Text: Richard P. Benton, “Edgar Allan Poe: Current Bibliography,” from Poe Newsletter­, June 1970, vol. III, no. 1, 3:11-16


[page 11, column 1:]

Edgar Allan Poe: Current Bibliography

Trinity College

This bibliography takes up where Professor Benton’s third installment, “Edgar Allan Poe: Current Bibliography,” left off [see Poe Newsletter, II (1969), 4-12], and covers principally the years 1968-69. Professor Benton would welcome notices of publications on Poe, especially off prints, 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 and descriptions. — Ed.

Allen, Michael. Poe and the British Magazine Tradition (New York: Oxford U P, 1969). [In trying to solve his “quality popularity dilemma,” Poe adopted conventions he learned from reading British magazines, especially typified by Blackwood’s. ]

Auden, W. H., ed. Selected Prose, Poetry and “Eureka” by Edgar Allan Poe [See Poe, editions.]

[Bandy, W. T.] Baudelaire and Poe: An Exhibition in Conjunction with the Inauguration of the Center for Baudelaire Studies (Furman Hall, Vanderbilt University, April Ninth to Thirtieth, 1969). [A 16-page annotated catalog, along chronological lines from the 1830’s to the present, of nearly a hundred items in the Poe-Baudelaire collection at the Center for Baudelaire Studies.]

Barrett, Arthur, ed. O. Henry and Edgar Allan Poe. [See Poe, editions.]

Baxter, Nancy Niblack. “Thomas Moore’s Influence on ‘Tamerlane ’,” Poe Newsletter, II (1969), 37. [For his love story Poe was indebted to Moore’s “The Veiled Prophet of Khorassan” in Lalla Rookh. ]

Benton, Richard P. “Edgar Allan Poe: Current Bibliography,” Poe Newsletter, II (1969), 4-12. [An annotated bibliography confined principally to the years 1966-68.]

——————. “ ‘The Masque of the Red Death ’ — The Primary Source,” American Transcendental Quarterly, No. 1 (I Quarter 1969), 12-13. [The primary source of Poe’s tale was Willis ’ description of a Parisian masked ball at the height of the plague published in the New York Mirror. ]

——————. “ ‘The Mystery of Marie Roget ’ — A Defense,” Studies in Short Fiction, VI (1969), 144-151. [Poe’s story has been unappreciated by most critics because they have misunderstood its form; it is not a “tale” but a “colloquy” designed essentially to display Dupin’s mental processes, and in it Poe makes use of the kind of conceptual “model” used by scientific thinkers today.]

——————. “Poe’s Acquaintance with Chinese Literature,” Poe Newsletter, II (1969), 34. [Poe was slightly acquainted with Chinese literature, an acquaintance which has not previously been noted.]

——————. “Poe Onomasticon,” review of Dictionary of Names and Titles in Poe’s Collected Works. [See “Reviews” [column 2:] in the “Fugitive” bibliography.]

Braddy, Haldeen. “Edgar Allan Poe’s Princess of Long Ago,” Laurel Review, IX (1969), 23-31. [The author emphasizes the amorous character of most of Poe’s poetry, especially of his preoccupation with the theme of the princesse perdue. ]

Broussard, Louis. The Measure of Poe (Norman: U of Oklahoma Press, 1969). [A book characterized by curious omissions. The first part consists of a review of the critical estimate of Poe, but stops with the views of Tate and Eliot without considering the important estimates of Davidson, Patrick Quinn, and Wilbur, and other recent work. The second, and really important part, consists of an attempt to ascribe a unity of theme in Poe’s work as a whole based on the principles laid down by Poe in his Eureka, but which oddly neglects an analysis of Pym and fails to mention the work of Rans in this connection. The essays are followed by an attempt at a complete bibliography of Poe criticism since 1925 in which, however, the work of Wilbur and many others is not listed.]

Campbell, Felicia F. “A Princedom by the Sea,” Lock Haven Review, No. 10 (1968), 39-46. [The author discusses allusions to Poe in Nabokov’s Lolita. ]

Christopher, J. R. “Poe and the Detective Story,” Armchair Detective, II (1968), 49-61. [The author suggests sixteen narrative devices which Poe contributed to the detective-story genre.]

Claudel, Alice M. “What Has Poe’s ’silence ’ to Say?” Ball State University Forum, X (1969), 66-70. [The author believes Poe’s tale is a satire on the New England Transcendent

Colwell, James L., and Gary Spitzer. “ ‘Bartleby ’ and ‘The Raven ’: Parallels of the Irrational,” Georgia Review, XXIII (1969), 37-43. [Without claiming that Melville’s tale was directly derived from Poe’s poem, the authors show how closely parallel the two works are in “mood, content, method and structure.”]

Dameron, J. Lasley. “Poe and Blackwood’s Thomas Doubleday on the Art of Poetry,” English Studies, XLIX (1968), 540542. [The author suggests that Doubleday’s essay “How Far Is Poetry an Art?” which appeared in Blackwood’s Volume XI for February 1822, may have influenced Poe in conceiving of the writing of poetry as a rational premeditated craft.]

