Text: Benjamin Franklin Fisher IV, “Fugitive Poe References: A Bibliography,” Poe Studies, June 1983, Vol. XVI, No. 1, 16:7-12


[page 7, column 2:]

Fugitive Poe References:
A Bibliography

University of Mississippi

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 that discuss the author 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. For assistance in the compilation of this column, I wish to thank Michael L. Burduck, Hal Charles, Dennis W. Eddings, Richard Fusco, Evans Harrington, George Kehoe, to chie W. Lawes, Kent Ljungquist, Maureen Cobb Mabbott, Cameron C. Nickels, Jean C. Pflum, Alexander G. to se III, Thomas H. Stewart, Craig Werner, Elizabeth S. Yost, and William J. Zimmer, Jr.

Abrams, Fred. “Soup to Nuts: a Poe-Puree of Puns,” Word Ways: Journal of Recreational Linguistics, 13 (1980) 38, 62. [Taking off from Poe’s practices, Abrams offers 25 of his own puns based on “Cask”; this item erroneously attributed to “Fred Jacobs” in “Fugitives” for 1981.]

Anon. “Americanisms not always Novelties,” Chambers Journal, 9(1872), 77. [To English ears “bug is offensive; thus the editors of Poe’s works change The Golden — sic — Bug to The Golden Beetle.]

Anon. “Author Has a Feel for Poe,” AARP News Bulletin, 24(June 1983), n.p. [Pictorial of J. L. gorges, “one of Poe’s foremost admirers.”]

Anon. “Crime Doesn‘t Pay,” New York Times Book Review, 30 May 1982, p. 22. [Notes a comic touch in the epigraph chosen for the Edgar Allan Poe Awards (to producers of outstanding mystery fiction) annual ceremony: “Crime Does Not Pay . . . Enough.”]

Anon. “Edgar Allan Poe’s ‘The Purloined Letter’: A Dramatization,” Scholastic Scope, 17 September 1982, pp. 4-7, 15. [A play aimed at junior high students, with a page of questions for classroom use and writing assignments.]

Anon. “Fiction,” Speaker, 9 March 1895, p. 278. [“Edgar Allan Poe has not had so many imitators as his undoubted genius would have led us to anticipate. . . . ‘Prince Zaleski’ is manifestly written by one of Poe’s true disciples.”] [page 8:]

Anon. “The King in Yellow,” Publishers’ Circular, 63 (1895), 357. [Chambers, like Poe, creates horrifying grotesques. He also endows them, as does Poe, “with an air of reality.” “The Mask” is especially Poesque, although Poe would not have revived the statue.]

Anon. “The Lounger,” Critic, 26 September 1885, p. 150. [As It Was Written by “Sidney Luska” (Henry Harland, later editor of The Yellow Book) “is as weird as one of Poe’s or Hoffmann’s tales“ — and no wonder: it was written mornings between 2 and 6 a.m.]

Anon. “Melmoth the Wanderer. By Charles to bert Maturin,” Athenaeum, 30 April 1892, pp. 560-561. [This notice of Bentley’s reprint of Maturin’s famous novel claims that Melmoth “never comes near the effect which the great masters of the grotesque and terrible — Hoffmann, Poe, and Villers de l‘lsle-Adam — have known how to produce.”]

Anon. “A New Edition of Poe’s Works,” Independent, 28 March 1895, p. 412. [Stedman’s introduction to the Bales is praised as sound, fair criticism. This review also notes how unsympathetic to Poe Woodberry’s biography is, remarking that anyone with sense would understand that “Poe’s malady clearly was not whiskey-mania” but epilepsy. Reviewer also terms Poe a “Nympholept“ — one in whom “virility is almost wholly displaced by imagination void of true passion.” Style in the tales “fits the creation like a glove.”]

Anon. “Paperbacks: New and Noteworthy,” New York Times Book Review, 4 April 1982, p. 35. [“In these uncertain times, the popularity of the genre of fiction pioneered by Edgar Allan Poe remains constant.” The continual production of detective fiction, the frequent meetings of devotees, and the increasing number of bookstores specializing in such wares are highlighted.]

Anon. “Poe and His Poetry,” Sharpe’s London Magazine, N. S. 19(1861), 49-50. [Although Poe’s life was debauched, ‘‘his genius burned with the purity of its flame unsullied. His command of language, and the manner in which he weaves the melodies of words, cannot but strike the most cursory reader.”]

Anon. “Poems of Edgar Allan Poe,” Publishers’ Circular, 66 (1897), 479. [Chides N. H. Dole for highlighting Poe’s personal difficulties in the biographical sketch for the volume published by George to utledge & Sons.]

