October 3rd, 2015 by Andrea Martin
Posted in Events, Other, Poe News | Comments Off on Rewrite Poe’s obituary and win a signed copy of nEvermore!
When Edgar Allan Poe died in 1849, his obituary painted him as a friendless misanthrope whose death would “startle many, but few [would] be grieved by it.” Ouch. This notoriously unflattering piece was published under the pseudonym “Ludwig,” though we know its author was Rufus Griswold, Poe’s literary executor who ended up maligning Poe’s character not only in this obituary but in a subsequent biography.
We think Edgar deserves better! Poe isn’t around to defend himself, but we invite you to speak on his behalf and rewrite his obituary. Submit your Poe-bituaries to us at [email protected] by midnight on Wednesday, October 7, 2015, and we’ll select a winner to publish on our blog and share via our Facebook page. The winner will also receive a copy of the brand new anthology nEvermore! signed by authors J. Madison Davis, Nancy Kilpatrick, and Caro Soles.
Griswold’s infamous article is copied below. May it inspire you to write something better!
October 7 is the anniversary of Poe’s death. Here at the museum, we’ll be honoring Poe with a reading and signing of nEvermore! with J. Madison Davis, Nancy Kilpatrick, and Caro Soles. Please join us from 6-9 that evening!
Death of Edgar A. Poe.
EDGAR ALLAN POE is dead. He died in Baltimore the day before yesterday. This announcement will startle many, but few will be grieved by it. The poet was well known, personally or by reputation, in all this country; he had readers in England, and in several of the states of Continental Europe; but he had few or no friends; and the regrets for his death will be suggested principally by the consideration that in him literary art has lost one of its most brilliant but erratic stars.
The family of Mr. Poe — we learn from Griswold’s “Poets and Poetry of America,” from which a considerable portion of the facts in this notice are derived — was one of the oldest and most respectable in Baltimore. David Poe, his paternal grandfather, was a Quartermaster-General in the Maryland line during the Revolution, and the intimate friend of Lafayette, who, during his last visit to the United States, called personally upon the General’s widow, and tendered her acknowledgments for the services rendered to him by her husband. His great-grandfather, John Poe, married in England, Jane, a daughter of Admiral James McBride, noted in British naval history, and claiming kindred with some of the most illustrious English families. His father and mother, — both of whom were in some way connected with the theater, and lived as precariously as their more gifted and more eminent son — died within a few weeks of each other, of consumption, leaving him an orphan, at two years of age. Mr. John Allan, a wealthy gentleman of Richmond, Virginia, took a fancy to him, and persuaded his grandfather to suffer him to adopt him. He was brought up in Mr. Allan’s family; and as that gentleman had no other children, he was regarded as his son and heir. In 1816 he accompanied Mr. and Mrs. Allen [[Allan]] to Great Britain, visited every portion of it, and afterward passed four or five years in a school kept at Stoke Newington, near London, by Rev. Dr. Bransby. He returned to America in 1822, and in 1825 went to the Jefferson University, at Charlottesville, in Virginia, where he led a very dissipated life, the manners of the college being at that time extremely dissolute. He took the first honors, however, and went home greatly in debt. Mr. Allan refused to pay some of his debts of honor, and he hastily quitted the country on a Quixotic expedition to join the Greeks, then struggling for liberty. He did not reach his original destination, however, but made his way to St. Petersburg, in Russia, when he became involved in difficulties, from which he was extricated by the late Mr. Henry Middleton, the American Minister at that Capital. He returned home in 1829, and immediately afterward entered the Military Academy at West-Point. In about eighteen months from that time, Mr. Allan, who had lost his first wife while Mr. Poe was in Russia, married again. He was sixty-five years of age, and the lady was young; Poe quarreled with her, and the veteran husband, taking the part of his wife, addressed him an angry letter, which was answered in the same spirit. He died soon after, leaving an infant son the heir to his property, and bequeathed Poe nothing.
The army, in the opinion of the young cadet, was not a place for a poor man; so he left West-Point abruptly, and determined to maintain himself by authorship. He printed, in 1827, a small volume of poems, most of which were written in early youth. Some of these poems are quoted in a reviewal by Margaret Fuller, in The Tribune in 1846, and are justly regarded as among the most wonderful exhibitions of the precocious development of genius. They illustrated the character of his abilities, and justified his anticipations of success. For a considerable time, however, though he wrote readily and brilliantly, his contributions to the journals attracted little attention, and his hopes of gaining a livelihood by the profession of literature were nearly ended at length in sickness, poverty and despair. But in 1831, the proprietor of a weekly gazette, in Baltimore, offered two premiums, one for the best story in prose, and the other for the best poem. — In due time Poe sent in two articles, and he waited anxiously for the decision. One of the Committee was the accomplished author of “Horseshoe Robinson,” John P. Kennedy, and his associates were scarcely less eminent than he for wit and critical sagacity. Such matters are usually disposed of in a very off hand way: Committees to award literary prizes drink to the payer’s health, in good wines, over the unexamined MSS, which they submit to the discretion of publishers, with permission to use their names in such a way as to promote the publisher’s advantage[[.]] So it would have been in this case, but that one of the Committee, taking up a little book in such exquisite calligraphy as to seem like one of the finest issues of the press of Putnam, was tempted to read several pages, and being interested, he summoned the attention of the company to the half-dozen compositions in the volume. It was unanimously decided that the prizes should be paid to the first of geniuses who had written legibly. Not another MS. was unfolded. Immediately the ‘confidential envelop’ was opened, and the successful competitor was found to bear the scarcely known name of Poe.
The next day the publisher called to see Mr. Kennedy, and gave him an account of the author that excited his curiosity and sympathy, and caused him to request that he should be brought to his office. Accordingly he was introduced: the prize money had not yet been paid, and he was in the costume in which he had answered the advertisement of his good fortune. Thin, and pale even to ghastliness, his whole appearance indicated sickness and the utmost destitution. A tattered frock-coat concealed the absence of a shirt, and the ruins of boots disclosed more than the want of stockings[[.]] But the eyes of the young man were luminous with intelligence and feeling, and his voice, and conversation, and manners, all won upon the lawyer’s regard. Poe told his history, and his ambition, and it was determined that he should not want means for a suitable appearance in society, nor opportunity for a just display of his abilities in literature. Mr. Kennedy accompanied him to a clothing store, and purchased for him a respectable suit, with changes of linen, and sent him to a bath, from which he returned with the suddenly regained bearing of a gentleman.