——————. “Poe and Blackwood’s Alexander Smith on Truth and Poetry,” Mississippi Quarterly, XXII (1969), 355-359. [In “arguing that truth is more suited for prose than poetry” in his 1842 reviews of Hawthorne’s Twice-Told Tales and Longfellow’s Ballads, Poe “takes essentially the same position” found in Alexander Smith’s essay “The Philosophy of Poetry” in the December 1835 issue of Blackwood’s. ]

——————. “The State of the Complete Bibliography of Poe Criticism, 1827-1967,” Poe Newsletter, 11 (1969), 3. [A progress report.]

Davidson, Gustav. “Poe’s ‘Israfel ’,” Literary Review (Fairleigh Dickinson University), XII (1968), 86-91. [No further information available.]

Defalco, Joseph M. “The Source of Terror in Poe’s ’shadow — A Parable ’,” Studies in Short Fiction, VI (1969), 643-648. [Poe’s tale “presents a vivid portrait of the shock to human sensibilities that results in the awareness of the loss of individual identity after death.” This links it to the “broad metaphysical rationale” Poe later projected in Eureka. ]

Erlich, Heywood. “The Broadway Journal I: Briggs’s Dilemma and Poe’s Strategy,” Bulletin of the New York Public Library, LXXIII (1969), 74-93. [Briggs hired Poe for the value of his name, but Poe’s policy of charging writers with plagiarism, [page 12:] especially Longfellow, proved injurious to him and the magazine.]

Falco, Nicholas. “Edgar Allan Poe of the Village of Fordham,” The Bronx County Historical Society Journal, VI (1969), 51-58. [The author discusses particularly Poe’s friendliness with the students and faculty of St. John’s College (now Fordham University), especially his friendship with Father Doucet, a Jesuit seminarian at the time.]

Falk, Doris V. “Poe and the Power of Animal Magnetism,” PMLA, LXXXIV (1969), 536-546. [In Poe’s day “mesmerism” referred to “animal magnetism,” and was not conceived of as a psychological phenomenon like “hypnotism” but as a physical “fluid” comparable to electricity; this conception is related to Poe’s idea of the cosmic process and gives “unity of effect” to his three “mesmeric” tales.]

Freehafer, John. “Poe’s ‘Cask of Amontillado ’: A Tale of Effect,” Jahrbuch fur Amerikastudien, No. 13 (1968), 134142. [The artistic skill Poe displays in this tale makes it “a tale of effect” that greatly surpasses Poe’s models in Blackwood’s Magazine. ]

Freese, Peter. “Des Motiv des Doppelgangers in Truman Capote’s ’shut a Final Door ’ und E. A. Poe’s ‘William Wilson ’,” Literatur in Wissenschaft und Unterricht (Kiel), I (1968), 40-48. [No further information available.]

Fukuda, Naami. Meiji Talsho Showa hoyaku Amerika bungaka shomoku [a bibliography of translations of American literary works into Japanese, 1868-1967] (n.p., 1968). [This bibliography comprises eleven pages of Poe items, with nearly 300 entries for translations of approximately 75 different works (primarily short stories and essays), five complete editions, and 35 entries for selected poems or stories. — This information from W. T. Ford, University of Chicago Library.]

Gerber, Gerald E. Review of Poe, The Detective: The Curious Circumstances Behind “The Mystery of Marie Roget.” [See “Reviews” in the “Fugitive” bibliography.]

Glassheim, Eliot. “A Dogged Interpretation of ‘Never Bet the Devil Your Head ’,” Poe Newsletter, II (1969), 44-45. [The tale is a complex satire directed at Transcendental Idealism, literalism, and conventional morality. Poe’s own balanced position emerges in the tale through the destruction of these three attitudes, which are represented respectively by Toby Dammit, the Devil, and the narrator (who is not Poe). Poe keeps Toby’s true identity ambiguous; he may be a dog-like Transcendentalist or simply a literal dog.]

Gohdes, Clarence, and others, eds. Russian Studies of American Literature: A Bibliography (Chapel Hill: U of North Carolina Press, 1969). [Contains eighty-one items on Poe from 1852 to 1963 (pp. 145-150). Compiled by Valentina A. Libran (Gorky Institute, Moscow), translated by Robert V. Allen (Russian Area Specialist, Slavonic Division of the Library of Congress), and edited and adapted for American scholars by Clarence Gohdes.]

Goldhurst, William. “Edgar Allan Poe and the Conquest of Death,” New Orleans Review, II (1969), 316-319. [The “will against death” theme which forms a pattern in much of Poe’s works is expressed most fully in “The Gold Bug.” Goldhurst interprets Le Grand’s progression from the “bishop’s hostel” to the treasure as a progression from heaven to hell to death to resurrection.]

——————. Review of Poe the Detective. [See “Reviews” in the “Fugitive” bibliography.]

Hammond, Alexander. “The Hidden Jew in Poe’s ‘Autography ’,” Poe Newsletter, II (1969), 55-56. [By omitting the middle initials “J” and “U” in his list of Millers, Poe “conceals a ‘cryptographic ’ riddle” in his piece to suggest that the Millers are all Jews.]

