Museum News


H.P. Lovecraft Visits the Poe Museum


HP Lovecraft by Semtner

HP Lovecraft by Semtner

Last Saturday, August 20, would have been the 126th birthday of H.P. Lovecraft (1890-1937), author of such influential horror, science fiction, and fantasy tales as The Call of Cthulhu, The Dunwich Horror, and At the Mountains of Madness (which was inspired by Poe’s novel The Narrative of Arthur Gordon Pym). Lovecraft’s influence on both horror fiction and popular culture has been vast. Several of his works have been adapted to film, music, and even games. In his tales of cosmic horror he created a shared fictional universe known as the Cthulhu Mythos, which continues to live on in the works of legions of later authors.

Lovecraft was also a great admirer of Poe’s works and devoted an entire chapter of his 1935 book Supernatural Horror in Literature to him. In that chapter, Lovecraft writes,

Before Poe the bulk of weird writers had worked largely in the dark; without an understanding of the psychological basis of the horror appeal, and hampered by more or legs of conformity to certain empty literary conventions such as the happy ending, virtue rewarded, and in general a hollow moral didacticism, acceptance of popular standards and values, and striving of the author to obtrude his own emotions into the story and take sides with the partisans of the majority’s artificial ideas. Poe, on the other hand, perceived the essential impersonality of the real artist; and knew that the function of creative fiction is merely to express and interpret events and sensations as they are, regardless of how they tend or what they prove — good or evil, attractive or repulsive, stimulating or depressing, with the author always acting as a vivid and detached chronicler rather than as a teacher, sympathizer, or vendor of opinion. He saw clearly that all phases of life and thought are equally eligible as a subject matter for the artist, and being inclined by temperament to strangeness and gloom, decided to be the interpreter of those powerful feelings and frequent happenings which attend pain rather than pleasure, decay rather than growth, terror rather than tranquility, and which are fundamentally either adverse or indifferent to the tastes and traditional outward sentiments of mankind, and to the health, sanity, and normal expansive welfare of the species.

Never a terribly famous writer during his lifetime, Lovecraft would likely not have been recognized by the staff when he visited the Poe Museum in Richmond in May 1929. On May 4, he wrote Elizabeth Toldridge, “In Richmond the chief object of interest for me is the Poe Shrine—an old stone house with two adjoining houses connected as wings & used as a storehouse of Poe reliques. Here I have spent much time examining the objects associated with my supreme literary favourite—to say nothing of the marvelous model of Richmond in 1820, housed in one of the wings.”

The Poe Museum’s Old Stone House, Enchanted Garden, and model of Richmond remain much as they were in 1929, so today’s guests can still feel much of the atmosphere that must have inspired Lovecraft during his visit. The following photographs date to about that time.

The Poe Museum in June 1929.

The Poe Museum in June 1929.

The Enchanted Garden in early spring of 1929.

The Enchanted Garden in early spring of 1929.

Elizabeth Arnold Poe Memorial Building in about 1928

Elizabeth Arnold Poe Memorial Building in about 1928

Lovecraft was not the only famous cultural figure to make a trip to the Poe Museum. Vincent Price, Salvador Dali, and Gertrude Stein also visited. Click their names to read about their Poe Museum experiences.




A Poem by Edgar Allan Poe’s Cat


[The Poe Museum is always glad to learn of poets Poe has inspired. We recently received an email from Vik Shirley, a poet based in Bristol in the UK. Vik writes, “I recently completed a Bachelor of Arts (Honours) in English Literature (with Creative Writing) and was awarded First-class honours. For my final project I wrote a poetry sequence called Death: The Human Experience, based on an exhibition at the Bristol Museum and Art Gallery, which featured various artefacts and symbols of death from around the world and throughout history. I based each poem in the sequence on a different exhibit and one of those was the death mask of Edgar Allan Poe…When I was carrying out research for my poem, I came across the museum website, in addition to an online 2014 article of yours in Biography.com, which I found fascinating and very useful. My poem is in the voice of Edgar’s cat Catterina. I was inspired to learn that she died shortly after the death of Edgar.” Here is the poem for your enjoyment.]

