The Poe Museum is proud to announce that M. Thomas Inge of Randolph-Macon College will deliver a presentation about Richard Corben’s Poe illustrations at 5p.m. at the Edgar Allan Poe Museum in Richmond, Virginia in conjunction with the opening of a new exhibit exploring four decades of the illustrator Richard Corben’s Poe-inspired artwork. The event will be part of the Poe Museum’s annual Poe Birthday Bash, which features twelve hours of Poe performances, historical interpreters, live music, walking tours, and more. Admission for the day is five dollars.
The subject of Dr. Inge’s presentation is “Masters of the Macabre: Edgar Allan Poe and Richard Corben.” According to Dr. Inge:
Without Edgar Allan Poe and some of his fellow popular writers, there might not have been a comic book or a graphic novel. That is to say, in the early days of the comic book industry, desperate to meet the insistent and inevitable monthly publication deadlines, writers and artists turned for inspiration, or outright piracy, to the popular short fiction of such authors as O. Henry, Stephen Crane, Ambrose Bierce, or Guy de Maupassant. Before them, the nature and structure of the short story had been fully defined by Poe in his reviews and critical essays in the nineteenth century. Poe did not invent the short story, but he so successfully outlined what an effective piece of short fiction should be that everyone used his standards by which to measure their own work. Reading Poe was like taking a master class in writing fiction.
Little wonder then that the early pioneers of a new art form more frequently turned to Poe than any other author for source material and inspiration. It has been estimated that over 300 adaptations of Poe’s stories and poems have appeared in comic books and graphic novels from 1943 to the present. While nearly every major and most of the minor comic book authors and artists have turned to Poe at one time or another in their careers, only one has dedicated a major part of his life’s work to adapting his poems and tales—Richard Corben. Emerging from the underground comix movement in the 1960s, he quickly became a major force on the larger comic book scene with his work for Heavy Metal magazine and the Warren publications. Those who picked up copies of his early work like Den, Rowlf, or Fantagor, were immediately absorbed by the maturity and beauty of his style. Readers knew that they were in the presence of an extraordinary talent. Corben’s imagination pushed the boundaries of the visual possibilities of aesthetics in comic art in amazing new directions.
Beginning with his adaptations of Poe for Creepy , Eerie, and other Warren titles, especially the brilliantly rendered version of “The Raven” in Creepy No. 67 (December 1974), Corben has proven to be the most acute and creative interpreter of Poe in comics history. All of his comic book work, in fact, has been imbued with the same gothic sensibility and keen eye for the grotesque that possessed Poe himself. Thus his alliance with Poe has been a fortuitous and productive one. It is a marriage made in …, well one hesitates to say heaven. Time and again Corben has turned, or returned, to his favorite poems and stories, each demonstrating an original vision, a new way to interpret or understand Poe’s themes. This paper will provide an appreciative overview of Corben’s fascination with Poe throughout his career and what his vision has added to our general understanding of Poe’s cultural importance. Quite likely Poe would have loved these graphic versions of his work and recognized in Richard Corben a soul-mate.
About Dr. Inge:
M. Thomas Inge is the Robert Emory Blackwell Professor of Humanities at Randolph-Macon College in Ashland, Virginia, where he teaches and writes about American humor and comic art, film and animation, Southern literature and culture, William Faulkner, and Asian literature.
Inge has been writing about the comics and animation for over thirty years. He has written essays for fan publications, popular periodicals, reference works, and scholarly journals. He contributed for over twenty five years a chronology of the history of the comic book to the annual editions of Robert M. Overstreet’s Comic Book Price Guide. His books on the subject include Comics as Culture (1990), Great American Comics (1990), Dark Laughter: The Satiric Art of Oliver W. Harrington (1993), Anything Can Happen in a Comic Strip (1995), Charles M. Schulz: Conversations (2000), The Incredible Mr. Poe: Comic Book Adaptations of the Works of Edgar Allan Poe (2008), and Mark Twain in the Comics (2009). Most recently he edited the collected essays of Charles M. Schulz which appeared as My Life with Charlie Brown (2010). Inge is serving as General Editor of the “Conversations with Comic Artists” and the “Great Comic Artists” series for the University Press of Mississippi.