The late Mr. Thomas W. White had then recently established The Southern Literary Messenger, at Richmond, and upon the warm recommendation of Mr. Kennedy, Poe was engaged, at a small salary — we believe of $500 a year — to be its editor. He entered upon his duties with letters full of expressions of the warmest gratitude to his friends in Baltimore, who in five or six weeks were astonished to learn that with characteristic recklessness of consequences, he was hurriedly married to a girl as poor as himself. Poe continued in this situation for about a year and a half, in which he wrote many brilliant articles, and raised the Messenger to the first rank of literary periodicals.
He next moved to Philadelphia, to assist William E. Burton in the editorship of the Gentleman’s Magazine, a miscellany that in 1840 was merged in Graham’s Magazine, of which Poe became one of the principal writers, particularly in criticism, in which his papers attracted much attention, by their careful and skillful analysis, and generally caustic severity. At this period, however, he appeared to have been more ambitious of securing distinction in romantic fiction, and a collection of his compositions in this department, published in 1841, under the title of “Tales of the Grotesque and Arabesque,” established his reputation for ingenuity, imagination and extraordinary power in tragical narration.
Near the end of 1844 Poe removed to New-York, where he conducted for several months a literary miscellany called “The Broadway Journal.” In 1845 he published a volume of “Tales” in Wiley and Putnam’s Library of American Books, and in the same series a collection of his poems. Besides these volumes he was the author of “Arthur Gordon Pym,” a romance: “A New Theory of Versification;” “Eureka,” an essay on the spiritual and material universe: a work which he wished to have “judged as a poem;” and several extended series of papers in the periodicals, the most noticeable of which are “Marginalia”, embracing opinions of books and authors; “Secret Writing,” “Autography,” and “Sketches of the Literati of New-York.”
His wife died in 1847, at Fordham, near this City, and some of our readers will remember the paragraphs in the papers of the time, upon his destitute condition. His wants were supplied by the liberality of a few individuals. We remember that Col. Webb collected in a few moments fifty or sixty dollars for him at the Union Club; Mr. Lewis, of Brooklyn, sent a similar sum from one of the Courts, in which he was engaged when he saw the statement of the poet’s poverty; and others illustrated in the same manner the effect of such an appeal to the popular heart.
Since that time Mr. Poe has lived quietly, and with an income from his literary labors sufficient for his support. A few weeks ago he proceeded to Richmond[[,]] in Virginia, where he lectured upon the poetical character, &c.; and it was understood by some of his correspondents here that he was this week to be married, most advantageously, to a lady of that city: a widow, to whom he had been previously engaged while a student in the University. [column 4, top:]
The character of Mr. Poe we cannot attempt to describe in this very hastily written article. We can but allude to some of its more striking phases.
His conversation was at times almost supra-mortal in its eloquence. His voice was modulated with astonishing skill, and his large and variably expressive eyes looked repose [[sic]] or shot fiery tumult into theirs who listened, while his own face glowed, or was changeless in pallor, as his imagination quickened his blood or drew it back frozen to his heart. His imagery was from the worlds which no mortal can see but with the vision of genius. Suddenly starting from a proposition exactly and sharply defined in terms of utmost simplicity and clearness, he rejected the forms of customary logic, and by a crystalline process of accretion, built up his occular demonstrations in forms of gloomiest and ghastliest grandeur, or in those of the most airy and delicious beauty — so minutely, and distinctly, yet so rapidly, that the attention which was yielded to him was chained till it stood among his wonderful creations — till he himself dissolved the spell, and brought his hearers back to common and base existence, by vulgar fancies or by exhibitions of the ignoblest passion.
He was at all times a dreamer — dwelling in ideal realms — in heaven or hell — peopled with creatures and the accidents of his brain. He walked the streets, in madness or melancholy, with lips moving in indistinct curses, or with eyes upturned in passionate prayers, (never for himself, for he felt, or professed to feel, that he was already damned), but for their happiness who at the moment were objects of his idolatry — or, with his glances introverted to a heart gnawed with anguish, and with a face shrouded in gloom, he would brave the wildest storms; and all night, with drenched garments and arms wildly beating the winds and rains, he would speak as if to spirits that at such times only could be evoked by him from the Aidenn close by whose portals his disturbed soul sought to forget the ills to which his constitution subjugated him — close by that Aidenn where were those he loved — the Aidenn which he might never see, but in fitful glimpses, as its gates opened to receive the less fiery and more happy natures whose destiny to sin did not involve the doom of death.
He seemed, except when some fitful pursuit subjected his will and engrossed his faculties, always to bear the memory of some controlling sorrow. The remarkable poem of The Raven was probably much more nearly than has been supposed, even by those who were very intimate with him, a reflexion and an echo of his own history. He was that bird’s
—— Unhappy master,
Whom unmerciful disaster
Followed fast and followed faster,
Till his songs the burden bore —
Till the dirges of his hope, the
Melancholy burden bore
Of “Nevermore,” of “Nevermore.”
Every genuine author in a greater or less degree leaves in his works, whatever their design, traces of his personal character: elements of his immortal being, in which the individual survives the person. While we read the pages of theFall of the House of Usher, or of Mesmeric Revelations, we see in the solemn and stately gloom which invests one, and in the subtle metaphysical analysis of both, indications of the idiosyncrasies, — of what was most remarkable and peculiar — in the author’s intellectual nature. But we see here only the better phases of this nature, only the symbols of his juster action, for his harsh experience had deprived him of all faith in man or woman. He had made up his mind upon the numberless complexities of the social world, and the whole system with him was an imposture. This conviction gave a direction to his shrewd and naturally unamiable character. Still, though he regarded society as composed altogether of villains, the sharpness of his intellect was not of that kind which enabled him to cope with villainy, while it continually caused him by overshots to fail of the success of honesty. He was in many respects like Francis Vivian in Bulwer’s novel of “The Caxtons.” “Passion, in him, comprehended many of the worst emotions which militate against human happiness. You could not contradict him, but you raised quick choler; you could not speak of wealth, but his cheek paled with gnawing envy. The astonishing natural advantages of this poor boy — his beauty, his readiness, the daring spirit that breathed around him like a fiery atmosphere — had raised his constitutional self-confidence into an arrogance that turned his very claims to admiration into prejudice against him. Irascible, envious — bad enough, but not the worst, for these salient angles were all varnished over with a cold repellant cynicism, his passions vented themselves in sneers. There seemed to him no moral susceptibility; and, what was more remarkable in a proud nature, little or nothing of the true point of honor. He had, to a morbid excess, that desire to rise which is vulgarly called ambition, but no wish for the esteem or love of his species; only the hard wish to succeed — not shine, not serve — succeed, that he might have the right to despise a world which galled his self conceit.”
We have suggested the influence of his aims and vicissitudes upon his literature. It was more conspicuous in his later than his earlier writing. Nearly all that he wrote in the last two or three years — including much of his best poetry — was in some sense biographical; in draperies of his imagination, those who had taken the trouble to trace his steps, could perceive, but slightly concealed, the figure of himself.