Harris, Kathryn Montgomery. “Ironic Revenge in Poe’s ‘The Cask of Amontillado ’,” Studies in Short Fiction, Vl (19691. [column 2:] 333-335. [Montresor’s use of a trowel to wall up his enemy Fortunato, a member of the Masonic Order, is ironic and suggests the former’s hostility stems partly from the fact that he is a Catholic.]

Harrison, Michael. The Exploits of the Chevalier Dupin (Sauk City, Wisc.: Mycroft and Moran, 1969). [Seven “new” Dupin tales which appeared in Ellery Queen’s Mystery Magazine 1965-68. In an essay, “Dupin: The Reality Behind the Fiction,” Harrison contends that Poe’s detective hero was based on “a real-life original,” Baron Charles Dupin (1784-1873), “a well-known personage in the Europe of Poe’s day.” There is an introduction to Harrison’s book by Ellery Queen and a map of Dupin’s Paris drawn by Luther Leon Norris.]

Haswell, Henry. “Baudelaire’s Self-Portrait of Poe: ‘Edgar Allan Poe: sa vie et ses ouvrages ’,” Romance Noses, X ( 1969), 253-261. [In “Sa vie et ses ouvrages,” Baudelaire “consistently distorts the facts as they were then accessible to him in order to re-create Poe in his own image.”]

Haverstick, Iola S. “A Note on Poe and Pym in Melville’s Omoo,” Poe Newsletter, II (1969), 37. [Melville’s John Jermin may have been based on Poe and The Narrative of Arthur Gordon Pym. ]

Hayter, Alethea. “Poe,” Ch IV of Opium and Romantic Imagination (Berkeley: U of California Press, 1968), pp. 132151. [The author avoids the usual non-factual discussion of Poe’s use of opium in his private life by discussing Poe “as a theorist of the use of opium as an effect in literature.” She discusses, for example, the narrator of “Ligeia” as a character — as an opium addict affected with a morbid imagination and distortion of vision.]

Helfers, M. C. “The Legendary Edgar Allan Poe,” Assembly (West Point), XXVII (1969), 6-7, 32-35. [On Poe’s Army years.]

Hindin, Michael. “Poe’s Debt to Wordsworth: A Reading of ’stanzas ’,” Studies in Romanticism, VIII (1969), 109-120. [In composing “Stanzas,” Poe was apparently influenced by Wordsworth’s “Ode: Intimations of Immortality.”]

Holman, Harriet R. “Hog, Bacon, Ram, and Other ’savans ’ in Eureka: Notes toward Decoding Poe’s Encyclopedic Satire,” Poe Newsletter, II (1969), 49-55. [Denying the assumption that Poe “was perfectly serious in his claim that he had solved the riddle of the universe” in Eureka, the author brilliantly explicates the satirical and comical intent in Poe’s cosmological essay or “poem.” An important article, it not only throws completely new light on Eureka but also reveals the basic cast of Poe’s artistic consciousness.]

Hough, Graham. “Edgar Allan Poe,” Studies in the Arts: Proceedings of the St. Peter’s College Literary Society edited by Francis Warner (Oxford: Basil Blackwell, 1968), pp. 82-98. [Most of the essay is a discussion of Poe’s “crude” and “vulgar” poetry which, Hough grants, nevertheless does contain some sense of “adventure” and “delicacy.”]

Hubbell, Jay B. “The Literary Apprenticeship of Edgar Allan Poe,” The Southern Literary Journal, II (1969), 99-106. [Poe’s superior craftsmanship is a result of “playing ‘the sedulous ape ’ to the various writers whom he admired or disliked.”]

——————, ed. “Tales “ and “The Raven and Other Poems. ” [See Poe, editions.]

Hudson, Randolf. Review of Poe: A Collection of Critical Essays. [See “Reviews” in the “Fugitive” bibliography.]

Hyneman, Esther F. “The Contemporaneous Reputation of Edgar Allan Poe with Annotated Bibliography of Poe Criticism: 1827-1967” (Doctoral Diss, Columbia U, 1968). Abst: DA, XXX (1969), 686A. [In addition to the annotated bibliography of Poe criticism. the author provides an introduction [page 13:] in which the public and critical reception of Poe’s work is discussed.]

Jacobs, Robert D. Poe: Journalist and Critic (Baton Rouge: Louisiana State U P, 1969). [This important book is a study of Poe as a journalist and critic in which the author examines “the operative regulations of Poe’s practical criticism instead of concentrating exclusively on his aesthetic principles....”]

——————. “Campaign for a Southern Literature: The Southern Literary Messenger,” Southern Literary Journal, II (1969), 66-68. [This first installment of a series of articles, by various hands, on Southern literary magazines surveys the history of the Messenger from 1834 to its demise in 1864, and includes a lengthy discussion of Poe’s important role in its history.]

Kanjo, Eugene R. “ ’The Imp of the Perverse ’: Poe’s Dark Comedy of Art and Death,” Poe Newsletter, II (1969), 4144. [The structure of Poe’s tale develops, in the undercurrent of meaning, “the paradoxically intertwined relationship of the creative and the destructive” to present an allegory of the creative process in which “the artistic consciousness watches its creative impulses with wry, even comic, detachment as it creates an elaborate work of art based on the destructive impulse.”]

