Text: Richard P. Benton, “Edgar Allan Poe: Current Bibliography,” Poe Newsletter­, January 1969, Vol. II, No. 1, 2:4-12


[page 4, column 1:]

Edgar Allan Poe: Current Bibliography

Trinity College

This bibliography takes up where Professor Benton’s second “Current Bibliography on Edgar Allan Poe” left off [see Emerson Society Quarterly, No. 47 (II Quarter 1967), 84-87], although here confined principally to the years 1966-68. For additional listings (primarily of a different kind), see Robert L. Marrs, “Fugitive Poe References: A Bibliography,” which follows. Professor Benton would welcome notices of publications on Poe, or offprints, for listing in this annual column: address him in care of the English Department, Trinity College, Hartford, Conn. 06106. Items left unannotated we were unable to obtain; and we earnestly request Poe scholars to contribute offprints or descriptions. We owe a special debt to Edmund A. Bojarski, Roger Forclaz, and Burton R. Pollin for continuing help in obtaining listings and offprints. — Ed.

Adams, Robert Martin. NIL: Episodes in the Literary Conquest, of Void During the Nineteenth Century (New York: Oxford U P, 1966). [In addition to Poe, the author treats Novalis, Gogol, Flaubert, Baudelaire, Melville, Mallarmé, and others. The central aspect of Poe’s work is seen in the tension he develops between pragmatic activity and the meaninglessness of all activity; although he asserts dominion over the practical, he is obsessed by the Nothingness suggested by death. The book is reviewed, with special attention to the treatment of Poe, by Milton C. Petersen (q.v.) in Poe Newsletter. ]

Allen, James L., Jr. “Stanza Pattern in the Poetry of Poe,” Tennessee Studies in Literature, XII (1967), 111-120. [Poe’s stanzaic irregularities are “intentional and purposeful outgrowths of his prosodic theory”; he did not regard his stanzas as simply paragraphs.]

Arnold, John Wesley. “The Poe Perplex: A Guide to the Tales” (Doctoral Diss, U of Mass, 1967). Abst: DA, XXVIII (1967), 1424A. [A handbook which comments on each of Poe’s seventy tales and which classifies them under thirteen headings of theme and type. The author proposes that Poe’s fiction “possesses a consciously controlled ‘book unity ’.”]

————. “Poe’s ‘Lionizing ’: The Wound and the Bawdry,” Literature and Psychology, XVIII (1967), 52-54. [Poe was the first American author to enunciate clearly in fiction the “requisite conditions for the development of the wounded man — the impotent — the anti-hero — as hero.”]

Arntson, Herbert E. “A Western Obituary of Poe,” Poe Newsletter, I (1968), 31. [A notice of Poe’s death appeared in the 7 February 1850 issue of the Oregon Spectator. ]

Asselineau, Roger. “Introduction” to Poe’s Histoires grotesques et sérieuses. [See Poe, editions.]

Bandy, W. T. “Baudelaire et Edgar Poe,” Revue de Littérature Comparée, XLI (1967), 180-194. [Baudelaire’s conception of Poe as a literary martyr influenced him rather than the character of Poe’s art.]

————. “Baudelaire et Poe: Vers une nouvelle mise en point,” Revue d ’Histoire Littéraire de la France, LXVII (1967), 329-334. [Review of the problems involved in pinpointing the relationship of Poe to Baudelaire.]

Basic, Sonja. “Edgar Allan Poe in Croatian and Serbian Literature,” Studia Romanica et Anglica Zagrabiensia, Nos. 21-22 (1966), 305-319. [From 1863 to 1963 Poe was one of the [column 2:] most frequently translated authors in Serbo-Croatian literature. Two writers particularly attracted to him were Antun Gustav Matos and Soetislav Stefabovic.]

Baudelaire, Charles. [See Florenne, Yves.]

Benton, Richard P. “Current Bibliography on Edgar Allan Poe,” Emerson Society Quarterly, No. 47 (II Quarter 1967), 84-87. [The second ESQ Poe bibliography, bringing the listings up to 1966.]

————. “Platonic Allegory in Poe’s ‘Eleonora ’,” Nineteenth Century Fiction, XXII (1967), 293-297. [Poe’s tale is based on Plato’s concept of the Twin Venuses.]

————. “Poe’s ‘Lionizing ’: A Quiz on Willis and Lady Blessington,” Studies in Short Fiction, V (1968), 239-244. [Poe’s satire is directed against N. P. Willis and Lady Blessington and her circle; the source of the tale was certain Willis letters published in the New York Mirror in 1835. See Thompson, G. R., for further speculation on the matter and the “Reply” listed below. Also see Arnold, John Wesley.]

————. “Reply to Professor Thompson,” Studies in Short Fiction, VI (1968), 97. [Thompson’s suggestions of additional sources and meaning for Poe’s “Lionizing” are substantial and supplement Benton. See Thompson, G. R., and the article by Benton listed above.]

————. “Poe’s ‘The System of Dr. Tarr and Prof. Fether ’: Dickens or Willis?” Poe Newsletter, I (1968), 7-9. [Poe may have originally intended to satirize Willis rather than Dickens, and therefore his tale may be of earlier composition than has been assumed.]

————. “The Works of N. P. Willis as a Catalyst of Poe’s Criticism,” American Literature, XXXIX (1967), 315-324. [Willis not only inspired Poe to write some good practical criticism but also inspired the development of two of his key critical concepts: his theory of totality of effect and his theory of the nature of the four faculties involved in the creative process.]

Bianchi, Ruggero. “Corollari di una poetica del ’ l ’effetto: I Marginalia de E. A. Poe,” Rivista de Estetica, XI (1966), 408-422. [The Marginalia is an important document because it gives us a deep understanding of Poe’s poetic theory and practice and anticipates the so-called New Poetics of the twentieth century.]

Bier, Jesse. The Rise and Fall of American Humor (New York: Holt, Rinehart and Winston, 1968). [The author believes that much of Poe’s humor is closer to the modern conception of “black humor” than it is to the seriously irrational.]

Bignami, Marialuisa. “Edgar Allan Poe di fronte alla natura,” Studi Americani, XI (1965), 105-115. [Poe’s treatment of nature differs from that of the New England Transcendentalists in that he saw nature not as propitious toward man but as subject to corruptibility and hostile toward man; it was therefore something that man had to contend with and overcome.]

Blanch, Robert J. “The Background of Poe’s ‘Gold Bug ’,” English Record [N.Y. State Eng. Council], XVI (1966), 44-48. [The sources of Poe’s tale are both literary and experiential; the most important literary source was Irving’s Tales of the Traveller, where Poe found the legend of Capt. Kidd’s buried treasure; the chief experiential source was Poe’s army experience on Sullivan’s Island.]

————. “Poe’s Imagery: An Undercurrent of Childhood Fears,” Furman Studies [Issue of the Furman University Bulletin ], XIV (1967), 19-25. [The imagery of Poe’s stories suggests that he “carried over to maturity a wide range of his own childhood fears.”]

Bonnet, Jean-Marie. “Raising the Wind; or, the French Editions of Edgar Allan Poe.” [See Poe, editions, Oeuvres Imaginatives et Poétiques Complètes d ’Edgar Allan Poe, ed. Charles Moulin.] [page 5:]

Braddy, Haldeen. Glorious Incense: The Fulfillment of Edgar Allan Poe, 2nd ed. (Port Washington, N.Y.: Kennikat Press, 1968). [Attempts to demonstrate Poe’s rise to fame through a survey of critical opinion.]

————. “Poe and the West — A Comment,” Poe Newsletter, I (1968), 31. [Poe’s Western affinities have been overlooked by critics and ought to be considered.]

Brasher, Thomas L. “A Whitman Parody of ‘The Raven ’?Poe Newsletter, I (1968), 30-31. [A parody of “The Raven” appeared in the 11 January 1848 issue of the Brooklyn Daily Eagle while Whitman was editor; he may have been the author of it.]

