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The primary purpose of the “fugitive” Poe bibliography is to bring together recent books, essays, and miscellaneous publications (since about 1960) that do not focus on Poe but which discuss Poe within a larger perspective or with a special angle of vision. Although this bibliography also lists a few works dealing specifically with Poe that have been overlooked in other bibliographies, the entries here are principally brief items buried in longer works under different headings, or in works that were, on first publication, not readily accessible. Effort has been made to cite only those references that seem to be of some significance, whether involving a point of information or a large conceptual framework. A section of this bibliography lists reviews of books dealing with Poe (editions, bibliographies, critical works, collections of essays, and the like).
Alonso Chávez, Josefina. Estudio psicologico de la expresion literaria y en particular en Edgar Allan Poe (Mexico, 1965). [No further information available.]
Auser, Cortland P. Nathaniel P. Willis ( New York: Twayne, 1969). [Poe’s relationship with Willis is mentioned or discussed in several places in the book.]
Borges, Jorge Luis. Other Inquisitions 1937-1952, bans Ruth L. C. Simms, intro James E. Irby (Austin: U of Texas Press, 1964). [Poe is mentioned some twelve times, once as the inventor of the detective story.]
Bostwick, Arthur Elmore. Library Essays: Papers Related to the Work of Public Libraries (Freeport, New York: Books for Libraries Press, 1969). [Reprint of 1920 ed. Claims that Poe is an anti-realist who controls the minds of his readers by means of the “defensive mechanism of fear and horror.”]
Burbank, Rex J., and Jack B. Moore, eds. The Literature of the American Renaissance (Columbus, Ohio: Charles E. Merrill Pub. Co., 1969). [Contains a short biographical sketch of Poe with remarks on Poe’s poems and tales to show that in our modern abnormal world “Poe’s art is rich and complex and aimed dead center.” Also includes notes on selected poems and tales.]
Canby, Henry Seidel. Seven Years ’ Harvest: Notes on Contemporary Literature (Port Washington, New York: Kennikat Press, 1964). [Reprint of 1936 ed. Argues that both Poe’s and Faulkner’s stories contain a similar “ironic depravity” (p. 82). Other references passim.]
Castillo, Abelardo. Israfel, drama en dos actors y dos tabernas sobre la vila de Edgar Poe (Buesnos Aires: Editorial Losada, 1964). [No further information available.]
Cioran, E. M. “Valery Before his Idols (Mallarme, Poe, Leonardo),” The Hudson Review, XXII (1969), 411-425. [Claims that though Eureka impressed Valery it did not “figure crucially” in his evolution. But “The Philosophy of Composition” did strongly influence him: “All of Valery sprang from a naive understanding of it, from his enthusiasm for a text in [page 17:] which a poet was poking fun at his credulous readers” (pp. 414-417) .]
Clutton-Brock, A. “Edgar Allan Poe,” in More Essays on Books (Freeport, New York: Books for Libraries Press, 1968). [Reprint of 1921 ed. The author claims that Poe’s reputation is unmerited, though he has written one good poem, “The Sleeper” and one good prose work, “The Power of Words.”]
Cohn, Robert. Toward the Poems of Mallarme (Berkeley: U of California Press, 1965). [Discusses Mallarme’s Poem “Le Tombeau D ’Edgar Poe” (pp. 153-157). Other references to Poe passim.]
Cooper, Lettice Ulpha. The Young Edgar Allan Poe (New York: Roy Publishers, 1964). [”A Biography for young people.”]
Cox, James M. “Emerson and Hawthorne: Trust and Doubt,” Virginia Quarterly Review, XLV (1969), 88-107. [Includes a discussion of Poe as Emerson’s antagonist.]
Davy, Charles. Words in the Mind: Exploring Some Effects of Poetry English and French (Cambridge, Mass.: Harvard U P, 1965). [Discusses Poe’s influence on the French Symbolist poets, especially Valery (pp. 14-17). Other references passim.]
Deverter, Ruth Hendricks. The Day and Hendrix(cks) Families incl?`ding Poe and Allied Lines (Bayton, Texas, 1963). [No further information available.]
