Text: Richard P. Benton, “Edgar Allan Poe: Current Bibliography,” Poe Studies, December 1971, vol. IV, no. 2, 4:38-44


[page 38, column 1:]

Edgar Allan Poe: Current Bibliography

Trinity College

Aderman, Ralph M. “Poe in Rumania: A Bibliography,” Poe Newsletter, 3 (1970), 19-20. [Translations and criticism of Poe in Rumanian.]

Alexander, Jean. Affidavits of Genius: Edgar Allan Poe and the French Critia, 1874-1924 (Port Washington, N.Y.: Kennikat Press, 1971). [Translations of critical commentary by French poets and journalists which reveal the aesthetic, philosophic, and sociological impact of Poe on French intellectual life.]

Allabeck, Steven. “Mrs. Clemm and Henry Wadsworth Longfellow,” Harvard Library Bulletin, 18 (1970), 32-42. [Prints fifteen despairing letters written to Longfellow in her later years.]

Asselineau, Roger. Edgar Allan Poe. Pamphlets on American Wrirers, No. 89 (Minneapolis: U of Minnesota Press, 1970). [Taking his cues from Bonaparee, Huxley, and Bachelard, the author sees Poe as “the writer of neuroses” driven by Oedipal and other complexes “to exorcise his inner demands,” with the object of making us “feel the mystery and horror of our condition.” A bad lyric poet, Poe’s stories are “lyric outbursts” in which the narrators or “I’s” correspond more to Poe himself than to fictional characters. A misleading introduction to Poe which ignores the best criticism of the past decade.]

Babcock, Merten C. “The Wizards of Baltimore: Poe and Mencken,” Texas Quarterly, 13 (1970), 110-115. [Although Mencken charged Poe with having written critical bombast he himself was subjected to the same charge by his contemporaries, and they did resemble one another: both were “bedeviled headhunters running amuck in the American literary jungle” and both had a low opinion of the New England mind; Mencken, however, was more direct in his criticism than Poe. Poe’s middle name “Allen” is mispelled “Allen” throughout the article.]

Bandy, W. T. “More on ‘The Angel of the Odd,’” Poe Newsletter, 3 (1970), 22. [Contrary to Claude Richard, Baudelaire’s translation of “to arouse” as “se reveiller” is not inaccurate. Poe was referring to Griswold’s The Curiosities of American Literature of 1844.]

Barzun, Jacques. “A Note on the Inadequacy of Poe as a Proofreader and of his Editors as French Scholars,” The Romantic Review, 61 (1970), 23-27. [The author points to errors in Poe’s written French which Poe did not correct in revision and which editors have not corrected in presenting his texts. The author fails to consider that some of Poe’s “errors” were deliberately contrived for artistic, particularly satiric, purposes.]

Bašic, Sonja. “Antun Gustav Matos prema Edgaru Allanu Poeu,” For1zm (Zagreb), 17 (1969), 193-214. [No further information available.]

Benton, Richard P. “Edgar Allan Poe: Current Bibliography,” Poe Newsletter, 3 (1970), 11-16. [An annotated bibliography covering principally the years 1968-69.]

———————. “Edgar A. Poe’s ‘Three-Act Tragedy,’” American Book Collector, 22 (1971), 2-4, review of Sidney P. Moss’ Poe’s Major Crisis: His Libel Suit and New York’s Literary World. [See Moss below.]

———————, ed. New Approaches to Poe, A Symposium (Hartford, Conn.: Transcendental Books, 1970). [A reprinting of the Poe Supplement from Emerson Society Quarterly, [column 2:] No. 60 (1970), as a hard cover book.]

———————, ed. “ [Poe] Supplement,” Emerson Society Quarterly, No. 60 (1970), Part 1, 3-45, Part 11, 46-91. [Richard P. Benton, “The Study of Po~Past and Present,” 3, Sidney P. Moss, “Poe as Probabilist in Forgues’ Critique of the Tales,” 4-13; Joseph M. Garrison, Jr., “The Irony of ‘Ligeia,’” 13-17; James W. Gargano, “Art and Irony in ‘William Wilson,’” 18-22; J. Lasley Dameron, “Symbolism in the Poetry of Poe and Stephen Crane,” 22-28, David M. Rein, “The Appeal of Poe Today,” 29-33; Alice Moser Claudel “Poe as Voyager in ‘To Helen,’” 33-37; G. R. Thompson, “Poe’s ‘Flawed’ Gothic: Absurdist Techniques in ‘Metzengerstein’ and the Cos~rier Satires,” 38-58; Harriet R. Holman, “Longfellow in ‘The Rue Morgue,’” 58-60; Burton R. Pollin “Poe’s’some Words with a Mummy’ Reconsidered,” 60-G7, H. Allen Greer, “Poe’s ‘Hans Pfaall’ and the Political Scene,” 67-73, Alice Chandler, “‘The Visionary Race’: Poe’s Attitude Toward His Dreamers,” 73-81; David M. La Guardia, “Poe, Pym, and Initiation,” 82-84; H. Lynn Hogue, “Eroticism in Poe’s ‘For Annie,’” 85-87; Gerald E. Gerber, “The Coleridgean Context of Poe’s Blackwood Satires,” 87-91. See individual authors for abstracts.]

———————, “The Study of Poe—Past and Present,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. I, 3. [A brief review of Poe criticism from his time to the present.]

Bergsten, Anders. “Edgar Allan Poe och ‘The Raven,’” Lyrikvannen (Stockholm), 16 (1969), 16. [No further information available.]

Burt, Donald C. “Poe, Bradbury, and the Science Fiction Tale of Terror,” Mankato State College Series, 3 (1968), 76-84. [Both Poe and Bradbury write of the destruction of the world, one by nature, one by technology.]

Campbell, Josie. “Deceit and Violence in The Narrative of Arthur Gordon Pym,” English Journal, 59 (1970), 206-213. [Although such critics as Davidson and Patrick Quinn have seen deception as a major motif in the development of Poe’s novel, no one has discussed “in any detail the fact that violence either prefixes or follows the deception and occasionally merges with it.”]

Canario, John W. “The Dream in ‘The Tell-Tale Heart,’” Eng/ish Language Notes, 7 (1970), 194-197. [Poe “intended the tale of the narrator to be recognized as a madman’s confession of a nightmare about death”, the old man who is murdered is the alter ego of the murderer who at the end of the story realizes to his horror that he is still mortal.]

