Diss., Brown Univ., 1975). Abst.: DAI, 37 (1976), 313A. [Poe’s quest for truth and final knowledge.]

Nelson, Ronald William. “The Definitive Edition of Edgar Allan Poe’s Eureka: A Prose Poem” (Doctoral Diss., Bowling Green State Univ., 1974). Abst.: DAI, 36 (1975), 4445A. [Attempts to present a definitive edition based on modern principles of textual criticism of Poe’s Eureka.]

Nett, Paul Edward. “A Closer Look at the Mind and Art of Edgar Allan Poe” (Doctoral Diss., Univ. of Kentucky, 1975). Abst.: DAI, 36 (1975), 1507A. [Offers a “perspective in which the purposefulness and coherence of Poe’s career can be demonstrated.”]

Orledge, Robert. “Debussy’s House of Usher Revisited,” Musical Quarterly, 62 (1976), 536-553. [Traces “the development and extent” of Debussy’s unfinished score for La Chute de la Maison Usher, relating it to the three known versions of the libretto, and bringing into perspective material recently made available for study from the Paris collection of Mme. Gaston (Dolly) de Tinan, Debussy’s step-daughter.]

Osowski, Judy. “Fugitive Poe References: A Bibliography,” Poe Studies, 9 (1976), 49-51. [Supplements “Fugitive Poe References: A Bibliography” appearing in Poe Studies, 8 (June 1975), 21-22.]

Panek, LeRoy L. “Maelzel’s Chess-Player; Poe’s First Detective Mistake,” American Literature, 48 (1976), 370-372. [Presents evidence that an amputee had operated Maelzel’s Chess-Player, not a “normal” person as Poe had observed.] ————————. “Play and Games: An Approach to Poe’s Detective Tales,” Poe Studies, 10 (1977), 39-41. [Examines the relationship between the world of play ( a “free activity standing quite consciously outside ‘ordinary’ life as being ‘not serious,’”) and Poe’s detective tales, with particular focus on [page 36:] the character of Dupin.] Parrill, Anna Sue. “Poe’s Vultures,” Innisfree, 2 (1975), 9-15. [Poe’s “use of the image of the vulture in ‘Romance’ and ‘Sonnet — To Science’ lends itself to interpretation in light of the myth of Prometheus.”]

Peden, William. “Some Notes on Quiroga’s Stories,” Review, 19 (1976), 41-43. [Quiroga’s stories, like those of Poe, achieve a totality of effect.]

Perkins, Leroy Edward, Jr. “Poe at Play” (Doctoral Diss., State Univ. of New York at Buffalo, 1975). Abst.: DAI, 36 (1976), 6688A-6689A [Explores analogical associations in Poe’s work that lead to “unconscious confrontations with Poe’s essentials.”]

Pillat, Monica. “Sursele fantasticului in opera lui E. A. Poe,” Revista de Istorie si Theorie Literara, 24 (1975), 67-76.

Pitcher, Edward William. “Horological and Chronological Time in ‘Masque of the Red Death,’” American Transcendental Quarterly, No. 29, Part II (Winter 1976), pp. 71-75. [The tale uses time symbolism to synthesize the terrestrial and the cosmic.] ————————. “A Note on Anagrams in Edgar Allan Poe’s Stories,” American Notes and Queries, N.S. 14, No. 1 (1975), 22-23. [Suggests that Poe chose names and titles based upon anagrams.]

————————. “Poe’s Eureka as a Prose Poem,” American Transcendental Quarterly, No. 29, Part II (Winter 1976) pp. 61-71. [In Eureka, “the reveries and dreams of youth are proclaimed to be legitimate pathways to divine truth”; man senses a portion of this divinity through his spiritual aspirations, which originate in his intuitions and dreams.] Pittman, Philip McM. “Method and Motive in ‘The Cask of Amontillado,’” Malahat Review, 34 (1975), 87-100. [Finds total unity — “narrative, tonal, and thematic”C in this tale.]