Brooks, Cleanth. “Edgar Allan Poe as Interior Decorator,” Ventures, VIII (1968), 41-46. [The furnishings of Poe’s interiors reflect the dehumanized conditions of his characters; an unbalanced view which ignores such an item as “Landor’s Cottage.”]

Burke, Kenneth. “Poetics in Particular; Language in General,” in Language as Symbolic Action (Berkeley & Los Angeles: U of Calif Press, 1966). [Contains portions of an article built around Poe, originally published in the October 1961 issue of Poetry. ]

Carlson, Eric W. , ed. Introduction to Poe. [See Poe, editions.]

————, ed. The Recognition of Edgar Allan Poe: Selected Criticism since 1829 (Ann Arbor: U of Michigan Press, 1966). [”Preface,” pp. vii-xi. A well-chosen collection of articles, poems, and reviews which display the chronological evolution of Poe’s reputation.]

Cary, Richard. “Poe and the Literary Ladies,” Texas Studies in Literature and Language, IX (1967), 91-101. [Poe’s career as a critic shows that he can be relied on only when dealing with male authors; his criticism of female authors was contaminated by his Southern chivalric view of womankind.]

Casale, Ottavio M. “Poe on Transcendentalism,” Emerson Society Quarterly, No. 50 (I Quarter 1968), 85-97. [Poe’s attitude toward transcendentalism was ambivalent, since he was “cognizant of two transcendentalisms, one of which he considered to be sincere and ‘ennobling, ’ and one which he thought to be the affectation of mimics and faddists.”]

Castro, Humberto de. “Whitman y Poe en la poesía de Rubén Darío,” Boletín Cultural y Bibliografico [Bogota], X (1967), 90-104. [No further information available.]

Cecil, L. Moffitt. “Poe’s ‘Arabesque ’,” Comparative Literature, XVIII (1966), 55-70. [Poe used the word “Arabesque” as a counter to the word “Germanism,” employing it in a double sense to mean both “Arabian” and “patterned strangeness.” His serious tales have a generic affinity with those of the Arabian Nights and also give the impression of abstract pictorial design.]

Chari, V. K. “Poe and Whitman’s Short-Poem Style,” Walt Whitman Review, XIII (1967), 95-97. [Whitman was sufficiently impressed by Poe’s idea that a long poem is a contradiction in terms that his own poetic practice may have been affected.]

Charvat, William. “Poe: Journalism and the Theory of Poetry,” in Aspects of American Poetry, ed. Richard M. Ludwig (Columbus: Ohio State U P, 1962), pp. 61-78. [An attempt to answer the question of how Poe came to conceive of his cosmological essay Eureka as a poem by affirming that he never gave up his ambition to be considered a poet by the general public in spite of its refusal to accept him in this role.]

Clough, Wilson O. “Poe’s ‘The City in the Sea ’ Revisited,” in Essays on American Literature in Honor of Jay B. Hubbell, ed. Clarence Gohdes (Durham: Duke U P, 1967), pp. 77-89. [Poe’s city symbolizes that void or nothingness to which the cosmos will inevitably return when it achieves unity.]

Conner, Frederick W. “Poe and John Nichol: Notes on a Source of Eureka, ” in All These to Teach: Essays in Honor of  [column 2:] C. A. Robertson, ed. Robert A. Bryan, Alton C. Morris, A. A. Murphree, and Aubrey L. Williams (Gainesville: U of Florida, 1965), pp. 190-208. [On Poe’s use of J. P. Nichol’s Architecture of the Heavens (1837).]

Covici, Pascal, Jr. “Toward a Reading of Poe’s Narrative of A. Gordon Pym, ” Mississippi Quarterly, XXI (1968), 111-118. [In his iconography of black, white, and red, Dirk Peters, the half-breed Indian, symbolizes life, and thus is the intermediary between “the blackness of material evil and the whiteness of Nirvana.” See also Petriconi, Hellmuth.]

Cox, James M. “Edgar Poe: Style as Pose,” Virginia Quarterly Review, XLIV (1968), 67-89. [Poe’s style was “pure pose” and produced transformations whose comprehension provides a nomenclature for describing his world.]

Dameron, J. Lasley. Edgar Allan Poe: A Checklist of Criticism 1942-1960 (Charlottesville: Bibliographical Society of the U of Virginia, 1966). [An annotated bibliography that is comprehensive for the period covered.]

————. “Poe at Mid-Century: Anglo-American Criticism, 1928-1960,” Ball State University Forum, VIII (1967), 36-44. [The vast majority of British and American critics during this period tended to recognize Poe’s versatile literary talents, his worldwide influence on other writers, and his firm position as a major literary figure.]

————. “Schiller’s ‘Das Lied von der Glocke ’ as a Source of Poe’s ‘The Bells ’,” Notes and Queries, n.s. XIV (1967), 368-369. [The author points out two opportunities (in addition to those suggested by K. W. Cameron) which Poe had to acquaint himself with Schiller’s lyric.]

————, and Louis C. Stagg. An Index to Poe’s Critical Vocabulary (Hartford: Transcendental Books, 1966). [Also published in Emerson Society Quarterly, No. 46 (I Quarter 1967), 1-50. A valuable tool for the Poe scholar which lists the key words in Poe’s critical vocabulary with page references for their occurrence in the Harrison edition of Poe’s Works. ]

Danner, Richard. “The Poe-Matthews Theory of the American Short Story,” Bdl State University Forum, VIII (1967), 45-50. [By subscribing to Poe’s conception of the short story and popularizing it, Brander Matthews made Poe into the Aristotle of the American short story.]

Davis, Harriet E. Elmira: The Girl Who Loved Edgar Allan Poe (New York: Houghton Miffin, 1966). [A fictional version of the Poe-Elmira Royster love affair, directed at young people in Grades 8-10.]

Davison, Ned J. “ ‘The Raven ’ and ‘Out of the Cradle Endlessly Rocking ’,” Poe Newsletter, I (1968), 5-6. [Poe’s poem may have influenced Whitman’s; moreover, the similarities of the poems emphasize their differences.]

Diskin, Patrick. “Poe, LeFanu, and the Sealed Room Mystery,” Notes and Queries, n.s. XIII (1966), 337-339. [Poe’s idea of a room apparently inaccessible from outside in “The Murders in the Rue Morgue” was anticipated by Le Fanu’s tale “Passage in the Secret History of an Irish Countess” (1838), and Poe may have been influenced by it; furthermore, Poe’s method of analyzing psychological associations in a person’s mind, which is used by Dupin at the beginning of “The Murders in the Rue Morgue,” may have been suggested to him by Mangan’s tale “The Thirty Flasks” (1838).]

Doxey, William S. “Concerning Fortunato’s ‘Courtesy ’,” Studies in Short Fiction, IV (1967), 266. [The author denies the validity of Joy Rea’s (q.v.) theory of courtesy as applied to Poe’s “The Cask of Amontillado.”]

Elkins, William R. “The Dream World and the Dream Vision: Meaning and Structure in Poe’s Art,” Emporia State Research Studies [Kansas State Teachers College], XVII (1968), 5-17. [An interesting attempt to relate Poe’s biography to the meaning and structure of his works.] [page 6:]

Fiedler, Leslie A. The Return of the Vanishing American (New York: Stein and Day, 1968). [Poe failed in his two attempts to write a “Western” novel (Arthur Gordon Pym and Julius Rodman) because he could not satisfactorily unite the western mythos with his own Southern literary concepts of the Gothic melodrama. Only with Pym did Poe come close “to the essential Western myth of male companionship triumphing over hostility between the races and death itself.”]

————. Love and Death in the American Novel, Rev. Ed. (New York: Stein and Day, 1966). [As well as various Poe references throughout, contains “The Blackness of Darkness: Edgar Allan Poe and the Development of the Gothic,” pp. 391-429.]