Chandler, Alice. “‘The Visionary Race’: Poe’s Attitude Toward His Dreamers,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. II, 73-81. [Poe’s tales of the 1840’s differ sharply from his previous work and hence show a course of development; contrary to his earlier view that the ideal is reached by possessing and destroying the real, he concluded by the 1840’s that when the imagination escapes rational control it is self-destructive and that the imagination and reason must work together to make art “creative and redemptive.” An article whose thesis ought not to be ignored.]

Cirlot, Juan-Eduardo. “El pensamiento de Edgar Poe,” Papeles de Son Armadans (Mallorca), 52 (1969), 239-244. [In an unusual style the author seeks to convey the whole spectrum of Poe’s sensibility to death as a condition of nothingness, a condition which Poe not only believed in but also felt within the recesses of his being.]

Clark, George P. “A Further Word on Poe and Lolita,” Poe Newsletter, 3 (1970), 39’ tA parody of Poe’s “The Cask of Amontillado” occurs in Chapter XXXV of Nabokov’s novel.]

“Two Unnoticed Recollections of Poe’s Funeral,” Poe Newsletter, 3 (1970), 1-2. [Two recollections, one previously unpublished and the other published in 1909 but not made use of by biographers, by two Baltimoreans, Charles [page 39:] William Hubuer and Col. J. Alden Weston. These recollections support French’s conclusion that Poe’s funeral took place on Monday, October 8, 1849, and correct Quinn and Winwar.]

Claudel, Alice Moser. “Poe as Voyager in ‘To Helen,’” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. I, 33-37. [A more complex poem than critics have realized, Poe’s “To Helen” symbolizes the success of his spiritual voyage in quest of ideal beauty; his statuesque female figure represents not only Greek and Roman culture—is Helen of Troy and Psyche—but also Christian culture, for she is also connected with “Holy Land”—that is, the holy city of Byzantium, where Greek and Roman ideals merged with the Christian ideal to form the ideal of ideals. Also see Lord, John B.]

Conron, John Joseph. “Poe and the Theory of the Short Story,” (Doctoral Diss, U of Michigan, 1970). Abst: DA, 31 (1970), 2339A. [Collects the scattered and miscellaneous “details” of Poe’s “theory” of the short story from his essays, reviews, Marginalia comments, and so on. Poe’s fiction is seen as primarily an “evocative art” that “requires devices which convey meaning implicitly,” an “idealistic causality” that is “beyond language.”]

Courtney, John F. “Addiction and Edgar Allen [sic ] Poe,” Resident and Staff Physician (January 1971), pp. 107-115. [An aimless recounting of Poe’s episodes with alcohol and laudanum, with a redeeming speculation that J. J. Moran’s description of Poe’s last hours suggests that cause of death was a blow to the head.]

Delaney, Joan. “Poe’s ‘The Gold Bug’ in Russia: A Note on First Impressions,” American Literature, 42 (1970), 375-379. [Poe’s first appearance in Russian came in 1847 when P. Redkin selected Poe’s “The Gold Bug” for the first issue of the New Library for Education (Novaja biblioteka dlja vospitanija), a journal designed for children and their educators.]

Dameron, J. Lasley. “Symbolism in the Poetry of Poe and Stephen Crane,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. I, 22-23. [Crane’s poetry, like that of Poe, belongs to the Gothic rather than to the Emerson-Whitman-Dickinson tradition, and there are indications in Crane’s manner that his brand of symbolism stems directly from Poe rather than from the French Symbolists.]

Davis, June, and Jack L. Davis. “An Error in Some Recent Printings of ‘Ligeia,’” Poe Newsletter, 3 (1970), 21. [In many modern printings of Poe’s tale, “the word ‘my’ has been erroneously substituted for ‘her’ at a crucial point, weakening the dramatic effect of this meticulously structured tale.”]

———————, “Poe’s Ethereal Ligeia,” Bulletin of the Rocky Mountain Modern Language Association, 24 (1970), 170-176. [Examines the possibility that the Lady Ligeia is the delusion of the narrator.]

Defalco, Joseph M. “Whitman’s Changes in ‘Out of the Cradle’ and Poe’s ‘Raven,’” Walt Whitman Review, 16 (1970), 22-27. [When Whitman revised his poem in 1867 (for the fourth edition of Leaves of Grass), he deliberately made changes to emphasize that his optimism ran counter to Poe’s pessimism, his mocking bird being presented as the foil of Poe’s raven. Cf. Ned J. Davison, “‘The Raven’ and ‘Out of the Cradle Endlessly Rocking,’ “ Poe Newsletter, 1 (1968), 5 -6.]

Dowell, Richard W. “The Ironic History of Poe’s ‘Life in Death’: A Literary Skeleton in the Closet,” American Literature, 42 (1971), 478-486. [Poe’s “Life in Death” (later revised and improved as “The Oval Portrait”) shows evidence of haste rather than of the “deliberate care” he would insist on as an artistic principle a month later in his review of Hawthorne; lacking originality, conciseness, and unity, it is a failure, no doubt a result of the pressure of Poe’s duties as a magazine editor, his disturbance over his wife’s poor health, and his need for money. Dowell was apparently unaware of the careful analysis of the ironic “unity” of the tale by G. R. Thompson, “Dramatic Irony in ‘The Oval Portrait’: A Reconsideration [column 2:] of Poe’s Revisions,” English Language Notes, 6 (1968), 107-114.]

Dowling, Albert W. “The Mystery in the Rue Amity: A’sully Portrait of Poe,’” The Baltimore Sun (The Sun Magazine), (November 6, 1966), pp. 11-12. [”A small full-length portrait” now hanging in Poe’s Baltimore residence at 203 Amity Street “may be by Thomas Sully, and it may be of Poe” as a highly romanticized romantic poet.]

Downing, Gloria. See Inge, M. Thomas.

Durzak, Manfred. “Die kunsttheoretische Ausgangposition Stefan Georges: Zur Wirkung Edgar Allan Poes,” Arcadia, 4 (1969), 164-178. [Georges most likely derived his poetics directly from Poe rather than through the French Symbolists.]

Englekirk, J. E. “Cronica de ‘El cuervo’ de Cazeneuve,” in Homenaje a Federico de Onis (1885-1966), 2 vole., Revista Hispanica Moderna, 34 (1968), 612-625. [No further information available.]

Fabre, Michel. “Black Cat and White Cat: Richard Wright’s Debt to Edgar Allan Poe,” Poe Studies, 4 (1971), 17-19. [Poe influenced Wright’s early style strongly, as is evident in the tale “Superstition” and the novel Native Son, but this influence “dwindled greatly” in his later works.]