His publications on animation include “Walt Disney’s Snow White: Art, Adaptation, and Ideology,” Journal of Popular Film and Television, 32 (Fall 2004); “Mickey Mouse” in American Icons (Greenwood 2006); “Bing Crosby, Walt Disney, and Ichabod Crane” in Going My Way: Bing Crosby in American Culture (Hofstra/Rochester 2007); and “Mark Twain, Chuck Jones, and the Art of Animation,” Studies in American Humor, N.S. No. 17 (2008). He wrote the biography of Walt Disney for the Dictionary of Literary Biography Vol. 22 (Gale 1983) and is working on a book-length study of Disney and adaptation.
Inge wanted to be cartoonist but was diverted into academic work. He would rather draw and considers himself a failed comic artist who became a professor because he couldn’t do any better.
On January 17 from noon until midnight, the Poe Museum in Richmond, Virginia will host Edgar Allan Poe’s Birthday Bash, the world’s biggest celebration of the author’s birthday. The event promises twelve hours of performances, live music, historical interpreters, and games for audiences of all ages. The Museum will also be opening two new exhibits: a retrospective of Richard Corben’s Poe illustrations and Chambers of the Red Death, an installation of shadow boxes recreating “The Masque of the Red Death” by Nicole Pisaniello. Additional activities include a children’s theater, a craft table, book signings, and a walking tour following the trail of Poe’s last night in Richmond. Don’t forget the birthday cake at four followed by a talk about Poe in the comics by Randolph Macon professor Dr. M. Thomas Inge at five and a performance and walking tour by Poe’s last fiancée, Richmond’s Elmira Royster Shelton (as portrayed by historical interpreter Debbie Phillips) at six. After twelve straight hours of activity, visitors will toast Poe’s memory at midnight in the Poe Shrine.
11a.m-Noon Author Talk by Maggie King, Rosemary Shomaker, Teresa Inge, Maria Hudgins, and Heather Weidner
Noon to 1:30p.m. Live Music by The Embalmers
1:30 Children’s Activity
2:00p.m. Performance of “The Cask of Amontillado”
4:00p.m. Birthday Cake Served
5:00 Dr. M. Thomas Inge speaks about Poe in the comics
6:00-7:30p.m. Live music by Margot MacDonald
7:00p.m. Tour of Poe Museum led by C. Auguste Dupin, detective from “Murders in the Rue Morgue”
7:30p.m. Elmira Shelton speaks about her engagement to Poe
8:00p.m. Elmira Shelton begins walking tour of area sites she and Edgar enjoyed
8:00p.m. Performance of “The Raven”
9:00p.m. Performance of “The Tell-Tale Heart”
10:00p.m. Live Music by Fool’s Errand
Midnight Champagne Toast in the Poe Shrine
Schedule is subject to change. Check back often for a complete schedule and the latest updates.
December Object of the Month: The John-Donkey
Most of what we know about Poe is wrong. It has long been well known that his literary executor Rufus W. Griswold fabricated stories about him in a successful effort to damage Poe’s reputation. When considering Poe’s literary enemies, one must not forget Thomas Dunn English, a rival editor Poe referred to in a January 4, 1848 letter to George Evelyth as “the Autocrat of all the Asses.” Poe and English even came to blows in 1846. According to Poe (in a June 27, 1846 letter to Henry B. Hirst), “I gave E. a flogging which he will remember to the day of his death — and, luckily, in the presence of witnesses. He thinks to avenge himself by lies — by [sic] I shall be a match for him by means of simple truth.”
English’s own account of that “flogging” (written fifty years after the fact), tells a different story:
One word led to another, and he rushed toward me in a menacing manner. I threw out my fist to stop him, and the impetus of his rush, rather than any force of mine, made the extension of my arm a blow. He grasped me while falling backward over a lounge, and I on top of him. My blood was up by this time, and I dealt him some smart raps on the face. As I happened to have a heavy seal ring on my little finger, I unintentionally cut him very severely, and broke the stone in the ring, an intaglio cut by Lovatt, which I valued highly. Tyler tried to call me off, but this did not succeed; and finally the racket of the scuffle, which only lasted a few moments, brought Professor Ackerman from the front room, and he separated us. He then led Poe away. The latter, in going up the street, met a friend of mine, who asked him how he had cut his face so terribly. His reply was that an Irishman carrying a beam on his shoulder had accidentally struck him.
