Text: Benjamin Franklin Fisher IV, “Fugitive Poe References: A Bibliography,” Poe Studies, June 1984, Vol. XVII, No. 1, 17:11-21


[page p, column c:]

Fugitive Poe References:
A Bibliography

University of Mississippi

The primary purpose of the “fugitive” Poe bibliography is to bring together recent books, essays, and miscellaneous publications (since about 1960) that do not focus on Poe but that discuss the author within a larger perspective or with a special angle of vision. Although this bibliography also lists a few works dealing specifically with Poe that have been overlooked in other bibliographies, the entries here are principally brief items buried in longer works under different headings, or in works that were on first publication not readily accessible. For assistance in the compilation of this column, I wish to thank Bob Adoy, Walter Albert, John L. Apostolou, Michael L. Burduck, Patricia Edwards Clyne, Datyl Coats, Michael P. Dean, Dennis W. Eddings, James Gargano, Kent Ljungquist, Maureen Cobb Mabbott, Jean C. Pflum, John E. Reilly, Alexander G. Rose III, Jeff Savoye, Bruce I. Weiner, Craig Werner, Elizabeth S. Yost, and William Zimmer, Jr.

Anon. “The Complete Poetical Works of Edgar Allan Poe,” Pub1isher’s Circular, 90 (1909), 619. [Noticing the Henry Frowde publication, the writer welcomes Poe among those selected for the “Oxford Library of Prose and Poetry.”]

————————. “Edgar A. Poe.” Literary Era, (1896), 6-7. [This notice of the Shiells edition (London: 8 vole.) of Poe gives insight into his reputation and attitudes during the 1890s about “the weird” in fiction. ‘‘Poe dealt in mystery of the widest and most various kinds.” It appears even in “The Raven,” a story poem he probably “found entertainment” in explaining. Hoaxical elements in Pym are considered. Poe combines great style with “true poetic imaginativeness.”]

————————. “The Evil Guest,” The Saturday Review, 79 (1895), 557. [Censuring J. S. Le Fanu’s “Marston, the Doomed Man,” the critic notes: “The memory of Poe has endured many bitter things, but this seems the worst. . . . Not a feeble scribbler can engender his bit of would-be weird story but some reviewer of books must needs drag Poe, more or less ingloriously, into the business.”]

“‘Genius and Sheer Fudge‘,” Saturday Review, 81 (1896), 460-461. [This reviewer of the ShiellsLippincott and Routedge editions of Poe remarks that the tales are Poe’s telling of his nightmares. The poetry is ‘‘typically Celtic,” as was Poe himself. “To Annie” is his best, along with “To Helen,” and lines from “The City in the Sea” and “Dreamland.‘’ The illustration for “Murders” is the best, that for “Ulalume” the worst.]

————————. “The New Books,” Review of Reviews, 12 (1895), 501. [‘‘There is a powerful imaginative quality about these stories — in R. W. Chambers’s The King in Yellow — which has suggested the genius of Poe.”

————————. “New Books and Reprints,” Saturday Review, 78 (1895), 520-521. [The title story in Aux Diabolus and Nihil; and other Tales (Lane, 1895), by “X. L.,” compares with Poe’s weird creations.]

————————. “Prince Zaleski,” Independent, 30 May 1895, pp. 21-22. [“This is a triple story . . . poesque in a general way.”] [page 12:]


————————. “Some Recent Plagiarisms,” Literary World, 20 May 1882, pp. 160-161. [R. H. Stoddard’s memoir of Poe (1879) significantly resembles in phraseology that of Eugene L. Didier (1876).]

————————. “The Three Imposters,” Graphic, 18 February 1896, p. 180. [Had ‘The Novel of the White Powder’ been written by Poe, its inspiration would certainly have been called genius.”]

————————. “The Works of Edgar Allan Poe,” Literary Era, 2 (1894), 57. To reviewer, the Stedman-Woodberry edition “is in no way disappointing. . . . The publishers are to be congratulated upon finally giving the American public the opportunity of owning a good edition of the works of Poe.’ ]

Abcarian, Richard, and Marvin Klotz, eds. Literature: The Human Experience, rev. shorter ed. (New York: St. Martin’s Press, 1984), pp. 659-663. [“Masque” appears in the section entitled “The Presence of Death,” sketchily annotated, without commentary.]

Aaon, Harold. Memoirs of an Aesthete (London: Methuen, 1948), pp. 16-24. [“Poe’s strength may lie in his vagueness, the indefiniteness of his faded tapestry. Were his local colour as precise as Flaubert’s, for instance, we would lose the pleasure of completing the structure and filling in the details for themselves.” Beardsley’s “real affinity was to Poe. The overripe metaphors and delirious interjections of Poe’s most characteristic tales are transposed into black and white designs.”]

Adams, Hazard. ed. Critical Theory Since Plato (New York, Chicago, London: Harcourt, Brace, Jovanovich, 1971), pp. 563574. [Poe’s extreme Romantic taste is evident in “The Poetic Principle,” included here. His ideas influenced Baudelaire, “who had a more sophisticated critical intelligence.”]

Allen, Mary. Animals in American Literature (Urbana, Chicago, London: Univ. of Illinois Press, 1983), p. 144. [Noting the Poe-Richard Wright link, Allen distinguishes the Dalton cat from Poe’s black cat. Bigger’s attitude toward the cat who views him shoving a body into the furnace is not obsessively hostile — a cat, he remembers, cannot talk.]

Andrew, Ray Vernon. Wilkie Collins: A Critical Survey of His Prose Fiction with a Bibliography (New York: Garland, 1979), pp. 57, 111-114, 155, 205, 333-334. [First appearing in 1959 as a Doaor Litterarum Thesis at Potchefstroom University, South Africa, this book contains essential information for anyone examining the Poe-Collins relationship. Collins’ acquaintance with Poe’s tales, particularly those of detection, is noted. Whereas Poe’s detective stories “relied only on the deductive processes . . . in The Moonstone the sleuths are more human and fallible.” From Poe Collins amplified the detective story “until he made of it a delectable game played by author and reader.”]

Aronson, Arnold. “Shakespeare in Virginia, 1751-1863,” Shakespeare in the South: Essays on Performance, ed. Philip C. Kolin (Jackson: Univ. Press of Mississippi, 1983), p. 33. [Brief references to Poe’s father’s acting and to Martin S. Shockley’s idea that Poe himself once appeared on stage.]

Asimov, Isaac. “Neither Brute Nor Human,” Ellery Queen’s Mystery Magazine, 83 (April 1984), pp. 6-21. (Poe is proclaimed during the monthly meeting of the Black Widowers “the first important practitioner of the modern detective story and of the modern science-fiction story.” Discussion of Poe’s methods and of nineteenth-century fiction ensues.]

Astor, William Waldorf. “The Fate of Miss Tralee’s Emerald,” Pall Mall Magazine, 11 (1897), 73. [If one knows “The Purloined Letter,” one knows about the time essential for a police search “in the old unsophisticated days.”]

Austin, Walter, ed. William Austin: The Creator of Peter Rugg (Boston: Marshall Jones, 1925), pp. 116-161. [“Peter Rugg, the Missing Man,” appeared — in 1824 — before Poe or Hawthorne [column 2:] became famous. Although Austin’s affinities with Irving are apparent, “Peter Rugg” has the “spirit of Charles Brockden Brown, of Hawthorne, and of Poe.” H. W. Mabie is cited as bracketing “Peter Rugg” with “Usher” as foundation stones for American fiction.]

Baigell, Matthew. Thomas Cole (New York: Watson/Guptill, 1981), pp. 10, 22. [Cole’s point of view, that in art message was as significant as medium, opposed Poe’s. Along with writers Irving, Poe, Melville, and Hawthorne, Cole in painting belonged to the American School of Catastrophe — centering upon themes of destruction].

Bakhtin, Mikhail M. The Dialogic Imagination: Four Essays, trans. Michael Holquist (Austin: Univ. of Texas Press, 1982; paperback, 1982), pp. 199-200. [“Cask,” “Masque,” and “King Pest” are structured upon static contrasts that deny a sense of “triumphant life.”]

Banfield, Frank. “The American Ambassador,” Cassell’s Magazine, 25 (1898), 347-254. [In an interview John Hay remarked that when pay for literary work among Americans was small, “we had a galaxy of brilliant writers, Bryant and Poe and Longfellow and Whittier and Lowell in his youth.” Poe, “who was one of the greatest men in prose and verse, and a trained editor as well, nourished all his life the dream of founding a magazine. . . . Now we have several magazines circulating half a million each, and they rarely publish anything that reminds you of Edgar Poe’s work.”]

Bangs, F‘rancis Hyde. John Kendrick Bangs: Humorist of the Nineties (New York: Alfred A. Knopf, 1941), pp. 13, 41, 125. [Bangs’ father presumably met Poe reeling home one nighr. Bangs enjoyed reading Poe’s tales; he might himself have written similar tales “of an uncanny or unwholesome cast,” but other diversions intervened.]

Bangs, John Kendrick. Ghosts I Have Met and Some Others (New York: Harper and Bros. 1899), p. 129. [A writer of weird stories admits to familiarity with Poe’s fiction.]

Banta, Martha. Failure & Success in America: A Literary Debate (Princeton: Princeton Univ. Press, 1978), passim. [Banta places Poe in the mainstream of American writing, compares him with Franklin, Twain, and Mailer, and finds the hysterics of a Pym-figure and the controlled vision of a Dupin-type equally terrifying.]

Barclay, Glen St. John. Anatomy of Horror: The Masters of occult Fiction (London: Weidenfeld and Nicholson; New York: 8t. Martin’s, 1978), pp. 81, 90-91. [Lovecraft’s debts to Poe, real and imagined, are charted.]

Bayer-Berenbaum, Linda. The Gothic Imagination: Expansion in Gothic Literature and Art (Rutherford, Madison, Teaneck: Fairleigh Dickinson Univ. Press; London and Toronto: Associated University Presses, 1982) . pp. 20, 39, 67, 109. [In Poe’s writings “we see the psychological tale of terror come of age.” He also employs auditory repetitions, just as Gothic architecture uses repeated designs. Poe and Le Fanu often use words that are too lengthy.]