Fisher, Benjamin Franklin. ‘Gothic Techniques in Poe’s Short Stories” (Doctoral Diss, Duke U, 1969). Abst: DA, 31 (1970), 2342A. [In his early Gothic tales, Poe closely follows established Gothic patterns; but in his masterpieces (”Berenice,” “Ligeia,” “Usher,” “Red Death,” “William Wilson,” “Amontillado,” “Rue Morgue”), he revivifies hackneyed techniques. His great subjects are alienation and the psychological probing of diseased minds. His humorous tales, too, are often related to the Gothic techniques (but see entry below) .]

———————, “Poe’s ‘Metzengerstein’: Not a Hoax,” American Literature, 42 (1971), 487-494. [Poe’s tale is not a parody or burlesque of German Gothicism, not one of “The Tales of the Folio Club,” as some critics have suggested: its seriousness is shown by Poe’s effort to refine “away crudities, in an attempt to cull out extremes and to produce a more effective Gothic story, rather than to exaggerate the Gothic elements for humorous effect.” For a contrary view, not known to Fisher when he wrote his essay, see G. R. Thompson, ESQ, No. 60 (1970), Supplement, Pt. I, 38-43, Pt. II, 46-58. Obviously, Poe is still fooling people.]

Forclaz, Roger. “Edgar Poe et la Psychoanalyse,” Revue des Langues Vivantes, 36, No. 3 (1970), 272-288 [Part I], and 36, No. 4 (1970), 375-389 [Part II]. [A scholarly and rigidly logical refutation of the psychoanalytical method of interpreting Poe’s art, particularly the method of Marie Bonaparte, which exposes the logical contradictions of such an interpretation and implies, on the principles of “Ockam’s razor, that Poe’s narrative patterns, imagery, and themes are traceable to his literary experience and aesthetic motives” rather than to psychological aberrations.]

Frank, Frederick Stilson. “Perverse Pilgrimage: The Role of the Gothic in the Works of Charles Brockden Brown, Edgar Allan Poe, and Nathaniel Hawthorne” (Doctoral Diss, Rutgers U, 1968). Abst: DA, 29 (1968), 1866A-67A. [An examination of three novels of Brown (Wieland, Arthur Mervyn, and Edgar Huntly), two tales of Poe (”The Fall of the House of Usher” and “A Descent into the Maelstrom”), and of one novel of Hawthorne (The House of the Seven Gables), with the view of determining the similarities and differences between English and American Gothicism. The conclusion is that “although there is much technical correspondence between” them, “there is almost no ideological resemblance,” being “far apart in theme and idea.”]

Freeman, Fred B., Jr. “A Note on Poe’s ‘Miss B.,’” American Literature, 43 (1971), 115-117. [Having identified Poe’s “Miss B.” in a previous note (AL. 1967), the author here [page 40:] describes the Lowell, Mass., schoolteacher’s family background and provides other facts concerning her life.]

Friedl, Heriwig. “Poe and Lanier. Ein Vergleich iher Verdichtung,” lahrbuch fur Amerikastudien, 15 (1970), 123-140. [Compares Poe and Lanier on several points: Poe uses sound to achieve a unified effect, but Lanier’s effects are local; Poe wrenches things out of their normal context, and Lanier invests ordinary objects with supernatural intensity, these differences extend also to their poetic theory.]

Gale, Robert. Plots and Characters in the Fiction of Edgar Allan Poe (Hamden, Conn: Archon Books, 1970). [Accurate, non” interpretative recountings of the plots of Poe’s stories and careful brief descriptions of Poe’s characters in two alphabetical lists, with various appendices.]

Gargano, James W. “Art and Irony in ‘William Wilson,’” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. I, 18-22. [Poe’s tale is not merely “self-indulgent rhetoric and gratuitous horror” but displays “conscious artistry and literary intelligence” to the extent that it succeeds in revealing “with unflagging irony” that Wilson is a self-deceiver who “cannot see that he cannot see.”]

Galrrett, Walter. “The ‘Moral’ of ‘Ligeia’ Reconsidered,” Poe Studies, 4 (1971), 19-20. [Ligeia’s reincarnation in the body of Rowena depends on the narrator’s powers of will and concentration; through his act he symbolically reunites God and the universe.]

Garrison, Joseph M., Jr. “The Irony of ‘Ligeia,’” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. I, 13-17. [In his tale Poe “seeks to dramatize the epistemological predicament of his narrator and, through situational irony, to explore both the causes and consequences of his (the narrator’s) failure.”]

Gerber, Gerald E. “The Coleridgean Context of Poe’s Blackwood Satires,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. II, 87-91. [In writing “How to Write a Blackwood Article” and “A Predicament,” Poe may have had Coleridge’s literary philosophy in mind, even if he did not, it provides “a highly appropriate context which illuminates the satiric treatment of the pseudo-critic and especially the pseudo-artist in a manner more intimately related to Poe’s philosophy of art than the topical satire of Blackwood’s or Transcendentalism or Margaret Fuller.”]

———————, “Milton and Poe’s ‘Modern Woman,’” Poe Newsletter, 3 (1970), 25-26. [The author attempts to broaden the influence of Milton on Poe’s conception of Psyche Zenobia in “A Predicament” to suggest that his choice of an epigraph “was more calculated than has been recognized.”]

Gogol, John M. “Two Russian Symbolists on Poe,” Poe Newsletter, 3 (1970), 36-37. [The author provides translations of two poems on Poe by Konstantin Balmont and a translation of Aleksandr Blok’s review of Balmont’s Russian translation of Poe.]

Gravely, William H., Jr. “A Note on the Composition of Poe’s ‘Hans Pfaall,’” Poe Newsletter, 3 (1970), 2-5. [Contrary to J. O. Bailey, the critical source of Poe’s inspiration for his tale was not Tucker’s A Voyage to the Moon but Herschel’s A Treatise on Astronomy; also the tale was composed after Poe became connected with the Southern Literary Messenger in 1835 and not before.]

Greer, H. Allan. “Poe’s ‘Hans Pfaall’ and the Political Scene,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. II, 67-73. [In addition to being a science-fiction hoax, Poe’s tale is “‘a kind of allegorical parody’ of the life and times of Andrew Jackson, then President of the United States.”]

Harkey, Joseph H. “A Note on Fortunato’s Coughing” Poe Newsletter, 3 (1970), 22. [A laughable spoof of critical interpretation.]