Kierly, Robert. “The Comic Masks of Edgar Allan Poe,” Umanesimo, I (1967), 31-34. [As a humorist Poe was an angry young man who laughed “at what in life he appears to have taken most seriously” and whose comic tales reveal a fury “which extends beyond society and self” to God, with whom, however, he finally made peace in Eureka. ]

Kime, Wayne R. “Poe’s Use of Mackenzie’s Voyages in ‘The Journal of Julius Rodman ’,” Western American Literature, III (1968), 61-67. [Although Poe drew upon Mackenzie to create an illusion of authenticity, he also had the artistic purpose of hoaxing the credulous reader and often misrepresented and distorted his source to achieve ‘the vital pseudo-realistic background” he wanted.]

Kopcewicz, Andrzej. “Poe’s Philosophy of Composition,” Studia Anglia Posnaniensia, I (1968), 101-108. [Poe failed to transform the potentially symbolic material of “The Raven” into the symbolic form suggested by “The Philosophy of Composition.” With “The Philosophy of Composition” Poe is ahead of his time and anticipates T. S. Eliot; but “The Raven” is of the Romantic period and is reminiscent of Coleridge.]

Krutch, Joseph Wood, ed. Selected Stories and Poems of Edgar Allan Poe. [See Poe, editions.]

Lanier, Emilio A. “The Bedlam Patterns East of Greece,” East-West Review, III (1966-67), 1-22. [An unusual essay in which the author shows that in “Ligeia” Poe employs the polar opposites of the West’s metaphysical assumptions, thus conforming to the East’s perception of the “Bedlam patterns” to which the West remains blind.]

Levine, Richard A. “The Downward Journey of Purgation: Notes on an Imagistic Leitmotif in The Narrative of Arthur Gordon Pym,” Poe Newsletter, II (1969), 29-31. [The dominant leitmotif in Poe’s tale involves the tensions between the rational and irrational and the conscious and unconscious, and suggests that the narrative symbolizes “man’s journey of purgation.”]

Link, Franz von H. Edgar Allan Poe: Ein Dichter Zwischen Romantik und Modern (Bonn: Athanaum Verlag, 1968). [No further information available.]

Lynen, John F. “The Death of the Present: Edgar Allan Poe,” in The Design of the Present: Essays on Time and Form in American Literature (New Haven, Conn.: Yale U P, 1969), pp. 205-271. [Within the context of his study of two modes of time in American literature (the sense of unity with the cosmos and the sense of individual estrangement from the “eternal,” simultaneously present in any [column 2:] isolated moment of perception), the author surveys Poe’s fiction in relation to Eureka, coming to the conclusion that Poe never “resolves” the polarity of unity and separation in time; instead, all values tend to be absorbed into the sense of “annihilation” presented in Eureka. ]

Lockspeiser, Edward. “Debussy’s Dream House,” Opera News, XXXIV (March 21, 1970), pp. 8-12. [Poe had a significant influence on Debussy. Apart from the influence seen in Pelleas et Melisande, Debussy completed librettos for two one-act operas, The Fall of the House of Usher and The Devil in the Belfry, together with some musical sketches for each. The article is illustrated. Also see Lockspeiser in the “Fugitive” bibliography.]

Lundquist, James. “The Moral of Averted Descent: The Failure of Sanity in ‘The Pit and the Pendulum ’,” Poe Newsletter, II (1969), 25-26. [Poe’s hero in this tale illustrates the paradox of sanity; although possessed of an integrated personality which enables him to survive until rescued, he himself is unable to overcome the force pitted against him.]

Mabbott, Thomas Ollive, ed. Collected Works of Edgar Allan Poe: Volume I, Poems. [See Poe, editions.]

Marrs, Robert L. “Fugitive Poe References: A Bibliography,” Poe Newsletter, II (1969), 12-18. [A list of recent books, essays, and miscellaneous publications since about 1960 that do not necessarily focus on Poe but which discuss Poe within a larger perspective, and thus have been overlooked in previous bibliographies; includes a list of significant reviews of books on Poe published since 1960.]

McClary, Ben Harris. “Poe’s ‘Turkish Fig-Peddler ’,” Poe Newsletter, II (1969), 56. [Note-query: asks for information about Poe’s allusion to the “cry of a Turkish fig peddler” in “How to Write a Blackwood Article”; apparently it had special significance in his day since the expression “was in fairly general usage in British life.”]

McElderry, B. R., Jr. “T. S. Eliot on Poe,” Poe Newsletter, II (1969), 32-33. [The author reviews the shifts in Eliot’s critical view of Poe preceding the 1949 essay “From Poe to Valery.”]

Moskowitz, Sam, ed. The Man Who Called Himself Poe (Garden City, N.Y.: Doubleday & Co., 1969). [A collection of stories and poems in which Poe appears as an integral character. There is an introduction by the editor and a biographical sketch of Poe by Thomas Ollive Mabbott.]