There are perhaps some of our readers who will understand the allusions of the following beautiful poem. Mr. Poe presented it in MS. to the writer of these paragraphs, just before he left New-York recently, remarking that it was the last thing he had written:
It was many and many a year ago,
In a kingdom by the sea
That a maiden there lived whom you may know
By the name of ANNABEL LEE;
And this maiden she lived with no other thought
Than to love and be loved by me.
I was a child and she was a child,
In this kingdom by the sea.
But we loved with a love that was more than love —
I and my ANNABEL LEE —
With a love that the wingëd seraphs of heaven
Coveted her and me.
And this was the reason that, long ago,
In this kingdom by the sea,
A wind blew out of a cloud, chilling
My beautiful ANNABEL LEE;
So that her highborn kinsmen came
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.
The angels, not half so happy in heaven,
Went envying her and me —
Yes! — that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my ANNABEL LEE.
But our love it was stronger by far than the love
Of those who were older than we —
Of many far wiser than we —
And neither the angels in heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful ANNABEL LEE:
For the moon never beams, without bringing me dreams
Of the beautiful ANNABEL LEE;
And the stars never rise but I feel the bright eyes
Of the beautiful ANNABEL LEE,
And so, all the night-tide, I lie down by the side
Of my darling — my darling — my life and my bride,
In her sepulchre there by the sea —
In her tomb by the sounding sea.
We must omit any particular criticism of Mr. Poe’s works. As a writer of tales it will be admitted generally, that he was scarcely surpassed in ingenuity of construction or effective painting. As a critic, he was more remarkable as a dissecter of sentences than as a commentater upon ideas: he was little better than a carping grammarian. As a poet, he will retain a most honorable rank. Of his “Raven,” Mr. Willis observes, that in his opinion “it is the most effective single example of fugitive poetry ever published in this country, and is unsurpassed in English poetry for subtle conception, masterly ingenuity of versification, and consistent sustaining of imaginative lift.” In poetry, as in prose, he was most successful in the metaphysical treatment of the passions. His poems are constructed with wonderful ingenuity, and finished with consummate art. They illustrate a morbid sensitiveness of feeling, a shadowy and gloomy imagination, and a taste almost faultless in the apprehension of that sort of beauty most agreeable to his temper.
We have not learned of the circumstance of his death. It was sudden, and from the fact that it occurred in Baltimore, it is to be presumed that he was on his return to New-York.
Poe Museum: I have seen your illustrations for “Dracula’s Guest,” “Death & the Myrmidon,” and “The Monkey’s Paw.” What accounts for your personal interest in illustrating dark subject matter?
David Lupton: I’ve always had a predilection for a darker and melancholy subject matter. I’m not entirely sure where this comes from, but from an early age I had a love of gothic horror fiction (stories, film, artwork etc…) and I remember being particularly obsessed with the old Universal and Hammer horror films. As I grew older my love for genre fiction grew deeper and I knew that I wanted to create work that existed within the boundaries of the horror and gothic genres. I think also that I’ve always empathised with the characters of gothic fiction, who tend often to be outcasts or outsiders, and I strive to evoke a narrative that concerns these characteristics within my illustrations. My work also tends to have fantastical element (usually of a macabre and unsettling nature) and for this reason I have always created drawings and sought out commissions that would allow me to indulge in my love of this subject matter.
PM: Do you have a personal interest in the works of Edgar Allan Poe? If so, what does Poe’s work mean to you?
DL: As a lover of old horror films my first exposure to Poe’s work was through the films of Roger Corman often starring Vincent Price in the lead role (The Pit and the Pendulum and The Fall of the House of Usher being particular favourites). Although these films now seem a little schlocky they were a good inroad into his actual writing and for me to further explore the themes and ideas contained within his work.
I feel that Poe’s interest in death and the questions that surround death (physical and spiritual) have directly influenced my drawing style and the content of my work. I think that influence is evident in my attempts to create expressionistic work that represents themes of life and mortality, albeit within macabre and gothic trappings.
PM: Had you read any of his works, including The Narrative of Arthur Gordon Pym, before taking on the project?
DL: I had read a number of the short stories but I wasn’t actually aware of The Narrative of Arthur Gordon Pym before taking on this project. Reading Poe’s only full length novel was interesting though and although the book is a bit more of a straight forward adventure narrative, it still contains Poe’s constant themes of death and mortality (not to mention a fair amount of bloody violence and cannibalism).
I would love to go on and illustrate other works by Edgar Allan Poe. The Masque of the Red Death is a particular favourite of mine and to explore it’s visual detail; the castle setting, colour coded interiors and general atmosphere of dread would be a joy for me as a visual artist.
We look forward to seeing Lupton’s future projects and hope he will have the opportunity to illustrate more of Poe’s works. To learn more about this new edition of The Narrative of Arthur Gordon Pym, click here.
June 11th, 2015 by chris
Tags: authors, books, poe Posted in Poe News | Comments Off on Folio Society Releases New Edition of Poe’s Only Novel
The Poe Museum recently received a small slip-cased volume in the mail. While most of the books that cross my desk contain Poe’s tales of terror (“The Tell-Tale Heart,” “The Black Cat,” and the like), this case holds an edition of the only novel Poe ever finished, The Narrative of Arthur Gordon Pym of Nantucket Comprising the Details of a Mutiny and Atrocious Butchery on Board the American Brig Grampus, on Her Way to the South Seas, in the Month of June, 1827. With an Account of the Recapture of the Vessel by the Survivers; Their Shipwreck and Subsequent Horrible Suffering from Famine; Their Deliverance by Means of the British Schooner Jane Guy; the Brief Cruise of This Latter Vessel in the Antarctic Ocean; Her Capture, and the Massacre of Her Crew Among a Group of Islands in the Eighty-Fourth Parallel of Southern Latitude; Together with the Incredible Adventures and Discoveries Still Farther South to Which That Distressing Calamity Gave Rise. (Let’s just call it Pym.)
The unusual title suggests something of its strange contents which feature cannibalism, a sea voyage to the Antarctic, and a ghostly white figure.
Poe printed the first installments of what was intended to be a serialized novel in the Southern Literary Messenger just before he left the magazine. After moving from Richmond to New York, Poe completed Pym while adding a preface to explain that the parts that appeared in the Messenger had been written by Poe on behalf of Arthur Gordon Pym while the rest of the book was written by Pym himself. The preface, signed by “A.G. Pym,” further confesses that Poe and Pym had previously pretended the first installments were fiction. Since “A.G. Pym” states that all the details in the novel are absolutely true, some readers believed it might be a real account. The Evening Post noted, “The air of reality in the narrative is assumed with no small skill.”