Beach, Joseph Warren. Obsessive Images: Symbolism in Poetry of the 1930’s and 1940’s (Minneapolis: Univ. of Minnesota Press, 1960), pp. 13, 41, 320. [“The shivery sensation of fear is often a strong element of appeal in murder mysteries and in the stories of Poe. . . .” Poe’s doctrine of effect is cited.]

Becker, Kate Harris. Paul Hamilton Hayne: Life and Letters (Belmont, N.C.: C,utline Co., 1951), pp. 18, 58-61, 81. [Like Poe, Hayne possessed “manly independence of judgment.” Becker mentions Hayne’s visit to Poe’s grave, his poem “To Edgar Allan Poe,” and Lanier’s juxtaposing Hayne’s “Fire Piaures” to Poe’s “The Bells.”]

Bedell, Jeanne F. “Amateur and Professional Detectives in the Fiction of Mary Elizabeth Braddon,” Clues: A Journal of Detection, 4 (1983), 19-34. [The differentiation of professional from amateur detective in this Victorian sensationalist’s [page 13:] Wyllard’s Weird (1885) “is essentially that established by Poe.”]

Benediktsson, Thomas E. George Sterling (Boston: Twayne, 1980), pp. 56, 64, 68, 84, 85, 92, 126. [Poe the poet is a central inspiration for much of Sterling’s verse. Bierce’s and Dreiser’s admiration for Poe receives mention.]

Bennett, Mildred R. The World of Willa Cather (Lincoln: Univ. of Nebraska Press, 1961), pp. 5, 206. [Cather’s “A Night at Greenaway Court” is a Poesque story. When Cather met Stephen Crane, he was reading from a volume of Poe.]

Bernstein, Melvin H. John Jay Chapman (New York: Twayne, 1964), pp. 60, 87, 94. [Like Poe, Chapman deplored the anti-artistic thought of Puritanism. He disliked American neglect of Poe.]

Berry, Francis. Poetry and the Physical Voice (London: Routledge and Kegan Paul, 1962), p. 25. [Poe and Hardy are among the few poets since the seventeenth century to use echo as a device, and “Poe was ignorant of thc fact that echo responded in a higher pitch than the original sound.‘’]

————————. A Poet’s Grammar: Person, Time and Mood in Poetry. (London: Routledge and Kegan Paul, 1958), p. 158. ““Certainly Poe explored, and perhaps broke down, frontiers between Moods.” Poe’s “shufflings” were anticipated in British poetry — by such writers as Thomas Hood — before they appeared in Baudelaire and other French writers. Because Poe is not firmly within British traditions, he receives no extensive treatment there ]

Bezanson, Walter E. “Historical Note‘’ to Herman Melville’s Israel Potter: His Fifty Years of Exile, ed. Harrison Hayford et al. (Evanston and Chicago: Northwestern Univ. Press and The Newberry Library, 1982), p. 194. [Parallels exist between Israel’s burial alive, chs. 12-13, and like situations in Pym.]

Bickley, R. Bruce Jr. The Method of Melville’s Short Fiction (Durham, N.C.: Duke Univ. Press, 1975), pp. 15, 95, 132. [Melville’s similarities to Poe as a short-story writer include methods of characterization, “mysterious stranger” types, and unreliable narrators. “The Bell-Tower” and “Benito Cereno” resemble “Murders” in their being ‘‘elaborate riddles in detection” and in their closings which explain away seemingly supernatural forces that have been at work.]

Bloom, Edward A., and Lillian D. Bloom. Willa Cathers’ Gift of Sympathy (Carbondale: Southern Illinois Univ. Press, 1962), p. 68. [In A Lost Lady, Ivy Peters’ crass destruction of animal life resembles that of the narrator in “The Black Cat.”]

Bohner, Charles H. John Pendleton Kennedy: Gentleman from Baltimore (Baltimore: Johns Hopkins Press, 1961), pp. 28, 78, 87-89, 97, 116, 178, 189, 194-197, 236. [Poe’s admiration for Pinckney, his reviews of Kennedy’s works, and the Kennedy-Poe friendship receive attention.]

Brady, Kristin. The Short Stories of Thomas Hardy (New York: St. Martin’s, 1982), pp. 199, 218. [Poe’s theory of single effect does not illuminate Hardy’s short stories.]

Branch, Watson. ed. Melville: The Critical Heritage (London and Boston: Routledge and Kegan Paul, 1974), pp. 33, 184, 213, 262, 360, 434. [“Bartleby” is termed a “Poeish tale,” and “The Bell Tower” is compared with Poe’s fiction. Branch mentions Pym and Poe as editor.]

Brophy, Brigid. Black and White: A Portrait of Aubrey Beardsley (London: Jonathan Cape, 1968; New York: Stein and Day, 1969), p. 38. [Notes Beardsley’s sexual symbolism, citing as an example the dangling earring of the orangutan in his drawing for “Murders.”]

Browning, Robert, and Elizabeth Barrett Barrett. The Letters of Robert Browning and Elizabeth Barrett Barrett. (Cambridge, Mass.: Belknap. .. Harvard Univ. Press, 1969), 2 vols. I, 297, 299, 373, 416, 428, 522, 548; 11, 683, 684, 767. [Generally, no new material appears, but it is handy to have within such [column 2:] compass the Brownings’ acquaintance with Poe’s work and their opinions of him.]

Bryant, John. Melville Dissertations, 1924-1980. An Annotated Bibliography and Subject Index (Westport, Conn.: Greenwood Press, 1983). [Twenty entries cite Poe.]

Budd, Louis J. ed. Critical Essays on Mar/c Twain, 1910-1980 (Boston: G. K. Hall, 1983), pp. 5, 17, 43, 45, 97, 121, 145. [Poe, like Twain and Frost, has status as a “popular and highbrow‘’ author. Poe is repeatedly competed with other American writers. Glauco Cambon treats him as a contributor to mass media (notably in his detective stories).]

Butcher, Edward. Adelaide Crapsey (Boston: Twayne, 197’)), pp. 28, 31, 32, 66, 68, 73, 95, 96, 97. [Crapsey’s debts to Poe — notably in Gothic effects and in (sometimes defective) sound patterns — are noticed.]

Cady, Edwin H. The Light of Common Day: Realism in American Fiction (Bloomington / London: Indiana Univ. Press, 1971), pp. 17-18, 25, 31. [“A Descent” is compared with Gulliver’s Travels as regards realistic technique. Poe embodied “the autonomous sensibility among American romancers.” Hawthorne’s “The Artist of the Beautiful” links Poe with Thoreau.]

Cameron, Kenneth W. ed. Philothea . . . by Lydia Maria Child (Hartford: Transcendental Books, 1975), pp. 166-169. [Reprints Poe’s review of Mrs. Child’s novel from the Southern Literary Messenger of 1836.]

Carr, John Dickson. The Bowstring Murders (New York: William R. Morrow, 1933; paper ed. New York: Berkeley Medallion, 1959), pp. 41, 139, 148. [“Murders,” “The Purloined Letter,” and “The Raven” are mentioned.]

————————. Dark of the Moon(New York: Harper and Row, 1967; paper ed. New York: Berkeley-Medallion, 1969), pp. 148, 156-157, 159, 168, 227-232, 244-245. [References to “The Gold-Bug” are numerous, a portrait of Poe is important, and “Murders‘’ is mentioned.]

————————. It Walks by Night (New York: Harper and Bros., 1930; paper cd. New York: Pocket Books, 1941), pp. 207, 212. [Detective Bencolin tells of a young man quoting Poe, Swinburne, and Baudelaire to his beloved. Specific references to “Cask” appear later.]

————————. The Mad Hatter Mystery (New York: Harper and Row, 1933; paper ed. New York: Macmillan, 1965). [Much of the mystery centers upon an unpublished Poe manuscript.]

————————. The Punch and Judy Murders (New York: William R. Murrow, 1937; paper ed. New York: Pocket Books, 1943), p. 201. [Counterfeiter Willoughby hid his money in his plant: “Like that old Poe thing; whats-its-name? The most obvious place.”]

Carter, John, and Percy H. Muir, eds. Printing and the Mind of Man (New York: Holt Rinehart and Winstem; London: Cassell, 1967), item 211. [Under “Gothick” we read that Walpole’s The Castle of Otranto has “manifest” influence upon Poe.]

Cather, Willa. The Kingdom of Art: Willa Cather’s First Principles and Critical Statements, 1893-1896, ed. Bernice Slote (Lincoln: Univ. of Nebraska Press, 1966), pp. 21, 36, 63-64, 79, 360, 380-387. [Various, always positive, opinions about Poe are set forth. Other than Lowell, he was America’s greatest poet. Hunger, not alcohol, was Poe’s great tragedy. Cather demonstrates familiarity with the range of Poe’s writing.]

————————. The World and the Parish. Willa Cather’s Articles and Reviews — 1893-1902, ed. William M. Curtin (Lincoln: Univ. of Nebraska Press, 1970), pp. 157-163, 349 586-587, 603, 881. [Cather highly praises Poe the story-writer and poet. Bierce was probably influenced by Poe. Cather dismisses myths of Poe’s drinking problems.] [page 14:]

Cevasco, G. A. John Gray (Boston: Twayne, 1892), p. 61. [In Silverpoints (1893) the poem, “Lean Back, and Press the Pillow Deep,” features a “figure out of Poe the heroine has tired eyes, a pale pallor, and a voice that is tenebrous.”]

Chapman, Arthur. “The Unmasking of Sherlock Holmes,” The Critic [New York], 46 (1905), 115-117. [A spoof in which Dupin calls on Holmes, cautioning him not to appear too often lest he become dull — which Holmes admits. “The Dancing Men” devolves from “The Gold-Bug.” Poe did not overdo with quantities of Dupin tales.]