Anon. “Quoth the Raven, ‘Not This Time‘,” Pottsville [Pa.] Republican, 20 January 1892, p. 1. [Comment about those who try to solve the mystery of depositors of to ses and liquor upon Poe’s grave, annually in Baltimore.]

Anon. “Sherlock Holmes: A Belated Criticism,” The Academy, 3 July 1897 [Fiction Supplement], p. 43. [Comments on to bert Blatchford’s critique of the Poe-Doyle relationship in the Clarion, with implicit doubts cast upon Blatchford’s methods.]

Anon. “Sherlock Holmes Weekend,” Baltimore Sun, 12 November 1982, p. B-2. [Surveys a debate by James F. Brewer, of the Baker Street Irregulars, and John to se, of The Edgar Allan Poe Society: “Was C. Auguste Dupin A Very Inferior Fellow?’]

Anon. Untitled Notice, Publishers’ Circular, 64(1896), 295. [Noting publication by J. Shiells & Co. of a “complete edition” of Poe’s writings, the writers recall Poe’s continuing [column 2:] popularity, preferring his verse to his tales — although by his fiction he is best known. Stevenson and Doyle owe debts to him. “Where Poe fails is in his lack of reality. his remoteness from life.”]

Anon. Untitled response to a letter, Publishers’ Circular 69 (1898), 275. [Responding to a lament over the increasingly gruesome cast to much contemporary fiction, the editors remark that works of forty to fifty years back, including those by Lytton, Ainsworth, and Poe, reveal just as much of the sensational.]

Anon. “The Works of Edgar Allan Poe ” Graphic, 10 (28 November 1874), 523. [Notes Poe’s iong-time appeal for British readers and compliments correctives to Griswold’s slanders in the memoir in vol. I of this A. and C. Black edition.]

Austin, James C. American Humor in Prance: Two Centuries of French Criticism of the Comic Spirit in American Literature [with a concluding chapter by Daniel to yot] (Ames: Iowa State Univ. Press, 1978), pp. viii, 7, 8, 16, 38, 63, 66-68, 78, 80, 82, 87, 112, 138. [The overall attitude is that French recognition of Poe s humor long preceded general American critical perception of the same.]

Baurn, Paull Ftanklin. Tennyson: Sixty Years After (Chapel Hill: Univ. of North Carolina Press, 1948), p. 247 [Stanza 5 of Tennyson’s “Ode on the Death of the Duke of Wellington” may recall Poe’s “The Bells.”]

Beck, Calvin Thomas. Scream Queens: Heroines of the Horrors (New York: Macmillan Books, 1978, rpt. in paper, Collier Books, 1978), pp. 282-286. [Hazel Court, who appeared in the Corman Poe films, observes Corman’s “genuine feeling for the mood of Edgar Allan Poe.” Beck’s analysis points out the comic undertones of these films, and he gives informative, terse synopses]

Berthoff, Watner. The Example of Melville (Princeton: Princeton Univ. Press, 1962), pp. 20, 75, 117-119, 134-138, 152. [In earlier pages, Poe and Dickinson are compared with Melville as writers of the American Renaissance; in the latter portions, Poe and Melville as writers of short fiction for magazines are compared.]

Billy, Ted. “The King’s Indian: Gardnet’s Imp of the Pervetse,” NMAL: Notes on Modern American Literature, 5(1980), item 2. [This note marshalls parallel passages between Gardner’s novel and Pym.]

Blackmur, R. P. “The Craft of Herman Melville,” Virginia Quarterly Review, 14 (1938), 266-282. [Poe’s Gothicism unlike Melville’s, is susceptible to reality because Poe admits the convention.]

Body, Lois Mautine. “The Influence of the Gothic Novel on the Works of Edgar Allan Poe.” M. A. Thesis: Univ. of Illinois (Urbana-Champaign), 1940. [This 74-page work is unlisted in present Poe bibliography. Walpole, Radcliffe, Lewis, C. B. Brown, and Samuel Warren are viewed as exercising considerable influence upon Poe.]

Brittain, William. “Mr. Strang and the Purloined Memo,” Ellery Queen’s Mystery Magazine, 81 (February 1983), 17-29. [The hero goes to his former teacher for aid in locating a stolen document of great scientific value; Mr. Strang, the teacher, following Dupin’s methods, locates the paper.] [page 9:]

Brosman, John. The Horror People (New York: St. Martin s Press, 1976; rpt. New York: Plume Books, 1977), passim. [Much valuable information on the making of Corman’s Poe films. Richard Matheson’s interest in Poe, as well as to bert Bloch’s greatest admiration, get notice.]

