Text: Judy Osowski, “Fugitive Poe References: A Bibliography,” Poe Studies, December 1976, Vol. IX, No. 2, 9:49-51


[page 49, column 2, continued:]

Fugitive Poe References: A Bibliography

St. Cloud State University

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. The bibliography is compiled on behalf of the Poe Studies Association Bibliography Committee appointed in 1972 and supplements “Fugitive Poe References: A Bibliography” appearing in Poe Studies, 8 (June 1975), 21-22. The compiler wishes to thank Professor Benjamin Franklin Fisher IV for submitting several of the entries in the main section below and Professor T. H. Goetz for compiling and annotating the listings in the addenda.

Appel, Alfred, Jr. Nabhokov’s Dark Cinema (New York: Oxford Univ. Press, 1974). [The references to Poe in the screenplay of Lolita (pp. 16-18, 71, 121 j are more obvious than in the novel, p. 232.]

————————.’The Road to Lolita, or the Americanization of an Emigre,” Journal of Modern Literature, 4 (1974), 3-31. [Nabakov’s poem, “The Refrigerator Awakes,” alludes to Poe’s arctic victim, Pym, in The Narrative of Arthur Gordon Pym.]

Ash, Brian. Faces of the Future: The Lessons of Science Fiction (New York: Taplinger Publ. Co., 1975). [“The Facts in the Case of M. Valdemar,” “Hans Phaall,” “The Man That W as Used Up,” “Mellonta Tauta,” and The Narrative of Arthur Gordon Pym are mentioned in a brief discussion of Poe’s influence on science fiction writers, pp. 31-33.]

Barna, Yon. Eisenstein (Bloomington: Indiana Univ. Press, 1973) . [Only the film camera can capture the depth of Poe’s imagery. Eisenstein recalls that Poe is a dominant influence on his film, Que Viva Mexico!, pp. 32, 135, 176.] [page 50:]

Beaver, Harold. “The Great American Masquerade,” Times Literary Supplement, 21 (May 1976), 598-599. [Reviews recent Melville scholarship and perceives links among Melville, Poe, Irving, and Hawthorne.]

Bloede, Barbara R. “James Hogg’s Private Memoirs and Confessions of a Justified Sinner: The Genesis of the Double,” Etudes Anglaises, 26 (1973), 174-186. [Poe and Hoffmann, both second sons who could not identify with their fathers, searched for identity in their tales, pp. 183-184. Other references to Poe passim.]

Booth, Wayne C. A Rhetoric of Irony (Chicago: Univ. of Chicago Press, 1974). [Booth discusses Poe’s use of irony in a passage from “Why the Little Frenchman Wears His Hand in a Sling” and in a passage from “The Man That Was Used Up,” pp. 70-71. See also pp. 151-152.]

Brent, Harold. “Lolita: Nabakov’s Critique of Aloofness,” Papers on Language and Literature, 11 (1975), 71-82. [Humbert is compared to the narrator in Poe’s “Ligeia.”]

Bretnor, Reginald, ed. Science Fiction: Today and Tomorrow (New York: Harper and Row, 1974). [Poe is referred to passim in eight of the discussions.]

Brombert, Victor. “The Happy Prison: A Recurring Romantic Metaphor,” Romanticism: Vistas, Instances, Continuities, ed. David Thorburn and Geoffrey Hartman (Ithaca: Cornell Univ. Press, 1973), pp. 62-79. [Brombert considers it revealing that Baudelaire should admire Poe for his “prisoner” destiny.”]

Brotherston, Gordon. Latin American Poetry: Origins and Presence. (Cambridge: Cambridge Univ. Press, 1975). [Poe is mentioned as an influence on Brazilian and Spanish American poetry, pp. 4 and 63.]

Bruns, Gerald L. Modern Poetry and the Idea of Languages: A Critical and Historical Study (New Haven: Yale Univ. Press, 1974). [Language as a formative process in Poe’s “The Power of Words” is discussed and Eureka is mentioned, pp. 211-213, 221.]

