Text: Benjamin Franklin Fisher IV, “Fugitive Poe References: A Bibliography,” Poe Studies, December 1978, Vol. XI, No. 2, 11:38-41


[page 38:]

Fugitive Poe References: A Bibliography

Hahnemann Medical College

The primary purpose of the “fugitive” Poe bibliography is to bring together recent books, essays, and miscellaneous publications (since about 1960) that do not focus on Poe but which discuss Poe within a larger perspective or with a special angle of vision. Although this bibliography also lists a few works dealing specifically with Poe that have been overlooked in other bibliographies, the entries here are principally brief items buried in longer works under different headings, or in works that were on first publication not readily accessible. I owe notable thanks to Maureen C. Mabbott for furnishing a number of the items cited here. The bibliography is compiled on behalf of the Poe Studies Association Bibliography Committee appointed in 1972.

Ash, Brian. ed. The Visual Encyclopedia of Science Fiction (London: Trewin Copplestone, 1977; New York: Harmony Books, 1977). [Many references to Poe’s influences on subsequent science fiction, particularly of “Eiros and Charmion” upon Conan Doyle’s The Poison Belt (1913).]

Ashton, Eric. “Enclosed Encounters of the Worst Kind,” Famous Monsters (New York), No. 146 (1978), 58-63. “Feature on imprisoned monsters in horror films, which gives an illustration from and brief comment on American International Picture’s Murders in the Rue Morgue (1972).]

Babener, Liahana Klenman. “Predators of the Spirit: The Vampire Theme in Nineteenth-Century Literature” (Doctoral Diss., Univ. of California, Los Angeles, 1975). Abst.: DAI, 36 (1976), 6668A-6669A. [Vampire lore has Gothic origins with psychological complexity, with evidence for such in Lewis through Stoker and Poe through James.] Baetzhold, Howard G. “Of Detectives and Their Derring-Do: The Genesis of Mark Twain’s ‘The Stolen White Elephant’,” Studies in American Humor, 2 (197G), 183-195. [Cites a quotation evidencing Clemens’ admiration for “Murders in the Rue Morgue.”]

Baldanza, Frank. “Northern Gothic,” Southern Review, 10 (1975), 566-581. [Sherwood Anderson’s and James Purdy’s Gothicism links them with previous southern traditions of writing extending from Poe through O’Connor.]

Bander, Elaine. “The English Detective Novel between the Wars: 1919-1939,” The Armchair Detective, 11 (1978), 262-273. [Some of the best detective stories, such as “The Purloined Letter,” include no murder, although modern specimens generally feature it.]

Barnes, Melvyn. Best Detective Fiction: A Guide from Godwin to the Present (London: Clive Bingley, 1975, Hamden, Conn.: Linnet Books, 1975). [Brief history of Poe’s detective ventures, with comments about Vidocq’s influence and about the typical features of these tales, which in turn passed on to such writers as Doyle, Van Dine, Futrelle, and Carr.]

Barzun, Jacques. “Requiescat,” Chimera, 5 (Summer 1947; rpt. Krause Reprint Corp., 1966), 59-66. [Part of a special detective fiction issue, Barzun’s article notes Poe’s fathering of the detective tale, as well as the combination of “death and absurdity” forming the “grotesque, which has adorned the finest examples of the genre from Poe to Sayers.”] ———————— , and Wendell Hertig Taylor. A Catalogue of Crime (New York and London: Harper & Row, 1971). [Topical, annotated listings of detective, mystery, and supernatural stories. There are also author entries, under which Poe is praised for emphasizing mental processes in unravelling mystery.] [page 39:]

Beaver, Harold. “The Great American Masquerade,” Times Literary Supplement, 21 May 1976, pp. 598-599. [Reviewing recent Melville scholarship, Beaver points out his affinities with Poe, Irving, and Hawthorne.] Beetz, Kirk H. Wilkie Collins: An Annotated Bibliography, 18891976 (Metuchen & London: Scarecrow Press, 1978). [Recurrent remarks concerning Collins’ literary legacy from Poe.]

Benson, E. F. “Sheridan Le Fanu,” Spectator, 156 (21 February 1931), 264. [Le Fanu surpasses Poe’s evocations of terror, whether actual supernatural manifestations or “more material” phenomena.]

Bendey, E. C. Cleribews Complete (London: Werner Laurie 1951). [The comic four-line “poems” in this book take their name from Bentley’s middle name; one concerns Poe.]