Hammond, Alexander. Review of Sidney P. Moss’ Poe’s Major [column 2:] Crisis: His Libel Suit and New York’s Literary World, in Nineteenth-Century Fiction, 25 (1971), 493-97.

Harap, Louis. “Edgar Allan Poe and Journalism,” Zeitschrift fur Anglistik und Amerikanistik, 19 (1971), 164-181. [A summary of Poe’s career as a magazinist, placed in the context of the journalistic trends of his times, with an attempt to relate his work to the “alienation” generated by current mass media. No note is taken of the work of Jacobs or Allen.]

Helms, Randel. “Another Source for Poe’s Arthur Gordon Pym,” American Literature, 41 (1970), 572-575. [The vivid episodes of Jane Porter’s Sir Edward Seaward’s Narrative of His Shipwreck (1831) influenced Poe’s novel.]

Henninger, Francis J. “The Bouquet of Poe’s Amontillado,” South Atlantic Bulletin, 35 (1970), 35-40. [Most of Poe’s stories have startling if not surprise endings, and yet they “are never predictable”; this is especially true of “The Cask of Amontillado,” whose unpredictable ending is so subtly rendered that it is perhaps Poe’s greatest story.]

Hess, Jeffrey. “Sources and Aesthetics of Poe’s Landscape Fiction,” American Quarterly, 22 (1970), 177~189. [Poe drew on the writings of Andrew Jackson Downing and on the paintings of Thomas Cole, with their accompanying texts, in composing his three landscape pieces: “The Landscape Garden,” “The Domain of Arnheim,” and “Landor’s Cottage.”]

Hinz, Evelyn J. “ ‘Tekeli-li’: The Narrative of Arthur Gordon Pym as Satire,” Genre, 3 (1970), 379-397. [Like Swift’s Gulliver’s Travels Poe’s narrative is a “Mennippean satire” (in Northrop Frye’s sense). It is this specific form that accounts for its structure and its characterization of its hero as an alazon or self-deceived fictional character who cannot comprehend reality or self.]

Hirsch, David H. “Another Source for ‘The Pit and the Pendulum,’ “ Mississippi Quarterly, 23 (1969-70), 35-43. [The author argues convincingly that a story called “Singular Re~ covery from Death,” which appeared anonymously in Blackwood’s Magazine for September 1821, be included among the sources of Poe’s tales.]

Hogue, L. Lynn. “Eroticism in Poe’s ‘For Annie,’” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. 11, 85-87. [Regardless of whether Poe’s love for the married “Annie” Richmond was purely Platonic in actual conduct, his poem is an overt expression of his sexual involvement with her in his imagination, and his artistic control of his passion largely accounts for the poem’s aesthetic success.]

Holman, Harriet R. “Longfellow in ‘The Rue Morgue,’” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. II, 58-60. [A remark by Poe’s detective hero, Dupin, in “The Murders in the Rue Morgue,” is an allusion to Longfellow, and continues Poe’s literary battle with him.]

———————, “What Did Mill Mean to Poe?” The Mill News Letter, 6 (1971), 20-21. [It would pay to investigate what John Stuart Mill meant to Poe, who alludes to either him or his father, James Mill, in an ambiguous fashion. The authors warns that Poe is often to be taken ironically.]

Hughes, James Michos. “The Dialectic of Death in Poe, Dickinson, Emerson, and Whitman” (Doctoral Diss, U of Penn, 1969). Abst: DA, 31 (1970), 1280A. [Examines passages on death or dying in the four writers in relation to images of circularity and water.]

Hyneman, Esther F. “The Contemporaneous Reputation of Edgar Allan Poe with Annotated Bibliography of Poe Criticism: 1827-1967” (Doctoral Diss, Columbia U, 1968). Abst: DA, 30 (1969), 686A. [The author concludes that Poe “was more widely known as a creative writer during his lifetime than is generally accepted, but his popularity was constantly undermined by his literary enemies, especially Lewis Gaylord Clark”; in fact, the “vicious gossip” produced just before and after Poe’s death continues to impede a just estimate of his work.]

Inge, M. Thomas. “Miguel de Unamuno’s Canciones on American Literature,” Arlington Quarterly, 2 (1969), 83-97. [Unamuno’s Cancionero, or Diario Poetico, is “basically a personal diary kept in verse” covering the period 1928-1936. A close student of American literature, he wrote two poems inspired by Poe which show the influence of the tales “Mesmeric Revelation” and “The Gold-Bug” and of the poems “Tamerlane,” “The Raven,” and “Ulalume.”]

———————, and Gloria Downing. “Unamuno and Poe,” Poe Newsletter, 3 (1970), 35-36. [English translation of the only essay Unamuno wrote on Poe (La Nacion, Aug. 19, 1923). In this essay Unamuno objects to literary pathologists, like John W. Robertson, judging an artist by the state of his health instead of by his work.]

Jackson, David K. “A Typographical Error in the B Version of Poe’s’sonnet—To Science,’” Poe Newsletter, 3 (1970), 21. [Since a typographical error in Mabbott’s “B version” of Poe’s sonnet went unnoticed by both Mabbott and Campbell, “the questionable ‘Nais’ (line 12) after all may have been a typographical error for ‘Naiad.’”]

Jeffrey, David K. “The Johnsonian Influence: Rasselas and Poe’s ‘The Domain of Arnheim,’” Poe Newsletter, 3 (1970), 26-29. [In his tale Poe borrowed from the early chapters of Raslelas, but gave a less Christian meaning to the journey motif and opposed Johnson’s emphasis on the value of empirical reasoning and championed intuition and imagination.]

Kilburn, Patrick E. “Poe’s ‘Evening Star,’” Explicator, 28 (1970), Item 76. [Taking exception to Richard Wilbur, the author maintains that Poe’s poem “is a standard classical construct in which the poet expresses his preference for love (Venus) over chastity (Diana),” the former symbolized by “‘distant fire’” and the latter by “‘colder, lowly light.’”]

Lacretelle, Jacques de. “Edgar Poe: Archange du bizarre,” Figaro Litteraire, No. 1189 (Feb. 17, 1969), 14-15. [The originality and richness of Poe’s art depends on two factors: his ability to divide himself into two persons and his continual dialogue with his own conscience.]

La Guardia, David M. “Poe, Pym, and Initiation,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. II, 82-84. [Poe’s truncated ending to Pym is deliberate and justified; his hero is an initiate who progresses in the development of his ego “from a world of syllogistic precision to one of imagination and illusion” and goes “as far as he can progress and still be understood by the most perceptive reader. Bringing him back to a ratiocinating society would destroy the artistic thrust of the narrative.”]