Moss, Sidney P. “Duyckinck Defends Mr. Poe Against New York’s Penny-A-Liners,” Papers on Language and Literature, V (1969), Suppl: 74-81. [The author reveals that Duyckinck assessed Poe’s American and European reputation in the Home Journal for 9 January 1847 in an unsigned article and pointed out how much Europeans appreciated Poe in contrast to Americans.]

——————. “Moss Reviews Mabbott’s Poe,” review of Collected Works of Edgar Allan Poe: Volume I, Poems. [See “Reviews” in the “Fugitive” bibliography.]

Mulqueen, James E. “The Meaning of Poe’s ‘Ulalume ’,” American Transcendental Quarterly, No. 1 (I Quarter 1969), 27-30. [Contends that Astarte represents the “Life Principle” of divine unity. Like Eureka and other works of Poe, “Ulalume” offers both hope and despair.]

Newlin, Paul A. “Scott’s Influence on Poe’s Grotesque and Arabesque Tales,” American Transcendental Quarterly, No. 2 (II Quarter 1969), 9-12. [The author points out the apparent influence which Scott’s essay, “On the Supernatural in Fictitious Composition,” exercised on Poe’s literary principles.]

Nichols, Mrs. Mary Gove. Reminiscences of Edgar Allan Poe (Folcroft, Pa.: The Folcroft Press, 1969). [Reprint of the 1931 edition. Mrs. Gove, one of the Literati of Poe’s day, recalls her visits to Poe’s cottage at Fordham. On one of [page 14:] these visits the publication of “Ulalume” was arranged because of an accident: Poe broke his gaiters while on a frolick with a reviewer friend of Mrs. Gove; the reviewer published the poem so that Poe would have enough money to buy new ones. Mrs. Gove and her friends, however, considered “Ulalume” incomprehensible and perhaps a hoax.]

Oguiza, Toma. “Baudelaire, Poe, Goya: Un cierto extramundo,” Cuadernos Hispana-americanos (Madrid) LXX (1967), 475487. [Baudelaire, Poe, and Goya had similar human natures, projected macabre, tormented worlds, displayed pathological symptoms related to their creativity and originality, were fond of dreams, and exhibited a tendency to go beyond the world of senses.]

Ostrom, John Ward. “Poe’s Letter to Stella Lewis — Recently Located,” Poe Newsletter II (1969), 36-37. [The letter is presently in the British Museum, No. 31897 f 1.]

Petersen, Milton C. “Poe as ‘Magazinist ’,” review of Poe and the British Magazine Tradition. [See “Reviews” in the “Fugitive” bibliography.]

Poe, Edgar Allan. Editions. [Listed here are editions of recent date and of special interest.]

——————. Collected Works of Edgar Allan Poe: Volume 1, Poems, ed. Thomas Ollive Mabbott (Cambridge, Mass.: Harvard U P, 1969). [The first volume of Mabbott’s projected edition of Poe’s works. Aiming at the scholar rather than the general reader, Mabbott comments on each poem respecting its history and sources, makes critical remarks, and lists texts and variants. Includes several Appendices, one a chronology of Poe’s life entitled “Annals.”]

——————. “Tales” and “The Raven and Other Poems,” ed. Jay B. Hubbell (Columbus, Ohio: Charles E. Merrill, 1969). [Facsimile of the two 1845 Wiley & Putnam volumes, with an introduction by Hubbell.]

——————. Selected Prose, Poetry, and Eureka, ed. W. H. Auden (New York: Holt, Rinehart and Winston, 1969). [Reissue of Auden’s well-known edition, first published 1950, now augmented by the restoration of Eureka, which had been replaced by Pym in the last revised edition.]

——————. Selected Stories and Poems, ed. Joseph Wood Krutch (New York: F. Watts, 1969). [Contains a critical and biographical profile by Krutch.]

——————. Le Corbeau, French bans of “The Raven” by Stephane Mallarme, illustrated by Edouard Manet, from the edition of 1875 (Walker & Co., in association with the Department of Printing & Graphic Arts, Harvard College Library, 1968). [Mallarme’s version with English on facing pages, six illustrations by Manet; forward by Philip Hofer, i — viii.]

——————. O. Henry and Edgar Allan Poe, ed. Arthur Barrett (New York: Odyssey Press, 1969). [Selected stories brought together for comparison.]

Pollin, Burton R. “Byron, Poe, and Miss Matilda,” Names, XVI (1968), 390-414. [The author ingeniously weaves together the story of the Della Cruscan guise of Matilda — variously known as Anna Matilda, Laura Matilda, and Rose Matilda — and her appearance in the writings of Byron and Poe.]

——————. “ ’Delightful Sights, ’ a Possible Whitman Article in Poe’s Broadway Journal, ” Walt Whitman Review, XV (1969), 180-187. [Tentative suggestion that, on the basis of style and theme, an anonymous article in the Broadway Journal (I, 347) was written by Whitman.]

——————. “Notre-Dame de Paris in Two of Poe’s Tales,” Revue des Langues Vivantes, XXXIV (1968), 354-365. [A paragraph in Hugo’s novel is the source of several important elements in Poe’s “A Tale of the Ragged Mountains” and “The Cask of Amontillado.”] [column 2:]

——————. “Poe as Scriblerian,” Scriblerian, I (1969), 30-31. [Supports A. H. Quinn’s argument that Poe incorporated Scriblerus into an anonymous article, “The Atlantis, a Southern World” in the Baltimore Museum (1839).]