Poe, Edgar Allan. “The Black Cat,” Saturday Evening Post, 248 (July/August 1976), 18-21, 102. [See p. 20 for pictures of Poe, Virginia Clemm, and widow Meagher’s oyster shop where, according to the caption, Poe wrote “The Gold Bug” and “The Black Cat.”] ————————.Collected Works of Edgar Allan Poe: Volume II, Tales and Sketches 1831-1842, Volume III, Tales and Sketches 1843-1849, ed. Thomas Ollive Mabbott, with the assistance of Eleanor D. Kewer and Maureen C. Mabbott (Cambridge, Mass.: Harvard Univ. Press, 1978). [Editor comments on each tale or sketch respecting its history and sources, listing texts and variants. Includes index and some critical commentary.]

————————.Le corbeau; nouvellement traduit en vers equivalents et decrypte avec des commentaires arithmetiques geometrigues & alchimiques, ed. and trans. Pierre Pascai (Rome: Editions du Coeur Fidele, 1970).

————————.Edgar Allan Poe, ed. Philip Van Doren Stern (New York: Penguin Books, 1977). [Reprint of the 1945 edition of selected writings by Poe.]

————————.The Last Letters of Edgar Allan Poe to Sarah Helen Whitman, ed. James A. Harrison (Norwood, Pa.: Norwood Editions, 1977). [Reprint of the 1909 centennial commemorative edition; see volume VIII of the “Virginia” edition.] The Poe Messenger, Spring 1977. 55th Anniversary Edition (Richmond, Va.: Poe Foundation, n.d.) . [Includes reports, short essays, and announcements.]

Pollin, Burton R. “A Comprehensive Bibliography of Editions and Translations of Arthur Gordon Pym” American Transcendental Quarterly, No. 37 (Winter 1978;, pp. 93-110. [Lists three hundred and twenty items — translations, adaptations, and reprintsC published in the United States and in several foreign countries.] ————————. “Poe on Margaret Fuller in 1845: An Unknown Caricature and Lampoon,” Women and Literature, 5 (1977), 47-50. [Presents Poe’s lampoon on Sarah Margaret Fuller appearing in the Broadway Journal.]

————————. “The Self-Destructive Fall: A Theme from Shakespeare Used in Pym and ‘The Imp of the Perverse,’” Etudes Anglaises, 29 (1976), 199-202. [Pym and “The Imp of the Perverse” “reflect Poe’s interest in the theme of irrationality and perversity” found in Macbeth and Hamlet.] [column 2:]

————————. “The Word ‘Autorial’ in Poe’s Criticism: History and Implications,” Poe Studies, 10 (1977), 15-18. [“Autorial” is a word established by Poe “to refer to ‘author’ and ‘authorship,’ implying a reputable, even honorable profession and having a distinctive literary overtone and Latinic ending.”] Pry, Elmer R., Jr. “Bawdy Punning in ‘Three Sundays in a Week,’” Poe Studies, 9 (1976), 54. [Poe’s use of the word “plum” in this tale has humorous implications.]

Reilly, James Joseph. “The Social Vision of Edgar Allan Poe: The Concepts of Human Potential and Social Interaction Presented in His Writings” (Doctoral Diss., Univ. of Wisconsin-Madison 1974). Abst.: DAI, 35 (1975), 7876A. [Poe perceived man’s social state as “isolated, dualistic, and limited.”]

Ricardou, Jean. “Gold in the Bug,” trans. Frank Towne, Poe Studies, 9 (1976), 33-39. [A close reading of “The Gold Bug,” which focuses on Poe’s successful effort to set forth “a text with its multitude of problems” and which explores the reader’s comprehension of the content and meaning of the story.]

Rice, Sara Sigourney. Edgar Allan Poe: A Memorial Volume (Philadelphia: Richard West, 1977). [Reprint of the 1877 edition.]

Rice, Thomas J. “Dickens, Poe and the Time Scheme of Barnaby Rudge,” Dickens Studies Newsletter, 7 (1976), 34-38. [Poe’s adverse criticism of the time sequence in Barnaby Rudge should be qualified.]

Richard, Claude. “Puissance de la parole: ‘The Raven,’” Etudes Anglaises, 29 (1976), 353-359.

Riggio, Thomas P. “American Gothic: Poe and An American Tragedy,” American Literature, 49 (1978), 515-532. [Theodore Dreiser reshaped Poe’s imagery and themes in An American Tragedy.]