Bruce, Dickson D., Jr. Violence and Culture in the Antebellum South (Austin: Univ. of Texas Press, 1979). [The concluding chapter, “Edgar Allan Poe and the Southern World View,” analyzes Poe’s Southernness. His works dramatize the dangers of unrestrained passion, which often leads to perversity. By such means, glimpses ate given into the pessimism underlying Southern culture.]

Carr, John Dickson. Hag’s Nook (New York: Harper and Brothers, 1933), ch. 14. [Poe’s fondness for “the ordinary substitution cipher” is mentioned as part of attempts to decode a cipher integral to the plot of Carr’s novel.]

Carter, Lin. “Through the Ages,” in H. Warner Munn, Merlin’s Ring (New York: Ballantine Books, 1974), pp. vii-xi. [Munn’s thoughts on writing an ending to Arthur Gordon Pym and his turning over of the project to H. P. Lovecraft, who in turn produced At the Mountain of Madness, are sketched.]

Clark, Beverly Lynon. “Literary Sleuthing,” CEA Critic, 4’ (November 1982), 10-15. [Poe is included with other writers of detective fiction — Christie, Sayers, Tey, Carr — who provide plenty of false leads in their works.]

Coleman, Charles W., Jr. “The Recent Movement in Southern Literature,” Harper’s New Monthly Magazine, 74 (1887), 837-855. [Poe’s failure to earn a livelihood from his writing characterized many authors’ plights during antebellum days.]

Cooley, John R. Savages and Naturals: Black Portraits by White Writers in Modern American Literature (Newark: Univ. of Delaware Press, London and Toronto: Associated University Presses, 1982), pp. 27, 32-37, 5 1. [Pym functions with a “savage mode, treating blacks as obstacles to civilization and religion; the review of Swallow Barn, as well as the portrait of Jupiter in “The Gold-Bug,” furnish pleasant portraits of black-white relations. Lindsay discerned Poe’s Gothic or “Egyptian” qualities, derived probably from his remembrance of “The Gold-Bug” and Pym.]

Cotman, Avery. The Old Neighborhood (New York: Linden Press/Simon & Schuster, 1980), p. 183. [The hero of the novel discusses baseball in Poe Park, as well as Poe’s having written several works there.]

Croft, Jack. “Hear Now the Tale of Poe s Curse and How It Saved the Deet Park,” Philadelphia Inquirer, 31 January 1982, p. 3-B. [Concerning Poe’s lecturing at the Newark Academy, Delaware, on 23 December 1843, and the present-day inn located on the site of what was then St. Patrick’s inn — where, inevitably, Poe was supposed to have gotten very drunk.]

Davenport, Guy. The Geography of the Imagination: Forty Essays (San Francisco: North Point Press, 1981). [Poe’s name recurs within the book, but it is central in the title essay. There his conceptions in “The Philosophy of Furniture” are analyzed as good mainstream, early-Victorian taste. Those ideas, as well as his theories of Gothicism and their impact upon later writers, are important aesthetic considerations.

DeLeon, aatk. “Writers: What Was it the Raven Quoth?” Philadelphia Inquirer, 17 November 1982, p. 2-B. [Discusses use of a “Raven” character at a fund-raising cocktail party for the Philadelphia Writers’ Organization.]

Durkin, Mary Brian, O. P. Dorothy L. Sayers (Boston: Twayne, 1980), pp. 98-100. [Preparing her detection-horror anthologies, Dorothy Sayers devoted great study to Poe, Collins, Le Fanu. She credits Poe with developing the eccentric detective and the “red herring’ diversion of readers. In Great Short Stories of Detection, Mystery, and Horror (1928) — U. S. title, Omnibus oi Crime (1929) — she offers “Marie to get” as a tale of ‘analysis.”]

Eliot, Thomas Steatus. Selected Prose of T. S. Eliot, ed. Frank Kermode (New York: Harcourt, Brace Jovanovich 1975), pp. 61, 168. [Eliot mentions similar methods using ‘effect of terror” in Poe and Bishop Henry King, from whose verse came the epigraph to “The Assignation.” Eliot also comments upon Poe’s idea that surprise is essential in fine metaphor.]

Ellison, Raph. Invisible Man (New York: Random House 1952). [This famous novel opens with a direct reference to Poe s being “haunted,’ and other Poesque elements occur throughout.