Others were unconvinced and assumed it was just another hoax by Richard Adams Locke, author of “The Moon Hoax” a few years earlier. In a December 1838 review of Pym in Burton’s Gentlemen’s Magazine, William Burton declares, “A more impudent attempt at humbugging the public has never been exercised; the voyages of Gulliver were politically satirical, and the adventures of Munchausen, the acknowledged caricature of a celebrated traveller. Sindbad the sailor, Peter Wilkins, and Moore’s Utopia, are confessedly works of imagination; but Arthur Gordon Pym puts forth a series of travels outraging possibility, and coolly requires his insulted readers to believe his ipse dixit.”
Poe saw this criticism and later wrote Burton, “You once wrote in your magazine a sharp critique upon a book of mine — a very silly book — Pym. Had I written a similar criticism upon a book of yours, you feel that you would have been my enemy for life, and you therefore imagine in my bosom a latent hostility towards yourself.”
Some reviewers were more positive in their assessments. The New York Gazette called Pym “a very extraordinary volume purporting to be a narrative of ‘Arthur Gordon Pym,’ who it is said [is] lately deceased in some melancholy way, and his adventures as well as his death are referred to as of perfect notoriety.” The New-Yorker declared it “a work of extraordinary, freezing interest beyond anything we ever read.” The Morning Courier wrote, “the volume is highly interesting in the story, well written, and to the lovers of marvellous fiction will be quite a treasure.”
Harper and Brothers published an unknown number of copies in New York in 1838, but sales were disappointing. Within a year, the book was reprinted in England where it saw its first success. When the first British edition sold well, a number of British bootleg versions appeared in a multiple editions. Herman Melville’s brother was one of many who bought one of these unauthorized copies for which the author received no compensation.
Although Americans were mainly unconvinced by this apparent hoax, some English readers believed it was a true story. George Putnam recounted, “The grave particularity of the title and of the narrative misled many of the critics as well as ourselves, and whole columns of these new ‘discoveries,’ including the hieroglyphics (!) found on the rocks, were copied by many of the English country papers as sober historical truth”
The edition now on my desk was published earlier this year by the Folio Society, which has been printing finely bound and illustrated books since 1947 because—according to their website—they believe “great books deserve to be printed in a form worthy of their contents.” Their books are designed to be read, collected, and cherished by those who love great literature. With an astute introduction by novelist Marilynne Robinson and illustrations by David Lupton, the Folio Society’s edition is sure to be a collector’s item.
The Folio Society’s Editorial Director Tom Walker explained that this new edition of Pym was originally proposed by a reader. “We then wrote to a large number of our customers about a wide range of novels and this consistently came top of their list of books they wanted to see in a Folio edition. I think that is partly because we have already (some years ago now) published many of Poe’s short stories, and this underpublished novel was seen as a natural next step. Our readers of course admire Poe as one of the greatest of nineteenth-century authors, and the combination of classic status with horror and seafaring was I think irresistible for them!”
An admirer of her work, Walker chose Pulitzer Prize winning author Marilynne Robinson to write the introduction, which he deemed “all I hoped it might be – intense and broad reaching itself, and cleverly bringing the novel into the light of [Poe’s last book] Eureka.” Walker was also pleased with Lupton’s “dark, brooding” illustrations.
Aside from the fine illustrations (see below), the Folio Society’s Pym is notable for its craftsmanship, its sturdy binding designed to be handled and read by generations of readers, and its small size—in imitation of the small size of Poe’s first editions from the 1830s and 1840s. Click here to find out more about the book. To read an interview with the illustrator David Lupton, click here.
Although Edgar Allan Poe’s name is most often identified with stories of horror and fear, Barbara Cantalupo’s talk will reveal the less familiar Poe—the one who often goes unrecognized or forgotten—the Poe whose early love of beauty was a strong and enduring draw. Poe’s “deep worship of all beauty,” expressed in an 1829 letter to John Neal when Poe was just twenty, never entirely faded, despite the demands of his commercial writing and editorial career. “The Poe You May Not Know” gives us a look at Poe’s connection to such visual beauty, his commitment to “graphicality” (a word he coined), and his knowledge of the visual arts.
Barbara Cantalupo, associate professor of English at Penn State Lehigh Valley, is the editor of The Edgar Allan Poe Review and author of Poe and the Visual Arts. Copies of her latest book Poe and the Visual Arts will be available for signing at the event. You can preorder your copy here.
While you are in Richmond to hear Barbara Cantalupo’s talk, you will want to stay in town a few more hours to see her husband poet Charles Cantalupo’s performance of his new poetry series “Poe in Place” at 6 p.m. at the Poe Museum. Click here to learn more about Charles Cantalupo and his fascinating performance.
In honor of National Poetry Month, one of the Poe Museum’s former volunteers, Laura Bittner of Florida, sent us some poetry for our blog. We thank her for sharing her work with the Museum and hope you will enjoy them.
The Dark Curtain
The dark curtain
attached to stone
silently and listlessly blowing
back and forth
no sound from outside
dust particles play
in two-faced light rays;
of curled, grey leaves.
Walking at Night
after the hours/after dark
when the bars
have let out
could make your heart
skip a beat
‘Ere I go
on my own
-so a word never spoke.
on a nightly errand,
From another’s watch
you can never surely keep.
Picking up the pace now.
Hearing steps now.
Clutching my case
closer to my side,
paying no mind
to the dim lights
flittering flames outside
the dark vendor’s signs,
as I go by.
The Eeriness of an Open Gate
-Walking down Main Street
in the dark, past the field
located in the city, between
two buildings. Wind whipping
the several grains, the
sparse clovers. A moonlight
so dim, something hiding
could be obscured.
-Up a little ways,
past a few laughing,
bronzed, gleaming from
the bars, thorns or sharp sticks
crawl like the vines of a fist
next to the open gate.
No one is around.
But someone, did
go through or
and left standing still-
spirits passing through.
To it, time inconceivable;
These sturdy bars of iron,
whose rivulets only serve a purpose
of not striking fear
into the hearts of onlookers.
The city dweller
in his bedroom
shuts his lights off.
Another day past.
And him, unaware of the
history within the
layers of wheat paste
and paper- surrounding
all he owns.
Many nights ago,
this room was someone else’s.
It all looked very
different. The streets
what they are today.
A traveler looking on
unaware of linear time
observes the changes,
the people walking
down his streets,
and wanders on.