Bill, Terry. “Program Notes,” Memphis Symphony, ( Memphis, Tenn.: Memphis Orchestral Society, 1977) p. [14]. [Critical commentary on James W. Richens’ musical rendition of’’The Bells”, see newspaper notices listed below.]

Binyon, T. J. “Miss Marple Regrets,” Times Literary Supplement, 15 October 1976, p. 1307. [In a review of Agatha Christie’s Sleeping Murder, Hercule Poirot’s descent from Dupin through Holmes is mentioned.]

Blair, Walter. “Dashiell Hammett: Themes and Techniques” Essays on American Literature in Honor of Jay B. Hubbell, ed. Clarence Gohdes (Durham: Duke Univ. Press, 1967), pp. 295-306. [“Without Gothic fiction, Poe and Hawthorne would have been impossible.” Also comments on Poe’s detective-as-gentleman fading away in twentieth-century detective fiction.]

Brantlinger, Patrick. “Romances, Novels, and Psychoanalysis,” Criticism, 17 (1975), 15-40. [Gothicists open previously unexplored regions of the subconscious. Links Radcliffe and Poe with Tryon, Levin, and Blatty.]

Briggs, Julia. Night Visitors: The Rise and Fall of the English Ghost Story (London: Faber & Faber, 1977). [Comments on Poe’s influence upon British writers (Bulwer, Kipling, Stevenson) and his artistic use of doppelgangers. E. T. A. Hoffmann’s supposed impact upon Poe’s fiction is not so great as generally suggested.]

Brooks, Van Wyck, and Otto Bettmann. Our Literary Heritage: A Pictorial History of the Writer in America (New York and London: Paddington Press, n. d.). [This recent reprint of the 1956 edition devotes a chapter to Poe, leaning heavily upon autobiographical approaches to the writings.]

Brophy, Brigid. Beardsley and His World ( London: Thames & Hudson, 1976; New York: Harmony Books, 1976). [Beardsley’s interest in illustrating Poe along with some of the illustrations are featured on pp. 76-79.]

Bryce, Allan. “Horror Home Movies,” House of Horror (London), 2 (1978), 43. [What Mountain Films advertises as The Pit and the Pendulum is actually the Harald Reinl/Christopher Lee Blood Demon (1970), featuring the latter as a vampire, instead of the 1963 Corman/Price film based upon Poe’s tale.] Burns, Wayne. Charles Reade: A Study in Victorian Authorship (New York: Bookman Associates, 1961). [On p. 348, Burns quotes from an unpublished letter in which Reade compares his own fiction with that of Boccaccio, “The Arabian Nights,” and the short tales of Poe — all of which are “models of art, construction, and above all condensation.”]

Carr, John Dickson. The Crooked Hinge, Intro. with Notes and Checklist by Robert E. Briney; Illus. by Dick Connor ( San Diego: Univ. Extension, Univ. of California, San Diego, and Publisher’s Inc., 1976). [In this 1938 novel, the “claimant’s” childhood reading includes “all of Poe”; Briney’s notes clarify references to Maelzel’s chess automaton and Poe’s article thereon.] ————————.The Three Coffins ( New York: Award Books, 1974). [Rpt. of first (1935) edition. Ch. 17, “The Locked-Room Lecture,” surveys and criticizes this famous detective-story technique, which began with “Murders in the Rue Morgue,” and jokes about Poe’s naming a villain “Goodfellow.] Clayton, Sylvia. “Encounters with Evil,” Times Literary Supplement, 4 August 1978, p. 897. [Reviewing Hugh Fleetwood’s The Beast, Clayton compares the major characters in its seven stories with Poe’s William Wilson, who has experienced “unspeakable misery and unpardonable crime.”] [column 2:]

Clubbe, John Victorian Forerunner: The Later Career of Thomas Hood (Durham, N.C.: Duke Univ. Press, 1968). [Several references to Poe’s familiarity with Hood’s works — a subject inviting further study.] ———————— , ed. Selected Poems of Thomas Hood (Cambridge, Mass.: Harvard Univ. Press, 1970). [On p. 361 Clubbe surveys possible influence of Poe’s “The Haunted Palace” upon Hood’s “The Haunted House: A Romance” (1844), a poem Poe subsequently praised.] Corelli, Marie. A Romance of Two Worlds (London: Bentley, 1886). [Reprinted through early years of the twentieth century, this book quotes lines from “Israfel” during the narrator’s own piano recital. Other portions of the novel suggest Corelli’s familiarity with “The Assignation” and Eureka.]