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Catterina’s Farewell

After Edgar

I always clawed the walls when he left,
sank into a fantastic gloom. Fetched
presents to his empty room, licked
my paws, preened myself, waiting, waiting.
But this time, there was something more;

one develops a feeling for these things,
a hunch, a penchant for the peculiar
in this house. My tortoiseshell pelt prickled
from that very first day, from the moment
he departed. I remember it well. I slunk

around his trunks – circling his doomed
luggage, brushing up, pressing against
his legs, weaving eights, provoking,
coaxing for one final caress. To explain:
we were close. I would sit on his shoulder

while he wrote, everybody knew I adored
him. I learned from the master; was wise
to the clues, the omens, symbols. The days
went by. I was wondering, wondering,
fearing the worst. My stomach churned,

I yearned to nibble his finger, flip the tip
of my tail in his presence, issue him with
a slow blink, a purr, but no, still, nothing,
nothing. Then yesterday the news bludgeoned
us without mercy or warning and confirmed

the unthinkable. It was an enigma, a conundrum,
and not, as I was hoping, a hoax. So, now it’s time
for me to go. My tell-tale heart is tired of talking.
I will follow my soulmate into the shadows, trace
his footsteps with paws, all the way to Nevermore.

(c) Vik Shirley 2016

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Poe and His Circle Filled Ladies’ Albums with Poetry


April is National Poetry Month and the perfect time to celebrate all the poetry in the world around us. Whether we read it in a book or listen to it on the radio, we enjoy poetry in countless forms. In Edgar Allan Poe’s time, when poetry was far more popular than it is today, people experienced poetry in a number of different ways. Much like today, poets gave public readings for their work or published it in books or magazines. Poe and his contemporaries also wrote their poems in ladies’ albums.

Ladies’ albums were popular gifts for girls throughout much of the nineteenth century. The owner would send her album to her friends and relatives who would fill them with poetry and drawings in much the same way today’s high school students sign each other’s yearbooks. In the nineteenth century, however, people put a lot more effort into signing their friends’ albums. Here are three good examples from the collection of the Edgar Allan Poe Museum.

The first belonged to Lucy Dorothea Henry (1822-1898), the granddaughter of Revolutionary War orator Patrick Henry. In spite of living on a rural Virginia plantation, she befriended some of the leading authors of her day by writing them to request their autographs for her collection. In the process, she befriended New York editor and autograph collector John Keese who gave her this album.

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This is Keese’s inscription.

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This page contains a poem by American poet Charles Fenno Hoffman.

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Here is poem by Elizabeth Oakes Smith that shows off the poet’s beautiful handwriting.

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Henry’s daughters donated both her autograph collection and her album to the Poe Museum in 1928.

The next album belonged to Louisa Anna Lynch (1825-1891), who grew up in Petersburg, Virginia. When she was a girl, Edgar Allan Poe gave her a copy of a book and autographed it for her. Read all about it here. When her descendants donated that book to the Poe Museum, they also donated her autograph album, which is full of poems dating to the early 1840s.

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Somebody wrote these unsigned captions for the book’s few illustrations. The captions are quotes from various books and periodicals.

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The anonymous writer of this Shakespeare quote has given Louisa the nickname Annie.

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One suitor thought he could impress Louisa by writing this essay on friendship in her album.

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Here are the closing lines of a poem signed “CMF” and the opening verses of a poem signed “Amicus.”

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The third album belonged to Amelia Poe, the twin sister of Neilson Poe, the husband of Josephine Emily Clemm Poe Poe, half-sister of Edgar Poe’s wife Virginia Clemm Poe, who was also Edgar’s first cousin. (If that is confusing, you can read about the Poe family genealogy here.) This album is a treasure trove of poetry, artworks, and pressed flowers.

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The person who wrote this poem also decorated the page with drawings.

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Here is another elaborate decoration.

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When writing in a lady’s album, one could either compose an original poem or quote an appropriate poem by a popular author. In the sample below, someone has quoted a couple verses of Scottish poet Thomas Campbell’s 1799 poem “The Pleasure of Hope” and signed it with a dotted line. If you look very closely, someone wrote some initials in pencil on that dotted line. They appear to be “EAP.”

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In either 1829 or 1832-1836, Edgar Allan Poe wrote the first stanza of his poem “To Helen” in the album. Today this is thought to be the only surviving copy of that poem in Poe’s handwriting.

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Amelia Poe’s granddaughter donated this album and other Poe family items to the Poe Museum in 1930.

This has been only a small sample of the many poems written throughout each of these albums. At a time when writing in cursive is a dying art and when writing poetry in albums has long-since gone out of fashion, we can read through the poetry in the Poe Museum’s albums to get a sense of the role poetry played in people’s daily lives back in Poe’s time.




Lincoln Reads Poe


LincolnandPoeBlog

Millions of students have memorized Abraham Lincoln’s “Gettysburg Address,” but what great work of literature did the author of that famous speech memorize? According to one of his friends, John T. Stuart, Lincoln “carried Poe around on the Circuit—read and loved ‘The Raven’—repeated it over & over.” How might Lincoln have sounded when reading Poe’s solemn poem of death and despair? William H. Herndon wrote in an 1887 letter that “Lincoln’s voice was, when he first began speaking, shrill, squeaking, piping, unpleasant.”