Fisher, Benjamin Franklin IV. “The Poets of the Nineties,” Victorian Poetry 20(1982), 170-173. [Poe’s influence upon French and English decadence, notably that of Wilde.]

————————. ” ‘The Visitants from Yesterday’: An Atypical, Previously Unpublished Story from the Pen of ‘Charles Egbert Craddock‘,” Tennessee Studies in Literature, 26(1981), 89-100. [On p. 92 a comparison of “Craddock’s” and Poe’s aiming toward unity of effect by means of creating anxiety and terror is provided.]

Foster, James. “Poe Society Celebrates Sixtieth Year,” Ubique [Baltimore] 7 May 1982, p. 7. [The program featured Maureen Cobb Mabbott’s address, “Reading ‘The Raven’ by Poe and Others”; Sergei Troubetzkoy’s “Edgar Allan Poe; Catalyst for the Visual Arts”; and Benjamin Franklin Fisher IV’s reading of “The Raven.’ ]

————————. “Poe Statue Takes up Residence Here,” Ubique [Baltimore] 7 May 1982, pp. 1, 14. [Details about moving the statue of Poe, done by Sir Moses Ezekial in 1916 from Wyman Park m the University of Baltimore.]

Frank, Max. “Melville und Poe: Eine Quellen studie zu ‘Fragments from a Writing Desk No. 2’: ‘Redburn’ und ‘The Assignation‘,” Kleine Beitrage zvr Amerikanischen Literat#rgeschichte, ed. Hans Galinsky und Hans-Joachim Lang (Heidelberg: Catl Winter, 1969), pp. 19-26. [The striking similarities indicate possible borrowings from Poe by Melville.]

Gardner, John. “Learning from Disney and Dickens,” New York Times Book Review, 30 January 1983, p. 3. [Author’s parents read aloud items like “spooky stories by Edgar Allan Poe” during his childhood.]

Glickman, James. “Novel With Footnotes,” Sunday Telegram [Worcester, Mass.], 6 June 1982, p. 12E. [The heroine of John Barth’s Sabbatical: A to mance is supposedly descended from Poe, who is here interpreted as Dionysiac. She and her husband have a boat, The Pokey, the name also referring to Poe. [page 10:]

Goulart, to n. Cheap Thrills: An Informal History of the Pulp Magazines (New to chelle [N.Y.]: Arlington House, 1972), p. 175. [Poe numbers with Doyle and Bulwer as figures whose work is popular reprint material in pulps.]

Graff, Gerald. Literature Against Itself: Literary Ideas in Modern Society (Chicago and London: Univ. of Chicago Press, 1979!, p. 139. [Essays like Tate’s on Poe’s “angelic imagination” anticipate French existential criticism, which centers on the “subject-object relationship as the pivotal principle” of a writes’s entire work.]

Gregory, Sinda J. “The Mystery of Mystery: The Novels of Dashiell Hammett.” Diss.: Univ. of Illinois at Urbana-Champaign 1980. pp. 10, 13, 15. [Although the hard-boiled school of detective fiction seemed new in the 1920s and 30s, it was to oted in classical traditions originating in Poe’s “Murders.’ Unlike Poe’s, Hammett’s stories didn‘t present “an abstract problem in logic.” “Murdets” sets a pattern for a “puzzle-oriented” story, “which stresses careful plotting and even more careful attention to its own rules.”]

Hallab, Mary and Christopher Nassar. “Lenore versus Pallas Athene: a Reading of Poe’s ‘The Raven‘,” Library Chronicle [Univ. of Pennsylvania], 45(1981), 129-142. [Important Poesque symbolism operates in Pallas and Lenore, the decor of the speaker’s chamber, and the bird itself. The form indicates how scientific rationalism can be used to produce horror. The fall from innocence and grace and the loss of poetic vision are also central features of the poem.]

Harpet, Ralph. The World of the Thriller (Cleveland: The Press of Case Western Reserve Univ., 1969), pp. viii, 4. [Poe and Wilkie Collins influenced the Spy Story. Dupin and Holmes established the tradition of the detective who “uncovered and, in true psychoanalytic manner, exposed and left harmless the bizarre, the grotesque, the brutal, the ferocious. ]

Harris, Joel C. “Henry Lynden Flash,” Countryman, 14 June 1864, pp. 317-319. [Harris emphasizes the “unearthly’ coming from Poe, “that erratic son of genius.” Poe’s “delineating weird and mysterious scenes in his prose,” especially in “Usher,” “almost invariably rendered his verses ridiculous by his unnecessary repetitions — by keeping his characters too long before the reader.”]