During Poe’s lifetime, Thomas Dunn English ridiculed the author in the novels Walter Woolfe, or the Doom of the Drinker and 1844, or the Power of S.F., in which the character Marmaduke Hammerhead, the drunken author of “The Black Crow,” was based on Poe. English also attacked Poe in the press, and Poe even sued a magazine for libel (and won) after it printed some of English’s unfounded accusations. Even the lawsuit did not stop English from publicly ridiculing Poe, and the Poe Museum’s Object of the Month for December is English’s short-lived magazine The John-Donkey, which regularly printed jokes at Poe’s expense.
The first issue, dated January 1, 1848 contains the following notice alluding to Poe’s drinking.
A week later, in the January 8 issue, English responded to a Pennsylvania magazine that had written a positive notice of Poe.
The January 29 issue contained “Sophia Maria,” a parody of Poe’s new poem “Ulalume.”
The February 5 issue of the Saturday Evening Post calls “Sophia Maria” “a capital parody on a poem recently published in the [American Review], and supposed to have been written by E. A. Poe — at least it is decidedly Poe-ish.”
In the February 5 issue of the John-Donkey, English jokes about the announcement that Poe will be delivering a lecture about the universe.
Contrary to English’s opinion, Poe’s lecture on the universe received favorable reviews. The Morning Express for February 4 reported, “The conclusion of this brilliant effort was greeted with warm applause by the audience, who had listened with enchained attention throughout.”
In the April 15 issue, English announces that Poe is planning a new version of The Literati of New York City, a popular series of opinions on New York authors. In The Literati Poe praises some of the writers, including Frances Osgood, while ridiculing others, including English. In the July 1846 installment, Poe points out English’s deficiencies as the editor of The Aristidean:
No spectacle can be more pitiable than that of a man without the commonest school education busying himself in attempts to instruct mankind on topics of polite literature. The absurdity in such cases does not lie merely in the ignorance displayed by the would-be instructor, but in the transparency of the shifts by which he endeavours to keep this ignorance concealed…he was not, I say, laughed at so much for his excusable deficiencies in English grammar (although an editor should certainly be able to write his own name) as that, in the hope of disguising such deficiency, he was perpetually lamenting the “typographical blunders” that “in the most unaccountable manner” would creep into his work. Nobody was so stupid as to suppose for a moment that there existed in New York a single proof-reader — or even a single printer’s devil — who would have permitted such errors to escape. By the excuses offered, therefore, the errors were only the more obviously nailed to the counter as Mr. English’s own.
In the same article, Poe pokes fun at English’s poetry, writing, “The inexcusable sin of Mr. E. is imitation — if this be not too mild a term. Barry Cornwall and others of the bizarre school are his especial favorites. He has taken, too, most unwarrantable liberties, in the way of downright plagiarism, from a Philadelphian poet whose high merits have not been properly appreciated — Mr. Henry B. Hirst.”
This is English’s April 1848 response to learning that Poe is planning a new series of similar articles:
English was sure he would be featured if the article were to be printed. Fortunately for him, the new series, Literary America, did not appear until after Poe’s death. The entry about English was given the name “Thomas Dunn Brown” although much of the entry was taken from earlier entry for English printed in The Literati. Among the additions to the Literary America entry was the following passage:
Mr Brown had, for the motto on his magazine cover, the words of Richelieu,
–Men call me cruel;
I am not: –I am just.
Here the two monosyllables “an ass” should have been appended. They were no doubt omitted through “one of those d——d typographical blunders” which, through life, have been at once the bane and the antidote of Mr Brown.
Poe’s most enduring response to English’s attacks was the short story “The Cask of Amontillado,” which ridicules English while making reference to English’s novel 1844, or The Power of S.F.
Although Poe was a favorite target, The John-Donkey also took aim at other literary and political figures of the day. Here is a notice about Poe’s rival Rufus Griswold.
Here is a review of some female poets.
This is one of the political cartoons to appear in the magazine.
The John-Donkey ceased publication after about a year. Thomas Dunn English lived until 1902. In his later years, his interests turned to politics. He served on the New Jersey General Assembly in 1863 and 1864 and was elected to Congress from 1891 until 1895. He chaired the Committee on Alcoholic Liquor Traffic during the Fifty-Third Congress.