Chew, Samuel C. Swinburne (Boston: Little, Brown, 1929), p. 155. [Lord Lytton’s (“Owen Meredith’s”) plagiarism in “Count Rinaldo Rinaldini” from “Ulalume,” as parodied in Swinburne’s “Last Words of a Seventh-Rate Poet,” is sketched.

Clyne, Patricia Edwards. “Yaddo: 200 Years Later,” Hudson Valley (April 1984), pp. 39-42. [Poe supposedly composed an early version of “The Raven” while meandering about Barhyte’s trout pond, the site of present-day Yaddo.]

Coblentz, Stanton. The Literary Revolution (New York: Frank-Maurice, 1927, pp. 143-145. [The opening of “Usher” is compared with portions of Ben Hecht’s Eric Dorn to the disadvantage of the latter. One senses Poe’s writing “out of the compulsion of a deeply felt mood”; his lengthy sentences are better than Hecht’s “staccato style.”]

Conrad, Susan P. Perish the Thought: Intellectual Women in Romantic America, 1830-1860 (New York: Oxford Univ. Press, 1976; Secaucus, N.J.: Citadel Press, 1978), pp. 47-48, 83-87, 121, 128, 228-229. [Conrad notes Poe’s relationships with Margaret Fuller, Elizabeth Ellet, Elizabeth Oakes Smith, and Sarah Helen Whitman — the last saw Poe as representing contemporaneous skepticism.]

Crane, Joan, comp. Willa Cather: A Bibliography (Lincoln: Univ. of Nebraska Press, 1982), items D199, D366. [References to two essays on Poe by Cather during the 1890’s.]

Crawford, Gary William, Frederick S. Frank, Benjamin Franklin Fisher IV, and Kent Ljungquist. The 1980 Bibliography of Gothic Studies (Baton Rouge: Gothic Press, 1983). [Poe is frequently a subject in the listings; this chapbook continues the work earlier published in Gothic.]

Davidson, Donald. Still Rebels, Still Yankees and Other Essays (Baton Rouge: Louisiana State Univ. Press, 1957), 3, 8, 9, 183, 187-188, 269. [Poe’s supposed oddities are questioned. Predictably, from the pen of Davidson, Poe is ranked high among Southern authors.]

Davis, Charles T. Black is the Color of the Cosmos: Essays on Afro-American Culture, 1942-1981 (New York & London: Garland, 1982), pp. xiii, xviii, xxi, xxx, 3, 44, 132, 135, 148. [Roots of Afro-American writing in this century can be traced to American Romantics, notably Melville and Poe. There are significant remarks on Pym and on Poe’s impact on the verse of Paul Laurence Dunbar.]

Day, Martin S. History of American Literature from the Beginnings to 1910 (Garden City: Doubleday, 1970), pp. 65, 146158. [Charles Brockden Brown’s “psychological horror” stories are a major influence on Poe’s fiction. Sensible except for remarks about Poe’s being over-melancholy, this sketch outlines and gives terse analyses of many works of fiction, verse, and criticism and praises Poe as the father of detective fiction.]

Delille, Edward. “Guy De Maupassant,‘’ Fortnightly Review, 58 (1892), 50-64. [Because of “frenzy and aberration” in many of his tales, Maupassant “has been suspected of a desire to imitate E:dgar Poe,” who has, as Baudelaire long before predicted, become extremely popular in France.]

DeNike, Lisa. “Poe: His Restless Spirit Remains a Mystery Beyond the Grave,” The Evening Sun (Baltimore), 18 January 1984, pp. Bl, B5. [Comments about annual celebrations at [column 2:]

“Poe’s Grave,” which indeed may not be the place where his bones rest. See also the accounts in The Sun, 22 January 1984, p. E3; and Towson Times, 11 January 1984, p. A20.]

Dreiser, Theodore. American Diaries: 19G2-1926, ed. Thomas P. Riggio, James L. W. West, III, and Necla M. Westlake (Philadelphia: Univ. of Pennsylvania Press, 1982), pp. 6, 33, 341342, 348, 380. [Dreiser was reading Poe and biographies of him by Harrison and Robertson — during 1920-1921.]

————————. Letters of Theodore Dreiser: A Selection, ed. Robert H. Elias. 3 vols. (Philadelphia: Univ. of Pennsylvania Press, 1959), 1, 91, 211, 255, 270, 292, 326-328, 369-371; 11, 507, 682 754; 111, 983, 987. [Dreiser’s reading of Poe, his admiration few J. W. Robertson’s biography about him, and an emphatic antipathy toward Griswold are evident. Dreiser admired Hubert Davis’ illustrations of Poe’s works. He also deplored neglect of Poe’s literary art; he was “our first and greatest literary genius.”]

Theodore Dreiser: A Selection of Uncollected Prose, ed. Donald Pizer (Detroit: Wayne State Univ. Press, 1977), pp. 188. [Dreiser variously remarks that Poe “is a reflection of nothing but himself — that strange genius which might properly have been met with in any age”; that Poe’s rewards were in inverse proportion to his artistic abilities; and that he was a great American writer — bracketing him with Whitman, Emerson, Thoreau, and Norris.]

Duberman, Martin, James Russell Lowell (Cambridge, Mass.: Houghton Mifflin, 1966). [Most of the references to Poe regard his reviewing of and attitudes toward Lowell’s verse.]

Dunlap, Leslie W., ed. The Letters of Willis Gaylord and Lewis Gaylord Clark (New York: New York Public Library, 1940), pp. 11, 15, 58, 121, 149. [Poe’s favorable comments on Willis Gaylord’s religious verse are recorded, as is the opinion of T. O. Mabbott that the review of Longfellow’s Hyperion, often ascribed to Poe, is by Burton — because it is positioned first, as his reviews usually were. Poe’s part in the prize tale contest for the Philadelphia Saturday Courier is also noted.]

Eaton, Clement. The Mind of the Old South. rev. ed. (Baton Rouge: Louisiana State Univ. Press, 1967), pp. 246, 251. [Poe and Chivers created situations remote in place and time from their own era. In his Southern Literary Messenger criticism, Poe attempted deflation of bombastic Romantic expression — to little avail.]

Editors. Headnote in Edward D. Hoch, “Murder at the Bouchercon,” Ellery Queen’s Mystery Magazine, 82 (November 1983), P 57 “Mentions Poesque background for Hoch’s novel, The Shattered Raven (1969).]

Eigner, Edwin M. The Metaphysical Novel in England and America: Dickens, Bulwer, Hawthorne’ Melville (Berkeley and Los Angeles: Univ. of California Press, 1978), pp. 4, 6, 29, 33, 83, 210, 217-222. [Poe the critic and theoretician is uppermost here.]

Eisinger, Chester E. “The Gothic Spirit in the Forties,” Pastoral and Romance: Modern Essays in Criticism, ed. Eleanor Terry Lincoln (Englewood Cliffs: Prentice-Hall, ‘969), pp. 289-296. [This article condenses materials from Eisenger’s Fiction of the Forties (1963). The “symbolic and gothic stream begun with Charles Brockden Brown received contributions from Poe, Hawthorne, and Melville” and passed thence into later writers like Capote and Bowles.]

Ericksen, Donald H. Oscar Wilde (Boston: Twayne, 1977), p. 44. [“The Sphinx,” like “The Raven,‘’ begins “in the speaker’s quarters with a confrontation.”]

Estleman, Loren D. “Death in a Blue Steel Case: The Gun in Detective Fiction Mystery, 4 (July 19X2), pp. 38-42. Guns are absent from Poe’s major detective stories — evidently Estleman is unaware of “Thou Art the Man.”]

Evans, Walter. “Nineteenth-Century American Theory of the Short Story: The Dual Tradition,” Orbis Litterarum, 34 [page 15:] (1979), 314-330. [Poe’s “Lyric” theory of the short story minimizes characterization. His derivation is essentially from the essay tradition, and it is often termed “mechanical.” Subsequent theories of short fiction, as they respond to and modify Poe’s conceptions, are examined.]

Fagin, N. Bryllion. ed. America through the Short Story (Boston: Little, Brown, 1936), pp. 1-19. [In introductory observations, Fagin places Poe among early creators of American short fiction, but notes that his vision was unlike that of many of his contemporaries.]

Fairbanks, Henry G. Louise Imogen Guiney (New York: Twayne, 1973), pp. 83-8/i, 121. [Guiney’s comparison of Poe’s verse with that of the Irishman James Clarence Mangan is mentioned at some length; that of Lionel Johnson’s death in a street accident in 1902 with Poe’s end, more tersely.]

Finkelstein, Dorothea M. Melville’s Orienda (New Haven and London: Yale Univ. Press, 1961), pp. 16, 17-18, 49. [Poe’s Orientalism tended toward Gothic, not historical sources. His attitude toward travel literature of Oriental substance is noted.]

Fisher, Benjamin Franklin IV. “George Washington Harris and Supernaturalism,” Papers of the Mississippi Philological Association, I (1982), 18-23. [Harris’ Sut Lovingood yarns bridge the gap from Poe’s grisly comedy, wherein the latter betrays affinities with Southwestern humorists, and the comic supernaturalism of such later American writers as Mary N. Murfee.]

————————. “Introduction,‘’ in William Henry Ireland, The Abbess: A Romance (New York: Arno Press, 1974), I, ix-xxix. Parallels between part of vol. II and the heated-wall episode in “The Pit and the Pendulum” are demonstrated.]

————————. “Twilight Stories,‘’ Survey of Modern Fantasy Literature, ed. Frank N. Magill (La Canada, Calif.: Salem Press, 1983), IV, 1989-1991. [In a critique of Rhoda Broughton’s selected supernatural tales, parallels between “Cask” and “The Truth, the Whole Truth, and Nothing But the Truth” are demonstrated. So, too, are similarities of “The Man with the Nose” to Poe’s “Lionizing; ‘‘Behold It Was a Dream” to “Murders‘‘; and “Poor Pretty Bobby‘’ to “Usher.” Broughton is a transition figure between Poe’s horror fiction and that of M. R. James.]