Hirsch, E. D. Jr., Validity and Interpretation (New Haven and London: Yale Univ. Press, 1967), pp. 234-235. [Disagrees with T. S. Eliot’s strictures on “immemorial” in “The Raven.” Hirsch thinks that meaning in that word is “verbal,” and that there “must be a dividing line between Poe’s successful disregard of normal usage and the incommunicable word sequences of a bad freshman essay.”]

Hunsburger, H. Edward. “The Making of Edgar,’ The Third Degree, June 1980, p. 3. [On the origins of and the process of preparing the busts of Edgar and those of the raven for awards to high-ranking mystery and detective fiction. Cites Frederic Dannay’s recollections of early awards when a special leather-bound edition of Poe’s works was bestowed.]

Huss, to y, and T. J. to ss, eds. Focus on the Horror Film (Englewood Cliffs: Prentice-Hall, 1972). [Poe’s death and the 1960 Corman film, The Fall of the House of Usher, appear among significant events in the “Chronology.” The Black Cat (1934) also gets prominent mention.] [column 2:]

Johnson, James Gibson. Southern Fiction Prior to 1860: An Attempt at a First-hand Bibliography (Chatlottffville: The Michie Co., 1909; rpt. New York and London: Johnson Reprint, 1967). [Poe’s name recurs. Acknowledgement of excellence is accorded Harrison’s edition. Citations to periodical appearances of the tales (incomplete) and to early colleaed editions of the works are given.]

Jones, Howard Mumford. “Commentary,” Moby-Dick; or, The Whale, by Herman Melville (New York: W. W. Norton B: Co., 1976), pp. 565-575. [Pym is cited among works that begin in probability and move to improbability. Like Poe, Melville often deluded audiences into believing that he had read works entire, when he generally glanced at but a part. Ahab’s “speeches and meditations” stem from Poe’s writing and from that by other contemporaries. Like Poe, Ahab thinks that the essence of character “lies in the dauntless expression of will power.”]

Kaminsky, Stuart M. American Film Genres: Approaches to a Critical Theory of Popular Film (New York: Dell, 1974). [The “police” film stems from fiction of Gaboriau and Poe. There is critical comment on Corman’s The Mask of the Red Death.]

Kephart, Horace. Our Southern Highlanders: A Narrative of Adventure in the Southern Appalachians and a Study of Life among the Mountaineers, intro. George Ellison (Knoxville: Univ. of Tennessee Press, 1976), p. 203. [Mr. Quick, the detective sent by the federal government to the mountains to scent moonshining, reminds Kephart of Holmes and Dupin.]

Kirchoff, Frederick. William Morris (Boston: Twayne; London: George Priot, 1979), pp. 33, 38, 51. [Poe’s influence on Morris’s early verse i5 “direct.” A story by Morris in The Oxford and Cambridge Magazine, ‘Lindenbotg Pool,” recalls “Usher.” Poe s impact upon Morris’s poetry is akin to his adumbration of French Symbolist verse.]

Kraft, Stephanie. No Castles on Main Street: American Authors and Their Homes (Chicago, New York, San Francisco: Rand McNally & Co., 1979), pp. 125-132. [This guide briefly summarizes Poe’s life (on the basis of A. H. Quinn’s biography) and describes Poe memorials, museums, and houses in five cities; focus is on the Poe Museum in Richmond, the Notth 7th St. house in Philadelphia, and the Fordham cottage.]

Lang, Cecil. “Swinburne and American Literature: With Six Letters hitherto Unpublished,” American Literature, 19(1947-1948), 336-349. [Swinburne’s admiration for Poe, particularly for his poetry, and his interest in Ingram’s Poe biography are recorded.]

Leonard, John. “Ross Macdonald, His Lew Archer and other Secret Selves,” New York Times Book Review, 1 June 1969, pp. 2, 19. [The modern detective has considerably altered from “the 19th-century to mantic rebel explaining the inexplicably evil: Poe’s declassed aristocratic Dupin.” Poe was a major literary influence on young Macdonald.]

Lewis, Arthur H. Copper Beeches (New York: Trident Press, 1971; New York: Pocket Books, 1972), pp. 149-150, 233. [In this pastiche of the Sherlock Holmes tales, the narrator is advised to recall Dupin’s theory in “The Purloined Letter.” Later we learn that the villain has indeed “hidden” in plain sight of his pursuers.] [page 11:]

Lloyd, to semary. “Baudelaire’s Creative Criticism,” French Studies, 36 (1982), 37-44. [Passing comments about Poe’s impact upon the French writer].