Florenne, Yves , ed. Charles Baudelaire, Oeuvres Complètes, Edition établie dans un ordre nouveau preséntée et annotée par Yves Florenne. 3 vols (Paris: Le Club Francais du Livre, 1966). [Vol. II is devoted to Baudelaire’s encounter with Poe: “. . . . a thoroughly execrable job” — Claude Richard (q.v.) in Poe Newsletter. ]

Folsom, Merrill. “Poe’s Eastern Kingdom,” Ford Times, LXI (1968), 8-12. [The author describes the Poe shrines and memorials in Baltimore, Richmond, Philadelphia, and New York, and cites the days they are open to the public and the visiting hours.]

Forclaz, Roger. “A Source for ‘Berenice ’ and a Note on Poe’s Reading,” Poe Newsletter, I (1968), 25-27. [A story entitled “The Visionary,” by one L. H. M., appeared in The Casket for 1832 and may be a source of Poe’s tale. The author suggests that a significant difference between Poe’s tale and others in the same mode is that Poe integrated a “moral” concern into his work rather than conventionally pointing out the moral. See also Halio, Jay L.]

Franklin, H. Bruce. Future Perfect: American Science Fiction of the Nineteenth Century (New York: Oxford U P, 1966). [Includes a discussion, pp. 93-103, of Poe as a science-fiction writer in which the author oddly concludes that Hawthorne’s efforts in this genre are superior to Poe’s. Poe’s “A Tale of the Ragged Mountains,” “The Facts in the Case of M. Valdemar,” and “Mellonta Tauta” are printed as examples of his science fiction.]

Freeman, Fred B., Jr. “The Identity of Poe’s ‘Miss B ’,” American Literature, XXXIX (1967), 389-391. [”Miss B” was Eliza J. Butterfield, a teacher at the Franklin Grammar School in Lowell, Mass.]

Fruit, John Phelps. The Mind and Art of Poe’s Poetry (New York: AMS Press, 1966). [A reprint of the 1899 volume that is still worth reading.]

Fumet, Stanislas. “Edgar Poe,” in Las Poesie au Rendez-vous (Paris: Desclée de Brouwer, 1967), pp. 65-98. [Discusses Poe’s poetry in terms of inspiration.]

Gargano, James W. “ ‘The Cask of Amontillado ’: A Masquerade of Motive and Identity,” Studies in Short Fiction, IV (1967), 119-126. [Poe’s story is a work of art, not merely a “Gothic exercise”; it is an ironic tale in which Montresor, like Fortunato, is “the dupe of his own crazed obsessions”; he is spiritually blind and lacking in self-awareness.]

————. “The Theme of Time in ‘The Tell-Tale Heart ’,” Studies in Short Fiction, V (1968), 378-382. [Poe’s tale, rather than being an artless example of American Gothicism, is “a well-organized and thoughtful work of art” whose basic structure is ironical.]

————. “ ‘William Wilson ’: The Wildest Sublunary Visions,” Washington and Jefferson Literary Journal, I (1967), 9-16. [Poe’s tale has a “clear, almost mathematical structure” which illustrates that the protagonist’s tragedy lies in his failure to realize “the complexity and richness of his whole nature.”]

Garrison, Joseph M., Jr. “The Function of Terror in the Work [column 2:] of Edgar Allan Poe,” American Quarterly, XVIII (1966), 136-150. [Poe employed terror to advance negatively the idea of Supernal Beauty; in this way his work has artistic integrity ]

Gerber, Gerald E. “Poe’s Odd Angel,” Nineteenth-Century Fiction, XXIII (1968), 88-93. [In “The Angel of the Odd” Poe “burlesques both the ideal of perfectibility and those reformers whose schemes were calculated to improve mankind.”]

Gohdes, Clarence. [See Stovall, Floyd.]

Grant, Vernon W. Great Abnormals: The Pathological Genius of Kafka, van Gogh, Strindberg and Poe (New York: Hawthorn Books, 1968). [A sensitive and sensible analysis of Poe’s personality by a clinical psychologist who corrects Freudian excesses.]

Greenwood, J. Arthur. Edition of The Rationale of Verse. [See Poe, editions.]

Griffith, Malcolm Anstett. “The Grotesque in American Fiction” (Doctoral Diss, Ohio State U, 1966). Abst: DA, XXVII (1967), 3047A. [The author attempts to define the grotesque, with special reference to Wittgenstein and Weitz, and to survey the grotesque systematically as part of the history of American fiction. A section on Charles Brockden Brown and Poe argues that these two writers made the grotesque believable, natural, and integral to the work of fiction, whereas before it was “excess literary baggage.”]

Halio, Jay L. “The Moral Mr. Poe,” Poe Newsletter, I (1968), 23-24. [Poe’s fiction is not without its moral basis, as may be seen in “Morella,” “Ligeia,” “The Masque of the Red Death,” and “A Descent into the Maelstrom.” See also Forclaz, Roger.]

Hall, Thomas. “Poe’s Use of a Source: Davy’s Chemical Researches and ‘Von Kempelen and His Discovery ’,” Poe Newsletter, I (1968), 28. [Poe’s tale contains a passage cleverly adapted from Sir Humphrey (sic) Davy’s Researches, Chemical and Philosophical of 1839.]

Halliburton, David G. “The Grotesque in American Literature: Poe, Hawthorne and Melville” (Doctoral Diss, U of Calif, Riverside, 1967). Abst: DA, XXVII (1967), 3840A-3841A. [Although these authors saw the grotesque as something which originated from everyday experience, they also thought it related to something beyond, the exact nature of which was obscure. Of the three, Poe was the only one who attempted a general theory of the grotesque.]

Hatvary, George E., and T. O. Mabbott. Prose Romances of Poe. [See Poe, editions.]

Hill, John S. “The Diabetic Mr. Poe?” Poe Newsletter, I (1968), 31. [Poe may have been a victim of diabetes mellitus and died in a diabetic coma.]

Hirsch, David H. “Another Source for Poe’s ‘The Duc de L ’Omelette ’,” American Literature, XXXVIII (1967), 532-536. [The author proposes that Poe’s tale drew not only on Disraeli’s novel The Young Duke but also on a review of the novel printed in the Westminister Review for October, 1831. The article surprisingly ignores the convincing findings of Kenneth L. Daughrity in American Literature, V (1933), 55-62.]

————. “The Pit and the Apocalypse,” Sewanee Review, LXXVI (Autumn 1968), 632-652. [An analysis of Poe’s “The Pit and the Pendulum” in terms of dream-vision, disintegration of the “structures of sensibility,” and Biblical and Existential meanings of the phrase “sickness unto death.”]

Hoffman, Paul P ., ed. John Henry Ingram’s Poe Collection (Charlottesville: U of Virginia Library 1967). [The complete collection on nine reels of microfilm; U of Virginia Library Microfilm Publications No. 4. Printed guide also available.] [page 7:]

Ingram, John Henry. [See Hoffman, Paul P.]

Just, Klaus Günther. “Edgar Allan Poe und die Folgen,” in Übergange Probleme und Gestalten der Literatur (Bern/München: Francke Verlag, 1966), pp. 58-78. [An analysis of the form and substance of the detective story as a genre consciously devised by Poe and carried on by Doyle, Chesterton, Christy, Sayers, and Crispin.]

Kime, Wayne R. “Poe’s Use of Irving’s Astoria in ‘The Journal of Julius Rodman ’,” American Literature, XL (1968), 215-222. [The author demonstrates the nature and the extent of Poe’s indebtedness to Irving.]

Kronegger, M. E. “The Theory of Unity and Effect in the Works of E. A. Poe and James Joyce,” Revue de Littérature Comparée, XL (1966), 226-234. [The author tries to show that the esthetic theories and the working methods of both men were much the same.]

————. James Joyce and Associated Image Makers (New Haven: College & Univ Press, 1968). [Explores Joyce’s imagery and esthetics by showing his kinship to Poe and certain modern painters.]

Lacan, Jacques. “Le Séminaire sur la lettre volée,” in Ecrits (Paris, 1966), pp. 11-61. [The author uses “The Purloined Letter” to comment on the power of an object to influence psychological response. A “structuralist” demonstration. See also Quinn, Patrick F., and Ricardou, Jean.]