————————. Review of George Levin and U. C. Knoepflmacher, eds., The Endurance of “Frankenstein”: Essays on Mary Shelley’s Novel. English language Notes, 19 (1981), 67-68. [The impact on Poe, among others, is noted.]

————————. Review of David Punter, The Literature of Terror. A History of Gothic Fictions from 1765 to the Present Day, and Elizabeth M. Kerr, William Faulkner’s Gothic Domains, English Language Notes, 20 (1982), 101-103. [Excepting perceptive comments about “Cask,” Punter’s information concerning Poe is shaky.]

————————. Review of Thomas Daniel Young, The Past in the Present: Thematic Study of Modern Southern Fiction, Studies in American Fiction, 11 (1983), 269-270. [Twain, G. W. Harris, and Poe adumbrate the dark humor in much recent Southern fiction.]

Fitzgerald, F. Scott. Correspondence of F. Scott Fitzgerald, ed. Matthew J. Bruccoli and Margaret M. Duggan, with Susan Walker (New York: Random House, 1980), p. 80. [In February 1920, Fitzgerald wrote to Robert D. Clark that Poe had not been respected during his lifetime, and that Poe, like other renowned writers, numbered among “drunkards or wasters. ]

——. The Letters of F. Scott Fitzgerald, ed. Andrew Turnbull (New York: Charles Scribner’s Sons, 1963), pp. 513, 531. F. Scott Fitzgerald wrote to Gilbert Seldes about producing several one-act plays, among which Fitzgerald wanted variety: “l don‘t know whether there are any good horror one-acters in America but we might . . . get somebody [column 2:] to dredge something out of Edgar Allan Poe.” In 1935 he wrote about other pleasantries in Baltimore that it was nice to know Poe was buried there.]

Foty, Geraldine R. Review of The Name of Annabel Lee, by Julian Symons. Sunday Telegram (Worcester, Mass.), I January 1984, p. 8D. [“Julian Symons’ lastest mystery novel is Poe-etic.” Annabel Lee Matherby and her sister Lenore live at a country home called “Kingdom by the Sea.” Believing her to be endangered, Dudley Potter follows Annabel to “The House of Usher,” a spot of great danger.]

French, Warren. Robert Lowell. 2nd ed. (Boston: G. K. Hall, 1979), p. 120. [“The Severed Head” recalls Poe in a meeting with a doppelganger.]

Fryer, Judith. The Faces of Eve: Women in the Nineteenth Century American Novel (New York: Oxford Univ. Press, 1976), pp. 25-27, 33, 42, 161, 246. [Poe’s dark ladies are in the mainstream of the fiction in his day. Dr. Rappaccini resembles many Poe characters, and the knowledge-as-evil theme in “The Turn of the Screw‘’ seems derivative from Poe.]

Fusco, Richard. comp. Index for Poe Studies Association Newsletter, vols. 1-10 inclusive (May 1973-Fall 1982). [Two broad divisions, the first thematic with indications by initials of authorship, the second citing reviews, again with authorship of the notice indicated by initials, make this a useful reference tool.]

Gale, Robert L. John Hay (Boston: Twayne, 1978), pp. 17, 61, 80 123. [Hay’s acquaintance with Sarah Helen Whitman — who Gale thinks is remembered now solely because of her connection with Poe the Poesque element in his poem “My Castle in Spain,” and Hay’s references to Poe in publications and addresses arc briefly noted.]

Gerber, Phillip L. Robert Frost (New York: Twayne, 1966), p. 115. “The Bells” is not among Poe’s most memorable poems because ‘‘it possesses beauty without substance and does not tcase the mind.” It “remains a novelty, a marvelous toy.”]

———————— , ed. Critical Essays in Robert Frost (Boston: G. K. Hall, 1982) . [Poe is mentioned frequently Notably, Frost still read Poe at age 75, Pym and ‘‘Design” share affinities, and Amy Lowell praised Poe as “the greatest American poet . . . in that subtler sense” lacking in North of Boston, which aligns with Whittier.”]

Gilder, Richard Watson. Letters of Richard Watson Gilder, ed. Rosamund Gilder (Boston and New York: Houghton-Mifflin, 1916), pp. 433-434, 477, 484. [In November 1908, Gilder replied to Vachel Lindsay, who had listed Poe among his favorite poets, that he could not admire “Ulalume” because of its repetitions, although he does admire “To Helen,” “The City in the Sea,‘’ and “The Haunted Palace.” In 1909 Gilder referred to several Poe celebrations.]

Glasgow, Ellen. A Certain Measure: An Interpretation of Prose Fiction (New York: Harcourt, Brace, 1938), pp. 132-133. [In Poe the “formalism of his tone, the classical element in his poetry and in many of his stories, the drift toward rhetoric, the aloof and elusive intensity, — all these qualities are Southern. And in his more serious faults of overwriting, sentimental exaggeration, and lapses, now and then, into a pompous or florid style, he belongs to his epoch and even more to the South.”]

————————. Letters of Ellen Glasgow, ed. Blair Rouse (New York: Harcourt, Brace, 1958), pp. 27, 35, 352. [Among several comments in Poe, Glasgow’s outstanding remark is her chiding of Van Wyck Brooks in his observations on Poe in The World of Washington Irving (1944), adding, “I have always felt a curious (because an improbable) kinship with Poe. . . . I have resented his hard fate” in comparison with that of many a Northerner.”]

Gross, Seymour L. and John Edward Hardy, eds. Images of the Negro in American Literature (Chicago and London: Univ. of Chicago Press, 1966), pp. 84-89, 91-92, 100, 127, 157, [page 16:] 310. [Leslie Fiedler on Pym is reprinted here, as is Ellison on Poe and Hemingway, and Sidney Kaplan on Pym and Melville’s “A Tartarus of Maids.” A brief bibliography of Poe and the black question appears.]

Habegger, Alfred. Gender, Fantasy and Realism in Americaru Literature (New York: Columbia Univ. Press, 1982), pp. ix, 5, 283. [Poe was not so alert to social nuance as were later writers like Howells and James. His strictures against long poems (narrative poems) were inapplicable to long novels — which appealed to many. Dupin is termed an opium smoker.]

Hall, Wade. The Smiling Phoenix: Southern Humor from 1865 to 1914 (Gainesville: Univ. of Florida Press, 1965), pp. 5, 339. [Blacks in Poe’s fiction were generally menials. As a hoaxer, Poe stands in a central tradition of Southern writing.]

Hamilton, Charles. Great Forgers and Famous Fakes (New York: Crown Publishers, 1980), pp. 88-120, 219, 230-232. [Joseph Cosey — pseudonym of Martin Coneely — perpetrated good Poe forgeries. Information on James Whitcomb Riley’s “Leonainie” hoax also appears.]

Harris, Mrs. L. H. “Southern Writers,” The Critic (New York), 47 (1905), 260-263. [During the nineteenth century, excepting Poe, Timrod, and a few others, Southern literature is generally amateurish, revealing “more sentiment, humor, and chivalry than artistic merit.”]

Hennessy, Brendon. The Gothic Novel (Harrow, England: Longman Group Ltd., 1978), pp. 39-40. [“Poe added psychology” to Gothicism. “Murders” is “as much a story of horror as of detection.” Following Poe, “the Gothic spirit became diffused.‘’]

Higgins, Brian. Herman Melville: An Annotated Bibliography, 1846-1930 (Boston: G. K. Hall, 1979). [Poe’s name appears in twenty-eight entries.]

Hobson, Fred C. Serpent in Eden: H. L. Mencken and the South (Chapel Hill: Univ. of North Carolina Press, 1974), pp. 19, 46, 54, 75, 126, 128, 207-208. [Mencken’s early hostility toward Poe as a writer of muddled, verbose work, tempered somewhat when he compared him with Cabell as an outcast and partly German in heritage.]

Hodgson, Judith. “How Do I Kill Thee? Let Me Count the Ways . . . ,” Philadelphia, 75 (April 1984), pp. 89-90, 92-94, 96-101. This review of recent detective novels observes that Ruth Rendell’s Chief Inspector Wexford, in Speaker of Mandarin (1984), reads Poe, who is also “constantly invoked throughout” Julian Symons’ The Name of Annahel Lee (1984). Symons forgets “that Poe was the great master of menace, a quality glaringly absent from this book‘’]

Hoffman, Daniel. ed. Harvard Gnide to Contemporary American Writing (Cambridge, Mass. and London: Belknap of Harvard Univ. Press, 1979), pp. 190, 474, 484, 501, 519, 606. [Cormac McCarthy’s Lester Ballard is prefigured by the “various necrophiles who appear” in Poe’s talcs. The Wilbur-Poe connection is noted. Antecedents for Robert Lowell, Plath, and Ginsberg in Poe are discerned, as is his originating, along with others in the American Renaissance, the theme of isolation still much a part of American literature.]

Holder, Alan. A. R. Ammons (Boston: Twayne, 1978), pp. 25, 37. [“A Crippled Angel” might seem an inversion of “Israfel.” A mixed attitude toward science is evident among American poets, including Poe.]

Holland, Norman N. The Dynamics of Literary Response (New York: W. W. Norton, 1975), pp. 35, 53, 164, 264-265. [Holland mentions Poe’s symbols, several related to a sense of being overwhelmed, perhaps buried alive, of identity and repression, and the connection between his detective stories and the ego’s “secondary-process or problem-solving thinking.” Poe was among the first to object to a critical approach to Shakespeare’s characters as if they were real people.] [column 2:]

Hollington, Michael. “Dickens and Grotesque Art,” Dickens Studies Newsletter, 13 (1982), 5-11. [Dickens and Poe both believed that terror “was not of Germany, but of the here and now, and it existed in the most intricate relation with quite opposite emotions like delight and surprise and glee.”]

Howard, Leon. Victorian Knight-Errant: A Study of the Early Literary Career of James Russell Lowell (Berkeley and Los Angeles: Univ. of California Press, 1952). Howard refers often to the Lowell-Poe relationship, with particular attention to Poe’s pay for publications in The Pioneer.]