The Day Watchman
The day watchman
observing out the
the shop. piles of
papers line the
he protects his
extending an out-
One hundred seventy years ago, the most famous poem in American literature made its first appearance in print. Edgar Allan Poe had initially shown his poem “The Raven” to the staff of Graham’s Magazine, which rejected it. Afterward, George Colton agreed to publish the poem in his magazine, The American Review, a Whig Party publication. Colton probably paid Poe about fifteen dollars, which was standard based on space rates for the magazine. That would be about $468.75 in today’s money. Different sources relate that Poe might have been paid $9, $10, or even $30 for the piece.
“The Raven” appeared in the February issue, which came out in the middle of January. The editor prefaced the poem with this comment:
Although the poem first appeared under the pseudonym “____ Quarles” instead of under Poe’s own name, the identity of the author was soon revealed when the Evening Mirror reprinted “The Raven” in the January 29 issue. The editor, N.P. Willis, provided the following introduction:
We are permitted to copy (in advance of publication) from the 2d No. of the American Review, the following remarkable poem by EDGAR POE. In our opinion, it is the most effective single example of “fugitive poetry” ever published in this country; and unsurpassed in English poetry for subtle conception, masterly ingenuity of versification, and consistent, sustaining of imaginative lift and “pokerishness.” It is one of these “dainties bred in a book” which we feed on. It will stick to the memory of everybody who reads it.
The New York Express claimed the poem “far surpasses anything that has been done even by the best poets of the age…In power and originality of versification the whole is no less remarkable than it is, psychologically, a wonder.”
The poem soon caused a sensation on both sides of the Atlantic. Elizabeth Barrett (now know as Elizabeth Barrett Browning) wrote Poe, “Your ‘Raven’ has produced a sensation, a ‘fit horror,’ here in England. Some of my friends are taken by the fear of it and some by the music. I hear of persons haunted by the ‘Nevermore,’ and one acquaintance of mine who has the misfortune of possessing a ‘bust of Pallas’ never can bear to look at it in the twilight.” Poe would proudly show this letter to guests to his home.
When Poe issued the book The Raven and Other Poems in 1845, he dedicated it to Elizabeth Barrett. Having just read Poe’s terror tale “The Facts in the Case of M. Valdemar,” she wrote her future husband Robert Browning, “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.”
Around the same time, the young British artist Dante Gabriel Rossetti read “The Raven” and drew some illustrations for it. He also wrote a poem, “The Blessed Damosel,” inspired by it. This became Rossetti’s first popular poem, and he went on to become a prominent poet and painter.
A month after its first printing, “The Raven” was parodied when the Mirror printed “The Owl: A Capital Parody on Mr. Poe’s ‘The Raven’” by “Sarles.” This was followed by “The Veto” by “Snarles” in the February 22 New York World, “The Craven” by “Poh!” in the March 25 Evening Mirror, “A Vision” by “Snarles” in the April 15 New World, “The Gazelle” by C.C. Cooke in the May 3 Weekly Mirror, “The Whippoorwill” by “I” in the June 7 Weekly Mirror and “The Turkey” in the June 25 Alexander’s Weekly Messenger.
The popularity of “The Raven” allowed Poe to perform his poetry to large audiences in the nation’s major cities. He became so associated with the poem that his nickname became “The Raven.” In spite of its success, the poem made Poe very little money. Without effective copyright laws, his works were reprinted multiple times without Poe being paid.
After seventeen decades, “The Raven” remains a favorite with readers, it is read countless times at Halloween, and even has an NFL team named after it. In honor of the anniversary of the first printing of Poe’s greatest poem, we will end this post with a reading by that master interpreter of Poe’s works, Vincent Price.
Now in performances in the heart of Broadway at New World Stages!
Following Sold Out Runs at London’s Barbican Center
and The New Victory Theatre
Previews Begin Wednesday, January 14, 2015
Opening Night Set for Sunday, January 25, 2015
November 19, 2014 (New York, NY) – NEVERMORE – The Imaginary Life and Mysterious Death of Edgar Allan Poe, a unique theatrical experience combining haunting music, poetic storytelling, and stunning stagecraft to tell the fascinating and moving life story of iconic American writer Edgar Allan Poe (1809-1849), will begin performances at New World Stages (340 West 50th Street between 8th and 9th Avenues) on Wednesday, January 14, 2015, with an official opening night scheduled for Sunday, January 25, 2015.
Beautiful and bizarre, playful and perverse, NEVERMORE- The Imaginary Life and Mysterious Death of Edgar Allan Poe is a whimsical and chilling musical play about the enigmatic writer who has fascinated the world for more than a century. A literary rock star in his day, Poe struggled with tragedy and addiction, poverty and loss, yet produced some of the world’s most original, visionary and enduring literature before dying in mysterious circumstances at the age of 40. At once gorgeous and grotesque, NEVERMORE blurs the line between fact and fiction, exploring the events that shaped Poe’s character and career and giving powerful expression to Poe’s words “all that we see or seem is but a dream within a dream.”
NEVERMORE is written, composed, and directed by Catalyst Theatre’s (Edmonton, Canada) Artistic Director, Jonathan Christenson. The physical world of NEVERMORE – including sets, costumes, and lighting – is designed by Bretta Gerecke. The production features choreography by Laura Krewski and sound design is by Wade Staples.
Originally produced by Catalyst Theatre of Edmonton, Canada in 2009 to commemorate the bicentennial of Poe’s birth (January 19, 1809), NEVERMORE has toured extensively, including sold out limited engagements at London’s Barbican Center and New York’s New Victory Theatre in 2010. NEVERMORE has been expanded since its first New York appearance in 2010, with several new songs added and structural revisions made to the original script.
Six of the seven original NEVERMORE cast members will return for this engagement – Gaelan Beatty, Shannon Blanchett, Beth Graham, Ryan Parker, Garett Ross, and Scott Shpeley. Casting for the seventh and final role will be announced in the coming weeks.
NEVERMORE is produced by Radio Mouse Entertainment (M. Kilburg Reedy and Jason E. Grossman), Martin Hummel, Caiola Productions, Terry Schnuck, Susan Jaffe Tane, and Hernreich-Horvath Productions in association with Catalyst Theatre. The associate producers include Fireboat Productions, Carol L. Bixler, and Deepa Desai.
NEVERMORE – The Imaginary Life and Mysterious Death of Edgar Allan Poe will be performed on the following schedule at New World Stages (340 West 50th street, between 8th and 9th avenues): Monday at 7:00pm, Wednesday at 8:00pm, Thursday at 2:30pm and 8:00pm, Friday at 8:00pm, Saturday at 2:30pm and 8:00pm, and Sunday at 3:00pm.
Tickets, priced $75 – $95, can be purchased at Telecharge.com or by calling 212-239-6200. A limited number of $30 rush tickets for each performance will be available for purchase by audience members under 30 years old (valid ID required at box office) two hours prior to each performance while supplies last.