Lancelotti, Mario A. De Poe a Kafka: para una teoría del cuento (Buenos Aires: Editorial Universitaria de Buenos Aires, 1965). Sixty-one page pamphlet on the development of the short story form, with special reference to Poe and Kafka, Poe’s theory of the short story is explained in Ch. III, pp. 23-31.]

Lawson, Lewis A. “Poe and the Grotesque: A Bibliography, 1695-1965,” Poe Newsletter, I (1968), 9-10. [A very useful bibliography for the investigation of Poe’s concept of the grotesque.]

————. “Poe’s Conception of the Grotesque,” Mississippi Quarterly, XIX (1966), 200-205. [Poe used the term “grotesque” in a positive manner as a form of the ideal; “it characterized the elements in his own art that he most highly desired.”]

Leary, Lewis. “Miss Octavia’s Autograph Album and Edgar Allan Poe,” Columbia Library Columns, XVII (February 1968), 9-15. [New Poe poem discovered.]

Lee, Helen. “Possibilities of Pym, ” English Journal, LV (1966), 1149-1154. [The author concludes that in Pym Poe “uses artistic order to demonstrate the disorder of human experience,” thus giving an ironic demonstration that the imagination is the source of truth.]

Lentricchia, Frank. “Four Types of Nineteenth-Century Poetic,” The Journal of Aesthetics and Art Criticism, XXVI (1968), 351-366. [Includes discussion of the Poe-Baudelaire esthetic as one of the types. Also see Lentricchia in “Fugitive Poe References.”]

Lerner, Arthur. “Psychoanalytically-Oriented Criticism of Three American Poets: Poe, Whitman, and Aiken” (Doctoral Diss. U of So Calif, 1968). Abst: DA, XXIX (1968), 1229A. [Describes the technique of psychoanalytically-oriented criticism, explains the way it can be applied to the poets mentioned, and points out the caveats the critic must observe if his criticism is to be valid.]

Lévy, Maurice. “Poe et la tradition ‘gothique ’,” Caliban V, Annales de la Faculté des Lettres de Toulouse, IV (1968), 35-51. [A consideration of Poe’s awareness of the Gothic tradition, in which the author rejects certain Freudian interpretations of Poe and suggests instead an archetypal approach to Gothic imagery. See Claude Richard, “Poe Studies in Europe” in this number of Poe Newsletter for more detailed commentary.]

Link, Franz H. “Die Burlesken Edgar Allen [sic ] Poes,” Neuren [column 2:] Sprachen, n.s. XVI (1967), 461-471. [Although nearly half of Poe’s stories attempt burlesque, they are unsuccessful because his humor is strained, unintentionally recoiling upon himself, and because the butts of his satire remain obscure.]

Lubbers, Klaus. “Poe’s ‘The Conqueror Worm ’,” American Literature, XXXIX (1967), 375-379. [Poe’s poem belongs to the ancient commonplace of the scena vitae, which “was dramatized and expanded into a theatrum mundi by the Elizabethan and Jacobean poetic imagination. Poe, however, gives his own original twist. . . . .”]

Mabbott, T. O. “A Poem Wrongly Ascribed to E. A. Poe,” Notes and Queries, n.s. XIV (1967), 367-368. [An eight-line poem beginning “The vessel, sinking, lifting,” which was sent to John H. Ingram by Miss Amelia Poe as by E. A. Poe, is a spurious concoction.]

————. “Poe’s ‘The Cask of Amontillado ’,” Explicator, XXV (1966), Item 30. [The names of Poe’s wines, Medoc and De Grâve, were specifically chosen for their ironical implications in the story.]

————. “Poe’s ‘The Man That Was Used Up ’,” Explicator, XXV (1967), Item 70. [The surname “Sinivate” is Cockney for “insinuate”; it is used for its humorous inappropriateness in relation to the protagonist of the story.]

————. “The Harvard Poe,” Poe Newsletter, I (1968), 4. [A report on the progress of the Complete Works of Poe just before Professor Mabbott’s death in May 1968. The first volume, the Poems, will appear this spring.]

————, and George E. Hatvary, ed. Prose Romances of Poe. [See Poe, editions.]

“In Memoriam Thomas Ollive Mabbott, 1898-1968,” by Floyd Stovall and Clarence Gohdes. [See Stovall.]

Martin, Terence. “The Imagination at Play: Edgar Allan Poe,” Kenyon Review, XXVII (1966), 194-209. [An excellent essay in which the author proposes that although Poe’s imagination was serious at times, it primarily “reveals the artist at play.”]

Mayersberg, Paul. “The Corridors of the Mind,” Listener, LXXIV (1965), 959-960. [The horror story developed cyclically from external fantasy in the Gothic type to interior fantasy in Poe and Bierce to exterior fantasy again today.]

MacDonald, Dwight , ed. Poems of Edgar Allan Poe. [See Poe, editions.]

McCarthy, Kevin M. “Another Source for ‘The Raven ’: Locke’s Essay Concerning Human Understanding, ” Poe Newsletter, I (1968), 29. [Poe’s choice of a talking bird may have been suggested by a passage in Locke’s Essay. ]

McVicker, Cecil Don. “Poe and ‘Anacreon ’: A Classical Influence on ‘The Raven ’?” Poe Newsletter, I (1968), 29-30. [Poe’s composition may have been influenced by the writing of Anacreon or his translators or imitators.]

Mengeling, Marvin, and Frances Mengeling. “From Fancy to Failure: A Study of the Narrators in the Tales of Edgar Allan Poe,” University Review, XXXIII (1967), 293-298; XXXIV, 31-37. [Poe’s narrators fail because they use fancy instead of imagination to solve their problems.]

Michael, Mary Kyle. “Stevenson and Poe,” Exercise Exchange, XIV (1966-1967), 21. [A comparison of Stevenson’s essay “El Dorado” and Poe’s poem “Eldorado” is used to demonstrate the difference between prose and poetry.]

Miller, James E., Jr. Quests Surd and Absurd (Chicago/London: U of Chicago Press, 1967). [Contains the essay “Poe’s ‘Ulalume ’ Resurrected,” pp. 239-248, first published in Philological Quarterly (1955); a reinterpretation of the poem as a coherent esthetic experience to show the inadequacy of the [page 8:] case against Poe made by Ivor Winters and others. Discussion of Poe is also to be found in the essay “Uncharted Interiors: The American Romantics Revisited,” pp. 249-259, first published in ESQ (1964).]

Moldenhauer, Joseph J. “Murder as a Fine Art: Basic Connections between Poe’s Aesthetics, Psychology, and Moral Vision,” PMLA, LXXXIII (1968), 284-297. [Poe’s esthetics, which includes metaphysical and ethical components, is expressed throughout “his literary works on all levels of theme and form” and serves to unify them as a whole.]

Morrison, Claudia. “Poe’s ‘Ligeia ’: An Analysis,” Studies in Short Fiction, IV (1967), 234-244. [The story is “a sophisticated structuring of an unconscious wish for the return of Poe’s lost mother.”]

Moss, Sidney P. “Arthur Gordon Pym, or The Fallacy of Thematic Interpretation,” University Review, XXXIII (1967), 299-306. [The author argues that seeing “a common thematic denominator” uniting the “multitude of disparate episodes” in Poe’s novel does not “necessarily indicate” that it is well organized and developed.]

————. “Poe and the Saint Louis Daily Reveille,” Poe Newsletter, I (1968), 18-21. [A description, with excerpts, of notices about Poe which appeared in the St. Louis newspaper from 11 June 1845 to 15 July 1847; they support Poe in his battle against his detractors during this period.]

————. “Poe, Hiram Fuller, and the Duyckinck Circle,” American Book Collector, XVIII (1967), 8-18. [Hiram Fuller, the New York editor, played an important part in the defamation of Poe’s character during Poe’s last years.]

Moulin, Charles , ed. Oeuvres Imaginatives et Poétiques Complètes d ’Edgar Allan Poe. [See Poe, editions.]