——————. “Poe’s ‘Diddling ’”: The Source of the Title and Tale,” The Southern Literary Journal, II (1969), 106111. [Poe’s “tale” was inspired by his viewing of a performance of Kenney’s farce “Raising the Wind” in Philadelphia in 1843, and he evolved the term “diddling” from the name of the protagonist of this farce, Jeremy Diddler.]

——————. “Poe in the Boston Notion,” The New England Quarterly, VLII (1969), 585-589. [The author compares the sketch of Poe’s life which Robert Carter printed in the Boston Notion for 4 March 1843 with the one that originally appeared in the Philadelphia Saturday Museum and interprets the significance of the differences.]

——————. “Poe’s Pen of Iron,” American Transcendental Quarterly, No. 2 (11 Quarter 1969), 16-18. [After speculating on the origin of the name of Poe’s mythical author, Sir Lancelot Canning, mentioned in “The Fall,” the author shows how this name is connected with Poe’s 1843 Stylus prospectus and explains the provenance of his image of an “iron pen” and of the title of his prospective magazine.]

——————. “The Provenance and Correct Text of Poe’s Review of Griswold’s Female Poets of America,” Poe Newsletter, II (1969), 35-36. [The author corrects Harrison’s text in Vol XI of Poe’s Works by showing that Harrison printed a review of 1842 and one of 1849 as a single review and at the same time reveals some of Griswold’s perfidious tampering and forgery.]

——————. “Victor Hugo and Poe,” Revue de Litterature Compare ’e, XLII (1968), 494-519. [Hugo’s works were an important influence on Poe — in particular Hugo’s play Hernani (which Poe evidently saw performed), his novel Notre-Dame de Paris, and possibly his preface to Cromwell — the first on Poe’s “The Masque of the Red Death,” the second on his “The Pit and the Pendulum,” and the third on his conception of the grotesque in art.]

Porte, Joel. The Romance in America; Studies in Cooper, Poe, Hawthorne, Melville and James (Middletown, Conn.: Wesleyan U P, 1969). [The artist figure is the defining characteristic of the American romance. Poe is concerned with the methods of art and the artist in all his works. For example, the methods of the dream as a type of romance is set forth in “Dream-Land” and Usher is a caricature of the decadent romantic artist. All of Poe’s artists grapple with the problem of the duality of the intellect and the senses in man. The duality is usually demonstrated by contrasting female archetypes, such as Lenore and the Raven, Rowena and Ligeia, Pym’s mother and the mother figure at the end, and so on.]

Quinn, Patrick F. “Poe: A Most Immemorial Year,” review article discussing Poe and the British Magazine Tradition and Poe: Journalist and Critic. [See “Reviews” in the “Fugitive” bibliography.]

Rayan, Krishna. “Edgar Allan Poe and Suggestiveness,” The British Journal of Aesthetics, IX (1969), 73-79. [In a survey of the word “suggestion,” the author claims that Poe’s use of the term not only anticipates modern theories of symbol but that Poe more clearly defines it as “the undercurrent of meaning.”]

Reilly, John E. “The Lesser Death-Watch and ‘The Tell-Tale Heart ’,” American Transcendental Quarterly, No. 2 (11 Quarter 1969), 3-9. [Suffering from the hyperacusis accompanying paranoid schizophrenia, the narrator of Poe’s tale actually hears the ticking of the insect commonly called the “lesser deathwatch,” rather than the beating of the old man’s heart as he imagines.] [page 15:]

Richard, Claude, ed. Configuration Critique de Edgar Allan Poe (Paris: Minard, 1969). [Nine essays bans into French on a variety of aspects of Poe: Edmund Wilson, “Poe as a Literary Critic”; Richard Wilbur, “Introduction” to the Laurel Poetry Series Poe, Eric W. Carlson, “Symbol and Sense in ‘Ulalume ’.” Claude Richard, “Les Contes du Folio Club et le vocation humoristique d ‘Edgar Allan Poe”; Roy P. Basler, “The Interpretation of ‘Ligeia ’”; Darrel Abel, “A Key to The House of Usher”, Richard Wilbur, “The Poe Mystery Case”; Patrick Quinn, “Poe’s Imaginary Voyage”; Allen Tate “The Angelic Imagination”; along with a brief preface and a selected bibliography by Richard.]

——————. “Arrant Bubbles: Poe’s ‘The Angel of the Odd ’,” Poe Newsletter, II (1969), 46-48. [Although the French have viewed Poe’s story as exclusively a surrealistic exercise in automatic writing in which the American author pays “tribute to chance, disorder, and coincidence,” it is instead Poe’s “ironic response to the writers associated with the works mentioned at the very onset of the tale” and hence represents another episode in the wars of the literati in the 1840’s.]

——————. “ ’MS. Found in a Bottle ’ and the Folio Club,” Poe Newsletter, II (1969), 23. [Note-query: raises the question of whether “MS Found in a Bottle” directly followed Poe’s introduction to Tales of the Folio Club. ]

——————. “Poe et Hawthorne,” Etudes Anglaises, XXII (1969), 351-361. [Suggests that Poe was playing literary politics with the Democratics and the Whigs in his two differing reviews of Hawthorne in 1842 and 1847.]