Robinson, E. Arthur. “Cosmic Vision in Poe’s ‘Eleonora,’” Poe Studies, 9 (1976), 44-46. [The “paradoxes of ‘Eleonora’ reflect the narrator’s increasing awareness of a close relation between matter and spirit.”]

Rohmann, Gerd. “Der Dichter als Dandy: Vergleichende Betrachtungen zur Asthetischen und zum Kunstlerideal bei Edgar Allan Poe und Charles Baudelaire,” Germanisch-romanische Monatsschrift, N.S. 25 (1975), 199-213.

Rousselot, Jean. Edgar Allan Poe (Paris: Seghers, 1973). [A reprint.]

Santraud, Jeanne-Marie. “Edgar Allan Poe ‘en sa maison de superbe structure’: lltude du ‘Recit d’Arthur Gordon Pym,’ “ Etudes Anglaises, 29 (1976), 360-370.

Sata, Masunori. “Poe no Engeki-kan,” Eigoseinen (Tokyo), 121 (1975), 359-361.

Saucerman, James R. “Two Aspects of Romanticism: The Beauty and the Terror. Thoreau’s Geologic Sand Image as Symbol and Dissolving Coherence in the Tales of Edgar Allan Poe,” Northwest Missouri State University Studies, 36, No. 3 (August 1976), 3-26. [Poe uses the changing forms of nature as a source of terror in his tales.]

Savarese, John Edmund. “Some Theories of Short Fiction in America in the Nineteenth Century: Poe, Hawthorne and James” (Doctoral Diss., Princeton Univ., 1975). Abst.: DAI, 37 (1976), 1555A-1556A. [Poe conceived of the tale as a device to manipulate the reader’s consciousness and perceptions. See ch. I.]

Scaevola, Mucius. “‘Memo. on Mr. Poe’s Obsequies’ Recently Found in Richmond, Va., by John Harmon McElroy,” Scholia Satyrica, 3 (1977), 27-34. [Called a “wild manuscript” found in a dueling pistol belonging to M. J. Diddle, Poe’s cousin by marriage.]

Sedgwick, Eve Kosofsky. “The Coherence of Gothic Conventions” (Doctoral Diss., Yale Univ., 1975). Abst.: DAI, 37 (1976), 301A. [Briefly discusses Poe’s “The Man of the Crowd.”]

Shelden, Pamela J. “‘True Originality’: Poe’s Manipulation of the Gothic Tradition,” American Transcendental Quarterly, No. 29, Part I (Winter 1976), pp. 75-80. [Poe uses gothic conventions to represent terror and to underscore “the ambiguous nature of a malevolent or indifferent universe.”]

Shurr, William H. “Montresor’s Audience in ‘The Cask of Amontillado,’ “ Poe Studies, 10 (1977), 28-29. [Argues that Poe took the name of his chief character and the narrative situation [page 38:] from “A Tale,” one of Benjamin Franklin’s French “bagatelles.”]

Simaes, Joao G. “Critica Literaria: A Nocao de Poema, por Nuno Judice: Movimento, por Olga Goncalves,” Diario de Noticias (Lisbon), 29 (June 1972), 18.

Simper, Deloy. “Poe, Hitchcock, and the Well-wrought Effect,” Literature/Film Quarterly, 3 (1975), 226-231. [Poe and Hitchcock create an art form that is carefully designed to draw a single response.]

Sinclair, David. “Curious End for the Master of the Bizarre,” Times (London), 15 October 1974, p. 16. [On Poe’s last days just before his death.] ————————.Edgar Allan Poe (Totowa, New Jersey: Rowman and Littlefield, 1977). [A popular biography that focuses on Poe’s tortured soul and his dependency upon others, especially women.] Smith, Allan Gardner. “Nineteenth-Century Psychology in the Fiction of Charles Brockden Brown, Edgar Allan Poe and Nathaniel Hawthorne” (Doctoral Diss., Indiana Univ., 1974). Abst.: DA1, 35 (1975), 7880A-7881A. [Poe, although influenced by the view that human behavior can be explained in “common-sense” terms, was stimulated by current studies of abnormal behavior.]