Last, R. W. “Eliot, Poe and Usinger,” in Affinities: Essays in German and English Literature (London: Wolff, 1971), pp. 346-353. [In an introductory note to a translation of an essay, Last notes that Fritz Usinger regarded T. S. Eliot’s criticism of Poe as based on incomplete knowledge of Poe’s works. Usinger seff Eureka as the key to Poe’s achievement and the culmination of his work, leading to a “cryptographic mode,” a blend of analysis with intuition.]

Lees, Daniel E. “An Early Model for Poe’s ‘The Raven,’” Papers on Language and Literature, 6 (1970), 92-95. [For his idea of the raven as symbolic of “the power of conscience,” Poe may have been indebted to an unsigned narrative poem entitled “The Owl” which appeared in Volume XX of Blackwood’s Magazine. ]

Lerner, Arthur. Psychoanalytically Oriented Criticism of Three American Poets: Poe, Whitman, and Aiken (Cranbury, N.J.: Fairleigh Dickinson U P, 1970). [Criticism of selected poems by the three authors with the aim of showing the value and limitation of psychoanalytically oriented criticism for the genre of poetry.]

Liebman, Sheldon W. “Poe’s Tales and His Theory of the Poetic Experience,” Studies in Short Fiction, 7 (1970), 582-596. [The author attempts “to trace the parallel between Poe’s tales [column 2:] and his theory of the poetic experience,” and in this way to “offer each as an aid to the understanding of the other.”]

Loberger, Gordon J. “Poe’s Use of Page and Lore in ‘Tamerlane,’” Poe Newsletter, 3 (1970), 37-38. [The “page of early lore” mentioned by the Mongol conqueror figuratively refers to “the face of the beautiful woman whose love he has sacrificed” to achieve his military success.]

Lombard, Charles. “Poe and French Romanticism,” Poe Newsletter, 3 (1970), 30-35. [Americans were well acquainted with the French Romantics during Poe’s time, as he was: although in some cases his judgments of the French Romantics reflected the influence of his contemporaries, in other cases he rendered his own independent judgments.]

Lord, John B. “Two Phonological Analyses of Poe’s ‘To Helen,’” Language and Style, 3 (1970), 147-158. [A highly technical employment of phonetic and distinctive feature analysis. The first part of the article identifies several sound patterns emphasizing two themes, the “Helen-Classic” theme and the “poet-wanderer” theme, which overlap. The second part of the article measures the “sharpness of contrast” of various densities of vocalic, consonantal, grave, diffuse, strident, nasal, continuant, and voiced distinctive feature clusters, accompanied by several graphs. The phonemic analysis shows how three different motifs have been phonologically “overlapped and thus inter-related.” The distinctive feature analysis shows “the larger structure of stanzaic succession and the (phonological) peaks of the poem as a whole. Both analyses (isolate) the same set of motifs, and (work) out their inter-relations . . . . . “]

Marovitz, Sanford E. “Poe’s Reception of C. W. Webber’s Gothic Western, ‘Jack Long; or The Shot in the Eye,’” Poe Studies, 4 (1971), 11-13. [In his revised discussion of Hawthorne’s Twice-Told Tales, Poe expresses his admiration of Webber’s story (later included in Webber’s Tales of the Southern Border) which Poe describes as “one of the happiest and best sustained tales I have seen.” He admired its well-constructed plot, its “aura of mystery and shadow,” its “dark elements” which include its “revenge motif, the ritual slayings, the symbolic regression of the character to a primitive state the theme of the Doppelganger,” and “the motif of the ‘eye.’ ‘]

McElrath, Joseph R., Jr. “Poe’s Conscious Prose Technique,” NEMLA Newsletter, 2 (1970), 34-43. [In “How to Write a Blackwood Article” and “A Predicament” Poe not only “burlesques the ‘tales of terror’ that frequently made their way into Blackwood’s Magazine and the Edinburgh Review” but also indulges in “self-parody” that “reveals how keenly conscious he was of the characteristic traits of his own craftsmanship.”]

———————, Review of Michael Allen’s Poe and the British Magazine Tradition and of Robert D. Jacobs’ Poe: Journalist and Critic, in Southern Humanities Review, 5 (1971), 289-291.

Miranda, J. E. “Edgar Allan Poe o la existencia amenazada,” Cuadernol Hispanoamericanol (Madrid) , 76 (1968), 775-780. [Poe’s characters typically find their existences threatened by hostile forces, and if they lack will power and fall prey to irrational thinking, as is usually the case, they are doomed.]

Miranda, Horacio. “El temor en los cuentos de Edgar Allan Poe,” Boletin del Imtituto de Filologia de la Univ. de Chile, 20 (1968), 135-169. [Poe’s lexical world centers itself around the concept of fear.]

Moldenhauer, Joseph J. “Beyond the Tamarind Tree: A New Poe Letter,” American Literature, 42 (1971), 468-477. [Reproduction of a “heretofore unpublished and unrecorded” letter to Thomas Wyatt (from Philadelphia, April 1, 1841) which affords a view of Poe’s “connections with Philadelphia printers and illustrators in the service of nonliterary publications.”]

Monahan, Dean W. “Edgar Allan Poe and the Theme of the Fall” (Doctoral Diss, Penn State, 1968). Abst: DA, 29 (1969), 3616A. [Having traced the “moral ideas” of Poe [page 42:] and “his evolving conception of man’s origin, destiny, and relationship to the material and spiritual universes,” the author concludes that Poe moves from “early romantic transcendence through a period of increasing reliance upon reason to a final conviction that imagination and reason function as one faculty in the perception of supernal beauty and truth, which are identical.]

Moss, Sidney P. “Poe as Probabilist in Forgues’ Critique of the Tales,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. I, 4-13. [Poe’s first French critic saw his fiction within the framework of the French mathematical tradition of the theory of probability from Pascal to Laplace. About two-thirds of Forgues’ essay is translated in the course of the author’s discussion.]

———————, Poe’s Major Crisis: His Libel Suit and New York’s Literary World (Durham, N.C.: Duke U P, 1970). [A documentary presentation, clarified and made coherent by headnotes, of the events just before, during, and after Poe’s libel suit against the owners of the New York Mirror Hiram Fuller and Augustus W. Clason, Jr., for having published a card attacking Poe’s honesty written by Thomas Dunn English. The trial was held in New York City on Feb. 17, 1847. Although Poe won his case in court and was awarded damages, his reputation suffered irreparable damage during the period Moss covers in his book.]