Hubbell, Jay B. Who Are the Major American Writers? A Study of the Changing Literary Canon (Durham, N.C.: Duke Univ. Press, 1972), passim. [Poe’s fortunes among interpreters, academic and otherwise, of American literature, are charted. Pym was neglected, in Hubbell’s opinion, for many years until critics like Auden, Patrick Quinn, and Edward Davidson led toward recognizing it as a masterpiece of American novel-writing.]

Irvine, William, and Park Honan. The Boruk, the Ring, and the Poet: A Biography of Robert Browning (New York: McGraw-Hill, 1974), p. 125. [Browning’s experiments with dramatic monologues are compared with Poe’s “exploiting the same kind of psychological sensationalism by likewise conducting readers inside the minds of madmen and murderers.” Narrators in “The Tell-Tale Heart” and “Cask” respectively resemble Porphyria’s lover and the “careful, gloating avenger‘’ in “The Laboratory.”]

Isaac, Frederick. “Nameless and Friend: An Afternoon with Bill Pronzini,” Clues: A Journal of Detection, 4 (1983), 35-52. [The law continues troublesome for detective fiction from the Dupin tales to present times.]

Iyengar, Sreenidhi. Indian Contributions in American Studies 1895-1977: A Checklist of Books, Dissertations, Articles and Papers by Indian Authors (Hyderabad: American Studies Research Centre, 1977), pp. 55-57. [Poe items are listed.]

James, Henry. The Future of the Novel: Essays on the Art of Fiction, ed. Leon Edel (New York: Vantage Books, 1956), pp. 66, 208, 210. [James dislikes the conclusion to Pym. He associates the short story in American writing with Poe, Hart, and Hawthorne. Maupassant occasionally imitates Poe.]

Jameson, Frederic. Marxism and Form: Twentieth-Century Dialectical Theories of Literature (Princeton, N. J.: Princeton Univ. Press, 1971), p. 71. [Walter Benjamin’s Grübler, “that superstitious, overparticular reader of omens,‘’ has affinities with the “hysterical heroes of Poe and Baudelaire.”]

Jones, Ann Goodwyn. Tomorrow Is Another Day: The Woman Writer in the South, 1859-1936 (Baton Rouge and London: Louisiana State Univ. Press, 1981), pp. 41, 42, 217. [Poe numbers among Southern male writers who glorify womanhood. In “Israfel” he expresses doubts that beauty can be comprehended by humans. Mary Johnston’s Hagar (1913) is reminiscent of “Usher.”]

[Jones, William A.] “American Humor,” United States Magazine and Democratic Review, 17 (1845), 212-219. [Regarding the Broadway Journal, Jones predicts that “With the aid of one of the most ingenious critics, and a prose poet of much force, imagination, invention, and versatility, Mr. Poe, this weekly cannot fail to become in its way a classic, like the ‘London Journal’ or the ‘Athenaeum.‘”]

————————. “Tales of the South and West,” United States Magazine and Democratic Review, 18 (18zi6), 471-474. [Rebuking a British critic for omitting Poe from a review of American fiction, Jones dubs Poe one ‘‘f several American “genuine originals.”]

Kakutani, Michiko. “Mysteries Join the Mainstream,” New York Times Book Review, 15 January 1984, pp. 1, 36-37. [Surveying the increasingly sophisticated art in mystery and detective fiction, Kakutani notes Poe’s originating the detective story. [page 17:] Doyle advances his methods of deduction and dialogue. Others so far surpassed these two that “Poe’s innovations became a hollow shell.”]

Kalstone, David. “The Undiscovered Elizabeth Bishop,” New York Times Book Review, 15 January 1984, pp. 1, 26. [Her two “mordant” stories, “The Sea and Its Shore” and “In Prison,” are “worthy of Kafka and Poe.”]

Kaplan, Charles. ed. Criticism: The Major Statements (rev. ed., New York: St. Martin’s Press, 1975), pp. 381-382, 401, 427, 464. [Poe counters general critical views during the early nineteenth century in positing that poetry does not exist primarily to teach, but to delight. A debt to Shelley is obvious in “The Poetic Principle” (included here). Pater’s “frank impressionism may usefully be compared with Poe’s recognition of individual subjectivity” in the first paragraph of that essay.]

Karl, Frederick R. “Introduction,” to Wilkie Collins, The Moonstone (New York and Scarborough, Ontario: New American Library, 1984), pp. 1-21. [Crime fiction, as Poe comprehended, often works best in short stories. Unlike Poe, Collins shifted from circumstance-upon-character to characters’ internal pressures. Vidocq influenced Poe, and Poe’s Parisian settings in the Dupin tales acknowledges the French impact on detective fiction. Dupin “worked entirely on deduction, with no larger social context.”]

Keating, H. F. R., ed. Crime Writers (London: British Broadcasting Co., 1978), pp. 14, 35, 37, 39, 40. [Poe originated crime fiction as we perceive it. “Doyle’s most obvious literary debt was to Poe.”]

Kemp, John C. Robert Frost and New England: The Poet as Regionalist (Princeton: Princeton Univ. Press, 1979), pp. 45-49, 52-58, 99, 151, 156, 187. [Kemp chastises Lawrance Thompson’s cavalier treatment of Poe’s impact upon Frost, whose early verse is Poesque. Keats, Arnold, and Poe incited Frost’s initial poetic ventures.]

Kent, Bill. “Something Other-Worldly This Way Comes,” Baltimore Magazine (August 1983), pp. 74, 76-77, 120. [“Baltimore established itself as a center for literate fantasy when the writings of a drunken, paranoid genius named Edgar Allan Poe set new standards of excellence and terror.” Poe’s portrait appears.]

La Guardia, David M. Advance on Chaos: The Sanctifying Imagination of Wallace Stevens (Providence: Univ. Press of New England, 1983), p. 63. [The subman in Stevens’ “Owl’s Clover” is “an offspring of Poe’s spirit of beauty trapped in a rationalist world.”]

Lang, Andrew. “Confessions of a Justified Sinner,” Illustrated London News, 8 December 1896, p. 12. [The fine border of the real with the subliminal in Hogg’s Confessions is great art: “Hawthorne or Poe might not have disdained this artifice, whereof the art is cunningly hidden.”]

Leisy, Ernest E. “Introduction,” in John Pendlton Kennedy, Horse-Shoe Robinson (New York: American Book Co., 1937; paper ed. New York and London: Hafner Publishing Co., 1962), pp. ix-xxxii. [Poe’s great acclaim for Kennedy’s novel plus a terse account of their acquaintance are included.]

Lentricchia, Frank. After the New Criticism (Chicago: Univ. of Chicago Press, 1980); p. 380. [“By arguing that the negation of nature is the authentic act of the romantic imagination, Bloom remakes romantic tradition in the image of Edgar Allan Poe and . . . his F‘rench symbolist inheritors . . . who desire to make language . . . free from all reference to empirical impurities.”]

Levarie, Norma. The Art‘; History of Books (New York: James J. Heineman, 1968), p. 265. [Janet’s Raven (1875), with “free full-page lithographs, completely separate from the printed text but deeply interpretive of its mood,” along with Delacroix’s Faust “were the most important French contributions to publishing in the twentieth century.”] [column 2:]

Lewisohn, Ludwig. The Story of American Literature (New York: Modern Library, 1939), pp. 153-169. [“Poe’s work was genetically a defense-neurosis.” He wrote principally to aggrandize himself. His affinities with other writers like Chamisso and Wilde are noted. He is the great progenitor of detective and science fiction. “To One in Paradise” exemplifies Poe’s best poetic or “mood” art.]

Lhombreaud, Roger. Arthur Symons: A Critical Biography (London: Unicorn Press, 1963), pp. 49-55, 177, 190, 253, 262. [Symons projected but never finished a life of Poe. He was continually drawn to the earlier writer, as a writer (as Symons viewed him) of “demoniacal stories.” “Cask” especially attracted him.]

Lowell, James Russell. Browning to His American Friends: Letters between the Brownings, the Storys, and lames Russell Lowell, 1841-1890, ed. Gertrude Hudson (New York: Barnes & Noble, London: John Murray, 1965), p. 248. [Lowell’s letter to W. W. Story, misdated here as in other editions of Lowell’s correspondence, notes Poe’s death and calls him “a man of real genius.” Because Poe’s death date is 7 October, the 25 September 1849 must have originally been Lowell’s error.]

————————. Letters of James Russell Lowell, ed. Charles Eliot Norton (New York: Harper & Brothers, 1894), 2 vols. I, 85, 9G, 99, 102. [Comments on Poe as editor, on his readiness to scent plagiarism, and on differences between his and Lowell’s conception of poetry.]

————————. New Letters of James Russell Lowell, ed. Mark A. DeWolfe Howe (New York and London: Harper and Bros., 1932), p. 275. [Lowell’s letter to George E. Woodberry, 12 March 1884, mentions his sole meeting with Poe, financial ventures of The Pioneer, and conditions of Lowell’s payment to Poe, as well as his meetings with Mrs. Clemm after Poe’s death.]

Lowes, John Livingston. The Road to Xanadu: A Study in the Ways of the Imagination (Boston: Houghton Mifflin, 1927), p. 5G4. [Lowes quotes Paul John Williams Pigors, who compares the “animated corpses” in “The Rime of the Ancient Mariner” with the “secular ghosts” in “MS. Found in a Bottle,” praising Poe’s tale as fine work, the caliber of an authentic nautical story.]

Ludington, Townsend. John Dos Passos: A Twentieth Century Odyssey (New York: E. P. Dutton, 1980), p. 50. [Dos Passos read much of Poe’s work during his Harvard years.]

McDowell, Frederick P. W. Ellen Glasgow and the Ironic Art of Fiction (Madison: Univ. of Wisconsin Press, 1960), pp. 114, 223. [Poe as Poet is mentioned in Virginia (1913), and Glasgow is later quoted as listing Poe’s chief traits, good and bad, as Southern.]