Spengemann, William C. “The Adventurous Muse: ‘The Algerine Captive’ and Arthur Gordon Pym,” The Adventurous Muse: The Poetics of American Fiction, 1789-1900 (New Haven: Yale Univ. Press, 1977), pp. 119-150. [Pym is the first fictional travel-narrative to pursue “the aesthetic and moral implications of imagined travel.”]

Spies, George H. “Edgar Allan Poe’s Changing Critical Evaluation of the Novels of Edward Bulwer-Lytton,” Kyushu American Literature (Fuknoka, Japan), 17 ( 1976), 1-6. [Poe offers a balanced assessment of Bulwer-Lytton’s fiction.]

St. Armand, Barton L. “The Dragon and the Uroboros: Themes of Metamorphosis in Arthur Gordon Pym,” American Transcendental Quarterly, No. 37 (Winter 1978), pp. 57-71. [Adopts “two convenient alchemical symbols, the Dragon and the Uroboros,” to explore imagistic clusters in Pym which “appear to define two opposite poles of archetypal metamorphosis in Poe’s art.”] ————————. “Poe’s Landscape of the Soul: Association Theory and ‘The Fall of the House of Usher.’” Modern Language Studies, 7 (1977), 32-41. [The landscape of “Usher,” not merely “a simulacrum of the narrator’s psychic state,” has its own soul.]

————————. “Some Poe Debts to Irving’s Alhambra,” Poe Studies, 10 (1977), 42. [Poe may owe something to Irving’s treatment of a raven and commentary on the “Arabesque.”] Stauffer, Donald B. “Poe,” American Literary Scholarship: An Annual, 1975, ed. James Woodress (Durham, N.C.: Duke Univ. Press, 1977), pp. 35-58. [A review essay evaluating Poe scholarship for the year indicated.] ————————. “Poe,” American Literary Scholarship: An Annual, 1976, ed. J. Albert Robbins (Durham, N.C.: Duke Univ. Press, 1978), pp. 33-46. [A review essay evaluating Poe scholarship for the year indicated.]

Steinhardt, N. “Subsemoul lui Edgar Allan Poe” [Under the Sign of Edgar Allan Poe], Viata romaneasca (Bucharest), 27, No. 5 (1974), 63-64. Stepp, Walter. “The Ironic Double in Poe’s ‘The Cask of Amontillado,’” Studies in Short Fiction, 13 (1976), 447-453. [Argues that Fortunato is Montresor’s ironic double and represents Montresor’s conscience.]

Stronks, James B. “Addenda to the Bibliographies of Emily Dickinson and Edgar Allan Poe,” Papers of the Bibliographical Society of America, 71 (1977), 360-362. [Lists an essay by Morton Zabel and several fugitive items relating to Poe.]

Sunderman, Paula Wanda. “The Theme of Deception in Edgar Allan Poe’s Fiction” (Doctoral Diss., Univ. of Wisconsin-Madison, 1975). Abst.: DAI, 36 (1976), 6105A-6106A. [Poe’s theme of deception is best depicted in certain figures — “the Doppelganger, the grotesque, and the artist.”]

Suther, Judith D. “Rousseau, Poe, and the Ideas of Progress,” Papers on Language and Literature, 12 (1976), 469-475. [Poe’s “The Colloquy of Monos and Una” echoes arguments [column 2:] against progress found in Rousseau’s Discours sur les sciences et les arts.]

Swanson, Donald R. “The Transmutations of ‘To One in Paradise,’” CEA Forum, 6 (1976), 9. [Poe revised ‘To One in Paradise” ( appearing in “The Assignation”) several times for the purpose of evoking “his constant theme — the essential unity of love, death, spirituality and sensuality.”]

Symons, Julian. “More Fiction than Science,” Times Literary Supplement, 1 July 1977, p. 794. [Essay review on The Science Fiction of Edgar Allan Poe, ed. by Harold Beaver.] ————————. “Rescuing a Reputation,” Times Literary Supplement, 24 February 1978, pp. 222-223. [A review essay on John Carl Miller’s Building Poe Biography. Among other things, reviewer traces Poe’s relationship with Griswold.]