English harbored a dislike of Poe for years after the author’s 1849 death, and English supplied the critic E.C. Stedman with negatively biased information about Poe. (Here is a letter from English to Stedman in the Poe Museum’s collection.) English also responded to Poe’s biographers who he thought either were either overlooking Poe’s faults or libeling Poe’s biographer Rufus Griswold. In 1896, English wrote for the Independent the series Reminiscences of Poe, a supposedly frank account of his relationship with the poet. According to English, he finally wrote the series, nearly fifty years after Poe’s death, to defend himself against the attacks on his and Griswold’s character made by Poe’s biographers. The series opens with English’s own attacks on Poe’s biographers William Gill, John Henry Ingram, and George Woodberry. English continues by portraying Poe as a drunk, a liar, and a cheat. He also hints at an affair between Poe and the poet Frances Osgood.
On one point, however, English actually defends Poe’s reputation against the rumors surrounding him. In response to accusations about Poe’s use of drugs, English writes, “Had Poe the opium habit when I knew him (before 1846) I should both as a physician and a man of observation, have discovered it during his frequent visits to my rooms, my visits at his house, and our meetings elsewhere — I saw no signs of it and believe the charge to be a baseless slander.”
Thomas Dunn English
As an editor and author, Thomas Dunn English helped shape the public’s perception of Poe as a drunken scoundrel. Even though Poe himself discredited English by successfully suing his for libel, English’s image of Poe is still widely accepted as fact. This Poe myth English, Griswold, and others created has long concealed the truth about Poe’s life and character. The Poe Museum’s issues of The John-Donkey document these literary rivalries so that today’s biographers can paint a more complete picture of the genesis of the Poe myth and the literary feuds that promoted it.
From January 17 until May 24, 2015, the Edgar Allan Poe Museum in Richmond, Virginia will host the contemporary art exhibit Chambers of the Red Death: A Study in Light and Shadows by Nicole Pisaniello. Artist and Illustrator, Nicole Pisaniello, will be using cut paper, paint, and lighting effects to interpret Edgar Allan Poe’s short story “The Masque of the Red Death.” Nicole graduated with a Bachelor of Arts from VCU. Her work has been published in two fantasy art collections as well as in Faerie Magazine, and displayed in several galleries. She is a co-host of Dr. Sketchy’s RVA and co-founder of RVA Krampusnacht.
The exhibit will open on January 17, 2015 from noon to midnight as part of the Poe Museum’s 12-hour Poe Birthday Bash, the world’s largest celebration of Edgar Allan Poe’s birthday. For more information call 804-648-5523.
From January 17 until April 19, 2015, the Edgar Allan Poe Museum in Richmond, Virginia will host Reimagining Poe: The Poe Illustrations of Richard Corben a major exhibit surveying forty years of illustrations to Poe’s works by Eisner Award-winning artist Richard Corben. This, the first retrospective of Corben’s Poe illustrations, will feature several original drawings from the artist’s personal collection. The exhibit will open with a lecture about Corben’s illustrations by Randolph Macon College professor M. Thomas Inge on January 17 at 5p.m. The exhibit opening and lecture will be part of the Poe Museum’s annual Poe Birthday Bash, the world’s largest celebration devoted to the nineteenth century author’s birthday.
Richard Corben (born 1940) is a comic book artist and illustrator named Corben began his career in animation before turning to underground comics. In 1976 he adapted a Robert E. Howard story into what is considered the first graphic novel, Bloodstar. He is best known for his comics appearing in Heavy Metal magazine. His illustrious career has included work in album covers and movie posters, collaboration on a graphic novel with rock musician and filmmaker Rob Zombie, and an award-winning short film Neverwhere. He is the winner of the 2009 Spectrum Grand Master Award, and he was elected to the Will Eisner Award Hall of Fame in 2012.
For over forty years, Corben has established himself as one of the most extraordinary illustrators of Poe’s works. His Edgar Allan Poe adaptations have appeared on the pages of the comic books Creepy, Edgar Allan Poe’s Haunt of Horror, and Edgar Allan Poe’s Spirits of the Dead. Among his dozens of comic book adaptations of Poe’s tales and poems are popular favorites like “The Raven” and “The Cask of Amontillado,” as well as little known classics like “Alone” and “Israfel.” Not content with literal illustrations of Poe’s words, Corben’s exquisite artwork is often paired with his own unusual and innovative reinventions of the stories. In the introduction to Corben’s latest collection of Poe adaptations, Edgar Allan Poe’s Spirits of the Dead, Dr. M. Thomas Inge states, “Corben has proven to be the most acute and creative interpreter of Poe in comics history.”