Machery, Pierre. A Theory of Literary Production, trans. Geoffrey Wall (London, Henley, Boston: Routledge and Kegan Paul, 1978 [19GG]), pp. 21-26, 48, 147, 166. [“The Philosophy of Composition” is carefully analyzed; it might well be placed with the adventures of Dupin rather than with works that “propose an analysis of literature.”]

McLanathan, Richard. The American Tradition in the Arts (New York: Harcourt, Brace, 1968), pp. 193, 296, 326, 357, 361, 394, 461. [Early nineteenth-century Orientalism created fantastic “stage sets” that might be adapted to Poe’s “Domain of Arnheim” and to current skyscrapers. McLanathan closely analyzes Poe and gift books, his links with emotionalism in architectural expression during his era, the influence of “The Haunted Palace” on A. P. Ryder’s The Temple of the Mind, the Poe-Hawthorne-Melville tradition of “increasing subjectivity and intuitive exploration,‘’ and the impact of Orientalism on Ryder and Blakestock and on the voyage motif in Brown, Allston, Cole, Poe through Wallace Stevens.]

Malkoff, Karl. Escape from the Self: A Study in Contemporary American Poetry and Poetics (New York: Columbia Univ. [page 18:] Press, 1977), p. 146. [We are reminded . . . of Hart Crane’s attempts to reconcile Whitman and Poe in The Bridge.”]

Mann, Jessica. Deadlier Than the Male: Why Are Respectable English Women So Good at Murder? (New York: Macmillan 1981), pp. 17, 26, 54, 64, 69-70. [Poe’s place in detective-fiction writing is assessed — he was not the first to feature a detective in a tale — and his debt to Vidocq, his use of the talented amateur sleuth, and Doyle’s repetition of Poe’s use of the admiring narrator are given just due.]

Martin, Jay. Harvests of Change: American Literature 1865-1914 (Englewood Cliffs: Prentice-Hall, 1967), pp. 16, 222, 234ff., 247, 264, 281, 284, 291. [Comments on Poe’s impact upon Bellamy, London, Whitman, Dickinson, and Wharton (who set him apart from mainstream American writers of fiction).]

Matthiessen, Francis O. Rat & the Devil Journal Letters of F. O. Matthiessen and Russell Cheyney, ed. Louis Hyde (Hamden, Conn.: Archon Books, 1978), p. 156. [Matthiessen mentions possibilities for offering a course during the 1930-31 academic year in “Literature of the West and South centering around Whitman, Poe, and Mark Twain.‘’]

Mazzaro, Jerome. Postmodern American Poetry (Urbana, Chicago, London: Univ. of Illinois Press, 1980), p. 148. [Sylvia Plath’s “Lorelei” echoes “The City in the Sea.”]

Meeker, Richard K., ed., The Collected Short Stories of Ellen Glasgow (Baton Rouge: Louisiana State Univ. Press 1963) [In his “Introduction,” pp. 12-16, Meeker builds upon Glasgow’s remarks about a relationship to Poe, then analyzes her weird stories, noting parallels with some of Poe’s.]

Melling, John Kennedy. “Dickens and the Detectives,” The Poisoned Pen, 5 (October 1983), pp. 35-36, 38. [Dickens’ meeting with Poe in 1841, as well as the methods of the latter’s tales of ratiocination, may figure into backgrounds for The Mystery of Edwin Drood (1870).]

Mertins, Louis. Robert Frost Life and Talks — Walking [Norman: Univ. of Oklahoma Press, 1965), pp. 355-356. [Poe, like Shelley, understood that one must wait for ‘‘the spirit of delight.” Poe said that you “can take any long thing . . . and cut out all but the poetry.”]

Miller, Edwin Haviland. Melville (New York: George Braziller, 1975), pp. 42, 45, 69. [Passing remarks about Poe include mention of a ‘‘Poe-like sketch” for the Democratic Press and Lansingburgh Advertiser (1837), which is filled with horrors instigated by psychological underpinnings.]

Miller, Gabriel. Daniel Fuchs (Boston, Twayne, 1979), pp. 21, 47, 112, 113. [Although Fuchs once condemned Poe, along with Faulkner, Melville, James, and Hawthorne, as too obsessed with art and insufficiently attuned to larger issues, he created several fictional characters resembling Poe’s man of the crowd.]

Miller, James E. The American Quest for a Supreme Fiction: Whitman’s Legacy in the Personal Epic (Chicago and London: Univ. of Chicago Press, 1980), pp. 15, 19, 104, 197. [Poe’s effect upon French Symbolists still boggles many minds. Eureka adumbrates many later “prosy” long poems, and Poe is its hero. Eliot late in life ranked Poe with Whitman and Twain as America’s “landmark” writers. Hart Crane’s remarks on Poe in Williams’ In the American Grain are quoted.]

Minden, M. R. Arno Schmidt: A Critical Study of His Prose (Cambridge Univ., 1982). [There are discussions of Poe’s influence on Schmidt, especially on his novel, Zettel’s Traum.

Moore, Rayburn S. Paul Hamilton Hayne (Boston: Twayne, 1972), passim. [Moore notes Poe’s influence upon his younger contemporaries in poetry, particularly Hayne.]

———————— , ed. A Man of Letters in the Nineteenth-Century South: Selected Letters of Paul Hamilton Hayne (Baton Rouge and London: Louisiana State Univ. Press, 1982), passim. [Poe’s place among Southern writers, Hayne’s [column 2:] evident great knowledge of his works, his possession of Poe manuscripts (destroyed when Sherman burned Columbia, S.C.), and his defense of Poe against Henry James and Edgar Fawcett are recurrent topics.]

Morley, Christopher. Sherlock Holmes and Doctor Watson: A Textbook of Friendship (New York: Har. Brace, 1944), p. 3. [“Doyle was always a little shy of admitting to us how much he owed to Poe.‘’ “Doyle learned from Poe the value of eccentricities to fix a character in the reader’s mind.”]

Most, Glen W., and William W. Stowe, eds. The Poetics of Murder: Detective Fiction and Literary Theory (San Diego, New York’ London: Harcourt, Brace, Jovanovich, 1983). [In this collection of essays, Poe’s name recurs frequently, with numerous hows, whys, and wherefores offered as to his role in the development of detective fiction.]

Murphy, James K. Will N. Hathen (Boston: Twayne, 1979), pp. 29, 49-50, 121, 144. [Although he wrote detective tales in the Poe-Doyle manner during the 1890s, Harben’s short stories generally lack the unity of Poe’s. In The Inner Law, a novel of 1915, Carter Crofton, a young poet, is hailed as another Lanier or Poe in Atlanta circles.]

Newman, Lea Bertani Vozar. A Reader’s Guide to the Short Stories oi Nathaniel Hawthorne (Boston: G. K. Hall, 1979). [Poe’s name recurs in this valuable research tool for studies of the American Renaissance.]

Oates, Joyce Carol. A Bloodsmoor Romance (New York: E. P. Dutton, 1982; paper ed. New York: Warner Books, 1983), pp. 100-102. [Poe’s death, his years in Philadelphia, and several of his works are mentioned.]

————————. Mysteries of Winterthurn (New York: E. P. Dutton, 1984), pp. 58, 96, 99. [Dupin’s seeming control over the logic relevant to his situations and his comment that simplicity often misleads are remembered by young Xavier Kilgarvan.]

O‘Connor, William Van. The Grotesque: An American Genre (Carbondale: Southern Illinois Univ. Press, 1962), pp. 3, 6, 21, 25-26, 91. [Poe and twentieth-century poets shate a sense of irrationality. Modern American grotesque has antecedents in Poe, Norris, Crane, London, Saltus, and Bierce. Horrors in American fictionists like Poe are darker because they are American. Poe “envisioned a universe haunted, malevolent, and in decay‘‘ — anticipating twentieth-century literary outlook. The narrator in “Eleonora” can‘t distinguish appearance from reality.]

Osborne. William S. Lydia Maria Child (Boston: Twayne, 1980), pp. 69-70, 84, 91, 106, 160, 179. [Poe’s favorable reviews of Philothea and Letters f rom New York (sec‘und series) are mentioned and quoted. Mrs. Child probably read, but did not take seriously, Poe’s creative writings.]

[O’Sullivan, John L.]. “Miscellany,” United States Magazine and Democratic Review, 16 (1845), 413-415. [First O’Sullivan praises Poe’s lecture on American poets, excepting remarks on Dana, at the New York Historical Society Library, I February 1845, then opines that Poe may have gone too far in treating plagiarism in the Broadway Journal.]

Painter, Franklin V. N. Poets of Virginia (Atlanta, Richmond, Dallas: B. F. Johnson, 1907), pp. 88-93. [A brief sketch of Poe’s life and career, noting his moral deficiencies, appears, with comments like these: “Musical verse embowered in a golden mist of thought and sentiment — this is Poe’s poetical ideal”; “His tales are the product of a morbid but powerful imagination”; if “not the greatest, he is still the most original‘’ American poet.]

Pattee, Fred Lewis. ed. Century Readings in the American Short Story (New York and London: Century Co., 1927), pp. 5382. [Drawn to the writing of fiction because of winning a prize for ‘‘MS. Found in a Bottle” and because of journalistic propensities, “Poe added technique to the short story.” “Usher,” “Murders,” and excerpts from the 1842 review of Twice Told [page 19:] Tales are included. For years this anthology was a standard, influential textbook.]

Peden, William. The American Short Story: Front Line in the National Defense of Literature (Boston: Houghton Mifflin 1964), pp. 2-3, 9, 25, 30, 40, 112, 119, 162. [Lamentable conditions in fortunes of the early short story as they pertain to Poe are sketched. Poe responded to and artistically revived th Gothic tradition. The Poesque appears in urban guise and in “sick” subject matter in recent short fiction. Paul Bowles owes debts to Poe, who is an exception to the practice of concretely locating a short story in a specific setting.]