Ever since he was young, Lincoln loved reading. His biographer, Michael Burlingame, wrote that among Lincoln’s favorite works were Poe’s mystery “The Gold Bug” and his science fiction/horror tale “The Facts in the Case of M. Valdemar.” Lincoln even tried his hand at writing his own true-crime story based on a murder trial for which he had served as the defense attorney. The story “Remarkable Case of Arrest for Murder” was reprinted over a century later in the March 1952 issue of Ellery Queen’s Mystery Magazine.

He also wrote a number of poems. Here is one he wrote in his arithmetic book when he was about sixteen:

Abraham Lincoln is my nam[e]
And with my pen I wrote the same
I wrote in both hast and speed
and left it here for fools to read…

In 1858, Lincoln wrote this poem in his landlord’s daughter’s album:

To Rosa—
You are young, and I am older;
You are hopeful, I am not—
Enjoy life, ere it grow colder—
Pluck the roses ere they rot.

Teach your beau to heed the lay—
That sunshine soon is lost in shade—
That now’s as good as any day—
To take thee, Rose, ere she fade.

Even though Poe and Lincoln were born a few weeks apart in 1809, they never met. One wonders what might have happened if they had.

The First Printing of "The Raven" from 1845

The First Printing of “The Raven” from 1845




Poe Museum and James River Writers Start New Literary Salon


On February 11 from 7-9 p.m. at the Patrick Henry Pub and Grille in Richmond, the Poe Museum will team up with James River Writers to bring back the grand tradition of the salon, an intimate setting to meet & fraternize with local authors as they in turn guide you in your own writing practice. Whatever your genre, this will be a great way to connect, to learn, and to philosophize. There is no cover charge. We welcome writerly types of all experience levels and readers, thinkers, and artists of every sort. To top it off, the building in which we will be meeting was the home of J.W. Fergusson, Poe’s assistant at the Southern Literary Messenger and one of the few people to attend Poe’s wedding. The theme for the first salon will be “The Secret Heart–Considering the Dark Side of Romance” with speaker Slash Coleman.

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Here are the Details:

February Topic: The Secret Heart – Considering the Dark Side of Romance
Speaker: Slash Coleman
Thursday, February 11, 7:00-9:00 p.m.
Patrick Henry Pub & Grille, in the upstairs salon
2300 East Broad Street (free street parking)

About the Speaker:

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NPR calls award-winning storyteller Slash Coleman “Extremely provocative and entertaining,” and WGBH says the NYC based author, “has the power to change the way people think.”

The author of The Bohemian Love Diaries, the personal perspectives blogger for Psychology Today, and an advice columnist at howdoidate.com (Ask Uncle Slash), Slash is best known for his PBS Special The Neon Man and Me and is currently creating The New American Storyteller for PBS. Slash’s performances have been featured in American Theatre Magazine, Backstage Magazine, The Washington Post, and most recently on the NPR series How Artists Make Money.

Click here for more information.




Don’t Miss Poe’s 207th Birthday Bash on January 16!


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Already the world’s largest celebration of author Edgar Allan Poe’s birthday, the Poe Museum of Richmond’s annual Poe Birthday Bash will outdo itself this January 16 from noon to midnight with twelve straight hours counting down Poe’s greatest hits with performance, film, music, readings, exhibits, and more for just $5 per person.

New exhibits opening that day include the interactive “Poe’s Greatest Hits” in which the visitor gets to be part of a Poe story. There will also be a display of original artwork from the new film Extraordinary Tales. Live music includes fan favorites The Embalmers and more great bands. There will be readings and performances throughout the day in addition to neighborhood tours, museum tours, and historical interpreters. We will be joined by James River Writers and Sisters in Crime for readings and the announcement of the winner of the inaugural Poe Inspires Award for flash fiction and poetry at 5:30 p.m. Guests will vote for Poe’s greatest short story, and the winner will be announced at 6 p.m.

There will be crafts and games for the kids, a sad poetry reading contest for all ages, and a midnight champagne toast for the adults. Other highlights of the day include a screening of the film Extraordinary Tales, The Embalmers playing live music to accompany screenings of silent Poe films, a walking tour the neighborhood by Poe’s mother, and readings by members of Sisters in Crime. A cash bar will be provided by Center of the Universe.