Davis, Curtis Carroll. “A Paper Monument to Poe,” The Sun (Baltimore), 4 June 1978, p. D5. [Reviewing vols. II and III of the Harvard Works, ed. Mabbott Davis comments on the history of this edition, the professorial personality of the late T. O. Mabbott, and the objectivity of his views and practices in preparing the volumes of tales — which, he believed, were the main basis for Poe’s reputation as a writer.]

DeLeon, Clark. “The Scene,” Philadelphia Inquirer, 26 January 1978, p. 2-C. [Brief, illustrated blurb about renovations of the Poe House, Seventh and Spring Garden Sts., Philadelphia.]

Demarest, Michael. “Mysteries that Bloom in the Spring,” Time, 111 (1978), 97-100. [In an overview of recent mystery-detective writers and their impulses to write such books, Poe is seen as a progenitor in a list that includes the Old Testament, Shakespeare, Melville, Coleridge, Wilkie Collins, and R. L. Stevenson.]

Dickason, David H. The Daring Young Men: The Story of the American Pre-Raphaelites (Bloomington: Univ. of Indiana Press, 1953). [Penetrating remarks concerning the influence of Poe’s writings and biographical legend among British and American artists during the late nineteenth century.] Disch, Thomas M. “Black, White and Purple,” Times Literary Supplement, 10 February 1978, p. 170. [Notice of Thomas Gavin’s King Kill, calling attention to its origins in “Maelzel’s Chess-Player,” listing its Gothic elements, and deprecating its style.]

Edens, Walter Eugene. “Joseph Sheridan Le Fanu: A Minor Victorian and His Publisher” (Doctoral Diss., Univ. of Illinois, 1963). Abst.: DAI, 24 (1964), 725-726. [Attempts to value Le Fanu’s supernatural tales higher than Poe’s, pp. 5-6.]

Edwards, Anne. Chi/d of Night ( New York: Random House, 1975; rpt. New York: Popular Library, 1978). [A modern Gothic novel in which the protagonist “Eddie Polk” is the reincarnation of Poe. All the sensationalism of the Poe legend, its drink, drug, and sex highlights, is incorporated.]

Eisenhower, Julie, ed. Mystery & Suspense: Great Stories from the “Saturday Evening Post” (Indianapolis: Curtis Publishing Co., 1976). [Includes the Post version of “The Black Cat.”]

Fisher, Benjamin Franklin IV. “The Poets of the Nineties,” Victorian Poetry, 14 (1976), 232-235. [Mentions Poe’s impact upon Beardsley.]

Ford, George H., ed. Victorian Fiction: A Second Guide to Research (New York: MLA, 1978). [Telling remarks on the Dickens-Poe relationship, the Bulwer-Poe influence, and the Poe-Hawthorne tradition in Hardy.]

Franklin, H. Bruce. Future Perfect: American Science Fiction of the 19th Century, rev. ed. (New York: Oxford Univ. Press, 1978). [In this new version, Franklin castigates Poe for bourgeois attitudes; for critique, see entry under Jonas below.]

French, Larry L. “The Man Who Was John Dickson Carr,” Notes for the Curious: A John Dickson Carr Memorial Journal (Kansas City, Mo.: Carrian Press, 1978), pp. 3-7. [Like his literary ancestors, Poe, Doyle, and Chesterton, Carr merits the epithet “Master” of mystery literature. Remarks about Carr’s Poe pastiche “The Gentleman from Paris” (1950) .]

Gavin, Thomas. King Kill (London: Cape, 1977. [A novel based on “Maelzel’s Chess-Player,” replete with Gothic decor and a place for Poe himself.]

Gilbert, Elliot L., ed. The World of Mystery Fiction ( Del Mar, Cal. Publisher’s Inc., 1978). [Gilbert assesses Poe’s prominence in traditions of detective fiction and offers “Murders,” “The Purloined Later,” and “The Tell-Tale Heart” as representative [page 40:] texts in this mode. The book furnishes the core of a course in mystery-detective fiction offered at the Univ. of California, San Diego.]

Ginsberg, Allan. “Haunting Poe’s Baltimore,” The Washington Post Magazine, 2 April 1978, pp. 4-5. [Recounts his 1977 visit to Baltimore, which inspired two poems, “Poe in Dust” and “Hearing ‘Lenore’ Read Aloud at 203 Amity Street.”]