Bryusov, Valery. “Burnt to Ashes,” Gogol from the Twentieth Century: Eleven Essays, ed. and trans. Robert A. Maguire (Princeton: Princeton Univ. Press, 1974), pp. 105-132. [The spectres of Poe’s “King Pest” are discussed as influences on all of Gogol’s heroes.]

De Camp, L. Sprague. Lovecraft: A Biography ( Garden City: Doubleday & Co., Inc., 1975). [Poe and Poe critics are discussed passim.]

“Edgar G. Ulmer,” an interview with Peter Bogdanovich, Kings of the Bs: Working Within the Hollywood System: An Anthology of Film History and Criticism, ed. Todd McCarthy and Charles Flynn (New York: E. P. Dutton and Co., 1975), pp. 376-409. [Ulmer says that Poe’s “The Black Cat” cannot be dramatized.]

Ehrmann, Jacques. “Introduction to Gaston Bachelard,” Velocities of Change, ed. Richard Macksey (Baltimore: The Johns Hopkins Press, 1974), pp. 253-260. [Bachelard’s high regard for Poe and his criticism of Poe’s works are briefly mentioned, p. 255.]

Eisner, Lotte H. Murnau (Berkeley: Univ. of Calif. Press, 1973). [Murnau is described by the critic of Film Kurier as occasionally glimpsing the mystic depths of Poe, pp. 128, 129.]

Ejxenbaum, Boris M. “O. Henry and the Theory of the Short Story,” Reading in Russian Poetics: Formalist and Structusralist Views, eds., Ladislaw Matejka and Krystyna Pomorska (Cambridge: MIT Press, 1971), pp. 227-270. [Poe’s theory of the short story is briefly discussed, and his stories are mentioned as the consolidation of the genre.] [column 2:]

Erlich, Victor. Gogol (New Haven: Yale Univ. Press, 1969) . [Erlich paraphrases Poe when he says that Gogol’s terrors in Dead Souls “are not of Russia but of the soul,” p. 135. Other references passim.]

Fraser, G. S. Lawrence Durrell: A Critical Study, with a bibliography by Alan G. Thomas (New York: E. P. Dutton and Co., 1968). [Durrell’s mind — intimacy and taste for the macabre and grotesque — may be derived partly from Poe, p. 20. Other references passim.]

Grebanier, Bernard. The Enjoyment of Literature (New York: Crown Publishers, 1975) . [Includes a brief discussion of Poe on the short story, pp. 158-163, and a comparison of Poe’s “A Dream Within a Dream” with similar lines from Shakespeare’s Measure for Measure, pp. 5-6.]

Green, Martin. Cities of Light and Sons of the Morning (Boston: Little, Brown and Co., 1972). [D. H. Lawrence objects to Poe’s characters because they are unnatural, pp. 304-305.]

Hartman, Geoffrey H. The Fate of Reading and Other Essays (Chicago: Univ. of Chicago Press, 1975). [In a discussion of Valery, Poe’s “Philosophy of Composition” is mentioned, pp. 233 and 239. See also p. 259.]

Hemenway, Robert. “Gothic Sociology: Charles Chesnutt and the Gothic Mode,” Studies in the Literary Imagination, 7 (1974), 101-119. [Poe’s “The Fall of the House of Usher” is mentioned in a discussion of how Gothic fiction “animates the world,” and his “The Pit and the Pendulum” is mentioned in a discussion of man’s irrational fear of darkness.]

Irwin, John T. “The Symbol of the Hieroglyphics in the American Renaissance,” American Quarterly, 26 (1974), 103-127. [Irwin mentions the reference in Poe’s Eureka to Jean Francois Champollion, the founder of modern Egyptology.]

Kronegger, Maria Elisabeth. Literary Impressionism (New Haven: College and Univ. Press, 1973) . [Poe is the immediate precursor of the Impressionist artists, pp. 71-72. Poe’s and Joyce’s worlds are “constituted by” the power of words, p. 85.]