Here is the schedule so far:

11:00 a.m. to Dark
Crafts

11:30 a.m.
Walking Tour with Poe’s Fiancee Elmira Shelton

Begins and ends at Poe Museum and includes a stop at St. John’s Church.

Noon to 1:30 p.m.
Live Music

With Margot MacDonald
12:45 p.m.
Museum Tour

1:30 p.m.
“The Conqueror Worm”
Performed by Dean Knight

1:45 p.m.
Museum Tour

2:00 p.m.
Walking Tour of Shockoe Bottom with Poe’s Mother
Begins and ends at Poe Museum with a stop at the oldest continuously used Masonic Lodge in the country.

2:30 p.m.
Reading

3:00 p.m.
Sisters in Crime
Talk and Book Signing

4:00 p.m.
Talk by the Poe Museum’s curator

4:30 p.m.
Birthday Cake Served

4:45 p.m.
Curator’s Corner
See some little known oddities and rarities from the collection taken out of the vault just for this event!

5:15 p.m.
Sad Poetry Reading Contest, Reading Activities

“Poe Inspired” Contest Presentation with Poe Museum and James River Writers
Poe’s Greatest Hit Countdown Announcement

6:30 p.m. Walking Tour
Poe’s Last Night in Richmond

Retrace Poe’s path during his final night in Richmond, just over a week before his death.

6:30 p.m. to 8:00 p.m.
Live Music
With Ocean Versus Daughter


7:00 p.m. Museum Tour

7:15 p.m.
“Berenice” Reading by Dean Knight
“The Raven” Reading by Michael Fawcett

8:00 p.m. – 9:15 p.m.
Extraordinary Tales

9:30 p.m. Museum Tour

10:00 p.m. to 11:30 p.m.
Live Music by Embalmers and Silent Films

Midnight
Champagne Toast in the Poe Shrine

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Could this be the real Annabel Lee?


Stella Letter detail web

From the man who sneaked into his dead wife’s crypt to spend the night on her corpse to the woman who believed she was in communication with Poe’s spirit after his death, colorful characters seemed to flock to Edgar Allan Poe. But Stella stands out even among this crowd. It is said that, when he saw her approaching his front door, Poe fled through the back door to avoid her. She may have even convinced her husband to pay Poe to write positive reviews of her work. In spite of that, she told Poe’s biographer John Henry Ingram she had been Poe’s good and trusted friend, and she boasted that she had been the inspiration for his poem “Annabel Lee.” The Poe Museum now owns a strange letter she wrote to one of Poe’s biographers. Because it reveals some entertaining insights in her personality and her relationship with Poe, we have named it the Poe Museum’s Object of the Month.

Stella-web

Estelle Anna “Stella” Lewis (1824-1880) was a moderately successful writer and the wife of lawyer Sylvanus Lewis. She first became acquainted with Poe around 1846. She soon joined a group of Poe’s female admirers in helping the poet, his mother-in-law Maria Clemm, and his gravely ill wife Virginia in a time of need. After Virginia’s death in January 1847, Stella continued to visit Poe and his mother-in-law. According to Stella, she became his trusted confidant, but other sources believed she was really trying to bribe him to write complimentary reviews. Meanwhile, Stella’s “trusted confidant” Poe wrote in a June 16, 1848 letter to Annie Richmond, “If she [Stella] comes here I shall refuse to see her.”

Poe was close enough to Stella to write the following acrostic poem for her. The first letter of the first line, the second of the second, and so forth spell out her name.

“Seldom we find,” says Solomon Don Dunce,
“Half an idea in the profoundest sonnet.
Through all the flimsy things we see at once
As easily as through a Naples bonnet—
Trash of all trash!—how can a lady don it?
Yet heavier far than your Petrarchan stuff—
Owl-downy nonsense that the faintest puff
Twirls into trunk-paper the while you con it.”
And, veritably, Sol is right enough.
The general tuckermanities are arrant
Bubbles—ephemeral and so transparent—
But this is, now,—you may depend upon it—
Stable, opaque, immortal—all by dint
Of the dear names that he concealed within’t.

Unlike many of the poems Poe addressed to women, there is no hint of romance in this one. He also had this daguerreotype of himself made for her.

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He gave Annie Richmond another, very similar, daguerreotype taken at the same session.

Stella later told John Henry Ingram, “I saw much of Mr. Poe during the last year of his life. He was one of the most sensitive and refined gentlemen I ever met. My girlish poem — ‘The Forsaken’ — made us acquainted. He had seen it floating the rounds of the press, and wrote to tell me how much he liked it: ‘It is inexpressibly beautiful,’ he said, ‘and I should like much to know the young author.’ After the first call he frequently dined with us, and passed the evening in playing whist or in reading to me his last poem.”