Meister, John G. “The Descent of the Irrelative One: The Metaphysics and Cosmology of Edgar Allan Poe’s Eureka’ (Doctoral Diss, U of Penn, 1969). Abst: DA, 30 (1969), 2490A. [Not an independent work but related to his work generally, Eureka reflects Poe’s unusually extensive knowledge of scientific writing and his deductions and extrapolations from scientific facts in an effort to construct an original cosmology which includes metaphysical and religious structures as a theoretical basis. Resembling “the naturphilosophie of Fichte and Shelling” and reflecting “the transcendentalism of Kant,” Poe’s system is a “neutral monism” which on the phenomenal level is “panentheism,” and is a “prose-poem” which describes “the unique act of the Divine Will and Its creation of the Irrelative One, or proto-matter, from which the universe springs and through which Spirit evolves.”]

Nethery, Wallace. “Poe and Charles Lamb,” Poe Newsletter, 3 (1970), 38. [Poe viewed Lamb’s style as extravagant but thought it less faulty than that of the other notable British essayists.]

O’Connor, Roger. “Letters, Signatures, and ‘Juws’ in Poe’s ‘Autography,’” Poe Newsletter, 3 (1970), 21-22. [There is “a supplementary, if not an alternative interpretation” of Poe’s deliberate omission of J and U in his sketch of Joseph Miller, and it may be a bibliographical allusion as well as a method of implying that Miller is a Jew as suggested by Alexander Hammond, PN, 2, 55-56.]

Osowski, Judy. “Fugitive Poe References: A Bibliography,” Poe Newsletter, 3 (1970), 16-19. [Books, essays, and miscellaneous publications from about 1960 which “do not focus on Poe but which discuss Poe within a larger perspective or with a special angle of vision.”]

———————, “T. S. Eliot on ‘Poe the Detective,’” Poe Newsletter, 3 (1970), 39. [Although Eliot at first thought Wilkie Collins vastly superior to Poe as a writer of detective stories, he soon concluded they were both great in their own ways.]

Paul, Raymond. Who Murdered Mary Rogers.; (Englewood Cliffs, N.J.; Prentice-Hall, 1971). [An attempt to solve the 1841 murder of Mary Rogers, “the beautiful cigar girl,” whose mysterious death inspired Poe’s “The Mystery of Marie Roget.” Contains the text of Poe’s tale; cf. John Walsh, Poe the Detective (Rutgers, 1968).]

Pemberton, J. M. “Poe’s ‘To Helen’: Functional Wordplay and A Possible Source,” Poe Newsletter, 3 (1970), 6-7. [Poe possibly drew upon his reading of Homer in the original Greek [column 2:] and the Classical-Romantic tradition as exemplified by Pinkney s “Song” (”Those starry eyes”) in his effort to portray his Helen as the source of “esthetic illumination” and “visual brightness.”]

Pollin, Burton R. Discoveries in Poe (Notre Dame, Ind.: U of Notre Dame Press, 1970). [In twelve separate essays the author attempts to demonstrate the connections between Poe’s life and reading and his creative conceptions. Although independent of one another, the essays are unified by the singular image of Poe’s mind which emerges from them.]

———————, “Du Bartas and Victor Hugo in Poe’s Criticism,” Mississippi Quarterly, 23 (1969-70), 46-55. [Poe often inaccurately referred to Du Bartas as a writer “of nonsense verses.” In this judgment he expressed a scorn “which was a cliche of thought” during his time and expressed in Hugo’s The Hunchback of Notre Dame from which Poe derived the description of a metaphor attributed to Du Bartas.]

———————, “Figs, Bells, Poe, and Horace Smith,” Poe Newsletter, 3 (1970), 8-10. [The author discloses Poe’s admiration for Horace Smith and the numerous occasions on which Poe drew upon or referred to Smith’s work.]

———————, “Poe and the Boston Notion,” English Language Notes, 8 (1970), 23-28. [A review of the attitude of the Boston magazine toward Poe and of his relations with it. It incompetently abused his Tales in 1839, but printed several of his pieces, including “Usher” and “Eleonora,” during 1839-41; and it printed a favorable biographical sketch of him in 1843. Nevertheless, his efforts to have “Marie Roget” reprinted in 1843 and “Mesmeric Revelation” in 1844 did not succeed, and his Lowell-Carter avenue of approach to the magazine was cut off by several circumstances in 1845. Cf. Pollin’s ‘Poe in the Boston Notion,” NEQ, 42 (1969), 585-589.]

———————, “Poe’s Dr. Ollapod,” American Literature, 42 (1970), 80-82. [The allusion to Dr. Ollapod in Poe’s “The Scythe of Time” (later “A Predicament”) refers to actor William E. Burton, who was noted for his portrayal of Dr. Ollapod in The Poor Gentleman, a play by George Colman, Jr. When Poe’s story appeared in his 1840 Tales, Dr. Ollapod became Mr. Morphine because Poe was then working for Burton; five years later, when Poe was no longer employed by Burton, Mr. Morphine became Dr. Ollapod in the Broadway Journal printing of the tale.]

———————, “Poe’s’some Words with a Mummy’ Reconsidered,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. II, 60-67. [The work of the popular Egyptologists George Gliddon and James Silk Buckingham as well as a popular play by William Bayle Bernard influenced Poe’s satiric tale.]

———————, “Poe’s Use of D’Israeli’s Curiosities to Belittle Emerson,” Poe Newsletter, 3 (1970), 38. [The parallel between Emerson and Sallust-Arruntius Poe draws in his “Marginalia” was inspired by a passage in D’Israeli’s book but is not very just.]

———————, “Poe’s Use of Material from Bernardin de Saint-Pierre’s Etudes,” Romance Notes, 12 (1971), 1-8. [The author suggests that “Poe derived important material for ‘Manuscript Found in a Bottle’” as well as some details and ideas of less importance for some other pieces from the French author’s Etudes de la Nature. ]

———————, “Poe’s Use of the Name Ermengarde in ‘Eleonora,’ “ Notes and Queries, n.s. 17 (1970), 332-333. [The name of a character in Scott’s novel The Betrothed sug gested the name of Poe’s character.]

———————, Review of Michael Allen’s Poe and the British Magazine Tradition, in Nineteenth-Century Fiction, 25 (1970), 371-375.

