On April 23, the Poe Museum hosted its first Unhappy Hour of 2015 with live music by Tim Harding Group and fine food by Casa del Barco. The theme of the evening was Poe’s early poem “Israfel,” and there was a reading of the poem in the Museum’s Enchanted Garden along with the opening of the new exhibit Painting the Enchanted Garden 2. In case you missed it, here are some photos taken that evening. Check here for the complete Unhappy Hour schedule.
Thanks to Casa del Barco for providing some great food for the evening.
Since 1922, the Poe Museum has collected thousands of pieces of Poeana, but, with so many items, some have rarely or never been displayed. Now is your chance to see some of these hidden treasures. From June 25 until August 23, 2015, the Edgar Allan Poe Museum in Richmond, Virginia will host Poe’s Cabinet of Curiosities, an exhibit focusing on the unusual, unseen, and uncanny items in the Poe Museum’s massive collection of Poe artifacts and memorabilia. While most of the Poe Museum temporary exhibits focus on certain Poe stories or aspects of the author’s life, this show focuses on the act of collecting and some of the strange acquisitions the Poe Museum has made over the course of its ninety-three year history. These include Victorian hair art, plaster heads taken from the crown molding in Poe’s sister’s house, bricks from various homes in which Poe lived, a replica skull with the verses of “The Raven” carved into it, and a pressed flower taken from the grave of poet John Keats (1795-1821) back in 1854.
Victorian Hair Art
The term “cabinet of curiosities” refers to the encyclopedic collections that were the ancestors of modern museums. The Poe Museum’s exhibit will emulate one of these densely packed rooms or cabinets displaying a wide variety of artifacts and art.
Skull Carving by Zane Wylie
Poe’s Cabinet of Curiosities will open on Thursday, June 25 with an Unhappy Hour featuring live music by Fool’s Errand.
Think you know Poe? Think again. On June 4 at noon, Barbara Anne Cantalupo will deliver a Banner Lecture entitled “The Poe You May Not Know” at the Virginia Historical Society at 428 North Boulevard in Richmond.
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.
Click here for more information.
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.
On Thursday, June 4 at 6 p.m. at the Poe Museum in Richmond, poet and Penn State University professor Charles Cantalupo will read a unique series of poems inspired by each of the cities in which Edgar Allan Poe lived. In researching the poems, Cantalupo travelled to the cities connected with Poe and searched for evidence of the ways those places inspired Poe as well as the continuing presence of Poe in each location. After years of research and writing, Cantalupo will perform the entire series for the first time. This thrilling performance will blend sound and rhythm with the poet’s own unique take on each of the cities featured.
As Edgar Allan Poe’s hometown, Richmond is the subject of one of the poems. Cantalupo visited Richmond and the Poe Museum last year and incorporated the city’s people and places, including Shockoe Slip and Linden Row, into the poem. For more information, please contact the Poe Museum at 804-648-5523 or [email protected]
Those coming to see Cantalupo’s performance will also want to hear his wife Barbara Cantalupo, a distinguished Poe scholar, speak about “The Poe You May Not Know” at the Virginia Historical Society earlier the same day at noon on June 4. Click here for more information about her talk.
About Charles Cantalupo
Charles Cantalupo is the author of a series of poems on the cities where Edgar Allan Poe lived throughout his life, called “Poe in Place.” Excerpts have been published in The Edgar Allan Poe Review, Poe’s Pervasive Influence, and The Spirit of Poe. Cantalupo’s reading at The Poe Museum will mark the first time “Poe in Place” has ever been performed in its entirety.
Poet, translator, scholar, and documentary filmmaker, Charles Cantalupo is Distinguished Professor of English, Comparative Literature, and African Studies at The Pennsylvania State University. His literary memoir, Joining Africa – From Anthills to Asmara (2012), won a Next Generation Indie Book Award in 2012. His newest collection of poetry, Where War Was, will be published later this year, and he has published three previous collections: Light the Lights (2004), Anima/l Woman and Other Spirits (1996), and The Art of Hope (1985). He is one of the world’s leading translators of African language poetry. A co-author of the historic Asmara Declaration on African Languages and Literatures, he is the writer and director of Against All Odds, a documentary about poets and poetry in Africa. His work has received major support from the Ford and Rockefeller foundations and the World Bank, and he is also the author of books on Thomas Hobbes, Ngugi wa Thiong’o, and Eritrea.