Edgar Allan Poe is the internationally influential author of such tales of “The Raven,” “The Tell-Tale Heart,” and “The Black Cat.” He is credited with inventing the mystery genre as well as with pioneering both the modern horror story and science fiction. Poe died under mysterious circumstances at the age of forty. Although much of his life is known through contemporary documents, some areas of his life remain shrouded in mystery.
Opened in 1922, the Edgar Allan Poe Museum of Richmond is the world’s finest collection of Edgar Allan Poe artifacts and memorabilia. The five-building complex features permanent exhibits of Poe’s manuscripts, personal items, clothing, and a lock of the author’s hair. The Poe Museum’s mission is to interpret the life and influence of Edgar Allan Poe for a global audience. Edgar Allan Poe is America’s first internationally influential author, the inventor of the detective story, and the forerunner of science fiction; but he primarily considered himself a poet. His poems “The Raven,” “Annabel Lee,” and “The Bells” are classics of world literature.
November is the time for Thanksgiving, football, and Black Friday shopping. With the Christmas shopping season now underway, visitors to the Poe Museum often ask what kinds of gifts Poe gave his own family and friends. The answer is November’s Object of the Month, Poe’s gift to Louisa Anna Lynch—a copy of The New Year’s Gift and Juvenile Souvenir for 1836.
In Poe’s day, Christmas was regaining popularity in the United States thanks to the influx of European immigrants bringing with them their winter holiday customs. Many of the customs Americans now associate with the holiday were introduced at this time. Among these are Christmas trees, poinsettias, mistletoe, Christmas cards, and the popular poem “A Visit from St. Nicholas,” which begins “T’was the night before Christmas…” You can read more about Christmas in Poe’s time here.
Gift giving was also fashionable, but, unlike today’s elaborate displays, presents in Poe’s time often consisted of small items like gloves or candy. Another popular present was the gift book. In the 1830s, American publishers started issuing these deluxe gift books each year around Christmas. Poe contributed to several installments (1836, 1840, 1842, 1843, 1845) of the most popular of these, The Gift: A Christmas and New Year’s Present. None of these stories, which include “The Pit and the Pendulum,” “William Wilson,” and “The Purloined Letter,” had a Christmas theme. His stories also appeared in The Baltimore Book: A Christmas and New Year’s Present in 1838, The Opal in 1844 and 1845, The Missionary Memorial in 1846, and the May Flower in 1846. The Irving Offering and the American Keepsake published his works immediately after his death.
Poe did not contribute a story to The New Year’s Gift and Juvenile Souvenir for 1836, a collection of children’s stories. On the first page of the Poe Museum’s copy, he inscribed the present in his tiny handwriting, “To Miss Louisa Ann Lynch with the compliments of her sincere friend Edgar A. Poe.” The recipient of the present was a young girl named Louisa Ann Lynch (1825-1891). Her father, Peyton Lynch (1787-1832) died when she was just seven years old, and she grew up with her mother and three brothers in Petersburg, Virginia. She would have been about ten years old when this book was published.
Like most gift books of its kind, The New Year’s Gift and Juvenile Souvenir was likely published in the fall of 1835 for the 1836 New Year. Poe could have given it to Lynch if she and her family visited Richmond in late 1835 or as late as early 1837, when Poe left Richmond for New York. He could have also given the book to Miss Lynch in Petersburg, which is about thirty miles south of Richmond. The donor recalled Poe presenting it during a visit to Petersburg, which could have been during his honeymoon in May 1836 (a little late for a Christmas present). He must certainly have given her the piece before July 23, 1844, when she married the commission merchant James C. Deaton in Petersburg, because Poe would have written her married name instead of her maiden name.
In addition to the inscription on the first page, Poe also wrote in pencil on page 67, “To L.A. Lynch.” The reason for the second inscription is unknown, but it is tempting to speculate it might have something to do with the story on that page “Days at My Grandfather’s,” which references Ralph the Raven, but Poe did not publish his own poem “The Raven” until 1845.