Quinn, Patrick F. Poe and France: The Last Twenty Years (Baltimore: The Edgar Allan Poe Society and the Enoch Pratt Free Library, 1970). [A lecture delivered before the Poe Society [page 43:] in Baltimore on Oct. 5, 1969. A penetrating and well balanced assessment of the Poe criticism of Georges Poulet, Claude Richard, Roger Asselineau, Maurice Levy, and Jean Ricardou.]

———————, “Poe and 19th Century Poetry,” American Literary Scholarship: An Annual/1968 (Durham, N.C.: Duke U P, 1970), pp. 158-176. [A review-essay evaluating Poe scholarship for the year indicated.]

———————, “Poe and 19th Century Poetry,” American Literary Scholarship: An Annual/1969 (Durham, N.C.: Duke U P, 1971), pp. 181-199.

Reece, James B. “A Reexamination of a Poe Date: Mrs. Ellet’s Letters,” American Literature, 42 (1970), 157-164. [”The incident of the letters of Mrs. Elizabeth F. Ellet and the scandal which arose from it” occurred probably in January, 1846, before Poe moved to Fordham, and not about June of that year, after he removed there, as has been suggested by his biographers.]

Reed, Kenneth T. “‘Ligeia’: The Story as Sermon,” Poe Studies, 4 (1971), 20. [The author suggests that Poe’s tale was consciously structured on the five-part formula of the sermon as recommended by the typical American book on homiletics of his time.]

Regan, Robert. “Hawthorne’s ‘Plagiary’: Poe’s Duplicity,” Nineteenth-Century Fiction, 25 (1970), 281-288. [The contradiction in Poe’s review of Hawthorne’s Twice-Told Tales, in which Poe praises Hawthorne for originality and at the same time charges him with plagiary, is obviously spoofing in the second case; and such duplicity constitutes the method and the key to the right understanding of much of Poe’s art.]

———————, Review of Robert D. Jacobs’ Poe: Journalist and Critic, in Nineteenth-Century Fiction, 25 (1970), 112116.

Rein, David M. “The Appeal of Poe Today,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. I, 29-33. [Poe’s popularity today depends on a variety of appeals— the musicality of his poems; his skill in ratiocination; his critical acumen, his unusual life and character; his humor, satire, and irony; and his existentialist attitude toward life and his surrealist imagery—but his strongest appeal depends on the psychological depth exhibited by his horror stories which purge us of our inner anxieties and fears.]

Ridgely, J. V. “The Continuing Puzzle of Arthur Gordon Pym: Some Notes and Queries,” Poe Newsletter, 3 (1970), 5-6. [The author discusses the texts, the sources, and the Tsalalian language in reference to Poe’s novel. The definitive text is apparently Griswold’s version, which amounts to a second edition. Poe made detailed use of Irving’s Astoria, of Morrell’s A Narrative of Four Voyages, and of Reynolds’ Voyage of the United States Frigate Potomoc. The author wonders if the language of Tsalal may not be bastard Maori-Polynesian instead, as critics have maintained, of bastard Hebrew, and cites possible parallels between Tsalalian and Maori-Polynesian.]

Robertson, John W., M.D. Edgar A. Poe: A Study (New York: Haskell House, 1970). [Purports to be a reprint of two companion works, Poe: A Psychopathic Study (1st pub 1921) and Poe: A Bibliographic Study (1st pub 1934), bound as one.]

Robinson, E. Arthur. “Thoreau and the Deathwatch in Poe’s ‘The Tell-Tale Heart,’” Poe Studies, 4 (1971), 14-16. [Previous to the writing of Poe’s tale, Thoreau associated the sound and the tempo of the insect called the deathwatch with the beating of the human heart, and Poe may have been indebted to Thoreau for this suggestion.]

Rosenfeld, Alvin H. “The Poe-Chivers Controversy,” Books at Brown, 23 (1969), 89-93. [Much light is thrown on the PoeChivers controversy by a study of Dr. Chivers’ relations with Jedediah Hunt, Jr. A Letter from Chivers to Hunt, dated June 9, 1851, is printed for the first time.] [column 2:]

Ross, Donald H. ‘The Grotesque: A Speculation,” Poe Studies, 4 (1971), 10-11. [The tacit assumption that the grotesque “is immovably lodged between the two poles of some recognizable dualism” has perhaps blocked our understanding of it as an aesthetic concept; if “examined on larger, supra-dualistic grounds, the grotesque might appear to exist solely to deride dualism” and thus be related to “irony, paradox, and enigma in art” and “a means of escape from the tyranny of dualism.”]

Rubin, Larry. “An Echo of Poe in Of Time and the River,” Poe Newsletter, 3 (1970), 38-39. [A passage in Thomas Wolfe’s novel echoes the sound pattern of Poe’s “The Bells.”]

Salzberg, Joel. “Preposition and Meaning in Poe’s ‘The Spectacles,’” Poe Newsletter, 3 (1970), 21. [In some modern editions of Poe’s works, a printing error occurs in the last sentence of “The Spectacles,” where “with” has been substituted for “without.”]

Schuster, Richard. “More on the ‘Fig-Pedler,’” Poe Newsletter, 3 (1970), 22. [By his motto for “How to Write a Blackwood Article,” Poe meant to imply that Blackwood’s contributors have “made much out of little” in drawing on a parody of Dr. Johnson’s style that appears in the Rejected Addresses of Horace and James Smith.]

Seelye, John. “Edgar Allan Poe: Tales of the Grotesque and Arabesque,” in Landmarks of American Writing, ed. Hennig Cohen (New York/London: Basic Books, 1969). [Not a consciousness of space but of containment and unity characterizes Poe’s tales; thus in “being most alien,” he was “perhaps more ‘American’” than his contemporaries.]

Shulman, Robert. “Poe and the Powers of the Mind,” ELH, 37 (1970), 245-2G2. [The author reemphasizes the biographical-psychological approach to Poe, arguing that Poe’s best fiction deals with “the dark labyrinth of the mind” that is ignored in his formal theory and that it displays a “real insight into that basically irrational strategy by which the mind attempts to preserve itself from its own forces of madness, disease, and disintegration ....” The essay is suitably restrained and contains a penetrative interpretation of Poe’s “Hop-Frog.”]

St. Armand, Barton Levi. “In the American Manner: An Inquiry into the Aesthetics of Emily Dickinson and Edgar Allan Poe” (Doctoral Diss, Brown U, 1968). Abst: DA, 30 (1969), 294A. [Caught as Dickinson was between Poe’s “frightful cosmic sphere” and Emerson’s “transcendent circle of the self,” she produced a “running commentary” in her poetry that expresses in “recurrent gothic imagery” a soul sickness similar to that of some of Poe’s narrators. See PN, 2 (1969), 10.]