London, Jack. “The Terrible and Tragic in Fiction,’ Critic, 42 (1903), 539-543, rpt. in Jack London: No Mentor but Myself: A Collection of Articles, Essays, Reviews and Letters (Port Washington and London: Kennikat Ptess, 1979), pp. 58-64. [Not in Hynemann or Dameron-Cauthen; editorial comment notes Poe as an exemplar of “the terrible-tragic horror tale, its travail but secret popularity among readers everywhere. London admires Poe’s great art and lasting fame — higher than that of most of his contemporaries — and he observes that in his own time the tale of terror is a grudge of magazine editors and readers alike, yet both are aware of its great appeal. He cites W. C. Mortow’s The A pe, The Idiot and Other People (1897), Rider Haggard’s She and Stevenson’s Dr. Jekyll and Mr. Hyde as similar contemporaneous cases. “Usher wins especially high praise.]

McCarthy, Todd, and Charles Flynn, eds. Kings of the B’s: Working within the Hollywood System — An Anthology of Film Criticism (New York: E. P. Dutton; Toronto and Vancouver: Clarke & Irwin, 1975). [Poe is frequently cited usually in contexts of the Corman films. The humor in those films and Poe’s own biography as part of The Black Cat are noted.]

MacKinnon, John. In Search of the Red Ape (New York, Chicago, San Francisco, 1974), p. 17. [Native Botneo legends — which misinform — about orangutans have been supplemented by such accounts as Poe’s “Murdets” and O. C. Vane’s To the Rescue.]

Mason, Franklin. “Baltimore Makes Poe Difficult to Appreciate,” New Orleans Times Picaysune, 6 September 1981, Section 3, p. 12. [A flippant but accurate appraisal of neglect and misunderstanding of Poe the man and artist, which notes repeated misspelling of his name, the difficulty encountered in seeking locations of his residences and those buildings and monuments associated with his Baltimore years. An interesting bellwether to the Poe legends.]

May, to llo. Freedom and Destiny (New York: W. W. Norton 8c Co., 1981), 85-86. [May mistakenly confuses Poe with the speaker in “The Raven” in discussing the effects of anxiety, and thus maintains erroneous traditions of the Poe legend.]

Mooney, Elizabeth C. “The Secret Charms of Richmond,” Washington Post, 2 May 1982, p. E-9. [Poe, “master of the macabre,” is cited as one of Richmond’s outstanding writers, and a sketch of the Poe museum follows.]

Morse, A. Reynolds. The Works of M. P. Shiel: A Study in Bibliography (Los Angeles: Fantasy Publishing Co., 1948), pp. 5-21. [Prince Zaleski “has in it more Poe than Job.’ Like Dupin, Zaleski appears in just three stories.]

Moskowitz, Sam. Hugo Gernsback: Father of Science Fiction (New York: Criterion Linotyping & Printing Co., 1959), pp. 22, 32. [Gernsback in 1924 planned “a new type of magazine based on the stories of Verne, Wells and Poe“ — which appeared finally in 1926 under the title of Amazino Stories. In his first (April 1926) editorial he remarked: “Edgar Allan Poe may well be called the father of ’scientification,’ ’ a title, Moskowitz thinks, belonging mote properly to Gernsback himself.] [column 2:]

Moss, Howard. “Neighbors, Friends, Collaboratots, Enemies,’ New York Times Book Review, 30 May 1982, p. 4. [Calls attention to the placement of Stephen Crane between Poe and Hemingway in Nicholas Delbanco’s Grosup Portrait: Joseph Conrad, Stephen Crane, Ford Madox Ford, Henry James, and H. G. Wells.]

“Mr. Mystery.’ “Writing for Ellery Queen’s Mystery Magazine,” 1DM Bibliophile, 27(1981), 12-15. [One prerequisite is “a villain equal to the hero,” with Dupin and D from “The Purloined Letter” cited.]

Nevins, Francis M., Jr., “1ntroduaion,” in Cornell Woolrich, Black Alibi (New York: Ballantine Books, 1982), pp. vii-xv. [“He was the Poe of the twentieth century and the poet of its shadows” is Nevins’s typing of Woolrich.]

Ogburn, Charlton. “What’s the Use of Poetry?” Readers Digest (December 1982), pp. 159-172. [Musical effects in “Ulalume” are cited as the essence of appeal in Poe’s poems; the first stanza is quoted.]

Pembroke, Linda. “The Benefits of Alcohol, USAir Magazine, 5 (April 1983), pp. 86-91. [“American writers . . . from Edgar Allan Poe to Norman Mailer, have prided themselves on their familiarity with bars, and have fueled the myth of a link between drinking and creativity.’]