Pizer, Donald, ed. Critical Essays or Theodore Dreiser (Boston: G. K. Hall, 1981), pp. 213, 309. [Two critics bracket Poe with Dreiser. Warwick Wadlington states that ‘‘Dreiser, even more than Poe or Whitman or O‘Neill, forces upon our attention the vexing enigma of taste and prompts us to mistrust or to re-examine our instinctive (though, ideally, informed) responses to art.” When Clyde and Roberta arrive at Crum Lake, Charles T. Samuels thinks, “there is even a Poesque weirbird.”]

Pochmann, Henry A. “Irving’s German Sources in The Sketch Book,‘’ Studies in Phillogy, 27 (1930), 477-507. [Irving and Poe are compared as Americans who adapted and comprehended German literary models.]

Poirier, Richard. Robert Frost: The Work of Knowing (New York: Oxford Univ. Press, 1977). pp. 33, 45. [“Love and a Question” has lines that are “a cross between Poe and Hardy.” Frost’s mother read Poe to him.]

Porter, R. E. “Crime Beat,‘’ Ellery Queen’s Mystery Magazine, 82 (July 1983), pp. 97-98. [Bruce Cassady’s anthology Roots of Detection (1983) includes Poe, as well as others who anticipate him.]

————————. “Crime Beat,” “Ellery Queen’s Mystery Magazine, 83 (March 1981), pp. 80-81. [Speaking of detective fiction n‘ut in English, Porter notes that Vidocq preceded Poe in writing such stories.]

Pronzini, Bill. Gun in Cheek: A Study of “Alternative’ Crime Fiction (New York: Coward, McCann, and Geophegan, 1982), pp. 68, 229. [Vidocq’s autobiography inspired Poe, whose Dupin is modelled in part on the Frenchman. “Poe was not noted for his sense of humor, especially when it came to literary matters” (apparently Pronzini is unaware of at least two decades of studies of Poe the humorist).]

Quirk, Tom. Melville’s Confidence Man: From Knave to Knight (Columbia and London: Univ. of Missouri Press, 1982), pp. 93, 127, 156. [Poe’s use of con men, his appearance in the rhapsodic beggar in The Confidence-Man, and “The Man That Was Use Up” receive attention.]

Raper, Julius Howan. From the Sunken Garden: The Fiction of Ellen Glasgow, 1916 1945 (Baton Rouge and London: Louisiana State Univ. Press, 1980), pp. 75, 78. [“Usher” numbers among “archetypes of the classic story of the decay of southern culture.” For apparently abrupt uprisings of the “buried self” that effect personality changes, Glasgow is in line with Poe and Dostoevsky.]

————————. Without Shelter. The Early Career of Ellen Glasgow (Baton Rouge: Louisiana State Univ. Press, 1971), pp. 33, 230. [Poe’s poetry was an early favorite with Glasgow.]

Read, Herbert. Collected Essays in Literary Criticism. 2nd ed. (London: Faber and Faber, 1950); rpt. as The Nature of Literature (New York: Hurizon Press, 1956), pp. 275, 279, 294. [Poe could neither accept nor escape the cultural provincialism surrounding him. He was a ‘‘pure” artist (implicitly one who avoided moral problems) . Emily Bronte bears “kinship” to Baudelaire and Poe.]

Richards, Steve. “Author’s Back Talk,” Fate (May 1984), pp. 116-117. [“The Premature Burial” is presented as an autobiographical [column 2:] work. “Poe’s writings were all either autobiographical or based on the newspaper stories of his time. . . .”]

Rickels, Milton, and Patricia Rickels. Seba Smith (Boston: G. K. Hall, 1977), pp. 22, 78, 85-86, 90, 121, 139-140, 154. [Authors note Poe s admiration for Elizabeth Oakes Smith, his harsh review of Seba Smith’s metrical romance Powhatan (1841), and the possible influence of Smith’s story “The Money-Diggers and Old Nick,” from Burton’s (1840), upon “The Golel-Bug.‘’ Smith’s inclusion in the “Literati‘’ is also mentioned.]

Romano, Carlin. “The Short-Story Revivial,” Philadelphia Inquirer, 7 December 1983, pp. F-1, F-13. [Poe is listed with other “greats” who used the short-story form as serious literary art — Maupassant, Chekov, Kafka, Cheever, and Raymond Carver.]

Rosenberger, Francis Coleman, ed. Virginia Readers A Treasury of Writings from the First Voyages to the Present (New York: Octagon Books, 1972 [rpt. of 1948 edition]), pp. 375-390. [The informative headnote treats Poe as a writer of variable qualities. Bibliographical information is brief. “A Tale of the Ragged Mountains,” “To Helen,” “The Stranger,” and “To 0ne in Paradise” appear, as does Karl Shapiro’s “Israfel” (p. 575) — a poem about Poe originally published in Person Place and Thing (1942).]

Rosenberry, Edward H. Melville and the Comic Spirit (Cambridge, Mass.: Harvard Univ. Press, 1955; rpt. New York: Octagon Books, 1969, 1979), pp. 52, 121, 145, 174. [In Mardi, detailing the narrator and Jarl’s desertion from a whaler, Melville, unlike Poe, in Pym, cast the episode in light humor.]

Rudwin, Maximilian J., ed. Devil Stories: An Anthology (New York: Alfred A. Knopf, 1931), pp. 112-135, 295-297. “Bon-Bon‘’ is included with explanatory notes. The devil is “part of European imagination,‘’ rather than anything native American, although his being eyeless is original with Poe. From Shakespeare’s characterization onward, Satan has striven, outwardly, at least, to give an impression of gentlemanliness.]

Savoye, Jeffrey. “Science Fiction (August),” Baltimore Magazine (October 1983), p. 6. [Corrects the notion that Poe was a drunkard and paranoid and points out how this legend, begun by Griswold, continues strong to the present.]

Scrivo, Karen. “Poe’s Drinking, Drugs a Bum Rap?” The Charlotte News (North Carolina), 4 November 1983, p. 2D. [An account of the special symposium celebrating the removal of the Sir Moses Ezekiel statue of Poe to the University of Baltimore. Myths about Poe are given short shrift by members of The Edgar Allan Poe Society.]

Sealts, Merton M., Jr. Pursuing Melville, 1940- 1980: Chapters and Essays (Madison: University of Wisconsin Press, 1982), pp. 242, 266-268, 343. [Sealts cites Marvin Fisher’s ranking of “I and My Chimney” above “Usher.” Had Melville’s opinions been more considered when he composed ‘‘Hawthorne and His Mosses,‘’ he might have included Poe among the better American writers. Like Ishmael and Ahab Poe is an analogist; perhaps he is also more Transcendentalist than often supposed. Sealts compares the questing scholar to the problem-solver characteristic of Poe’s detective.]

Shibuk, Charles. “The Mystery Writer on the Screen,‘’ The Poisoned Pen, 5 (October 1983), pp. 19-23. [Lists impersonators of Poe, from Herbert Yost, in D. W. Griffith’s short Edgar Allan Poe (1909), through Laurence Payne in a British version of The Tell-Tale Heart (1960).]

Sifakis, Carl. The Encyclopedia of American Crime (New York: Facts on File, Inc., 1982), pp. 622-623. [Poe’s adaptation of Mary Cecelia Rogers mystery.]

Skvorecky, Josef “A Discovery in Čapek,” Armchair Detective, 8 (1975), 180-184. [ Poe’s works were known in Czechoslovakia, with 200-odd titles appearing there between 1891 and 1954. [page 20:] Čapek acknowledges debt to Poe’s detective tales in a story, “The Imprint,” into which he insinuates Poe in person.]

Smith, Charles Alfonso. The American Short Story (Folcroft, Penn.: Folcroft Library Editions, 1970 [rpt. of the original text, 1912]). [This little book contains a historical-critical placement of Poe by one who at the time was a foremost authority on the author and his work.]

Smith, Herbert F. Richard Watson Gilder (New York: Twayne, 1970), p. 39. [Gilder considered Poe a “specialist in moods.”]

Spiller, Robert E. Late Harvest: Essays and Addresses in American Literature and Culture (Westport, Conn., and London: Greenwood Press, 1981), pp. 22, 58, 65, 68, 70-71, 75, 92, 105, 129, 149, 192, 211. [Spiller places Poe high among American writers, notably in terms of nationalism, and mentions Quinn’s and Mabbott’s efforts to deliver Poe from the hands of Griswold.]

————————. Milestones in American Literary History (Westport, Conn., and London: Greenwood Press, 1977), pp. x, xi, 7, 21, 25, 30, 40, 44, 77, 82, 125, 135. [Spiller’s general remarks concerning Poe place him in literary-historical perspective. More interesting is Spiller’s explanation of the choice of Matthiessen instead of Quinn or Mabbott to write the Poe chapter in the Literary History of the United States.]

————————. The Third Dimension: Studies in Literary History (New York: Macmillan; London: Collier-Macmillan, 1965), pp. 22, 30, 176. [Poe brought Gothicism to “the level of aesthetic maturity.” “Poe was at heart a Southerner, however much he worked in New York and Philadelphia. His primary impulse to write was born in Richmond,” as is clear in his bonds to Chivers, Timrod, Hayne, and Lanier. Had he lived longer, Poe probably would have figured among those greats celebrated in Matthiessen’s American Renaissance.]

Steinbrunner, Chris. “Bloody Visions,” Ellery Queen’s Mystery Magazine, 82 (August 1983), pp. 88-89. [John Huston’s Universal version of “Murders,‘’ a 1932 film, “was oddly faithful to the Poe spirit.”]

Steiner, George. Language of Silence: Essays on Language, Literature and the Inhuman (New York: Atheneum, 1970), 265266, 290-293. [Strong negative emotion and “pure” storytelling are considered signal in Poe’s writing. In matters of violence, masculinity, and sex, William Golding shares affinities with Poe, Melville, and Hawthorne.]

Steward, Dwight. “Genesis,” Crime Wave: World’s Winning Crime Stories 1981, “Introduction” by Desmond Bagley (London: William Collins & Sons, 1981), pp. 26-42. [Poe and Dupin figure as characters in this bizarre story, in which Steward’s knowledge with Poe’s verse and tales is clear — from “Bon-Bon” through “Eldorado.”]