——————. “Poe Studies in Europe: France,” Poe Newsletter, 11 (1969), 20-22. [A critical survey, in which the author points out that contemporary French criticism, for the most patt, is dominated by the Baudelairian and the Marie Bonaparte traditions which hamper critics in reconsidering Poe fruitfully, although Maurice Levy and Jean Ricardou have been able to see Poe with new eyes.]

Robbins, J. Albert. Checklist of Edgar Allan Poe (Columbus, Ohio: Charles E. Merrill Publishing Co., 1969). [A selection of “the most meaningful published resources” for the study of Poe arranged in convenient categories including separate poems and tales.]

——————. “Poe and Nineteenth Century Poetry,” Ch XI of American Literary Scholarship: An Annual/1967, ed James Woodress (Durham: Duke U P, 1969), pp. 149-165. [Review-article on Poe scholarship in 1967; other references in the volume passim.]

——————. “The Poe Dictionary ’,” review of Dictionary of Names and Titles in Poe’s Collected Works. [See “Reviews” in the “Fugitive” bibliography.]

Robertson, John W. Bibliography of the Writings of Edgar A. Poe, Commentary on the Bibliography of Edgar A. Poe (New York: Kraus, 1969). [A reprint of the two 1934 volumes, bound as one.]

Salzberg, Joel. “The Grotesque as Moral Aesthetic: A Study of the Tales of Edgar Allan Poe” (Doctoral Diss, U of Oklahoma, 1967). Abst: DA, XXVIII (1968), 2695A. [The author seeks to demonstrate that through his evocation of the grotesque Poe creates a “moral aesthetic” amounting to the use of horror and humor to evaluate nineteenth-century man and society.]

Seelye, John. “Edgar Allan Poe: Tales of the Grotesque and Arabesque,” Ch IX of Landmarks of American Writing, ed. Hennig Cohen (New York: Basic Books, Inc., 1969), pp. 101-110. [An overview of Poe as alienated artist in American culture, with brief comments on “doublings,” Poe’s composition by the “rule of two.”]

Sheehan, Peter J. “Dirk Peters: A New Look at Poe’s Pym,Laurel Review, IX (1969), 60-67. [The developing consciousness [column 2:] in the novel is not that of Pym but of Pym and Peters. Pym represents the imagination and Peters represents rationality, the two together represent what Poe understood as the soul of man. Thus “Pym is really a narrative of the growth of the soul.”]

Stone, Edward. A Certain Morbidness: A View of American Literature (Carbondale & Edwardsville: Southern Illinois U P, 1969). [Discusses Poe in two chapters. In Ch Vl, on Faulkner, “A Rose for Emily” is compared with “The Fall of the House of Usher”; Faulkner is seen as the inheritor of the Gothic tradition of Poe and Cable (pp. 85-120). In Ch VIII, “The Paving Stones of Paris: Association from Poe to the Present” (pp. 140-168 passim), Poe is considered in the context of association theory and stream-of-consciousness, with special reference to Dupin’s method of ratiocination by association.]

Stovall, Floyd. Edgar Poe the Poet: Essays New and Old on the Man and His Work (Charlottesville: Univ Press of Virginia, 1969). [An important collection of nine essays which are the result of forty years of the author’s devotion to Poe. The titles of the essays are indicative of the book’s contents: “Edgar Poe and the University of Virginia”; “Poet in Search of a Career”; “Poe and ‘The Musiad ’”; “An Interpretation of ‘Al Aaraaf ’”; “Poe’s Debt to Coleridge”; “Poe as a Poet of Ideas”, “The Conscious Art of Edgar Poe”; “Mood, Meaning, and Form in Poe’s Poetry”; “The Poetic Principle in Prose.”]

Strandberg, Victor. “Poe’s Hollow Men,” The University Review, XXXV (1969), 203-212. [Claims that, like the men in T. S. Eliot’s works, the men of Poe’s works are hollow because of “moral depravity and metaphysical despair.”]

Tanselle, G. Thomas. “The State of Poe Bibliography,” Poe Newsletter, II (1969), 1-3. [The author presents a thorough review of the present state of Poe bibliography, concluding that “the state of the secondary bibliography of Poe is more encouraging than that of the primary.”]

Thompson, G. R. “Current Poe Studies,” Poe Newsletter, II (1969), 24. [Running column listing and describing research in progress or recently completed, and other matters of interest to the Poe scholar.]

——————. “ ’silence ’ and the Folio Club: Who Were the ‘Psychological Autobiographists ’?” Poe Newsletter, II (1969), 23. [Note-query: since the satirical butt of the tale seems to be a school or fashion of writing, an adequate reading requires its precise identification; in view of the lack of definite information, however, the tale makes most sense when seen as an ironic work in the Absurdist tradition, as suggested by the lynx image in both the tale and the “Marginalia.”]