Plummer, Bonnie C. “Humor and the Detective: Who s Laughing Now?” Clues: A Journal of Detection, 3(1982), 17-23. [Since the time of Dupin, especially as he performs in “The Purloined Letter,” humor has figured in detective stories. Dupin himself used humor.]

Pollak, Vivian R. “Dickinson, Poe, and Bartett Browning: A Clarification,” New England Quarterly, 54(1981), 121-124. [Browning, not Poe, may have inspired certain lines of Dickinson’s that have been accepted by scholars as deriving from Poe.]

Portet, R. E. “Crime Beat,” Ellery Queen’s Mystery Magazine, 80 (October 1982), 80-81. [The Penguin Crime Omnibus series features a Poe volume.]

“Crime Beat,” Ellery Queen’s Mystery Magazine, 81 (May 1983), 56. [A comparison of Ellery Queen’s poll in 1950 of “the best mysteries ever written” with one conducted today reveals that “The Purloined Letter” ranked second thirty-three years ago and third today. It ranked just below Thomas Burke’s “The Hands of Mr. Ottermole” in the first poll and just above it in 1983.]

Pronzini, Bill. “Ante-Bellum Days, or, ‘My to scoe Sneezed Ka-chee!‘” Clues, 2(1981), 41-49. [Opens with an account of Poe’s establishing the detective story, remarking that had he had any vision of its leading to such writers as pulp producer, to bert Leslie Bellum, he might have destroyed his manuscripts. The charge that Poe lacked humor is here repeated.]

Reddy, Francis. “How Far the Stars,” Astronomy, 11(June 1983), pp. 6-23. [“The Sphinx” is cited as exemplary of the signal problem in astronomy: distance.]

Roark, Anne C. “Scholars Discovering a ‘New World’ in American Literature,” Los Angeles Times, 30 December 1982, Pt. 2, p. 1. [Groups Poe with Twain and Faulkner as major writers who could disappear in ethnic-oriented classes.] [page 12:]

Sayers, Dorothy L. “Introduction,” Tales of Detection (London: J. M. Dent & Sons, 1936), pp. i-xvi. [Sayers laments the failure among current writers of detective fiction to maintain the directions and high qualities originating in Poe. She represents him with “The Purloined Letter.”]

Scarupa, Henry. “Still on the Trail of the Poe Picture,” Baltimore Sun Magazine, 19 September 1982, p. 2. [The adventures of Clifford Krainik in tracking a daguerreotype of Poe, given by Mrs. Clemm to William Painter, a wealthy bottle-cap producer in Baltimore, during the 1860’s The original sittings occurred in 1847 and 1848.]

Schreudets, Piet. Paperbacks, U.S.A.: A Graphic History 1939-1959. (San Diego: Blue Dolphin Enterprises, 1981). [A volume of Poe’s tales numbered among others, including work by Mann, Mansfield, and Hemingway, in the Armed Services Editions.]

Shires, Geoffrey. “Detect-If-Verse,” Ellery Queen’s Mystery Magazine, 80 (May 1982), 99. [The voice in this verse laments that, had he comprehended how to conceal a letter by placing it in full view of searchers, he “might have shone in Gothic pride,/While Poe wrote verse in lieu.”]

Shurt, William H. RaPpaccini’s Children: American Writers in a Calvinist World (Lexington: Univ. Press of Kentucky, 1981), pp. 3, 41, 57, 124. [Poe’s links with T. S. Eliot and O‘Neill, as well as the dream visions in his works, receive brief mention.]

Sinclair, Andrew. lack: A Biography of Jack London (New York: Harper & to w, 1977), pp. 91, 131, 179, 188. [Tetse assessments of London’s literary debts to Poe, especially of The Scarlet Plague to “The Masque of the Red Death.” London also had himself photographed beside Poe’s grave.]

Stallman, R. W. ed. Stephen Crane: Sullivan County Tales and Sketches (Amff: Iowa State Univ. Press, 1968), pp. 18-19. [Crane’s “grotesque and pseudo-spooky” pieces “hark back to Western tall tales and to the Poe-like horror tales of Ambrose Bierce. Whereas Poe and Bierce try to incite terror in the reader, Crane . . . deflates the terror supposedly felt by his comic adventurers, and thus debunks the genre of the horror story.‘’]

Stone, Wilfred, Nancy Huddleston Packer, and to bert Hoopes, eds The Short Story: an Introduction (New York: McGraw Hill, 1983), pp. 101-113. [With this reprinting of “Usher” are introductory comments that deftly outline Poe’s tendencies toward Gothic atmosphere and his theories of the short story.]