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-
The Edgar Allan Poe Museum turned ninety-three this week. The above photograph was taken at the opening ceremony, which featured distinguished guests, readings of original Poe letters and manuscripts, and a tea party. Below is the program for the event, which was held on April 26-28, 1922.
Countless artists have been inspired to translate Edgar Allan Poe’s works into visual art, music, sculpture, film, ballet, and opera; but few know his works have inspired landscape gardens. This will be no surprise to those who have read his short story “The Domain of Arnheim” or his many poems celebrating the beauty of gardens.
When the founders of Richmond’s Poe Museum decided to memorialize Poe with a garden based on one of his works, they chose the relatively obscure poem “To One in Paradise.” Poe was about twenty-four when he wrote the poem, which first appeared in the January 1834 issue of the Lady’s Book as part of the short story “The Visionary.” In this early story, a young man based on Poe’s boyhood idol, the British poet Lord Byron, falls in love with the young wife of a much older man. Suffering from his unrequited love for her, the young man writes the following poem on paper in a book with pages “blotted with fresh tears.”
Thou wast that all to me, love,
For which my soul did pine —
A green isle in the sea, love,
A fountain and a shrine,
All wreathed with fairy fruits and flowers;
And all the flowers were mine.
Ah, dream too bright to last!
Ah, starry Hope, that didst arise
But to be overcast!
A voice from out the Future cries,
“Onward!” — but o’er the Past
(Dim gulf!) my spirit hovering lies,
Mute — motionless — aghast!
For alas! alas! with me
The light of life is o’er.
“No more — no more — no more,”
(Such language holds the solemn sea
To the sands upon the shore,)
Shall bloom the thunder-blasted tree,
Or the stricken eagle soar!
Now all my hours are trances;
And all my nightly dreams
Are where the dark eye glances,
And where thy footstep gleams,
In what ethereal dances,
By what Italian streams.
Alas! far that accursed time
They bore thee o’er the billow,
From Love, to titled age and crime,
And an unholy pillow! —
From me, and from our misty clime.
Where weeps the silver willow!
After reading the poem, the young man’s friend answers the door to discover the lady has poisoned herself. The friend rushes to tell the young man, who has also just committed suicide. In the context of the story, the poem reads almost like a suicide note written by a man who believes “the light of life is [over].” The poem begins with a description of Paradise as “green isle in the sea” with a fountain and shrine. The garden is filled with “fruits and flowers,” possibly symbolizing ideal and carnal love. Then the narrator writes that this dream is too bright to last. The garden dies. The tree is struck by lightning and killed. He lives his days as if in a trance and spends his nights dreaming of his lost love.
Given the poem’s melancholy tone, one might wonder why it would have been chosen as the model for the Poe Museum’s garden. The answer likely lies with Museum founder and Poe collector James H. Whitty, who believed the poem references a real Richmond garden in which a teenage Poe courted his first fiancée Sarah Elmira Royster. Much like the plot of “The Visionary,” Royster married an older man in 1828, five years before Poe wrote the story and poem. Given the poem’s autobiographical nature and its connection to a lost Richmond garden Poe himself once frequented, “To One in Paradise” seemed the perfect poem for Poe Museum to recreate in its garden.
Not everyone, however, agreed with Whitty. An alternate theory, recorded in Thomas Ollive Mabbott’s edition of Poe’s poems, holds that Poe was inspired by Lord Byron. According to Thomas Moore’s biography of the poet, the day before Byron’s early love was to marry another man, Byron wrote a similar poem to her in one of her books. Since the baron in “The Visionary” very likely based on Byron, this theory makes sense. As a young man, Poe identified closely with Byron and modeled both his early poetry and his public image after the British poet. Poe went so far as to tell people he had tried to join the Greek Wars of Independence just as Byron had done.