——————. “Is Poe’s ‘A Tale of the Ragged Mountains ’ a Hoax?” Studies in Short Fiction, VI (1969), 454-460. [Poe’s tale is “a cleverly constructed ‘ratiocinative ’ hoax with at least three levels of irony operating simultaneously....”]

——————. “Poe’s Readings of Pelham: Another Source for ‘Tintinnabulation ’ and Other Piquant Expressions,” American Literature, XLI (1969), 251-255. [The word “tintinnabulation” had far greater currency prior to 1849 than is generally known, and may have been suggested to Poe repeatedly by his readings of Bulwer-Lytton’s Pelham, from which novel Poe made other borrowings.]

Tre passi nel delirio (Bologna: Capelli, 1968). [Three motion picture scenarios based on Poe’s short stories by F. Fellini, L. Malle, R. Vadim.]

Vandegans, Andre. ‘Escurial et ‘Hop-Frog ’,” Revue des Langue. Vivantes (Bruxelles), XXXIV (1968), 616-619. [Poe’s tale of dramatic revenge, “Hop-Frog,” was influential on Ghelderode’s drama, Escurial: indeed Poe’s tale occupies an important [page 16:] place in Ghelderode’s work because Poe’s revenge theme is a preoccupation of the Flemish dramatist.]

Van Nostrand, A. D. “Paradigm Five” and “The Theories of Adams and Poe,” in Everyman His Own Poet: Romantic Gospels in American literature (New York: McGraw-Hill, 1968), pp. 197-203, 204-227. [In the context of a study of American cosmologies from Emerson’s Nature to Williams ’ Paterson, the author suggests that Poe’s Eureka “least of all presents the evangelical strain of American idealism” because of its fatalism. In a chapter bringing together The Education of Henry Adams and Eureka, the author suggests that just as a dynamic system of metaphor and analogy in The Education to scientific concepts (energy, pressure, temperature, volume, and so on) reveals Adams ’ laborious working out of a subjective cosmic formula, so Eureka as a poetic structure of similar analogies (gravity, irradiation, electricity, concentralization, and so on) reveals Poe’s unconcluded struggle with a cosmic view of the self in the Universe.]

Watson, Don. “Borges and Poe,” The Virginia Weekly, (March 18, 1968),.p. 3. [The author reviews an enthusiastic lecture given by Jorge Luis Borges on Poe.]

Weidman, Bette S. “The Broadway Journal II: A Casualty of Abolition Politics,” Bulletin of the New York Public Library, LXXIII (1969), 94-113. [The author discusses the influence that fervid abolitionists had in bringing about the demise of The Broadway Journal. ]

Widnas, Maria. “Dostoevskij i Edgar Allan Poe,” Scando-Slavica (Copenhagen), XIV (1968), 21-32 [A rather cursory discussion of Poe and Dostoyevsky in regard to theme, style images, and humor, with special emphasis on the two authors ’ realistic detail, their presentation of dream as reality, and their employment of the “double” to produce fear and terror. The most notable influence of Poe on Dostoyevsky occurred in the 1860’s and 1870’s. In Russian.]

Woodbridge, Hensley C. “Poe in Spanish America: A Bibliographical Supplement,” Poe Newsletter, II (1969), 18-19. [A list of eighty items to supplement John Eugene Englekirk’s Edgar Allan Poe in Hispanic Literature (1934) and Rafael Heliodoro Valle’s “Fiches pare la bibliografia de Poe en Hispanoamerica,” Revista iberoamericana, XVI (1950), 199-214.]

Woodson, Thomas, ed. Twentieth-Century Interpretations of “The Fall of the House of Usher” (Englewood Cliffs, N. J.: Prentice-Hall, 1969). [A collection of six excerpted general “view points” on Poe (e.g., from Brooks and Warren, Marie Bonaparte, Harry Levin) and nine interpretative essays (largely excerpted) focused on “Usher” by D. H. Lawrence, Darrel Abel, Leo Spitzer, Charles Feidelson, Jr., Patrick F. Quinn Edward H. Davidson, Lyle H. Kendall, Jr., Georges Poulet, James M. Cox. In an introduction, Woodson places “Usher” in the context of Poe’s life and career, and in the literary milieu of the times, as well as offering his own informed interpretation of the story.]

Woodward, Robert H. “Poe’s Raven, Faulkner’s Sparrow, and Another Window,” Poe Newsletter, II (1969), 37-38. [The author finds echoes of Poe in Faulkner’s The Sound and the Fury and Absalom, Absalom! ]

Wuttge, Frank, Jr. “Edgar Allan Poe Scripts” (Frank Wuttge Jr., 3236 Radcliff Ave., Bronx, N. Y., 1969). [A broadside in which the author suggests that Scott’s The Bride of Lammermoor and Poe’s New York experience were sources of inspiration in the composing of “The Raven” and “The Fall of the House of Usher.”]

Yonce, Margaret J. “The Spiritual Descent into the Maelstrom: A Debt to ‘The Rime of the Ancient Mariner ’,” Poe Newsletter, II (1969), 26-29. [The author reads both works as accounts “of spiritual rebirth and transcendence” and suggests that Coleridge’s poem was “a major inspiration and model for Poe’s study.”]  


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[S:0 - PSDR, 1970]