————————.The Tell-Tale Heart: The Life and Works of Edgar Allan Poe (New York: Harper and Row, 1978). [A retelling of the Poe story with emphasis upon treating his life separately from his works.] Taylor, John. “Poe, Lovecraft, and the Monologue,” Topic, 31 (1977), 52-62. [Assesses Poe’s influence upon Lovecraft, suggesting that it is particularly noticeable in Lovecraft’s narrative method.]

Thompson, G. R. “Poe,” American Literary Scholarship: An Annual, 1973, ed. James Woodress, (Durham, N.C.: Duke Univ. Press, 1975), pp. 32-64. [A review essay evaluating Poe scholarship for the year indicated.]

Thornburg, Thomas. “Poe’s ‘Letter to B —— ’ A Query,” Poe Studies, 9 (1976), 54. [Suggests Herodotus as a source of Poe’s anecdote about the old Goths.]

Thornton, Gene. “Focusing on Early Photographs,” New York Times, Sunday 30 May 1976, p. 24D. [On the price ($9,250.00) of an 1848 daguerreotype portrait of Edgar Allan Poe sold at an auction in Chicago in 1973.]

Tintner, Adeline R. “James Corrects Poe: The Appropriation of Pym in The Golden Bowl,” American Transcendental Quarter ly, No. 37 (Winter 1978), pp. 87-91. [James uses Poe’s “vision of the impenetrable white fog” in Pym as a metaphor in The Golden Bowl to convey Prince Amerigo’s “awareness of the inexplicable elements in his relations with the Ververs.”] ————————. “Poe’s ‘The Spectacles’ and James’ ‘Glasses,’” Poe Studies, 9 (1976), 53-54. [Poe’s “The Spectacles” as a source for Henry James’ story.] Tombleson, Gary Earl. “Alpha and Omega Recast: The Rhetoric of Cosmic Unity in Poe, Bronte, and Hardy” (Doctoral Diss., Univ. of California, San Diego, 1976). Abst.: DAI, 37 (1976), 2165A. [Examines the structure of “cosmic unity” in several of Poe’s stories, touching on the relationships between Poe’s characters and their immediate environments.]

Trent, William P., et al. Edgar Allan Poe: A Centenary Tribute, ed. Heinrich Ewald Buchholz ( Norwood, Pa.: Norwood Editions, 1976). [Reprint of the 1910 edition.]

Twitchell, James. “Poe’s ‘The Oval Portrait’ and the Vampire Motif,” Studies in Short Fiction, 14 (1977), 387-393. [Traces the motif in several of Poe’s stories and argues that “The Oval Portrait” is Poe’s most sophisticated use of vampire lore and myth.]

Uchida, Ichigoro. “The Developing of E. A. Poe’s Ideas on Imagination,” College Essays (Kyoritsu Women’s Junior College, Japan), 19 (1975), 65-72. [In Japanese.]

Vann, J. Don. “Three More Contemporary Reviews of Pym,” Poe Studies, 9 (1976), 43-44. [Briefly discusses three previously unrecorded contemporary reviews of Pym appearing in London newspapers.]

Vianu, Ion. “Edgar Poe invins si invingator” [Edgar Poe Defeated and Victorious], Luceaforul, 17, No. 13 (1974), 9.

Viswanathan, Jacqueline. “The Innocent Bystander: The Narrator’s Position in Poe’s ‘The Fall of the House of Usher,’ James’s ‘The Turn of the Screw’ and Butor’s L’Emploi du Temps,” Hebrew University Studies in Literature, 4 ( 1976), 27-47. [The narrator in “Usher” is an outsider and an uninvolved observer who enhances the “disquietening effect of a double-edged reality.”]

Vitanza, Victor Joseph. “The Dialectic of Perverseness in the Major Fiction of Edgar Allan Poe” (Doctoral Diss., Northern [page 38:] Illinois Univ., 1975). Abst.: DAI, 36 (1976), 6692A. [Poe’s concept of perverseness has a philosophical basis.]

Von der Lippe, George B. “Figure of E. T. A. Hoffmann as Doppelganger to Poe’s Roderick Usher,” Modern Language Notes, 92 (1977), 525-534. [Poe was influenced by the example of Hoffmann’s life.]