Muchnic, Helen. The Unhappy Consciousness: Gogol, Poe, Baudelaire [The Katharine Asher Engel Lectures: Smith College] (Baltimore, 1967). [In this 22-page pamphlet the author contends that the three writers are alike in their “unhappy consciousness,” a state of being which includes a sense of alienation, consciousness of one’s self as a divided nature, a dissatisfaction with common reality, and a yearning for the beyond.]

Müller, Hans Dieter, and Kuno Schuhmann. Edition of Poe’s Werke. [See Poe, editions.]

Nevi, Charles N. “Irony and ‘The Cask of Amontillado,” English Journal, LVI (1967) 461-463. [A general statement to the effect that it is the prevailing irony in Poe’s tale that produces its single effect on the reader.]

“New Letter of Edgar Allan Poe,” Emerson Society Quarterly, No. 51 (II Quarter 1968), Part II, 51-52. [A letter written to Dr. Lieber from Richmond on 18 June 1836.]

Newlin, Paul Arthur. “The Uncanny in the Supernatural Short Fiction of Poe, Hawthorne, and James” (Doctoral Diss, U of Calif, Los Angeles, 1967). Abst: DA, XXVIII (1968), 5064A-5065A. [Examines the “uncanny” (word used in the Freudian sense) in these three writers, and sees Poe’s use of the uncanny as consistent with his idea of unified effect and primarily psychological rather than moral.]

Olenjeva, B. “Amerikans ’ka novela epoxy romantyzmu,” Radjans ’ke Literaturoznavstvo [Kiev], XI (1967), 45-55. [On the American short story during the Romantic period.]

Ostrom, John. The Letters of Poe: Quest and Answer (The Edgar Allan Poe Society of Baltimore, Inc., 1967). [A pamphlet on the problems and discoveries attendant to editing the letters.]

————.The Letters of Edgar Allan Poe. [See Poe, editions.] [column 2:]

Parisoto, Henri. Translation of poems. [See Poe, editions, Le Corbeau et autres poèmes. ]

Petersen, Milton C. “Poe and the Void,” Poe Newsletter, I (1968), 14-16. [Review-essay on Robert Martin Adams ’ NIL; see Reviews Appendix of “Fugitive Poe References.”]

Petriconi, Hellmuth. “Abenteurer und kein Ende II: Adventures d ’Arthur Gordon Pym, ” Romanistisches Jahrbuch, XV (1964), 160-171. [A detailed textual analysis of Pym which attempts to show that its unity is dependent on its color symbolism.]

Pichois, Claude. “De poe à Dada,” Revue d ’Histoire Littéraire de la France, LXVII (1967), 450-460. [Poe the vehicle through which Baudelaire penetrated Germany.]

Poe, Edgar Allan. Editions. [Listed here are editions of recent date and of special interest; for further listings see Poe in the “Fugitive” bibliography. See also Leary, Lewis, and “New Letter of Edgar Allan Poe” for recent discoveries of new Poe material.]

————.Complete Poetry and Selected Criticism, ed. Allen Tate (New York/Toronto: New American Library, 1968). [In addition to the poems, contains “Letter to Mr. —— —— ,” “The Poetic Principle,” “The Philosophy of Composition,” “The Rationale of Verse,” “Drake and Halleck,” “The Colloquy of Monos and Una,” with notes and an introduction. See Tate, Allen.]

————.Le Corbeau et autres poèmes, translated by Henri Parisoto (Paris: Le Terrain Vague, 1968). [A de luxe edition with 25 plate illustrations by Gustave Doré.]

————.Histoires grotesques et sérieuses; with an Intro. by Roger Asselineau (Paris: Garnier-Flammarion, 1966). [The Introduction (pp. 15-23) emphasizes the unity in variety which pertains in Poe’s stories.]

————.Introduction to Poe: A Thematic Reader, ed. Eric W. Carlson (Glenview, Ill.: Scott Foresman, 1967). [”Introduction,” pp. xv-xxxv, “Selected Bibliography,” pp. xxxvi-xxxix, “Explanatory Notes,” pp. 555-598. A single-volume collection of Poe’s work arranged according to dominant themes and containing perceptive notes; unfortunately, the volume includes only brief excerpts from Pym and Eureka. ]

————.Letters, ed. John Ward Ostrom (New York: Gordian Press, 1966). [A reprint of the Harvard edition of twenty years ago, with a new foreward, supplementary chapter of new letters, and supplementary index.]

————.Oeuvres Imaginatives et Poétiques Complètes d ’Edgar Allan Poe, ed. Charles Moulin, 6 vols (Paris: Editions Vialatay, 1966). [The translation of the tales by Baudelaire, Hennequin, and Rabbe, together with the translation of the poems by Lemmonier. Illustrations by Leonor Fini. According to Jean-Marie Bonnet (q.v.) in the Poe Newsletter (I, 12-13), the introduction to this edition by Moulin contains a number of errors.]

————.Poems of Edgar Allan Poe, ed. Dwight MacDonald (New York: Crowell, 1965). [A selection of thirty-two poems which are augmented by three pieces the editor considers prose poems: “Silence,” “Shadow,” and “Eleonora.” Also includes some of Poe’s critical essays and pensées. Drawings by Ellen Raakin.]

————.The Portable Poe, ed. Philip Van Doren Stern (New York: Viking Press, 1968). [A new printing with updated bibliographies.]

————.Prose Romances: The Murders in the Rue Morgue and The Man That Was Used Up (New York: St. John’s U P, 1968). [A photographic facsimile edition prepared by George E. Hatvary and Thomas O. Mabbott. Introduction by Hatvary, bibliography by Mabbott. An edition of considerable historical importance.] [page 9:]

————.The Rationale of Verse (Princeton, N. J.: Wolfhart Book Co., 1968). [Introduction, notes, index, and table of rhymes by J. Arthur Greenwood. Attempted definitive edition of Poe’s famous essay with shorter pieces by him and by William Cullen Bryant, Goold Brown, and James Davenport.]

————. Tales translated into French in Oeuvres Complètes of Charles Baudelaire, ed. Yves Florenne. [See Florenne.]

————.Werke, ed. Kuno Schuhmann and Hans Dieter Müller, trans. Arno Schmidt and Hans Wollschläger (Walter-Verlag, Olten und Freiburg i 3r.: Vol I, 1966; Vol II, 1967). [A new edition of Poe’s works in German; Vol III has yet to appear.]

Pollin, Burton R. Dictionary of Names and Titles in Poe’s Collected Works (New York: Da Capo Press, 1968). [An index, compiled with the aid of a computer, to the Harrison edition; a highly useful tool for the Poe investigator.]

————. “Poe and the Computer,” ICRH Newsletter [Institute for Computer Research in the Humanities at NYU], III (1968), 2-3. [Brief description of the basic method of employing the computer in the Dictionary of Names and Titles in Poe’s Collected Works; a fuller statement may be found in the introduction to the Dictionary. ]

————. “Poe as ‘Miserrimus ’,” Revue des Langues Vivantes, XXX (1967), 347-361. [The author explores the influence of Frederick Manselle Reynolds ’ novel Miserrimus on Poe. He suggests that Poe’s cry of “Reynolds” on his death bed probably referred to F. M. Reynolds rather than to Jeremiah N. Reynolds.]

————. “Poe as Probable Author of ‘Harper’s Ferry ’,” American Literature, XL (1968), 164-178. [Poe probably wrote the plate article designated “Harper’s Ferry” that appeared in Graham’s Magazine for February, 1842.]

————. “Poe’s ’shadow ’ as a Source of His ‘The Masque of the Red Death ’,” Studies in Short Fiction, VI (1968), 104-106. [Sees Poe’s “Shadow” as a dress rehearsal for “The Masque of the Red Death.”]

————. “Poe’s ’sonnet — To Zante ’: Sources and Associations,” Comparative Literature Studies, V (1968), 303-315. [The sonnet was inspired by phrases in Poe’s own “Al Aaraaf,” which he had derived from Chateaubriand’s Itineraire, by the biography of Bryan, and by Keats ’ “Ode to a Nightingale.”]