Giuliano, Mike. “Illustrated Bierce,” The City Paper (Baltimore), 2 (1978), 24. [Reviewing Edward Wagenknecht, ea., The Stories and Fables of Ambrose Bierce (see Wagenknecht entry below), Giuliano comments upon a “Poe-like predilection for violence, exaggeration, and Gothic tragedy” pervading Bierce’s tales.]

Gurko, Leo. Heroes, Highbrows and the Popalar Mind (Indianapolis and New York: Charter Books, 19G2). [Originally appearing in 1953, this book reminds us that tough-guy detectives do not derive from the Poe variety of sleuth.]

Haining, Peter, ed. The Dracula Scrapbook: Articles, Essays, Letters, Newspaper Cuttings, Anecdotes, Illustrations, Photographs, and Memoribilia about the Vampire Legend (New York: Bramhall House, 1976). [Condescending remarks about Vincent Price as protagonist in films based on Poe’s works.] ———————— , ed. The Ghouls, with Introduction by Vincent Price; Afterword by Christopher Lee (New York: Stein and Day, 1971). [In “The Pit and the Pendulum,” Poe “captured his readers in all the elements of human fear.” Texts include “Tarr and Fether,” with a headnote concerning two film versions, Edison’s “Lunatics in Power” and Maurice Tourneur’s later and more horrific “The Lunatics,” as well as “The Oblong Box,” with remarks about the Hesler film version starring Price and Lee.]

———————— , ed. The Penny Dreadful: or, Strange, Horrid & Sensational Tales (London: Victor Gollancz, 1975). [On p. 246, J. H. Ingraham’s “The League of ‘The Thirty’” is ranked equally with any of Poe’s or George Lippard’s horror tales.] Harrison, Michael. In the Pootsteps of Sherlock Holmes ( Nev York: Drake Publishers, 1972). [Several citations from Poe’s writing, as well as remarks concerning his biography.]

Haycraft, Howard. ed. The Art of the Mystery Story: A Collection of Critical Essays (New York: Bible & Tannen, 1976). [Reprint of the 1946 edition, with updated introductory preface and added index; Poe ranks high in this esteemed collection.]

Jonas, Gerald. “Science Fiction,” New York Times Book Review. 30 April 1978, p. 64. [Negatively assesses H. Bruce Franklin’s revised Future Perfect, criticizes the author’s political views for prejudicing him against Poe.]

King, Stephen. “The Fright Report,” Oui, 7 (January 1978), 7678, 107-108. [Rings familiar changes on Poe’s “severely mutilated’ personality and peculiar marriage as part of a “Freudian carnival” in discussing the impulses behind the production of horror fiction; for comment, see Martin Murray, “Scare Tactics,” Oui, 7 (April 1978) 6.]

Kocmanova, Jessie. “Landscape and Sentiment: Morris’ First Attempt in Longer Prose Fiction,” Victorian Poetry, 13 (1975), 103-118. [Mentions Poe’s influence on Morris in the latter’s early attempts at short fiction, notably “Frank’s Sealed Letter.”] Lacassin, Francis. Mythologie du Roman Policier (Paris: Union Generale d’Editions, 1974) . [Sixteen chapters provide information about individual authors, including Poe; bibliographies and filmographies are detailed.]

Lovecraft, Howard Phillips. Supernatural Horror in Literature, ed. E. F. Bleiler (New York: Dover Publications, 1973). [Reprint of the 1945 edition. Ch. 7, “Edgar Allan Poe,” assesses his modifications of the Gothic tradition.]

Loving, Jerome. Walt Whitman’s Champion: William Douglas O’Connor (College Station & London: Texas A&M Univ. Press, 1978). [O’Connor admired Poe sufficiently to incorporate a Poesque strain into his tales. He also wanted to place Poe high in the ranks of American writers and offered an essay on the subject to Sara Sigourney Rice for her memorial volume, which remained censured and unpublished until Loving edited its text for Poe Studies, 19 (1977), 18-21.]

Malraux, Andre. “Preface to William Faulkner’s Sanctuary,” trans. Violet M. Horvath, Southern Review, N.S. 10 (1974), 889891. [Faulkner surpassed Poe in conceiving the tale as a form [column 2:] because he did not keep the will to expression subordinate to the artistry.]