Stewart, Randall. Regionalism and Beyond: Essays of Randall Stewart, ed. George Core (Nashville: Vanderbilt Univ. Press 1968), pp. 144, 151, 173-174. [Stewart laments Poe’s being constantly placed outside the mainstream of American writing. “It is arguable that the works of Poe, Hawthorne, and James will outlast all other works in their century in America.”]

Swanberg, W. A. Dreiser (New York: Charles Scribner’s Sons, 1965), pp. 18, 247, 397, 490. [Dreiser first read Poe in the 1880s. He calls his friend Charles Fort the “most fascinating literary figure since Poe.” In correspondence with H. L. Mencken, he repeatedly mentions the Poe grave.]

Thiebaux, Marcelle. Ellen Glasgow (New York: Frederick Ungar, 1982), p. 177. [Glasgow’s stories of the uncanny and supernatural elicited reviews that compared her with Poe with whom, she confessed, she held affinities.]

Thomas, Donald. Robert Browning: A Life within Life (New York: Viking Press, 1982), pp. 136, 283. [Poe admired the poems of Elizabeth Barrett Browning as much as Lowell did [column 2:] those by Robert. Robert Browning’s use of “underworld dream-devices” in probing human psychology resembles Poe’s methods.]

Thompson, Lawrance. Fire and Ice: The Art and Thought of Robert Frost (New York: Henry Holt, 1942; Russell, 1961), pp. 5-11, 32, 40, 42, 96. [Poe’s and Emerson’s theories of poetry originate problems still debated by critics. Frost’s notion of “loss of balance” is comparable with Poe’s strictures against long poems. His conception of the “sound of sense” opposes Poe’s and Lanier’s ideas about music in poetry.]

Thorp, Willard. The Lost Tradition of American Letters (Philadelphia: privately printed for the Philobiblon Club, 1945), p. 14. [Thorp queries why Poe’s Tales, Whitman’s Leaves of Grass, and Melville’s Moby-Dick were esteemed in Europe but not at home, then adds, “The morals of Poe and Whitman, for instance, made it difficult for friendly critics to defend them.”]

Tyre, Nedra. “Murder at the Poe Shrine,” Ellery Queen’s Mystery Magazine, 26 (September 1955), pp. 23-33. [An impersonator of Poe and a woman with formidable command of Poe’s writings create interest.]

Van Dusen, Gerald C. William Starbuck Mayo (Boston: Twayne, 1979), pp. 22, 35. [William W. Snowden, editor of the Ladies’ Companion, secured writings from the “cream of America’s contemporary prose writers, including Longfellow, Poe, Willis, Simms, and Paulding.” Mayo’s Kaloolah (1949) is likened to Pym in its attempt at verisimilitude by naming Mayo as editor.]

Van Greenaway, Peter. Edgar Allan Who — ? (North Pomfret, Vt.: Victor Gollancz, 1981). [The final story, which supplies the title, ends on a query about Poe’s name — a meet conclusion to a tale of psychic horrors and cannibalism.]

Wadlington, Warwick. The Confidence Game in American Literature (Princeton: Princeton Univ. Press, 1975), pp. 244, 291. [Huck Finn, like Poe’s Minister D — , “conceals everything by displaying it.” Nathanael West’s view that lyrical novels might be written according to Poe’s theory for lyric poems is quoted.]

Waggoner, Hyatt H. American Visionary Poetry (Baton Rouge and London: Louisiana State Univ. Press, 1982), pp. 70, 79, 132, 133, 203. [Poe in relation to Crane’s The Bridge and Roethke’s “Meditation at Oyster River” as well as his place in “visionary” poetry get terse comment.]

Ward, J. A. “The Ambassadors as a Conversion Experience,” Southern Review, n. s. 5 (1969) 350-374. [On p. 371 Arthur Gordon Pym is bracketed with Natty Bumpo, Ishmael, and Huck Finn as “imaginatively at home in nature.”]

Warrick, Patricia S. The Cybernetic Imagination in Science Fiction (Cambridge and London: MIT Press, 1980), pp. 3940, 121. [“Maelzel’s Chess-Player” exemplifies “puzzle or problem-solving,” the “second pattern of plot development . . . in cybernetic science fiction.” Poe exposed the fraud ot Maelzel’s machine.]

Weathersby, Robert W. II. J. H. Ingraham (Boston: Twayne, 1980), pp. 20-22,25-26, 53, 57, 69, 79, 132, 133. [Ingraham and Poe are placed as contributors to the “annus mirabilis” (1835) of nineteenth-century Southern writing. Poe the critic notes Ingraham’s catering to public expectations, notably in reviewing the latter’s The Quadroone (1841). Poe had praised The South-West (1835). Both writers based fiction upon the Mary Rogers case, Poe furnishing a more cerebral version, Ingraham a more lively account.]

Webster, Grant. The RePn61ic of Letters: A History of Postwar American Literary Opinion (Baltimore and London: Johns Hopkins Univ. Press, 1979), pp. 143, 145, 167, 170, 172, 274. [Tate’s tempered evaluation, Yvor Winters’ hostility, and Edmund Wilson’s admiration for Poe are evaluated.] [page 21:]

Weixlmann, Joe. American Short-Fiction Criticism and Scholarship, 1959-1977: A Checklist (Chicago; Athens, Ohio; and London: Swallow Press/Ohio Univ. Press, 1982), pp. 453-481. [Poe receives 437 entries.]

West, Ray B. The Short Story in America: 1900-1950 (Chicago: Henry Regnery, 1952), pp. 5-7, 8, 10, 12-13, 20, 25, 26, 86, 115-116. [Poe first codified aesthetic principles for the short story. To him, Melville, and Hawthorne must get credit for refining the form. Poe’s theories sometimes confuse (when he distinguishes ratiocinative tales from others) . Capote and Bowles resemble Poe in use of symbol and atmosphere.]

Westlake, Neda M. “Arthur Hobson Quinn, Son of Pennsylvania,” The University of Mississippi Studies in English, 3 (1982), 14-24. [Westlake emphasizes Quinn’s indefatigable pioneer labors in Poe biography and his abilities as a teacher.]

Wharton, Anne H. “Philadelphia in Literature: Second Paper,” The Critic, [New York], 47 (1905), 328-334. [During the early 1840s, Poe lived in Philadelphia, edited Burton’s and wrote “Rue Morgue,” “The Gold-Bug,” and Tales of the Grotesque and Arabesque.]

White, John. Review of Robert Silverberg and Martin H. Greenberg, comps. The Fantasy Hall of Fame, Sunday Telegram [Worcester, Mass.], I January 1984. p. 8D. [The stories in this collection, selected by members of the World Fantasy Convention as “the best of such ultra- and infra-human tales of all time,” include Poe.]

Wilde, Oscar. Literary Criticism of Oscar Wilde, ed. Stanley Weintraub (Lincoln: Univ. of Nebraska Press, 1968), pp. 4, 42, 88. [Wilde in 1886 objects to excluding Poe (“this marvelous lord of rhythmic expression”) from the “Best Hundred Books” in the Pall Mall Gazette. He also denounces Eric S. Robertson for not comprehending Poe the critic and the poet, citing “To Helen” as a poem “as beautiful as a Greek gem and as musical as Apollo’s lute,” and notes Whitman’s fascination with Poe’s strictures on the long poem.]

Williams, Valentine. “The Detective in Fiction.” Fortnightly, 134 (1930), 381-392. [Information on Poe and detective fiction is sound. He derived much from Vidocq and Gothic novelists, and his legacy is evident in fiction by Gaboriau and Doyle.] [column 2:]

Wyndham, Violet. The Sphinx and Her Circle: A Biographical Sketch of Ada Leverson, 1862-1923 (London: Andre Deutsch, 1963), p. 118. [Although Poe the legendary figure and Poe’s work appealed to Oscar Wilde, the two men were in no way alike.]

Wynn, Ellen C. ed. The Short Story: 50 Masterpieces (New York: St. Martin’s Press, 1983), pp. 14-32, 782. [“Usher” appears. The sketchy biographical note repeats the charge of Poe’s “chronic alcoholism” as conducive to unemployment, although it is otherwise sensible.]

Young, Thomas Daniel. The Past in the Present: A Thematic Study of Mod ern Southern Fiction (Baton Rouge and London: Louisiana State Univ. Press, 1981), p. 55. [Uncle Jarman, in Tate’s The Fathers (1960), resembles Roderick Usher: “he becomes an oversimplified recluse, viewing life as it appears to him from his dormer window and coming downstairs only twice a year.”]

Zangwill, Israel. “Without Prejudice.” Pall Mall Magazine, 7 (1895), 154-155. [Zangwill quotes “To Helen” and refers to H. G. Wells on Poe in Select Conversations with an Uncle.]

————————. “Without Prejudice,” Pall Mall Magazine, 10 (1896), 607. [“The selection of the weird or horrible elements of life is the secret of the art of a Poe; it is a genre that requires unity of key for its finest effects. So do the supernatural and idyllic genres.”]

Zaranka, William. ed. The Brand-X Anthology of Fiction (Cambridge, Mass., and Watertown: Apple-wood Books, 1983), p. 32. [Leslie Johnson’s parody of “Usher“ — from the New Statesman, 7 July 1951 — appears.]

———————— . William. ed. The Brand-X Anthology of Poetry (Cambridge, Mass., and Watertown: Apple-wood Books, 1981), pp. 181-186. [Included are parodies, “A Poe-‘em of Passion,” by C. F. Lummis; “The Willows,” by Bret Harte; “The Promissory Note,” by Bayard Taylor; “Ravings,” by Thomas Hood, the younger; “The Amateur Flute,” by Anonymous; “Ravings of Pinte Poet Poe,” by C. L. Edson; and a selection from “To Allegra Florence in Heaven,” by Thomas Holley Chivers.]


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[S:0 - PSDR, 1980]