CREATIVE TEAM BIOGRAPHIES
JONATHAN CHRISTENSON — Writer/ Composer/ Lyricist/ Director – Jonathan is a director, playwright and composer and the artistic director of Canada’s Catalyst Theatre. His plays – Vigilante, The Soul Collector, Nevermore – The Imaginary Life & Mysterious Death of Edgar Allan Poe, The Blue Orphan, and The House of Pootsie Plunket, to name a few – have appeared at theatres throughout England, Scotland, Wales, Australia, the U.S. and Canada and at such festivals as the London International Festival of Theatre, Luminato, Le Carrefour, The High Performance Rodeo, The PuSh Festival, and Magnetic North. His work as a writer, director and composer has been honoured by Canada’s Sterling, Betty Mitchell and SAT Awards, Scotland’s Fringe First and Herald Angel Awards, and the City of Edmonton’s Salute to Excellence Awards. He has also received multiple nominations for the UK’s Stage Awards, the Dora Awards, and the Alberta Book Awards. In 2011, Venture Magazine named him one of “Alberta’s Fifty Most Influential People” and Alberta Playwrights Network chose him as one of Alberta’s one hundred most significant theatre artists of the past one hundred years. His plays have been published by Playwrights Canada Press and Newest Press and his work has been featured in American Theatre, Canadian Theatre Review, PRISM International, Canada World View and All Stages Magazine. Last year Bayeux Arts published his first children’s book, Maximilian’s Mistake.
BRETTA GERECKE – Production Designer (Costumes, Lighting, Set) – graduated from the University of Manitoba with a Bachelor of Interior Design and from the University of Alberta with a Master of Fine Arts in Theatre Design. She is the resident designer at Catalyst Theatre, where she has designed world premieres that have toured internationally to Great Britain, Australia, and the U.S. and across Canada. Bretta also works at The Citadel Theatre, Canadian Stage, Edmonton Opera, Calgary Opera, Theatre Calgary, The Globe Theatre, The Stratford Festival and Cirque du Soleil. She is the recipient of over twenty Elizabeth Sterling Haynes Awards, Jessie Richardson Awards, Betty Mitchell Awards and SAT Awards for Outstanding Achievement in Set, Lighting and Costume Design; The Enbridge Award for Best Emerging Artist; The Global Women of Vision Award; Edmonton’s Top 40 Under 40. She designed a summer home on Devil’s Lake, Alberta, is a marathon runner and continues her work as an Archaeological Illustrator.
LAURA KREWSKI – Choreographer – has choreographed original musicals Frankenstein, Hunchback and Vigilante for Catalyst Theatre. She recently choreographed Enron (National Arts Centre), Spamalot (Citadel Theatre), Next to Normal (Citadel Theatre/Theatre Calgary), Chicago and Footloose (The Mayfield), The 25th Annual Putnam County Spelling Bee (Belfry Theatre and Vancouver Arts Club), Pirates of Penzance and HMS Pinafore (Edmonton Opera), The Forbidden Phoenix and As You Like It (Citadel Theatre), and new musicals RICH and Rapa Nui (Manitoba Theatre for Young People). Laura also produced and choreographed FreeFall and Jazz Playground and is currently developing a new work as an independent artist. She is involved with Orchesis Dance Group at the University of Alberta, the Citadel/Banff Professional Theatre Program and the Canadian College of Performing Arts. Laura has received the YWCA Woman of Distinction Award in Arts and Culture, three Elizabeth Sterling Haynes Awards and a Betty Mitchell Award for Outstanding Choreography.
RADIO MOUSE ENTERTAINMENT – Lead Producer – Founded by M. Kilburg Reedy and Jason E. Grossman, Radio Mouse Entertainment’s theater credits include the Broadway production of Vanya and Sonia and Masha and Spike (winner of the 2013 Tony, Drama Desk, NY Drama Critics, Drama League, and Outer Critics Circle Awards for Best Play), the Broadway and National Tour productions of Peter and the Starcatcher (nominated for 9 Tony Awards; winner of 5 Tony Awards) and The Pee-wee Herman Show on Broadway. In London, Jason and Kilburg co-produced the Olivier Award nominated West End production of Lend Me A Tenor, The Musical.
GAELAN BEATTY first encountered Catalyst Theatre through Nevermore several years ago and was immediately struck with a desire to join the team. A graduate of Studio 58 in Vancouver, he has toured the country from Whitehorse to Montreal and performed in musicals and Shakespearian plays as well as on TV and in commercials. He’s worked with Bard on the Beach, Electric Company Theatre, Arts Club Theatre, Gateway Theatre, Globe Theatre, Carousel Theatre, and Green Thumb Theatre, and appeared in Man of La Mancha at the Globe Theatre (directed by Max Rieme), among others.
SHANNON BLANCHET – A graduate of the University of Alberta’s BFA Acting program, select credits include: Whiplash Weekend (Teatro la Quindicina), A Picasso (Chorus Productions), Shatter (The Maggie Tree), Love’s Labour’s Lost (Freewill Shakespeare Festival), PopTart (Pony Productions), and Von Mitterbrink’s Second (ACME Theatre). She is a two-time Sterling Award winner for her performances on Edmonton stages and was named one of 2014’s Top 40 under 40 by Avenue Magazine. She is an Artistic Associate with Teatro La Quincidina and a member of the Canadian Comedy award-winning improv troupe, Die Nasty.
BETH GRAHAM – Catalyst credits: Nevermore (UK Lift Festival, Luminato, Magnetic North, New Victory Theatre, Vertigo Theatre, and Persephone Theatre), Hunchback (Vancouver Playhouse), The Blue Orphan, Twelve, Fusion: Let There Be Light and Sticky Shoes. Other selected theatre credits include: The Penelopiad, The Drowning Girls, Death of a Salesman, A Christmas Carol (Citadel Theatre), The Wizard of Oz, Strawberries In January (Globe Theatre), Victor and Victoria’s Terrifying Tale of Terrible Things (Kill Your Television), Cause and Effect (Teatro la Quindicina). Beth is a graduate from the University of Alberta’s BFA acting program. She is the co-creator of several plays including: The Drowning Girls (national tour) and Mules. Her most recent play, The Gravitational Pull of Bernice Trimble, has been produced in Edmonton (Theatre Network) and Toronto (Factory Theatre).