Erskine, John. Books and Habits from the Lectures of Lafcadio Hearn (Freeport: Books for Libraries Press, 1968). [Reprint. Poe influenced almost every poet of the nineteenth century “including Tennyson and the Victorian masters” (p. 254).]
Evans, I. O. Jules Verne and His Work (New York: Twayne, 1966). [Considers Pym and “The Balloon Hoax” as science fiction tales (pp. 115- 117, 155) . Other references passim.]
Foakes, R. A., ed. Romantic Criticism 1800-1850 (London: Edward Arnold, 1968). [Reprints sections of “The Poetic Principle” and includes an introduction which places Poe in relation to European writers (pp. 101-108). Other references passim.]
Fraiberg, Louis. “Joseph Wood Krutch: Poe’s Art as an Abnormal Condition of the Nerves,” Psychoanalysis and American Literary Criticism (Detroit: Wayne State U P, 1960), pp. 134-144. [Critically summarizes Krutch’s book, More Lives Than One, to show that his psychoanalytic approach “was far too superficial to ‘explain ’ Poe’s genius.”]
Fussell, Paul, Jr. Poetic Meter and Poetic Form (New York: Random House, 1965). [Considers-the “imposed” meter of “Annabel Lee” and “Ulalume” (pp. 93-94). Other references passim.]
Gomperts, H. A. De Schols der herkenning ( Amsterdam: van Oorschot, 1960). [Poe and Baudelaire are discussed in an account of the effects produced on writers by the ideals of others (cf. YWMLS, 1962) .]
Gregory, Horace. The World of James McNeill Whistler (Freeport, New York: Books for Libraries Press, 1969). [Reprint of 1959 ed. “Charles Merton had written to Baudelaire saying that he did not believe in the existence of Edgar Allan Poe, that the poet’s name had been the invention of a syndicate of spies who had written ‘The Murders in the Rue Morgue ’ to expose his (Merton’s) private life”; Merton was soon placed in a mad house (p. 60). Other references passim.]
Grubbs, Henry A. Paal Valery (New York: Twayne, 1968). [Valery’s theory of “arithmetica universalis” is partly based on Poe’s Eureka and his M. Teste in La Soiriz avec Monsienr Teste may be based on Poe’s Dupin (pp. 27-32).]
Hamilton, C. D. “Note en el centenaria de Jose Asuncion Silva,” Cuadernos, 96 (1965). [Extract from his forthcoming [column 2:] study Nuevo lenguaje poetico (to be published by Instituto Caro y Cuervo). Attempts to prove by means of internal evidence that Poe did not influence Silva’s Nocturno (cf. YWMLS, 1965) .]
Hedges, William L. Washington Irving: An American Study, 1802-1832 (Baltimore: The Johns Hopkins Press, 1965). [Poe’s “Mellonta Tauta” is a miniature version of Irving’s Knickerbocker (pp. 88-89). Seven other references to Poe.]
Hillyer, Robert. First Principles of Verse ( Boston: The Writer Inc., 1962). [Poe fails miserably in his poetry when he tries to express abstract moods with abstract music such as in “Ulalume” (pp. 20-21).]
Holland, Norman N. The Dynamics of Literary Response (New York: Oxford U P, 1968). [Poe was the first critic to treat Shakespeare’s characters as unreal, i.e., fictitious (pp. 264265). Other references passim.]
Knapton, James, and Bertrand Evans. Teaching A Literature Centered English Program ( New York: Random House 1967) . [The authors inconsistently discuss how Poe should be taught to high school students. On pp. 93-94 for example, the claim is made that students can be taught the experience of “Usher” without being informed of anything outside the story; but on p. 97 we are told that by recounting the “desperate life of Poe” we can arouse an interest in students that will make them eager to read “Usher.”]
Lewall, Sarah N. Critics of Consciousness: the Existential Structures of Literature (Cambridge, Mass.: Harvard U P, 1968). [L ’Arret de Mort (1948) by Maurice Blanchot was probably influenced by “Ligeia.”]
Lockspeiser, Edward. Debussy et Edgar Poe, manuscripts et documents inedits recueillis et presentes par Edward Lockspeiser, Pref. dAndre Schaeffner (Monaco: Editions de Rocher, 1962). [No further information available; but see Lockspeiser in “Edgar Allan Poe: Current Bibliography” in this issue.]