Poe reprinted “The Visionary” in 1835 in the Southern Literary Messenger, in 1840 in Tales of the Grotesque and Arabesque, and in 1845 in The Broadway Journal (under the title “The Assignation.” Eventually, he decided the poem was strong enough to stand on its own. Removing the last stanza, Poe published the poem (without the story) in 1839 under the title “To Ianthe in Heaven.” In 1841, he changed the title to “To One Beloved.” Poe first printed the poem under its current title, “To One in Paradise,” in 1843.
Whether the first stanza describes Paradise, Heaven, an island in the sea, the garden in which Poe courted his first love, none of these, or a combination of the above; the vivid description provided rich inspiration for the Poe Museum’s founders who built their garden around a central green isle featuring a fountain and shrine. The perimeter of the garden is planted with flowers and shrubs mentioned in Poe’s poems and short stories. Enclosing the entire garden is a tall brick wall recalling the walled garden in which Poe and Royster spent time. Among the many building materials salvaged and repurposed for use in the Poe Museum’s garden are granite paving stones taken from the paths of the garden Poe knew. At one point, the Poe Museum’s garden also featured a stone urn and a gate latch taken from that garden.
Just as Poe inspired the Poe Museum’s garden, the garden itself has inspired generations of writers, artists, and gardeners. You can see some 1924 paintings of the garden here, and you can learn about this month’s exhibit of new paintings of the garden here. National Poetry Month is the perfect time to find your own inspiration in the Poe Museum’s Enchanted Garden. When you visit, be sure to bring a copy of “To One in Paradise.” Until then, you can listen to it here.
To learn more about some of our other favorite Poe poems, click here and here.
Dr. Murray Ellison “retired” a few years ago after enjoying more than a thirty year career as a special education teacher, school principal, and a special education director for several school districts in Virginia. During his last ten full-time working years, he served as the Virginia State Director of Community Corrections Programs for the Virginia Department of Correctional Education. Since then, he has continued to be an active editor for the International Journal of Correctional Education. In 2012, he began pursuing a slow but thorough graduate study of fiction, poetry, and non-fiction at VCU. At present, he is working on his MA thesis on Edgar Allan Poe and Nineteenth-Century Science, which he is hoping to defend in the fall of 2015. He is also presently serving as a volunteer tour guide at the Poe Museum in Richmond and a literature teacher at the Lifelong Learning Center of Chesterfield.
Title: “Edgar Allan Poe and Nineteenth-Century Science: The Art of the Science Hoax.”
Panel on Nineteenth-Century Literature by Four VCU Masters’ of Arts Candidates
Date: Friday, April 24, 2015 at 11:45 a.m. in Hibbs Hall, Room 402—next to the Cabel VCU Library
The Author: Edgar A. Poe grew up in Richmond in the early nineteenth century and took his first full-time job in 1835 as a writer and editor for the Richmond-based Southern Literary Messenger.
Abstract: Edgar Allan Poe (1809-49) lived at the perfect time to observe and to write about several of the most dramatic technological developments recorded in history. In 1898, renowned scientist Sir Alfred Russell Wallace called the “marvelous inventions and discoveries” of the previous one hundred years, “immensely superior to anything that had been developed up until that time.” Within a few decades, the introduction of new Industrial Age technologies such as electricity, telegraphic communications, railroads, photography, balloon-travel, astronomy, and high-speed printing presses, dramatically altered the lifestyles of the American public in ways that few could ever have anticipated.
While employed as an editor and writer at the Southern Literary Messenger, Poe worked to increase its circulation from about 500 to over 3500 paid subscribers and helped make it one of the most important literary journals in America. In 1837, he moved on to write for several of the other important newspapers in America (in Baltimore, Philadelphia, New York, and Boston). Most readers are familiar with his classic poems like, “The Raven” and Anabelle Lee; and his chilling works of fiction, like, “The Tell-Tale-Heart,” and “The Fall of the House of Usher.” However, fewer are familiar with the important works he produced about science as a journalist.