RYAN PARKER – Ryan is a graduate of the Grant MacEwan Theatre Arts Program and has a Bachelor of Fine Arts in Drama from the University of Alberta. Selected credits include Three Sisters (Broken Toys Theatre), Eros and The Itchy Ant, East of My Usual Brain (Teatro La Quindicina), Mesa (Globe Theatre), Buddy, …Spelling Bee (The Mayfield Theatre), Hamlet, Taming of the Shrew (Free Will Players), and What the Butler Saw (Studio Theatre). Ryan is a co-creator/member of the ukulele comedy band The Be Arthurs and a Gemini/Canadian Screen Award nominated writer for the sketch comedy television series Caution: May Contain Nuts. Most recently he’s been seen in Barefoot in the Park for Teatro La Quindicina, The Craze/Musical Direction in One Man, Two Guvnors for Citadel Theatre.
GARETT ROSS – Garett is a graduate of the Grant MacEwan Theatre Arts Program and has a Bachelor of Fine Arts in Drama from the University of Alberta. Garett has been with the Nevermore company since the show began six years ago. He has also worked with Catalyst Theatre on Soul Collector and Vigilante. Some of the other shows in which he’s performed include Liberation Days (Theatre Calgary), Jack Goes Boating (Sage Theatre/Shadow Theatre), Hamlet, Romeo and Juliet (The Citadel Theatre), Hairspray, Shear Madness, Chicago, The Wizard of Oz (Mayfield Dinner Theatre), A Year in Winter, That Darn Plot, Beginning of August (Shadow Theatre), Uncle Van, and The Old Curiosity Shop (TheatRepublic/ Poorman’s classic Co-op). Garett has been nominated for Sterling Awards for his work in Jack Goes Boating (Sage Theatre), That Darn Plot (Shadow Theatre), The Old Curiosity Shop (Poor Man’s Classic Co-op), and The Raven and the Writing Desk (Acme Theatre).
SCOTT SHPELEY – Scott is an actor, singer, and multi-instrumentalist with a Bachelor of Fine Arts in acting from the University of Alberta. He has been with Nevermore since 2008, and has performed with the show across Canada and in London. Scott was part of the first two Canadian productions of One Man, Two Guvnors as the drummer/washboard player in Calgary, Alberta, and the bassist in Edmonton, Alberta. Other credits include You’re a Good Man, Charlie Brown (Alberta Theatre Projects); Sweeney Todd and Rope (Vertigo Theatre); Peril in Paris (Lunchbox Theatre). Scott is the lead singer and bassist in the electro-dance band The Play Plays.
The Edgar Allan Poe Museum in Richmond, Virginia is excited to launch the historic reunion of iconic author Edgar Allan Poe and legendary horror actor Vincent Price over Halloween weekend, October 31, 2014 and November 1, 2014. This not-to-be-missed weekend kicks off with the family-friendly Poe Goes to the Movies on Halloween night, and culminates with a wine tasting experience like no other on Saturday, November 1 with The Author’s Appetite. Both events will be held at the Poe Museum located at 1914-16 East Main St. Richmond, VA 23223. Proceeds benefit the Edgar Allan Poe Museum’s educational programming.
Artwork by Abigail Larson
Poe Goes to the Movies takes place on Halloween night, Friday, October 31 from 6:00pm-10:00pm and includes a variety of fun and frightening activities including an appearance by Vincent Price’s daughter, Victoria Price who will introduce the film Tales of Terror starring Vincent Price, Peter Lorre, and Basil Rathbone. A special slate of guests will join Price as jurors for the Poe “look-a-like” contest and costume contests. Guests will also have the opportunity to experience the opening of the museum’s newest gallery, The Raven Room that will showcase the ca. 1882 illustrations for Edgar Allan Poe’s poem “The Raven” created by artist James Carling. This will be the first opportunity that the public will get to experience these one-of-a-kind drawings since they were designated one of “Virginia’s Top 10 Endangered Artifacts” in Virginia in 2013, and it will be the first opportunity to see the new book about the illustrations by Poe Museum curator Christopher P. Semtner. Cash bar sponsored by Richmond’s Triple Crossing Brewery. Tickets to the Halloween night event are $20 per person ($5 for children under 12) and can be purchased at the museum or through the Poe Museum Online Store by clicking here.
The Author’s Appetite follows on Saturday, November 1 from 6:00pm-10:00pm and will provide an unforgettable evening for wine and literary lovers alike. Highlighting Vincent Price’s love of Richmond and its cuisine this culinary adventure will be the first opportunity to sample the Vincent Price Signature Wine Collection with labels by artists Abigail Larson and Gris Grimly. Complimenting this unique wine experience will be hors d’oeuvre by Chef Ken Wall of the Dining Room at the Berkeley Hotel along with desserts by pastry chef Cornelia Moriconi of Can Can Brasserie, both of which are inspired by recipes from Vincent Price’s now renowned cookbook, A Treasury of Great Recipes. Throughout the event, Victoria Price will share memories of her famous father and sign copies of her recent memoir Vincent Price: A Daughter’s Biography. Guests will also be treated to the exotic live music of Richmond favorites, the Tim Harding Quartet, as well as a silent auction, private talk with the curator of the Poe Museum’s new exhibition The Raven Room, and performances of Poe’s works by historical interpreter Anne Williams. Tickets are $50 per person and can be purchased at the museum or at through the Poe Museum online store by clicking here.
Additional programs highlighting Vincent Price at the Poe Museum Weekend include a guided walking tour at 10:00am on Saturday, November 1, featuring the graves of Edgar Allan Poe’s many friends and relatives buried at Shockoe Hill Cemetery, which is located at 4th and Hospital Streets in Richmond. There will also be a guided walking tour of Poe sites in Historic Shockoe Bottom at 2:00pm on Sunday, November 2. Please meet at the Poe Museum. Make Richmond a destination over Halloween Weekend at Richmond’s historic Linden Row Inn, which has partnered with the Poe Museum to create a fabulous weekend package including two nights’ accommodations and tickets to all of the weekend’s events. Visit www.lindenrowinn.com or click here for details about this special offer. If you would like a combined admission rate for the events without the hotel room, click here.
About Vincent Price:
Actor, writer, and gourmet, Vincent Leonard Price, Jr. was born in St Louis, Missouri. He traveled through Europe, studied at Yale and became an actor. He made his screen debut in 1938, and after many minor roles, he began to perform in low-budget horror movies such as House of Wax (1953), achieving his first major success with the House of Usher (1960). Known for his distinctive, low-pitched, creaky, atmospheric voice and his quizzical, mock-serious facial expressions, he went on to star in a series of acclaimed Gothic horror movies, such as Pit and the Pendulum (1961) and The Abominable Dr. Phibes (1971). He abandoned films in the mid-1970s, going on to present cooking programs for television and writing “A Treasury of Great Recipes” (1965) with his second wife, Mary Grant. He also recorded many Gothic horror short stories for the spoken-word label Caedmon Records. Vincent Price died at age 82 of lung cancer and emphysema on October 25, 1993. (Source: IMDB MINI BIOGRAPHY BY LESTER A. DINERSTEIN)
About Edgar Allan Poe:
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.