Walker, Norma Jean English. “A Study of the Relation of Poe’s The Narrative of Arthur Gordon Pym to the Development of His Craft as a Writer” (Doctoral Diss., Univ. of Illinois at Urbana-Champaign, 1974). Abst.: DAI, 35 (1975), 4462A. [In writing Pym, Poe discovered his limitations as a narrative artist.]

Wallace, Robert K. “‘The Murders in the Rue Morgue’ and Sonata Allegro Form,” Journal of Aesthetics and Art Criticism, 35 (1977), 457-463. [Explores a relation between Poe’s “The Murders in the Rue Morgue” and the first movement of Beethoven’s “Pathetique” Sonata, Opus 13.]

Wasserman, Renata R. Mautner. “The Self, the Mirror, the Other: ‘The Fall of the House of Usher,’” Poe Studies, 10 (1977), 33-35. [Incest is an “apt metonymy for the central theme of the tale”: the cultural isolation of the House of Usher and Roderick Usher’s incapacity to establish human relationships.]

Watanabe, Nancy Ann. “Creative Destruction: The Irony of Self-Betrayal in the Psychosymbolic Monologue: Browning, Poe, Eliot, Kafka, and Camus” (Doctoral Diss., Indiana Univ., 1975). Abst.: DAI, 36 (1976), 5289A-5290A. [“Ligeia” and “William Wilson” are ironic in that they are told by self-destructive, first-person narrators.]

Weaver, Mike. “Edgar Allan Poe and the Early Avant-Garde Film,” Essays and Studies ( The English Association), N.S. 30 (1977), 73-85. [On two silent film versions of “Usher”: one by Jean Epstein in Paris (1928) and the other by James Sibley Watson, Jr., in the United States ( 1929).]

Wells, Daniel A. “Engraved Within the Hills: Further Perspectives on the Ending of Pym,” Poe Studies, 10 (1977), 13-15. [In Pym, Poe’s Tsalalian adventures are symbolic of Poe’s creative imagination that culminates in “an apotheosis” at the end of the novel.]

Wilbur, Richard. “Edgar Allan Poe,” Responses, Prose Pieces: 1953-1976 (New York: Harcourt, 1976), pp. 39-66. [First appeared in Major Writers of America, ed. Perry Miller (New York: Harcourt Brace, 1962).] ————————. “The Narrative of Arthur Gordon Pym,” Responses; Prose Pieces: 1953-1976 ( New York: Harcourt, 1976), pp. 190-214. [First appeared as introductory essay to the 1973 Godine edition of Pym.]

————————. “The Poe Mystery Case,” Responses; Prose Pieces: 1953-1976 (New York: Harcourt, 1976),pp. 127-138. [First appeared in New York Review of Books, 13 July 1967.] Wilmer, Lambert A. Merlin, Baltimore, 1827, together with Recollections of Edgar A. Poe, introd. by Thomas Ollive Mabbott (Norwood, Pa.: Norwood Editions, 1976). [Reprint of the 1941 edition.] Wilson, Harry B. “Psychological Projection in Six Romantic Poems, English and American” (Doctoral Diss., Univ. of California, Davis, 1976). Abst.: DAI, 37 (1976), 3631A. [Poe’s “Ulalume” is analyzed.]

Xavier, Raul. “A Poesia de Augusto dos Anjos,” Journal de Letnas, 294 (1975), 5.

Zanger, Jules. “Poe and the Theme of Forbidden Knowledge,” American Literature, 49 (1978), 533-543. [“Morella,” “Ligeia,” “A Descent into the Maelsrrom,” and “Manuscript Found in a Bottle” treat the theme.]

Zayed, Georges. “Le Genie d’Edgar Poe et Gout Fransais,” Aquila, 3 (1976).

Ziolkowski, Theodore. “The Tell-Tale Teeth: Psychodontia to Sociodontia,” PMLA, 91 (1976), 9-22. [The teeth in “Berenice” represent “an intensification of the topos of beautiful teeth that goes back by way of the Old Testament to the primitive identification of teeth with potency.” See pp. 11-14.]


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[S:0 - PS, 1978]