McKean, Keith F. The Moral Measure of Literature ( Denver: Alan Swallow, 1961). [In the essay “Lowell and Poe” (pp. 40-46) the author considers Lowell and Poe “American counterparts” of Arnold and Wilde. Poe, like Wilde, believes in art for art’s sake. Lowell, like Arnold, believes that art should relate to life.]
McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man (New York: Signet Books, 1969). [In “The Philosophy of Composition” Poe anticipates T. S. Eliot’s “objective correlative” (pp. 327-328). See also “Edgar Poe’s Tradition,” Sewanee Review, III (1944), 24-33, for another comment suggestive of Eliot: Poe’s art is “political” because it expresses a “basic split in society and personality.”]
——————. Understanding Media: The Extensions of Man (New York: Signet Books, 1964). [Poe used the “telegraph mosaic” to invent the symbolist poem and the detective story (p. 282) . Other references passim. See also “Speed of Cultural Change,” College Composition and Communication, IX (1958), 16-20, wherein McLuhan remarks that the “very peculiar property of these two forms is that the audience is expected to be co-author, co-creator.”]
——————, and Quentin Fiore. The Medium is the Massage: an Inventory of Effects (New York: Bantam Books, 1967). [”In his amusement born of rational detachment of his own situation, Poe’s mariner in ‘The Descent into the Maelstrom ’ staved off disaster by understanding the action of the whirlpool.” His insight offers an analogy for understanding “our predicament, our electrically-configured whirl” (p. 150).]
Michaud, Guy. Mallarme, bans Marie Collins and Bertha Humez (New York U P, 1965). [Includes many references to Poe, who is called “Mallarme’s master,” along with a lengthy [page 18:] discussion of Mallarme’s “Tombeau d ’Edgar Poe” (pp. 9298) ]
Morrison, Claudia C. Freud and the Critic: The Early Use of Depth Psychology in Literary Criticism ( Chapel Hill: U of North Carolina Press, 1968). [In this survey of Freudian approaches to literature, several well-known commentaries on Poe are discussed (not always judiciously), such as those of Joseph Wood Krutch (pp. 192-202) and D. H. Lawrence (pp. 192-202).]
Morton, William C. The Harmony of Verse (U of Toronto Press, 1967). [The following poems are briefly discussed: “Annabel Lee,” “The Bells,” “The Raven,” “To Helen,” and “To One in Paradise.”]
Moses, Montrose J., and John Mason Brown. The American Theatre as Seen by its Critics 1752-1934 (New York: Cooper Square, 1967) . [Reprint of 1934 ed. Contains two drama criticisms by Poe: “Mrs. Mowatt’s Fashion” and “Mrs. Mowatt’s Comedy Reconsidered.” Also includes a short biographical note which emphasizes Poe as a critic of drama.]
Muller, D. “Des Problem der dichterischen Wirklichkeit im Prosawerk von E. T. A. H. und E. A. Poe,” in Mitteilungen der E. T. A. H.-Gesellschaft (Bamberg: Verlag der Gesellschaft, 1966) [No further information available.]
Murch, A. E. “The Short Detective Story: Edgar Allan Poe,” Ch IV of The Development of the Detective Novel (Port Washington: Kennikat Press, 1968), pp. 67-83. [”Revised” ed. of the 1958 ed. The author discusses five short tales of Poe as precursors to several different types of detective stories (”The Murders in the Rue Morgue,” “The Mystery of Marie Roget,” “The Purloined Letter,” “The Gold Bug,” and “ ‘Thou Art the Man ’ “) .]
Musser, Frederic O. “First Principles,” Ch II of Strange Clamor: A Guide to the Critical Reading of French Poetry (Detroit: Wayne State U P, 1965), pp. 9-27. [Musser uses “The Raven” to demonstrate the structuralist theory that a poem is a structure of structures and not an “experience.”]
Niess, Robert J. Zola, Cezanne, and Manet: A Study of L ’Oeuvre (Ann Arbor: U of Michigan Press, 1968). [”The Oval Portrait” may have been influenced by Zola’s idea of the fatal struggle between art and life (pp. 11-12).]