Montesinos, Jose F. “Imperfect Myths: Being an Observation on Detective Stories by a Continental Reader,” Chimera, 5 (Summer 1947; rpt. Krause Reprint Corp., 1966), 2-11. [Detective fiction is primarily an Anglo-Saxon type, fostered by Poe and subsequently developed by Doyle; the former emphasized the problems, the latter the personality of the detective, Holmes, who becomes “mythified” for continental readers.]

Nicol, Charles. “Collected Works of Edgar Allan Poe: Tales and Sketches, Edited by Thomas Ollive Mabbott,” Harper’s, 257 (August 1978), 89. [Nicol praises Mabbott’s selection of texts but plays down many of his discoveries of sources and analogues.]

Penzler, Otto. “Interview: Otto Penzler,” Mysterious Times, 1 (March 1978), 7-17. [Listing favorite mystery authors, this prominent critic includes Doyle, Poe, Hornung, and Perowne.] ————————. “ POT- POE-RR I ,” Ellery Queen’s Mystery Magazine, 414 (1978), 101. [Urges fans of detective fiction to visit the Poe Cottage, Fordham, listing hours and means of appointments.] Porpora, Samuel D. The Fustian Churchyard Connection (Baltimore: n.p., 1976). [Riddled with factual errors, this twenty-one page pamphlet argues that the Westminster Presbyterian Church, in which graveyard Poe is buried, provided direct influences upon his writings.]

“Queen, Ellery,” ed. The Detective Short Story: A Bibliography (New York: Biblo and Tannen, 1969). [Reprint of the 1942 edition; relevant entries include terse critical comments concerning Poe’s five detective tales.] ———————— , ed: The Literature of Crime: Stories by World-Famous Authors (Boston: Little, Brown and Co., 1950). [Queen’s introduction pays wry respects to Poe’s beginning the detective tale — in an anthology with contents comprised of stories by writers customarily not thought of as producers of mystery-detective fiction.]

———————— , ed. The Misadventures of Sherlock Holmes (Boston: Little, Brown & Co., 1944). [Notes Poe’s influence upon Doyle, calling attention to the latter’s personal admission of the impact in the Preface to the “Author’s Edition” of 1903 — a much neglected document.]

————————. Queen’s Quorum: A History of the Detective-Crime Short Story as Revealed in the 106 Most Important Books Published in the Field since 1845 — Supplements through 1967 (New York: Biblo and Tannen, 1969). [Accords high honors to Poe’s 1845 Tales, which contained all the detective tales but “‘Thou Art the Man!’”] Ruskin, Ariane. Nineteenth Century Art ( New York, San Francisco, Toronto: McGraw-Hill, [1973]. [Albert Pinkham Ryder (1847-1917) was influenced by Poe’s “imaginary landscapes” to paint his own.]

Schweitzer, Darrell. Lovecraft in the Cinema (privately printed, 1975; available from Nickelodeon Graphic Arts Service, 1131 White, Kansas City, Mo. 64126). [The film of Lovecraft’s The Case of Charles Dexter Ward (1963) capitalized on the Poe boom in the cinema of the early 1960’s, for it was titled The Haunted Palace and credited to Poe.]

Seiter, Richard David. “Wilkie Collins as Writer for Charles Dickens’s ‘Household Words’ and ‘All the Year Round’ 18591870: A Selection of His Short Stories, Essays, and Sketches with Headnotes and Critical Introduction” (Doctoral Diss., Bowling Green State Univ., 1970). Abst.: DAI, 31 (1971), 1771A. [Brief mention of Poe’s influence upon Collins, the younger writer adapting generally the elder’s lesser sensationalismC except in “A Terribly Strange Bed,” where the treatment of the first-person narrator recalls Poe’s more sophisticated techniques.]

Skinn, Dez “Premature Burial,” House of Horror ( London), 2 (April 1978), 29. [Notes that The Premature Burial (1962) and The Crimes of Dr Crespi (1935) are films based upon Poe’s “The Premature Burial,” adding that The Raven ( 1912) and The Blancheville Monster ( 1963) also treat catalepsy and premature burial.]

Slote, Bernice, ed. “Introduction,” April Twilights (1903): Poems by Willa Cather (Lincoln: Univ. of Nebraska Press, 1962, 1964). [Cather’s familiarity with and admiration for Poe’s [page 41:] works, especially his verse, are noted several times.]