This workshop focuses on the ways that Poe’s early career journalistic article for the Southern Literary Messenger, “Maelzel’s Automated Chess Player,” reflected the uncertainties of science during the Industrial Age. Poe uncovered the hidden secrets of the “automated” chess player when it toured Richmond, and broke down the illusion that Maelzel had been trying to create with as much skill as Poe later used to create his own fictional hoaxes. He also concluded, through his journalistic investigations, that the public could be deceived by almost any spectacular false notion supported by circumstantial facts. As his career advanced, Poe also became known as the master hoaxer of his generation— both for his non-fiction and fictional narratives. This topic has increased relevance today because many modern science historians and literary scholars have concluded that they could learn more about nineteenth-century culture and science by reading works by authors like Poe, than by scrutinizing the works of professional scientists of that time-period.
Contact Murray at [email protected] for comments.
The “automated” chess player, as part of a worldwide tour, visited Richmond in 1835.
Drawing of “Maelzel’s Automated Chess Player”
Pastel by Kailee Cross
In a departure from the darkness and mystery usually associated with the works of author Edgar Allan Poe, the Poe Museum in Richmond will feature an exhibit celebrating the beauty of nature and gardens. From April 23 until June 21, 2015, the Edgar Allan Poe Museum in Richmond will host Painting the Enchanted Garden 2, its second annual exhibition of new paintings, drawings, and photographs of its legendary Enchanted Garden. In honor of the current restoration of this ninety-three year old landmark by the Garden Club of Virginia, artists were challenged to visit the garden beginning in March in order to produce new work to display in time for the exhibit opening at 6 p.m. on April 23. The artists who took up the challenge in order to participate in the exhibit are David Bromley, Clarise Carnahan, Kailee Cross, Bill Dompke, Kim Hall, Linda Hollett, Chris Ludke, and Dwight M. Paulett.
The Poe Museum’s Enchanted Garden was based on a description of Paradise in Edgar Allan Poe’s poem “To One in Paradise.” The flowers, trees, and shrubs planted there are ones named in Poe’s poems and short stories. Even the paving stones, benches, and bricks were salvaged from buildings in which Poe lived or worked in Richmond and New York. Over the past nine decades, the Enchanted Garden has inspired poems, novels, and visual art from generations of artists. It has even inspired a replica garden in South Carolina.
According to Poe Museum Curator Chris Semtner, “Since the garden was inspired by Poe’s writing, it is fitting that the garden continues to inspire new artists and authors. This exhibit is a fitting document of that legacy of inspiration.”
The paintings in this exhibit will be for sale, and proceeds from the sale benefit the Poe Museum’s educational programs.
View of last year's exhibit with painting by Chris Ludke
You can be a part of the Poe Museum’s next exhibit. After the success of last year’s Painting the Enchanted Garden, the Edgar Allan Poe Museum in Richmond, Virginia is calling on artists to visit the Museum’s legendary Enchanted Garden to sketch, paint, collage, or photograph the site for a the exhibit Painting the Enchanted Garden 2, which will run from April 23 until June 21, 2015. A portion of the proceeds from the sale of the artwork will benefit the Poe Museum’s educational programming.
The exhibit is open to all artists, including ones who participated last year. Since the first call for artists was so well received, the Museum will be displaying this year’s exhibit in a larger gallery on the first floor of the changing exhibits building.
If the weather permits, artists can begin working in the Garden on March 15 and must have their completed works ready for display by April 19. In order to avoid conflict with the Museum’s special events and facility rentals, artists must schedule their painting or sketching visits with the Museum’s curator Chris Semtner by writing him a [email protected] or by calling 804-648-5523. For those interested in joining a group painting session, the Museum will host one on Sunday, April 12 from 2-5 p.m. with artist Chris Semtner.
Interested artists can learn more about this opportunity by contacting [email protected] or calling 804-648-5534. In order to participate, please register for the show by April 1.
A copy of the prospectus can be found here: Prospectus for Painting the Enchanted Garden 2015
Artwork by Chris Ludke