“Poe’s’sober Mystification’: The Uses of Alchemy in ‘The Gold-Bug,’” Poe Studies, 4 (1971), 1-7. [In “don Kempelen and His Discovery” Poe “appears merely to have toyed with the alchemical tradition” to effect a “clever hoax,” but in “The Gold-Bug” he seems to have wrought a more subtle alchemical pattern that amounts to “sober mystification.”]

Stauffer, Donald Barlow. “Poe’s Views on the Nature and Function of Style,” Emerson Society Quarterly, No. 60 (Summer 1970), Suppl., Pt. I, 23-30. [Poe always displayed an active interest in style but never defined it and apparently meant by it simply the resources of language the writer commanded. He himself favored “precision, purity, and simplicity” and scorned “vulgar expressions, long-winded or awkward sentences” and “lack of verbal accuracy.”]

Stein, Allen F. “Another Source for ‘The Raven,’” American Notes c, Queries, 9 (1971), 85-87. [The author suggests that the blackbird in Cornelius Mathew’s novel The Carecr of Puffer Hopkins (pub. serially in Arcturus, June 1841-May 1842) inspired Poe’s idea of the role of his raven.]

Stromberg, Jean S. “The Relationship of Christian Concepts to Poe’s ‘Grotesque’ Tales,” The Gordon Review (Wenham, Mass.), 11 (1968), 144-158. [Not an orthodox Christian thinker, Poe used the Christian world of reference to give “depth and significance” to his world and to enlarge “the dimensions [page 44:] of his characters.” His distortion of Christian concepts is vitally related “to his central theme of dehumanized man.”]

Thompson, G. R. “Current Poe Studies,” Poe Newsletter, 3 (1970), 23-24. [Running column describing new developments in Poe studies, meetings, symposia, and the like.]

———————, ed. Great Short Works of Edgar Allan Poe: Tales, Poems, Criticism (New York: Harper & Row, 1970). [In a long introduction (pp. 1-45), Thompson presents a highly perceptive overview of Poe’s art as an ironic manifestation of an ironic consciousness. With sly insinuation Poe mocks his readers and himself as writer, and we must become aware of this double irony if we are to read him rightly. To accompany such a point of view, Thompson includes in his selection much of the best of Poe’s comic and satiric fiction as well as the more familiar Gothic pieces. His selection of the poetry and criticism is more or less standard.]

———————, “Poe’s ‘Flawed’ Gothic: Absurdist Techniques in ‘Metzengerstein’ and the Courier Satires,” Emerson Society Quarterly, No. 60 (1970), [Poe] Supplement, Pt. I, 38-43, Pt. II, 46-58. [Poe’s “Metzengerstein” is no more serious than his four other Courier tales; like them its “precise control of point-of-view and style form a unified pattern of suiric irony”; therefore, it is an intended parody of the Gothic mode and not a “‘flawed’ Gothic” as some critics have maintained; but its hoaxical character is subtle enough to require more than a casual reading. For a contrary view see Benjamin F. Fisher, AL, 42 (1971), 487-494.]

———————, “Unity, Death, and Nothingness—Poe’s ‘Romantic Skepticism,’ “ PMLA, 85 (1970), 297-300. [Poe’s “vision of death and dissolution” is not “totally ecstatic and beatific” but displays “a tension between hope and despair, reason and madness, Divine Purpose and seeming Nodhingness,” and it must be called “‘skeptical.’” The author’s view is an attempt to correct Moldenhauer’s reading (PMLA, 83, 1968) .]

Tytell, John. “Anais Nin and ‘The Fall of the House of Usher,’” Under the Sign of Pisces: Anais Nin and Her Circle, 1 (1970), 5-11. [The basic situation and many of the details of Nin’s “Under a Glass Bell” and Poe’s “Usher” are “remarkably similar”; Nin seems to have attempted “a modern version of Poe’s classic tale of suspense and horror.”]

Umawatari, Nobuaki. “On Eureka,” in Mackawa wa Shunichi Kyojss Kanreki Kinen-ronbunshu (Tokyo: Eihosa, 1968). [No further information available.]

Virtanen, Reino. “Allusions to Poe’s Poetic Theory in Valery’s Cahiers,” in Poetic Theory/Poetic Practice (Papers of the Midwest Modern Language Assoc. Presented at the Annual Meetings for 1968, Oct. 17, 18, and 19, in Cincinnati, Ohio), ed. Robert Scholes (Iowa City: Midwest Mod Lang Assoc, 1969). [Valery was impressed by Poe’s theories rather than by his poetic practice, especially the idea that the poet is a craftsman who consciously designs his poem “with a view to its effect,” the idea of “pure poetry,” and the idea that the artist and the scientist “employ the same basic faculties of the mind.” These notions are exemplified not only in Valery’s essays on Leo” nardo da Vinci, Poe’s Eureka, and Baudelaire, but also in scattered comments in his Cahiers which echo and develop Poe’s ideas.]

Vitt-Maucher, Gisela. “E. T. A. Hoffmanns Ritter Gluck und E. A. Poes The Man of the Crowd: Eine Gegenuberstellung,” The German Quarterly, 43 (1970), 35-46. [No further information available.]

Walsh, Thomas F. “The Other William Wilson,” American Transcendental Quarterly, No. 10 (1971), 17-25. [An examination of Poe’s concept of the Double in “William Wilson” in the light of the Double’s “mythic associations of death and the diabolic” and of “psychological investigations of autoscopy” reveals such an interplay of irony, paradox, and ambiguity that the tale is far more subtle and complex in narrative structure than some prominent critics have thought.] [column 2:]

Wertz, S. K., and Linda L. Wertz. “On Poe’s Use of ‘Mystery,’” Poe Studies, 4 (1971), 7-10. [Poe uses the term “mystery” in three different senses: to refer to a “genuine” mystery or something incomprehensible to the human mind; to refer to a problem or something to which there is a solution; and to refer to a puzzle or something which can be seen into without obtaining additional knowledge. The plot structure of his stories “is determined by the concept employed—that of puzzle, problem, or mystery.” The particular concept “unites the story, and the unfolding of this concept constitutes the development of the plot” to involve the reader’s active participation so that “this technique becomes one of the major components of Poe’s literary style.”]


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