Orel, Harold. “The American Detective-Hero,” Journal of Popular Culture, II (1968), 395-403. [The ability to construct a “Calculus of Probabilities” rather than to act decisively is perhaps the most important quality of Poe’s detective heroes.]
Osztovits, Levente. “Tete-A-Tete With American Literature: A History of Literature and Three Anthologies,” The Neva Hungarian Quarterly, IX (1968), 199-206. [In a discussion of Aszak-amerikai koltok antologiaja edited by Miklos Vaja, Poe is considered the major influence on early twentieth century Hungarian poetry. Osztovits sees this influence as both good and bad: “This absolute musical, consciously composed visionary poetry fulfilled an inspiring and fermenting role, at the same time nearly fatally shutting the door on other trends of American poetry....”]
Pascual-Leone, Blanca. Posibles influencias de Edgar Allan Poe sobre Gustavo Adolfo Becquer (Mexico, 1963). [No further information available.]
Peck, Harry Thurston. “Poe as a Story-Writer,” Ch VI of Studies in Several Literatures (Freeport: Books for Libraries Press, 1968), pp. 99-117. [Reprint of 1909 ed. Poe is discussed as a mathematician: “The mathematical quality of Poe’s mind gave singular effectiveness to his fiction. His imagination was a constructive one. It worked in harmony with his reasoning facilities, and he proceeded bit by bit to build up an almost flawless literary structure.”] [column 2:]
Peyre, Henri. The Failures of Criticism, emended edition of Writers and their Critics ( Ithaca, New York: Cornell U P, 1967). [Considers Poe a second-rate poet, a superficial critic, a first-rate esthetician, and an “aspiring” philosopher (pp. 72-75) ]
Ramsey, Warren, ed. Jules Laforgue: Essays on a Poet’s Life and Work (Carbondale and Edwardsville: Southern Illinois U P, 1969). [In a discussion of Laforgue and Baudelaire, Poe’s theory of the interrelation of the system of the universe and the system of art is mentioned briefly (pp. 31-33). Other references passim.]
Remenyi, Joseph. Hungarian Writers and Literature: Modern Novelists, Critics, and Poets, ed. with an intro, August J. Molnar (New Brunswick, N. J.: Rutgers U P, 1964). [Mihaly Babit was influenced by the “contrived structure” of Poe’s detective stories.]
Rest, Jaime. Evaluacion del Romantismo,” Cuadernos de Critica (Buenos Aires) (August 1966), 17-24. [The influence of the English Romantics on Poe and the French Symbolists forms the heritage of modern poetry (cf. KSJ, XVII, 1968).]
Rose, Marilyn Gaddis. “Usher as Myth in Green’s Minuit, ” Romance Notes, II (1964), 110-114. [An apparently unconscious borrowing by Green suggests that Poe’s tale of the Ushers has become a “myth” of the Franco-American archetypal concept of “the rent human spirit sacrificing its Id to death by water.”]
Schmidt, Adalbert. Literaturgeschichte Unserer Zeit, Dritte Umgearbeitet Und Erweiterte Avilage Von “Wege Und Wandlungen Moderner Dichtung “ (Stuttgart: Verlag Das Bergland-Buch Salzberg, 1969). [Discusses Poe’s “Philosophy of Composition” as an example of a critical writing which is itself poetry (p. 580). Other references passim.]
St. Aubyn, Frederic Chase. Stephane Mallarme (New York: Twayne, 1969). [Because Poe formulated a theory of poetics (”Philosophy of Composition”), he played a key role in the development of Mallarme’s esthetic doctrine (p. 23). Twelve other references to Poe’s influence on Mallarme]
Sutton, Walter. Modern American Criticism (Englewood Cliffs, N. J.: Prentice-Hall, 1963). [In a discussion of Edgar Allan Poe: A Study in Genius ( 1926) by Joseph Wood Krutch, Sutton claims that if Krutch had been more inclusive in his “interpretation of the perversion and alienation patterns” in Poe he would have seen that the “content” of Poe’s work was just as influential as the “form” on American literature. Sutton concludes that Poe’s use of the Gothic mode makes him typically American (pp. 17-20). Other references to Poe passim.]