By the early 1850s, Mr. and Mrs. Deaton had moved to Richmond, where they settled in a brick house at the northeast corner of 1st and Cary Streets (pictured below). On January 6, 1854, the funeral of the Deaton’s son Walter was held in this house. (Daily Dispatch, January 7, 1854) Another son, James C. Deaton, Jr., became a prominent Richmond physician. Louisa Ann Deaton passed away on July 23, 1891 at the age of sixty-six.
Her descendant, Mary Elizabeth Morton, who inherited the book, gave both it and Deaton’s album, filled with poems written for her by her friends, to the Poe Museum in 1979. This month, the gift Poe gave his friend is on display in the Poe Museum’s Model Building as a reminder of Poe’s generosity and his fondness for inspiring young readers. Maybe this Christmas you will be inspired by Poe’s example to give someone special the gift of a good book.
The Facts behind “The Facts in the Case of M. Valdemar”
Now showing until December 31 at the Edgar Allan Poe Museum in Richmond is an intriguing exhibit devoted to Poe’s short story “The Facts in the Case of M. Valdemar,” a tale of the power of mesmerism to suspend the process of death. Made possible by a loan of items from the collection of James Vacca, Mesmerized: The Facts in the Case of M. Valdemar explores the popularity of mesmerism in Poe’s time and belief among his contemporaries that this gruesome story might be true.
Mesmerism in the Nineteenth Century
Mesmerism, originally called animal magnetism, was developed by German physician and astronomer Franz Anton Mesmer (1734 – 1815) who theorized that a natural energetic transference occurred between all living creatures. Though he failed to receive scientific recognition for his theories, Mesmer believed this force could have healing properties.
While experiments in mesmerism abounded from 1780 until 1850, many quack mesmerists staged performances and published sensationalized accounts of their powers. By Poe’s time, in the 1840s, some practitioners even believed that mesmerized people could demonstrate clairvoyant abilities. The November 18, 1843 issue of the New York Brother Johnathon carried the following notice:
ANIMAL MAGNETISM! — A series of experiments are now going forward in different parts of this Country, with different subjects, by different magnetisers — wholly ignorant of what others are doing — and by people who have not direct communication with one another; all of which go to prove that the Moon is inhabited — that the people have a written language — and make war. The most miraculous coincidences have happened. We are quite serious.
Poe and Mesmerism
“The Facts in the Case of M. Valdemar” was Poe’s third tale on the subject of mesmerism. “A Tales of the Ragged Mountains” (1844) and “Mesmeric Revelation” (1844) also dealt with the theme. The latter would be the first of Poe’s tales translated into French by the poet and critic Charles Baudelaire. The French Romantic painter Eugene Delacroix declared the story “a bizarre and profound piece of writing which throws you into a state of contemplation.”
In addition to his fictionalized accounts of the controversial pseudoscience, Poe also wrote reviews of other authors’ books on the subject. In the April 5, 1845 issue of the Broadway Journal, Poe called Chauncey Hare Townshend’s book Facts in Mesmerism (London, 1840) “one of the most truly profound and philosophical works of the day — a work to be valued properly only in a day to come.” How seriously Poe actually regarded mesmerism is debatable. In some works, he poked fun at the mesmerist Andrew Jackson Davis, who gave a number of public demonstrations in New York while Poe was living there.
Poe’s writings about mesmerism caused some of his contemporaries to believe he had special knowledge of the subject. Mary Hill Hewitt wrote in an 1846 letter to Poe’s future fiancée Sarah Helen Whitman, “People seem to think there is something uncanny about him, and the strangest stories are told, what is more, believed, about his mesmeric experiences, at the mention of which he always smiles.”
“The Facts in the Case of M. Valdemar” was not Poe’s first hoax. In 1838, he published The Narrative of Arthur Gordon Pym, an account of a trip to Antarctica, thought to be true by English readers. Six years later, in 1844, he convinced New Yorkers that scientists had successfully crossed the Atlantic Ocean in a hot air steering balloon in a story now known as “The Balloon Hoax.”
The Balloon Hoax
Also dealing with the theme of mesmerism, Poe’s story “Mesmeric Revelation” was so realistic it was reprinted in the November 29, 1845 issue of the London Popular Record of Modern Science.
The Public’s Response
“The Facts in the Case of M. Valdemar” was rejected by at least one magazine before the American Review printed it in its December 1845 issue. Within months, the story was reprinted in The Broadway Journal (New York), Spirit of the Times (Philadelphia), Sunday Times (London), the Morning Post (London), the Popular Record of Modern Science (London), and the Boston Museum. The following year it was published as a pamphlet in London. Although many readers believed “Valdemar” to be a true story, the editor of the New York Herald wrote, “whoever thought it a veracious recital must have the bump of Faith large, very large indeed.”