————. “Poe’s ‘Von Kempelen and His Discovery ’ — Sources and Significance,” Études Anglaises, XX (1967), 12-23. [The story contains themes and references that are significant in Poe’s emotional and intellectual life. See also Hall, Thomas.]

Poulet, Georges. “Edgar Poe” in The Metamorphoses of the Circle, trans Carley Dawson and Elliott Coleman (Baltimore: Johns Hopkins Press, 1966), pp. 182-202. [Originally published in French as Les Metamorphoses du Cercle in 1961. Whether in dream, stupor, or full consciousness, the mind as portrayed in Poe’s writings always finds itself encircled. “Pleasure and terror, extreme passivity and extreme watchfulness, hyperacuity of the senses and of the intellect, are the means by which the mind recognizes the insuperable continuity of its limits.”]

Proffer, Carl R. Keys to ‘Lolita ’ (Bloomington: Indiana U P, 1968). [The reader of Lolita should realize that the Poe allusions are consciously contrived in leading the reader to expect Lolita’s death and that the “archetypal event of Humbert’s life is his romance with Annabel Leigh.”]

Pruette, Lorine. “A Psychoanalytical Study of Edgar Allan Poe,” in The Literary Imagination: Psychoanalysis and the Genius of the Writer, ed., with an introd., by Hendrik M. Ruitenbeck (Chicago: Quadrangle Books, 1965), pp. 391-432. [A [column 2:] study which is based on such errors of fact, such illogical interpretation of data, and such blind ignoring of alternative possibilities as to be misleading in the extreme.]

Purdy, S. B. “Poe and Dostoyevsky,” Studies in Short Fiction, IV, (1967), 169-171. [Outlines the strong influence which Poe had on Dostoyevsky, suggesting that the Russian writer may have particularly derived his theme of perversity from the American.]

Quinn, Patrick F. “Arthur Gordon Pym: A Journey to the End of the Page?” Poe Newsletter, I (1968), 13-14. [Review article describing and evaluating a “structuralist” approach to Poe by Jean Ricardou, q.v.]

Radó, György. “The Works of E. A. Poe in Hungary,” Babel, XII (1966), 21-22. [Shows that Poe was very popular and held in high estimation as an artist in Hungary from 1858 to the present.]

Ramakrishna, D. “The Conclusion of Poe’s ‘Ligeia ’,” Emerson Society Quarterly, No. 47 (II Quarter 1967), 69-70. [Ligeia’s resurrection is meant to be taken as an objective occurrence in which the theme of the will is carried out to its plotted end.”]

Rea, Joy. “Classicism and Romanticism in Poe’s ‘Ligeia ’,” Ball State University Forum, VIII (1967), 25-29. [”Ligeia” is essentially a story of the struggle between Classicism and Romanticism.]

————. “In Defense of Fortunato’s Courtesy,” Studies in Short Fiction, IV (1967), 267-268. [It is Fortunato’s sense of courtesy in “The Cask of Amontillado” rather than his sense of pride that allows him to be tricked by Montresor.]

Regan, Robert , ed. Poe: A Collection of Critical Essays (Englewood Cliffs, N.J.: Prentice-Hall, 1967). [”Introduction,” pp. 1-13; “Chronology of Important Dates,” pp. 179-180; “Notes on the Editor and Authors,” pp. 181-182; “Selected Bibliography,” p. 183. One of the Twentieth Century Views ’ series, containing a good selection of twelve modern essays.]

Ricardou, Jean. “Le Caractère singulier de cette eau,” Critique, CCXLIII-IV (1967), 718-733. [The author ingeniously interprets the description of the water found on Tsalal, which appears in the final paragraph of Chapter XVIII of Poe’s Pym, as metaphorically indicative of a printed text. Subject of a review-article by Patrick F. Quinn (q.v.) in Poe Newsletter. Reprinted in Problèmes du Nouveau Roman (Paris, 1968), pp. 193-207.]

————. “ L ’Histoire dans l ’histoire,” Critique, CCXXI-II (1966), 711-729. [A review-article, Romantique allemands, Vol. I. The author points out that the events described in “The Fall of the House of Usher” resemble those described by the narrator when he reads Canning’s Mad Trist, so that this story is a commentary on the main one, developing the thesis that the technique of the story-within-the-story is a defense against the “tyranny of the narrative.” A version appears in Problèmes du Nouveau Roman (Paris 1968), pp. 171-176.]

————. “L ’Or du Scarbée,” Tel Quel, no. 34 (1968), 42-57. [An analysis of “The Gold Bug” from the standpoint of French structuralism.]

Richard, Claude. “André Breton et Edgar Poe,” La Nouvelle Revue Française, CLXXII (1967), 926-936. [The author discloses Breton’s shifting views of Poe as a surrealist artist and points out that even the surrealists have seen Poe through Baudelaire and Mallarmé.]

————. “Another Unknown Early Appearance of ‘The Raven ’,” Poe Newsletter, I (1968), 30. [Poe’s poem was printed in the 3 February 1845 issue of the Morning News; this is perhaps its second printing.]

————. “Panorama Critique: Edgar Allan Poe,” Les Langues Modernes, LXII (1968), 115-119. [A review-article surveying recent English and American scholarship on Poe.] [page 10:]

————. “Poe and the Yankee Hero: An Interpretation of ‘Diddling Considered As One of the Exact Sciences ’,” Mississippi Quarterly, XXI (1968), 93-109. [Although “Diddling” was first published in 1843, it was probably originally one of the Tales of the Folio Club whose satire was directed against the Yankee writer John Neal. By 1843 Poe evidently revised his tale to satirize the Yankee hero Sam Patch.]

————. “Poe and ‘Young America ’,” Studies in Bibliography [Univ. of Va.], XXI (1968), 25-58. [The “contradictions or erratic judgments” which appear in Poe’s criticism between the time he moved to New York in 1844 until the fall of 1846 can be attributed to his effort to ally himself with Evert A. Duyckinck and other “Young Americans.”]

————. “Raising the Wind; or, The French Editions of the Works of Edgar Allan Poe.” [Review of a new edition of Baudelaire, containing his translations of Poe into French; see Florenne, Yves in Review Appendix.]

Ridgeley, Joseph V. and Iola S. Haverstick. “Chartless Voyage: The Many Narratives of Arthur Gordon Pym,” Texas Studies in Literature and Language, VIII (1966), 63-80. [The authors believe that at least three stages can be detected in Poe’s process of composition, that Poe planned Pym as a hoax, and that “the story lacks a controlling theme and has no uncontrovertible serious meaning,” the last belief being one which can be seriously challenged.]

Robbins, J. Albert. “The State of Poe Studies,” Poe Newsletter, I (1968), 1-2. [The author calls attention to those features which are lacking in Poe scholarship, outlines a program of study for those seriously interested in Poe, and suggests directions in which competent Poe scholars ought to go.]

————. “Edgar Allan Poe,” in American Literary Scholarship: An Annual/1966, ed. James Woodress (Durham: Duke U P, 1968), pp. 128-136. [Review-article of Poe scholarship in 1966; other Poe references in the volume, passim.]

Rogers, David. The Major Poems and Tales of Edgar Allan Poe (New York: Monarch Press, 1965). [Monarch Notes and Study Guides series. Plot and character analyses, critical comments, and essay questions and answers on selected tales, and formal analyses, summaries, critical comments, and essay questions and answers on selected poems. Everything is accurately done, and there are some unusually perceptive critical judgments.]

Rosati, Salvatore. “La teoria dell ’unità d ’effetto in E. A. Poe e la sua portata critica,” in Il Simbolismo nella letteratura Nord-Americana: Atti del Symposium tenuto a Firenze 27-29 novembre 1964, ed. Mario Praz et al. (Firenze: La Nuova Italia, 1965), pp. 161-168. [No further information available.]

Rose, Marilyn Gaddis. “Poe’s ‘The City in the Sea ’: A Conjecture,” Emerson Society Quarterly, No. 50 (I Quarter 1968), 58-59. [The line “The viol, the violet, and the vine” may contain a bilingual pun which suggests that the city dwellers met their doom because of their sexual license.]