Stange, G. Robert. “The Detective Short Story,” Chimera, 5 (Summer 1947, rpt. Krause Corp., 1966), 31-38. [Poe’s detective tales fuse “environment, belief, and method” into a literary convention. Because of his tales, later detective fiction employs settings, sleuths of more than ordinary genius, and — especially in Doyle — a fusion of science and Romanticism.]

Stcuffer, Donald Barlow. A Short History of American Poetry (New York: E. P. Dutton, Toronto and Vancouver: Clarke, Irwin & Co., 1974). [Poe is assessed against the Romaaricism of his times through contrasts with Bryant and Emerson. His influence upon such later poets as Wilbur and Hart Crane, is also noted.]

Stevenson, Lionel. The History of the English Novel: Yesterday and After (New York: Barnes & Noble, 1967). [This is vol. XI in the series originally prepared by E. A. Baker. Stevenson notes Poe’s impact upon M. P. Shiel, Machen, and Blackwood.] Steward, Barbara and Dwight. Evermore ( New York: Morrow, 1978). [A novel in which Poe, after staging his death in 1849, reappears in France and involves himself in the Mayerling affair. The narrator is Wilmot Rufus Griswold. For comment, see Breen, “The Jury Box,” Ellery Queen’s Mystery Magazine, 417 (1978), III, and Kabatchnik, “Evermore . . .,” The Poisoned Pen, 1, No. 4 (July 1978), 28.]

Stewart, J. I. M. “Fits of the Horrors,” Times Literary Supplement, 23 December 1977, p. 1493. [Reviewing recent collections of fiction by Frie-James O’Brien and Mrs. J. H. Riddell, Stewart notes the former’s admiration for Poe’s tales. O’Brien actually was dubbed a “Celtic Poe.”]

Strauman, Heinrich. American Literature in the Twentieth Century. 3rd. ed. (New York: Harper and Row, 1965). [With Poe, American literature began to exercise international influence. Also remarks upon the Poe-Hawthorne-Melville tradition’s revival in the 1930’s and 40’s.]

“Symphony to Introduce ‘Bells.’” Memphis Commercial Appeal, 30 October 1977, Sect. 19N, p. 9. [Announces the 6 November 1977 premiere of James W. Richens’ composition for orchestra and chorus based on “The Bells” and performed by the Memphis (Tenn.) Symphony Orchestra. See review in Memphis Press-Scimitar, 7 November 1977.]

Todd, Ruthven. “A Trinity of ‘Tecs: From There to Where?,” Chimera, 5 (Summer 1947; rpt. Krause Corp., 1966), 49-58. [Poe has been greatly overrated as a writer of detective tales, Doyle’s A Study in Scarlet being the real foundation of the modern detective story.]

Underwood, Peter, ed. The Vampire’s Bedside Companion: The Amazing World of Vampires in Fact and Fiction (London: Leslie Frewin, 1975). [On p. 40 is mentioned the treatment of vampire themes by such writers as Poe, Emily Bronte, Doyle, and E. F. Benson.]

Weintraub, Stanley. Aubrey Beardsley: Imp of the Perverse (University Park and London: Pennsylvania State Univ. Press, 1976). [Notes Beardsley’s early reading of Poe, as well as Poe’s influence on Alfred Kubin’s visual art.]

Wilson, Colin. The Strength to Dream: Literature and the Imagination (New York: Houghton Mifflin Co., 1962; rpt. Westport, Conn.: Greenwood Press, 1973). [The “dark powers” in the fiction of Lovecraft, Le Fanu, and M. R. James are similar to Poe’s.]

Wilson, Edmund. The Wound and the Bow: Seven Studies in Literature (New York: Oxford Univ. Press, 1965). [“Dickens: The Two Scrooges” suggests that the novelist’s Headstone and Jasper are literary relatives of other double selves like Poe’s William Wilson and Stevenson’s Jekyll-Hyde.]

Winn, Dilys. Murder Ink: The Mystery Reader’s Companion (New York: Workman Publishing, 1977). [A collection of reprinted and original essays by Winn and others on mystery-detective fiction. Considers numerous aspects of Poe’s contributions to the tradition.]

Wolf, Leonard, ed. The Annotated Dracula, by Bram Stoker (New York: Clarkson N. Potter, 1975). [Wolf’s notes mention the coffin-like octagonal room in Dracula resembling a similar chamber in “Ligeia.” The notion of burial alive in Stoker was anticipated in Poe’s “Usher.”]


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