Stoehr, Taylor. “ ‘Young Goodman Brown ’ and Hawthorne’s Theory of Mimesis,” Nineteenth Century Fiction, XXIII (1969), 393-413. [Argues that Poe and Hawthorne place reality in a frame of fantasy by constructing dreams to represent life. The main difference in the two writers is that Poe blots out reality and Hawthorne explores the relation between reality and fantasy.]
Vanderbilt, Kermit. The Achievement of William Dean Howells (Princeton, N. J.: Princeton U P, 1968) . [Poe’s Tales of the Grotesque and Arabesque influenced Howells.]
Van Der Vat, Daniel Gerhard. The Fabulous Opera: A Study of Continuity in French and English Poetry of the Nineteenth Century (New York: Haskell House, 1967). [Reprint of 1936 ed. In a discussion of Poe’s genius as a myth created by Baudelaire, the author briefly considers “The Raven,” “The Philosophy of Composition,” and Eureka. He concludes that Poe is vastly overrated in France.]
Wager, Willis. “The Work of Art, Closed and Open: Poe to Whitman,” Ch III of American Literature: A World View [page 19:] (New York: New York U P, 1968), pp. 69-129). [In the first few pages of the chapter, the author attempts to give an overview of Poe’s impact on writers around the world.]
Walter, Benjamin. Illuminations, bans Harry Zohn, ed. Hannah Arendt (New York: Harcourt, Brace and World, 1968). [In a discussion of motifs in Baudelaire (pp. 172-180), Walter compares Poe’s “The Man of the Crowd” with E. T. A. Hoffmann’s “The Cousin’s Corner Window.” Poe’s story is about the savagery of isolation in civilization and “makes us understand the true connection between wildness and discipline.” Other references passim.]
Wellek, Rene. A History of Modern Criticism 1750-1950: Vol. II, The Romantic Age (New Haven: Yale U P, 1968). [Poe is briefly mentioned a half-dozen times in discussions of English and German Romantics.]
——————. A History of Modern Criticism 1750-1950: Vol. III, The Age of Transition (New Haven: Yale U P, 1966). [Poe’s juxtaposition of mysticism and mathematics contributed to theories of symbolism, but two key concepts, symbol and creative imagination, are missing from his theory (pp. 152-163).]
Included here are reviews published in the year 1969 of books on Poe.
ALLEN, Michael. Poe and the British Magazine Tradition (New York: Oxford U P, 1969).
Petersen, Milton C. “Poe: As ‘Magazanist ’,” Poe Newsletter, II (1969), 39-40.
Quinn, Patrick F. “Poe: A Most Immemorial Year,” The Southern Literary Journal, II (1969), 112-123. [Also reviews Poe: Journalist and Critic by Robert D. Jacobs.]
JACOBS, Robert D. Poe: Journalist and Critic (Baton Rouge: Louisiana State U P, 1969).
Quinn, Patrick F. “Poe: A Most Immemorial Year,” The Southern Literary Journal, II (1969), 112-113.
MABBOTT, Thomas Ollive, ed. Collected Works of Edgar Allan Poe: Volume I, Poems (Cambridge, Harvard U P, 1969).
Moss, Sidney P. “Moss Reviews Mabbott’s Poe,” American Book Collector (1969), 5-6.
POLLIN, Burton R. Dictionary of Names and Titles in Poe’s Collected Works (New York: Da Capo Press, 1968).
Benton, Richard P. “Poe Onomasticon,” Computers and the Humanities, III (1969), 276-279.
Robbins, J. Albert. “The Poe ‘Dictionary ’,” Poe Newsletter, II (1969), 38-39.
REGAN, Robert, ed. Poe: A Collection of Critical Essays (Englewood Cliffs, N. J.: Prentice-Hall, 1967).
Hudson, Randolf. Studies in Short Fiction, VI (1969), 347-348.
WALSH, John. Poe The Detective: The Curious Circumstances Behind “The Mystery of Marie Roget” (Brunswick, N. J.: Rutgers U P, 1968).
Gerber, Gerald E. South Atlantic Quarterly, LXVIII (1969), 132-133.
Goldhurst, William. New Orlean Review, I (1968), 98-99.
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[S:0 - PSDR, 1970]