Rosenfeld, Alvin. “Description in Poe’s ‘Landor’s Cottage ’,” Studies in Short Fiction, IV (1967), 264-266. [The model of Poe’s description of Landor’s cottage was his own cottage at Fordham.]

Rubin, Louis D., Jr. “Edgar Allan Poe: A Study in Heroism,” in The Curious Death of the Novel: Essays in American Literature (Baton Rouge: Louisiana State U P, 1967), pp. 47-66. [A somewhat inconsistent essay in which the author begins by disparaging Poe’s art and ends by concluding that he was “our first true man of letters.”]

Sale, Marian M. “Poe,” The Commonwealth: A Magazine of Virginia, XXXIII (1966), 28-37. [Brief review of Poe’s life with emphasis on the Richmond years. Illustrated.] [column 2:]

Salzberg, Joel. “The Grotesque as Moral Aesthetic: A Study of the Tales of Edgar Allan Poe” (Doctoral Diss, U of Oklahoma, 1967). [No further information available.]

Sanford, Charles L. “Edgar Allan Poe: A Blight upon the Landscape,” American Quarterly, XX (1968), 54-66. [Poe “shares an important affinity with the cult of the American Adam,” and understanding this is “central to an understanding of Poe.”]

San Juan, E., Jr. “The Form of Experience in the Poems of Edgar Allan Poe,” Georgia Review, XXI (1967), 65-80. [The basic motivation behind Poe’s poetics is his quest for being, and “the aesthetic form of the poems represents the unity of being which underlies the fundamental thesis of Eureka. ”]

Scherting, Jack. “The Bottle and the Coffin: Further Speculation on Poe and Moby-Dick, ” Poe Newsletter, I (1968), 22. [Not only are there resemblances between Poe’s Pym and Melville’s novel, but also many “trace elements” from the “MS. Found in a Bottle” are to be found in Moby-Dick. ]

Schmidt, Arno. Translation of Poe into German. [See Werke under Poe, editions.]

Schwartz, Arthur. “The Transport: A Matter of Time and Space,” The CEA Critic, XXXI (1968), 14-15. [The language of Poe’s “To Helen” suggests both a journey in space and an emotional or spiritual journey on the part of the voice of the poem.]

Seelye, John , ed. Arthur Gordon Pym, Benito Cereno, and Related Writings (Philadelphia: J. B. Lippincott, 1967). [An anthology which in addition to bringing together Poe’s novel and Melville’s short story also contains William Leggett’s The Encounter and J. N. Reynold’s Mocha Dick. ]

Skaggs, Calvin Lee. “Narrative Point of View in Edgar Allan Poe’s Criticism and Fiction” (Doctoral Diss, Duke U, 1966). Abst: DA, XXVII (1967), 3880A-3881A. [Poe’s use of narrative point of view is widely varied in spite of his prevalent use of the first-person; whatever point of view he chose, he handled with precision and appropriateness.]

Smith, Herbert F. “Usher’s Madness and Poe’s Organicism: A Source,” American Literature, XXXIX (1967), 379-389. [The source of Usher’s belief in “the sentience of all vegetable things” was Richard Watson’s essay “On the Subject of Chemistry” in his Chemical Essays, Vol. V.]

Sprout, Monique. “The Influence of Poe on Jules Verne,” Revue de Littérature Comparée, XLI (1967), 37-53. [Verne was indebted to Poe for method, incident, and character.]

Stagg, Louis C. [See Dameron, J. Lasley.]

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). [Abstract not yet published. Poe’s concern with a “terror of the soul” and his definition of the “dark side” of experience by means of such symbols as the abyss and the maelström parallel Dickinson’s apprehension of the self’s “bandaged moments” and its “appalling” exhilarations. The author attempts to place the two writers in the context of the history of ideas from Calvinism to Transcendentalism and to show the “tension” between the affirmative and the negative which is at the core of the work of both writers.]

Staats, Armin. Edgar Allan Poes symbolistische Erzähkunst (Heidelberg: Carl Winter, 1967). [Beihefte zum Jahrbuch für Amerikastudien, Nr. 20.] [A study of Poe’s theory of unity of effect, of its origins, and of its application in his work, especially by recourse to symbols. The thesis of the book is that in Poe’s tales the symbol fuses the abstract and the concrete, speculation and reality, thus overcoming the Cartesian dualism. Although it deals only with eight tales, “The Raven,” and Eureka, the book explores many relatively new areas in Poe criticism: the doctrine of correspondences, the [page 11:] theory of the sublime, the influence of Victor Cousin on Poe’s esthetics, the relation of Eureka to the theme of identity, the importance of verisimilitude.]

Stauffer, Donald Barlow. “The Two Tales of Poe’s ‘Ms. Found in a Bottle ’,” Style, I (1967), 107-120. [Poe’s mixture of two different writing tales, the “plausible” and the “arabesque,” gives the story its “texture of mixed fact and fancy,” and provides a “greater psychological depth by marking the progression of the narrator’s disintegration of mind with a corresponding progression of style.”]

Stern, Madeleine. “Poe: ‘The Mental Temperament ’ for Phrenologists,” American Literature, XL (1968), 155-163. [The author gives an account of the interest taken in Poe by contemporary phrenologists, to whom he was the ideal of the poet.]

Stern, Philip Van Doren. The Portable Poe. [See Poe, editions.]

Stevens, Arena J. [Sister Mary Dominic Stevens, O.P.] “Faulkner and ‘Helen ’ — A Further Note,” Poe Newsletter, I (1968), 31. [The speculation of James Stronks (q.v.) that Faulkner’s image of Emily Grierson in “A Rose for Emily” owes something to Poe’s “To Helen” is supported by a similar image in The Hamlet. ]

Stovall, Floyd. “Edgar Poe and the University of Virginia,” Virginia Quarterly Review, XLIII (1967), 297-317. [Probably the definitive account of Poe’s life at the university, together with an account of his impact on it and the honors it has conferred on him.]

————, and Clarence Gohdes. “In Memoriam Thomas Ollive Mabbott, 1897-1968,” Poe Newsletter, I (1968), 17-18. [A fitting tribute to the late great Poe scholar which not only surveys his major contributions to Poe scholarship but also points out his important work on Blake, Milton, Whitman, and minor American authors, as well as his work in numismatics and fifteenth-century block prints.]

Stronks, James. “A Poe Source for Faulkner? ‘To Helen ’ and ‘A Rose for Emily ’,” Poe Newsletter, I (1968), 11. [Suggests that Faulkner used Poe’s famous image of “Helen” as an idol in a window symbolically in his story. See also Stevens, Aretta J.]

Stroupe, John H. “Poe’s Imaginary Voyage: Pym as Hero,” Studies in Short Fiction, IV (1967), 315-321. [Pym is not a mere narrator like Melville’s Ishmael but a Romantic hero who is a “symbol of man’s struggle for affirmation of his own existence.”]

Tarbox, Raymond. “Blank Hallucinations in the Fiction of Poe and Hemingway,” American Imago, XXIV (1967), 312-343. [Phenomena associated with manic-depressive states and certain hallucinatory states provide the content and the pattern for some of the fiction of both Poe and Hemingway. The author analyzes Poe’s Pym and Hemingway’s “The Snows of Kilimanjaro” in the course of his demonstration.]

Tate, Allen. “The Poetry of Edgar Allan Poe,” Sewanee Review, LXXVI (1968), 214-225. [A shrewd appreciation of Poe’s poetry in which the author remarks on the European critical practice of trying to see an author whole as opposed to the American practice of “worry(ing) the single poem almost to death,” on Existentialism and the basic theme of annihilation in Poe, and on Poe’s “approximations” of the “Perfect Romantic Poem,” in an effort to explain Poe’s continuing fascination for the mature mind. Also appears as introduction to the collection of Poe’s poems listed below.]

————, ed. Edgar Allan Poe: Complete Poetry and Selected Criticism. [See Poe, editions.]