Lawson, John Howard. Film: The Creative Process: The Search for an Audio-Visual Language and Structure. (New York: Hill and Wang, 1967). [D. W. Griffith’s use of Edgar Allan Poe’s life and stories in a film is discussed, pp. 24-26. See also p. 50.]

Madison, Charles A. Irving to Irving: Author-Publisher Relations 1800-1974 (New York: R. R. Bowker Co., 1974). [Because of his loyalty to Longfellow, Fields did not publish Poe, p. 21.]

McConnell, Fortier. “Computer-aided Thematic Analysis of French Prose Fiction,” The Computer and Literary Studies, eds. A. J. Aitken, R. W. Bailey, and N. Hamilton-Smith (Edinburgh: Edinburgh Univ. Press, 1973), pp. 167-181. [Though Poe was not serious when he wrote his lines about the development of intention, the French symbolists took him seriously, pp. 173, 174.]

McFarland, Thomas. “Poetry and the Poem: The Structure of Poetic Content,” Literary Theory and Structure, ed. Frank Brady, John Palmer, and Martin Price (New Haven: Yale Univ. Press, 1973), pp. 81-115. [Poe’s distinction between “Poetry” and “Poem” is discussed in relation to Coleridge’s distinction, pp. 83-84, 102.]

Moore, Arthur K. Contestable Concepts of Literary Theory (Baton Rouge: Louisiana State Univ. Press, 1973). [Poe starts with “form” and allows sense to emerge; his ill-defined formal perspectives often result in doubtful sense, p. 198. Other references to Poe passim.]

Morris, Chris. “Roger Corman: The Schlemiel as Outlaw,” Kings of the Bs: Working Within the Hollywood System: An Anthology of Film History and Criticism, ed. Todd McCarthy and Charles Flynn (New York: E. P. Dutton and [page 51:] Co., 1975), pp. 63-68. [Assassination as a means of attaining social advancement is a common theme in Corman’s “Poe films,” p. 67. Other references to Poe passim.]

Muchnic, Helen. Dostoevsky’s English Reputation ( New York: Octagon Books, 1969). [Dostoevsky gives Poe’s themes, such as “the imp of the perverse,” a more profound treatment, p. 152. Other references passim.]

Newcombe, Josephine M. Leonid Andreyev (New York: Frederick Ungar Publishing Co., 1973). [Poe’s “The Fall of the House of Usher” may have influenced L. Andreyev’s “The Life of Vasili Fiveisky,” p. 46. See also pp. 5 and 83.]

Peterkiewicz, Jerzy. The Other Side of Silence: The Poet at the Limits of Language (London: Oxford Univ. Press, 1970). [Poe’s rejection in “The Poetic Principle” of the possibility of a long poem being pure is mentioned, p. 103.]

Peterson, Carl. “The Pierpont Morgan Manuscript of Rossetti’s ‘The Blessed Damozel’,” Papers of the Bibliographical Society of America, 67 (1973). [Peterson discusses “The Raven” and Rossetti’s illustrations for Poe’s works.]

Prawer, S. S. Comparative Literary Studies: An Introduction (New York: Harper and Row, Barnes and Noble Import Division, 1973). [Poe’s influence on Baudelaire, Mallarme and Valery is discussed, p. 35. Other references to Poe passim.]

Predal, Rene. Le Cine’ma Fantastique. (Vichy: L’lmprimerie Wallon, 1970). [Contains fifteen references to Poe.]

Rabkin, Eric S. Narrative Suspense: “When Slim Turned Sideways. . .” (Ann Arbor: Univ. of Mich. Press, 1973). [The effect of the whole of The Narrative of Arthur Gordon Pym is destroyed because we are not given the necessary answer to the question of how the manuscript got to the reader, pp. 60-64, 69. Other references to Poe passim.]