About Victoria Price:
Following in her father’s footsteps, Victoria has become a popular public speaker on topics ranging from the life of her famous father Vincent Price to interior/industrial design, as well as topics in the realm of the visual arts such as the role of the art collector in society and learning how to see. In 2012, she was delighted to be invited to be a TedX speaker at TedX Acequia Madre. Over the past fifteen years, Victoria has spoken around the world to audiences who have enjoyed her ease and erudition in sharing her enthusiasm for a joy-filled life in the arts. The 2014 edition of her book Vincent Price: A Daughter’s Biography was released in August 2014.
About the Edgar Allan Poe Museum:
Opened in 1922, the Edgar Allan Poe Museum in Richmond hosts the world’s finest collection of Poe artifacts and memorabilia. The five-building complex features permanent exhibits of Poe’s manuscripts, personal items, 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 the education and enjoyment of a global audience. 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 considered classics of world literature. The Edgar Allan Poe Museum was recently recognized by TIME Magazine as Virginia’s “Most Authentic American Experience,” by Publishers Weekly as one of the “2013 Top Ten Literary Landmarks of the South,” and the “2013 Top Ten Things To Do in Richmond” on the Huffington Post.
Like many businesses, the Poe Museum was closed on July 4th for Independence Day. As we observe the anniversary of the signing of the Declaration of Independence, we might not realize that Poe would have celebrated the holiday, too.
At the time of Poe’s birth in 1809, only thirty-three years had passed since America had declared its independence from England. Such Founding Fathers as the author of the Declaration of Independence Thomas Jefferson and the nation’s second president John Adams were still alive. In fact, Poe would enter Jefferson’s University of Virginia while its founder was still residing at nearby Monticello. (Jefferson’s death occurred while Poe was at the University–on July 4.)
David Poe's Grave
The spirit of the American Revolution was ever present during Poe’s childhood. His grandfather, David Poe, Sr. had been honorary Quartermaster General of Baltimore during the Revolution and a friend of the Marquis de Lafayette. In Richmond, Poe would have attended Sunday services at Monumental Church with John Marshall, who had served in the Continental Army long before becoming Chief Justice of the United States Supreme Court. Poe would have also seen the “Virginia Giant” Peter Francisco, who fought the British with distinction at the Battle of Brandywine, the Battle of Germantown, the Battle of Stony Point, and other battles before witnessing Cornwallis’s surrender at Yorktown. Both Marshall and Francisco are buried at Richmond’s Shockoe Hill Cemetery along with Poe’s foster parents and a number of his friends. Another Revolutionary War hero living in Richmond during Poe’s time was the “Hero of Stony Point” Major James Gibbon.
When Poe was fifteen, he was honored to serve on the honor guard selected to escort the Marquis de Lafayette on the latter’s 1824 tour of Richmond. Poe must have known about the friendship between his grandfather (who had died in 1816) and the Frenchman. While in Baltimore during the same United States tour, Lafayette visited Poe’s grandfather’s grave. According to J. Thomas Scharf’s Chronicles of Baltimore (1874):
“The next day he [Lafayette] received visitors at the Exchange and dined with the corporation, &c., &c., and in the evening visited the Grand Lodge; after which he attended the splendid ball given in Holliday Street Theatre, which had been fitted up for the occasion. After the introduction of the surviving officers and soldiers of the Revolution who resided in and near Baltimore, to General Lafayette on Friday [October 8, 1824], he observed to one of the gentlemen near, ‘I have not seen among these my friendly and patriotic commissary, Mr. David Poe, who resided in Baltimore when I was here, and of his own very limited means supplied me with five hundred dollars to aid in clothing my troops, and whose wife, with her own hands, cut out five hundred pairs of pantaloons, and superintended the making of them for the use of my men.’ The General was informed that Mr. Poe was dead but that his widow [Elizabeth Cairnes Poe] was still living. He expressed an anxious wish to see her.
“The good old lady heard the intelligence with tears of joy, and the next day [October 9, 1824] visited the General, by whom she was received most affectionately; he spoke in grateful terms of the friendly assistance he had received from her and her husband: ‘Your husband,’ said he, pressing his hand on his breast, ‘was my friend, and the aid I received from you both was greatly beneficial to me and my troops.’ The effect of such an interview as this may be imagined but cannot be described. On the 11th General LaFayette left the city with an escort for Washington.”
Being surrounded by reminders of the American Revolution during his childhood might have influenced his decision to enlist in the United States Army when he was eighteen, but he hired a substitute to serve the remainder of enlistment after just two years.
Poe would have observed the anniversary of the signing of the Declaration of Independence during his lifetime. Celebrations of one kind or another had been taking place since 1776 when, on July 8, Philadelphians hearing a public reading of the Declaration of Independence started shooting into the air, lighting bonfires, and exploding fireworks (although the name Independence Day was not used until 1791). Before long, similar celebrations were being held throughout the young nation, and they increased in popularity after the War of 1812. By Poe’s time, Independence Day celebrations could include parades, cannon fire, bonfires, the ringing of bells, drinking, and fireworks, but the day did not become a national holiday until 1870. Unlike the Poe Museum’s employees, Poe worked on Independence Day. We know this because there are business letters written by him dated July 4.
The Poe Museum will reopen at 10 A.M. on July 5 and will be open its regular hours the rest of the weekend.
The Enchanted Garden at the Edgar Allan Poe Museum is covered in snow as we write this, but soon Spring flowers will bring this lovely space to life, and with it, love will blossom too in the form of 15 planned weddings so far this year.
“You have weddings, at the Edgar Allan Poe Museum?” you might ask with wonder. Yes, definitely yes! We do!
The engagement season has been in full swing since December, and we are getting more interest in the Enchanted Garden as a wedding site than ever before. Why is this? Brides tell us they are drawn to the garden because of its intimate setting, as well as its quirky and historic background. The bounty of nature and lovely plantings makes it even more desirable as a venue for that most special and lovely event in a bride or groom’s life. In these tight budget times, it is one of the most affordable spaces to host a wedding in Richmond.
So what do you get when you chose the Poe Museum as your wedding site? For starters, you get the satisfaction of knowing you are creating a memorable experience for you and your guests. As history goes, it is hard to beat the site itself, in business as a cultural center of Richmond since 1922. As the only literary museum in the state of Virginia, the Edgar Allan Poe Museum has a sense of sophistication and an ambiance that you look for in a wedding site. It is ideal for ceremonies and receptions, and our Bookings Coordinator Amber Edens will be glad to assist you in making arrangements for all the details that will make your wedding day a big success. Call or email Amber Edens today to begin the joyful process that ends with the two simple words, “I do!”