Thompson, G. R. “Poe’s Romantic Irony: A Study of the Gothic Tales in a Romantic Context” (Doctoral Diss, U So Calif, 1967). Abst: DA, XXVIII (1968), 3201A. [Poe’s art can be fully understood only if he is considered a “Romantic Ironist” rather than a deadly serious Gothicist.] [column 2:]

————. “The Poe Case: Scholarship and ’strategy ’,” Poe Newsletter, I (1968), 3. [The Poe Newsletter originated because of the importance of Poe’s literary contribution, the abundance of Poe studies, and the miscellaneous character of those studies; the author calls for essays on Poe in the context of Romanticism, based on a “cumulative” sense of the direction of Poe scholarship.]

————. “Current Poe Studies,” Poe Newsletter, I (1968), 4. [The first installment of a running column listing and describing current developments and work in progress; the second installment appears in the second number of Poe Newsletter, I, 32.]

————. “On the Nose — Further Speculation on the Sources and Meaning of Poe’s ‘Lionizing ’,” Studies in Short Fiction, VI (1968), 94-96. [Suggests that the Edinburgh Review, Francis Jeffrey, Thomas Moore, and Bulwer-Lytton are important to the satiric meaning of the tale, and that Poe uses the term “nose” in the sense of “style.” See also Benton, Richard P.]

————. “Dramatic Irony in ‘The Oval Portrait ’: A Reconsideration of Poe’s Revisions,” English Language Notes, VI (1968), 107-114. [Careful analysis of the structure, imagery, and revisions of the tale reveal it to be ironic and hoax-like, a psychological story instead of, or in addition to, a “moral” tale of the occult.]

Travis, Mildred K. “The Idea of Poe in Pierre, ” Emerson Society Quarterly, No. 50 (I Quarter 1968), 59-62. [In Pierre Melville presents his comic-tragic view of literary criticism and his skeptical view of Poe’s ideas. Poe’s life and works are used “as an objective correlative of the suffering artist” whom Melville “both pities and satirizes” and “whose fate he fears.”]

Tuttleton, James W. “The Presence of Poe in This Side of Paradise, ” English Language Notes, III (1966), 284-289. [Fitzgerald’s novel echoes Poe’s “Ulalume,” “The Murders in the Rue Morgue,” “Ligeia,” “The Fall of the House of Usher,” “The Raven,” and “Lenore.”]

Ungaro de Fox, Lucía. “El parentesco artístico entre Poe y Darío,” Revista Nacional de Cultura [Caracas], XXVIII (1966), 81-83. [No further information available.]

Untermeyer, Louis. “ ’Weary, Way-worn Wanderer ’,” in Paths of Poetry: Twenty-five Poets and Their Poetry (New York: Delacorte Press, 1966). [An introduction to Poe’s poetry directed at young people in Grades 7-11.]

Valldeperes, Manuel. “El principio de trascendencia en la poesía de Edgar A. Poe,” La Torre [Universidad de Puerto Rico], XIII (1965), 43-55. [In his poetry Poe aimed to create a world that was essential and transcendental.]

Vanderbilt, Kermit. “Art and Nature in ‘The Masque of the Red Death ’,” Nineteenth-Century Fiction, XXII (1968), 379-389. [In his tale Poe “gave dramatic formulation to his esthetic creed” and traced the outline of “a more grandiose theory of art and nature for ‘The Landscape Garden ’ and beyond.” Poe’s artist-hero resembles Shakespeare’s Prospero and his tale is “a fable of nature and art.”]

Varnado, S. L. “The Case of the Sublime Purloin; or Burke’s Inquiry as the Source of an Anecdote in ‘The Purloined Letter ’,” Poe Newsletter, I (1968), 27. [Dupin’s story of the boy who played “even and odd” by imitating faces came possibly from Edmund Burke’s A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful. ]

————. “Poe’s Raven Lore: A Source Note,” American Notes & Queries, VII (1968), 35-37. [The Darker Superstitions of Scotland by Sir John Graham Dalyell may have provided background material for “The Raven.”]

Vendelfelt, Erik. “Fröding och Poe: Några anteckningar,” Svensk Litteraturtidskrift, XXIX (1966), 56-66. [Fröding found in Poe “a man of his own spirit,” but he went his own way.] [page 12:]

Waggoner, Hyatt H. “Transcendental Despair: Edgar Allan Poe,” in American Poets: From the Puritans to the Present (New York: Houghton Mifflin, 1968), pp. 130-146. [Discusses Poe in the context of Emersonian Transcendentalism: “Intending to affirm the reality of the transcendent Ideal,” Poe made of Transcendentalism “a doctrine of negation and despair.” The author sees Poe finally as a minor poet who wrote a few meaningful poems.]

Walker, I. M. “The ‘Legitimate Sources ’ of Terror in ‘The Fall of the House of Usher ’,” Modern Language Review, LXI (1966), 585-592. [The terror in the story is psychological.]

Walsh, John. Poe the Detective: The Curious Circumstances Behind the Mystery of Marie Roget (New Brunswick: Rutgers U P, 1968). [Undoubtedly the definitive account of the Mary Rogers murder case on which Poe based his story. The author submits that Poe did not really solve the Mary Rogers case as he claimed.]

Weiss, Aureliu. “Propos sur la littérature fantastique,” L ’Enseignement sécondaire au Canada (Jan-Feb 1967), 44-51. [Discusses the logic of fantasy and points to Poe, Hoffman, and Wells as logicians of the fantastic.]

Weiss, Miriam. “Poe’s Catterina,” Mississippi Quarterly, XIX (1965-66), 29-33. [The author discusses the cats in Poe’s fiction.]

Whitman, Sarah Helen. Edgar Allan Poe (New York: AMS Press, 1968). [A reprint of the 1860 volume. Mrs. Whitman defended Poe and showed considerable insight into his character, art, and ideas.]

Wilbur, Richard. “The Poe Mystery Case,” New York Review of Books (13 July 1967), pp. 16, 25-28. [In the course of his review of books by Carlson and Regan (q.v.), the author calls attention to Poe’s theory of “mystic” meaning in literature and suggests that the reader of Poe must become alert to such meaning and look for those signs which indicate Poe’s ulterior motives.]

Wilcox, Earl J. “Poe’s Usher and Ussher’s Chronology,” Poe Newsletter, I (1968), 31. [The name “Usher” in “The Fall” may have been chosen by Poe under the influence of Bishop James Ussher’s Annales Veteris et Novi Testamenti. ]

Wilkinson, Ronald Sterne. “Poe’s ‘Hans Pfaall ’ Reconsidered,” Notes and Queries, n.s. XIII (1966), 333-337. [The story is a satire on George Tucker’s A Voyage to the Moon (1827).]

Williams, Paul O. “A Reading of Poe’s ‘The Bells ’,” Poe Newsletter, I (1968), 24-25. [In Poe’s poem a definite theme is developed — “that discord and death alone are triumphant” it is therefore more than an experiment in onomatopoeia.]

Wollschläger, Hans. Translation of Poe into German. [See Werke, under Poe, editions.]

Woodberry, George E. Edgar Allan Poe (New York: AMS Press, 1968). [A reprint of the 1885 volume which was the first good critical biography of Poe.]

————.The Life of Edgar Allan Poe, Personal and Literary: With His Chief Correspondence with Men of Letters (New York: Biblo and Tannen, 1965). [A reprint of the 1909 expanded and revised version of the 1885 volume.]

Woodress, James , ed. American Literary Scholarship: An Annual/1966. [See Robbins, J. Albert.]

————, ed. Dissertations in American Literature, 1891-1966, newly rev. and enlarged with the assistance of Marian Koritz (Durham: Duke U P, 1968). [Poe dissertations include items 2128-2206.]

Zimmermann, Melvin. “Baudelaire, Poe, and Hawthorne,” Revue de Littérature Comparée, XXXIX (1965), 448-450. [In his Notes nouvelles sur Edgar Poe, Baudelaire plagiarized a passage from Poe’s review of Hawthorne’s Twice-Told Tales. ]  


Associated Article(s) and Related Material:


[S:1 - PSDR, 1969]