Riffaterre, Michael. “French Formalism,” The Frontiers of Literary Criticism, ed. David H. Malone (Los Angeles: Hennessey and Ingalls, 1974), pp. 93-117. [Riffaterre says that in “L’Or du scarabee” Jean Ricardou does not properly decode the mythology of “The Goid-Bug.”]

“Roger Corman,” an interview with Charles Flynn and Todd McCarthy, Kings of the Bs: Working Within the Hollywood System: An Anthology of Film History and Criticism, ed. Todd McCarthy and Charles Flynn (New York: E. P. Dutton and Co., 1975), pp. 301-312. [Corman mentions his serious attitude toward Poe’s short stories and his seriocomic attitude toward his own Poe films.]

Ruthrof, H. G. “A Note on Henry James’s Psychological Realism and the Concept of Brevity,” Studies in Short Fiction, 12 (1975), 369-373. [Like Poe, James discusses his own “process of creation.”]

Seymour Merton. Prose Fiction of the Cuban Revolution (Austin: Univ. of Texas Press, 1975). [“Un’bum,” a short story by Lino Novas Calvo, is clearly inspired by Poe’s “The Cask of Amontillado,” pp. 238-239. See also pp. 240 and 244.]

Sheldon, Pamela Jacobs. “Jamesian Gothicism: The Haunted Castle of the Mind,” Studies in the Literaty Imagination, 7 (1974), 121-134. [Sheldon briefly compares Poe’s William Wilson to Brydon in James’ “The Jolly Corner.”]

Siegel, Eli. “Contempt Causes Insanity,” The Right of Aesthetic Realism to Be Known, no. 161 (1976). [Siegel says that Poe’s women characters, especially Ligeia, represent the deepest hopes of man.]

Skvorecky, Josef. All the Bright Young Men and Women: A Personal History of the Czech Cinema, trans., Michael Schonberg. (Toronto: Peter Martin Associates Ltd., “Take One Film Book Series,” 1971). [Poe, a father of modern art, effectively used cliches, p. 83. See also pp. 3, 163.] [column 2:]

Struve, Gleb. Russian Literature Under Lenin and Stalin (Norman: Univ. of Oklahoma Press, 1971). [Veniamin Kaverin, whose writing is much influenced by Poe, once described himself as “a young man who had read Edgar Allan Poe and took every barrel for a cask of Amontillado . . .,” p. 114.]

Todorov, Tzvetan. The Fantastic: A Structural Approach to a Literary Genre, trans. Richard Howard (Cleveland: Case Western Reserve Univ., 1973). [Poe’s “The Fall of the House of Usher” is briefly discussed as an instance of the uncanny bordering on the fantastic, pp. 4748. Poe is included in several other discussions in the book.]

Wagner, Geoffrey. Five for Freedom: A Study of Feminism in Fiction (Rutherford: Fairleigh Dickinson Univ. Press, 1973). [Psychologically, more can be learned about oppression from fantasy than external reality, so Poe may be a guide to understanding women, p. 45. Other references to Poe passim.]

Wetherill, P. M. The Literary Text: An Examination of Critical Methods (Berkeley: Univ. of Calif. Press, 1974). [Those who consider music necessary in Poe’s poetry are confused, p. 11. Other references passim.]

Wiener, Leo. The Contemporary Drama of Russia (1924; rpt. Boston: AMS Press, 1971). [Poe’s “The Masque of the Red Death” probably directly influenced L. Andreyev’s The Black Masks (1908); pp. 150-151.]

Woodward, James B. Leonid Andreyev: A Study (Oxford: Clarendon Press, 1969). [“The Bells,” Eureka, “The Fall of the House of Usher,” “The Haunted Palace,” and “William Wilson” are discussed as influencing Andreyev.]

Wright, Basil. The Long View. (New York: Alfred A. Knopf, 1974). [The influence of Poe on the early horror stories of Roger Corman is mentioned, p. 624. See also pp. 131, 191.]


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[S:0 - PS, 1976]