To this, Poe answered in the Broadway Journal,
For our parts we find it difficult to understand how any dispassionate transcendentalist can doubt the facts as we state them; they are by no means so incredible as the marvels which are hourly narrated, and believed, on the topic of Mesmerism. Why cannot a man’s death be postponed indefinitely by Mesmerism? Why cannot a man talk after he is dead? Why? — Why? — that is the question; and as soon as the Tribune has answered it to our satisfaction we will talk to it farther.
Poe’s statement cannot, however, be taken entirely seriously since he frequently ridiculed the Transcendentalists. When asked by a London pharmacist if “Valdemar” was true, Poe responded, “‘Hoax’ is precisely the word suited to M. Valdemar’s case . . . The article . . . is now circulating in France. Some few persons believe it — but I do not — and don’t you.”
Poe was so amused by the receipt of a letter from a believer in the story’s veracity that he printed it in the Broadway Journal:
Collection of James Vacca
The story’s popularity was such that he reprinted it in the Broadway Journal, adding the following note:
In London, the story was reprinted as a true account of the powers of mesmerism, and the London publisher Short and Little issued it as a pamphlet, Mesmerism in Articulo Mortis in 1846.
Collection of James Vacca
Collection of James Vacca
At least one British poet was not a fan of “Valdemar,” Elizabeth Barrett (the future Elizabeth Barrett Browning) sent Robert Browning a copy of the story and wrote:
I send you besides a most frightful extract from an American magazine sent to me yesterday…no, the day before…on the subject of mesmerism—& you are to understand, if you please, that the Mr. Edgar Poe who stands committed in it, is my dedicator…whose dedication I forgot, by the way, with the rest—so, while I am sending, you shall have his poems with his mesmeric experience & decide whether the outrageous compliment to me EBB or the experiment on M. Vandeleur [sic] goes furthest to prove him mad.
Collection of James Vacca
Thanks in part to Poe’s story, the Spiritualist movement associated mesmerism with communication with the dead and used it for that purpose. One of Poe’s fiancées, Sarah Helen Whitman, was a devout Spiritualist who held séances while in a mesmeric trance.
Over time, popularity of both Spiritualism and mesmerism declined. The meaning of the word mesmerism has also evolved. In 1843, the Scottish physician James Braid proposed the term hypnosis, which is now the usual meaning of word mesmerism.
Poe’s use of realistic and scientifically based details made “The Facts in the Case of M. Valdemar” an early and influential example of modern science fiction. The story’s gruesome conclusion in which the mesmerized patient suddenly “rots” into “a nearly liquid mass of loathsome — of detestable putridity” has been an inspiration to modern horror writers concerned with shock and gore. Since Poe’s time, the story has been reprinted countless times and translated into several languages. It has been adapted to comics and movies, most notably the 1963 Roger Corman film Tales of Terror starring Vincent Price and the 2002 black comedy The Mesmerist starring Neil Patrick Harris.
Vincent Price as Valdemar
Mesmerized: The Facts in the Case of M. Valdemar will be on display on the first floor gallery of the Poe Museum’s Exhibits Building until December 31, 2014. On display on the second floor galleries of the Exhibits Building are The Halloween Gang Presents: The Black Cat (until December 31) and The Raven Room. The Poe Museum’s other three buildings contain permanent exhibits of the Museum’s renowned collection of Edgar Allan Poe personal belongings and memorabilia.
After more than a decade, the Poe Museum reopened its Raven Room last Halloween night in a new gallery space. The exhibit features the Raven illustrations of James Carling, who attempted to illustrate the entire poem line-by-line. Since the Poe Museum first acquired the original artwork in the 1930s, the drawings were on continuous display in a specially devoted gallery known as the Raven Room.
At first, the Raven Room was located in the Museum’s Elizabeth Arnold Poe Memorial Building (pictured above), but it was later moved to a blood-red room on the second floor of the Tea House (now known as the Exhibits Building). After the original artwork was replaced with reproductions in the 1970s, the Raven Room stayed on exhibit until about 2003 when it was replaced by a changing exhibit gallery.