Symons, Julian. “The Dream Is Better,” Ellery Queen’s Mystery Magazine, 80 (August 1982), 6-18. [Andrew Blood, the protagonist, begins by quoting the first stanza of “To Helen,” then goes on to react violently against a woman who is not so ethereally beautiful as he wishes “Helen” to be, and finally reveals his transvestitism by “becoming his mother,” whose name was Helen — shades of to bert Bloch’s Psycho!]

Thompson, Lawrence. to bert Frost: The Early Years, 1874-1915 (New York: Holt, Rinehart, & Winston, 1966), pp. 71-72, 115-116, 500, 549. [Frost’s awareness of Poe’s verse and fiction, his parodic thrusts at Poe, and his commentary on the Tales (they exemplify all that short stories can do, excepting tales of character) receive just if terse mention.] [column 2:]

Travis, Mildred K. “Fact to Fiction in Pierre. The Arrowhead Ambivalence,” Extracts, 15 (September, 1973), pp. 6-S. “In Pierre the mansion in its ambiguous glory and subsequent fall, is Melville’s analogy to Poe’s House of Usher and Hawthorne’s House of the Seven Gables.”

Updike, John. “Reflections: Melville’s Withdrawal,” New Yorker, 10 May 1982, pp. 120-147. [In Pierre “domestic and social arrangements . . . are as gothic and mouldering as those in Poe.” In writing tales for magazines, Melville resembles Poe and Hawthorne, who had found outlets there.]

Warren, to bert Penn. “Introduction,” Selected Poems of Herman Melville: A Reader’s Edition (New York: Random House, 1967, 1970), p. vi. [Supplementing Randall Jarrell’s idea that Whitman, Dickinson, and Melville were the best poets in nineteenth-century America, Warren remarks: “I should agree with him (with perhaps Whittier and Poe limpingly fighting it out for fourth place).”]

Waugh, Charles. “The Fantastic Mystery: A Neglected Gente,” Mysteri-Visions: Great Science Fiction by Masters of Mystery, ed. Charles Waugh, Martin Greenberg, and Joseph Olander (New York: St. Martin’s Press, 1979), pp. xix-xxvi. [Edgar Allen [sic] Poe might have been included in this volume because he wrote tales combining “mystery detective, crime, or suspense” elements with those of “science fiction or fantasy.”]

Weaver, Raymond M. Herman Melville: Mariner and Mystic (New York: George H. Doran, 1921), pp. 152, 257. [Melville the dreamer is described by means of Poe’s words; Melville “at his best is equalled by Poe in the subtle melody of his prose. ’]

Wexler, Jerry. “I Am Edgar,” STORY: The Magazine of the Short Story in Book Form — Number Two, ed. Whit. Burnert and Hallie Burnett (New York: A. A. Wyn, 1952), pp. 132145. [In this short story, the spirit of Poe gradually takes over a twentieth-century Poe Scholar, Edgar Baker, married to Eleanor.]

Wilde, Oscar. Selected Letters, ed. Rupert Hart-Davis (New York, Toronto, Melbourne: Oxford Univ. Press, 1962), p. 65. [Concerning “The Best Hundred Books“ — published in the Pal/ Mall Gazette in 1885 — Wilde commented: “I am also amazed to find that . . . Poe has been passed over. Surely this marvellous lord of rhythmic expression deserves a place? ]

Winks, to bin W., ed. Detective Fiction: A Collection of Critical Essays (Englewood Cliffs: Prentice-Hall Books, 1980) . [In this good gathering of analyses and bibliographical materials Poe s name appears frequently.]

Winn, S. A. “The Dalrymple Dilemma: A Solve-It-Yourself Story,’ Black Cat, No. 6, pp. 40-46, 76. [Mts. Buntwhistle supposes that people frequently hide things in obvious places because of influence from “The Purloined Letter.”]

Wynne-Tyson, Jon. “Two Kings of Redonda: M. P. Shiel and John Gawsworth,” Books at Iowa, 36(1982), 15-22. [This overview of Shiel’s life and literary career mentions the oft-repeated comparison of Shiel with Poe, Corvo, and Melville.]

Yatff, Nortis W., “The Spirit of the Times: Its Early History and Some of Its Contributors,” Papers of the Bibliographical Society of America, 48(1954), 117-148. [“Thomas the Rhymer” identified as Thomas Dunn English, Poe’s enemy.]


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[S:0 - PSDR, 1980]