This year, the Museum converted a storage area into a new Raven Room (pictured above) complete with it famously red walls. Much as they were in the earlier incarnations of the exhibit, the drawings are hung side-by-side around the room so that visitors may follow the illustrations chronologically. In this installation, however, only ten drawings at a time will be displayed. In this way, seventy-five percent of the precious artworks will be protected from the light at any given time. This measure will help ensure they survive for future generations to enjoy.
The complete set of illustrations will soon be available in a book (pictured below) to be released in the near future. Check our online store for the latest updates.
This exhibit and the accompanying book were made possible by the generous support of Dr. George W. Poe Jr., Avery Brooks, Mark Cummins, Cecelia Faigin, Rolf-Thomas Happe, Lynda Locke, Michael O’Farrell, John O’Sullivan, Kay Purcell , Ashley Woessner, and Kristopher Woofter.
Artwork by Rachel Livingston
From September 25 until December 31, 2014, the Poe Museum in Richmond, Virginia will host an exhibit of new artwork inspired by Edgar Allan Poe’s classic terror tale “The Black Cat.” The artists in the exhibit are members of the Halloween Gang, a collective of local artists and students that formed in order to showcase Richmond’s “spookier” side as well as to move art outside the gallery. According to the Halloween Gang’s spokesperson Caleb Smith, “Our Mission is TO FRIGHTEN! But also to cause mischief and mayhem in a world that has lost all of the things that go bump in the night along with our imaginations.” Among their recent projects was a surprise performance piece last fall at the Anderson Gallery at Virginia Commonwealth University. Participating artists include Caleb Smith, Nick Fagan, Rellie Brewer, Harrison Stewart, Joel Webber, James McPherson, Grace Huddleston, Jordon Fust, Rachel Livingston, and Skyler Thompson.
The exhibit The Halloween Gang Presents “The Black Cat” will open during the Poe Museum’s September Unhappy Hour on Thursday, September 25 from 6-9 P.M. with live music by The Embalmers.
Mathew Brady was perhaps the leading American photographer of the nineteenth century. Among the prominent figures who sat for his studio are eighteen United States Presidents including Abraham Lincoln. It has long been known that the Mathew Brady Studio sold copies of a “Brady Photo” of Poe in the early 1860s, but now a previously unpublished Brady photo of Poe’s mother-in-law Maria Clemm has been found and will soon be on public display for the first time.
From September 25 until November 30, 2014, the Edgar Allan Poe Museum in Richmond, Virginia will exhibit a newly discovered photograph of Edgar Allan Poe’s mother-in-law from the studio of famed nineteenth century photographer Mathew Brady (1822-1896), best known for his iconic photographs of Abraham Lincoln and his documentation of Civil War battlefields. This is only the third image of Poe’s aunt/mother-in-law Maria Poe Clemm to come to light. Although Edgar Allan Poe’s face is well-known through photographs and paintings made during his lifetime, there are very few surviving images of the two people closest to him—his wife and mother-in-law. Maria Clemm helped support Poe by helping sell his poems and by taking on sewing work for extra money. Poe paid tribute to her in his poem “To My Mother.” After Poe’s death, Clemm depended upon the charity of Poe’s many admirers. Charles Dickens is among those who contributed to her care.
Newly Discovered Image
Stephen Montgomery, the owner of the photograph, an albumen print carte de visite, found the previously unpublished image in an album of nineteenth century photographs and contacted the Poe Museum to help him verify the discovery. The logo of the Mathew Brady studio is printed on the back of the photo with the words “Maria Clemm/ Edgar Allen [sic] Poe Aunt” written in pencil above it. Although the image was previously unknown to scholars, it bears a remarkable resemblance to the two other known photographs of Maria Clemm, one of which is in the collection of the Poe Museum. The newly identified image will be displayed alongside the Poe Museum’s fully authenticated photograph for comparison.
Authentic Images of Maria Clemm and the Newly Discovered Image
Face of 1868 Photo Superimposed Over Face of Montgomery Photo
For this exhibition, Montgomery has also loaned the Poe Museum two other photographs—Matthew Brady’s photograph of Poe (a retouched version of an 1848 photograph taken by another photographer sold from Brady’s studio in the early 1860s) and an albumen print photograph of the daguerreotype taken of Poe in Richmond a few weeks before his death.
Brady Photo of Poe