On his last night in New York before starting his ill-fated trip to Richmond, Stella invited Poe and his mother-in-law to her home for dinner. As Stella told it, “The day before he left New York for Richmond,” continues Stella, “Mr. Poe came to dinner, and stayed the night. He seemed very sad and retired early. On leaving the next morning he took my hand in his, and, looking in my face, said, ‘Dear Stella, my much beloved friend. You truly understand and appreciate me — I have a presentiment that I shall never see you again. I must leave to-day for Richmond. If I never return, write my life. You can and will do me justice.’ ‘I will!’ I exclaimed. And we parted to meet no more in this life. That promise I have not yet felt equal to fulfil.” Poe died a few months afterwards. Stella died three decades later without fulfilling that promise.

In the years following Poe’s death, Stella invited his mother-in-law to live with her. It seems that, in order to endear herself to Stella, Mrs. Clemm told her she had been the inspiration for “Annabel Lee”—even though nothing in the poem suggests this. Stella almost immediately told her friends, and the rumor appeared in the papers not long after that. Another of Poe’s friends, Frances Osgood, responded in the December 8, 1849 issue of Saroni’s Musical Times that Poe’s wife was the only woman he had ever loved and was unquestionably the true subject of “Annabel Lee.” Osgood continues, “I have heard it said that it was intended to illustrate a love affair of the author; but they who believe this, have in their dullness, evidently misunderstood or missed the beautiful meaning latent in the most lovely of all its verses…” Most people now agree with Osgood.

Poe’s ex-fiancée Sarah Helen Whitman, however, (who also thought she had been the inspiration for “Annabel Lee”) was so insulted by Stella’s claim that she spread the rumor that a New York writer familiar with all the parties involved told her Maria Clemm had only been flattering Stella to repay some favors and that Osgood had invented the claim that Virginia was the real Annabel Lee solely to spite Stella. (In case you’re counting, that’s three possible Annabel Lees in this blog post.)

Just to make sure her role in Poe’s life was recorded for posterity, she befriended his enemy and biographer Rufus W. Griswold. She still failed to convince the public she could have been the real Annabel Lee.

In 1858, Stella divorced her husband, began a feud with Maria Clemm (who apparently sided with Sylvanus Lewis in the divorce), accused another writer of stealing from her, and headed for Europe. About this time, Martin Van Buren Moore (1837-1900), a young reporter from Tennessee, wrote her for assistance in writing an article about Edgar Allan Poe. In her response, she boasts that Poe himself had entrusted her to be his biographer, calls Maria Clemm the “black cat” of Poe’s life, talks about her divorce, and asks Moore if she should change her name to La Stella or Anna Stella. She eventually settled on the name Stella. Here is a photo of this note.

Stella Letter-web

The text of the letter reads:

Dear Van,
I had not time to reply to you [sic] letter which reached me the day before I sailed for Europe. I called at Mr. Scribner’s on my way to the vessel and told his brother to say to you that I would write the notice of Poe–I will if you can wait. It was his last request of me– “Write my life–you know better than anyone else.” he said. If any one else should write it do not permit the name of that old woman who calls herself his mother-in-law to appear in it. I have heard that she is not his mother-in-law–That she has something else on him. Any how. I believe that she was [the] black cat of his life. And that she strangled him to death. I will tell you about it when we meet. If you get the work out before I return to America put Poe first, and Stella next in the Poets of Maryland. You cannot get it out till next year as it ought to be– do wait–that is a good Van.
I intend to drop the name of Lewis–but cannot do it at once–What do you think of La Stella or Anna Stella. Call me Stella on all occasions–ring on it in biographical notice– You know that the Divorce was all in my favor–That is after trying for a year they could not get anything against me–and gave it up–say this in the notice–say that I stood unscathed against the treachery of a half dozen Lawyers. Let me hear from you the moment you get this. Direct to care of Mr. John Monroe, Banker, no 5, Rue de La Paix, Paris—
Ever Yours
Stella

After leaving the United States, Stella meandered around Europe before settling in London around 1874. While there, she provided information about the poet to another of Poe’s biographers John Henry Ingram. At the same time, Poe’s nurse Marie Louise Shew and his fiancée Sarah Helen Whitman were also supplying Ingram sometimes contradictory accounts of their own relationships with Poe.

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Stella still found time to write poetry and plays. Her major works include the tragedies Helémah, or the Fall of Montezuma (1864) and Sappho of Lesbos (1868). The latter was printed in seven editions and translated into Greek to be performed in Athens. The Poe Museum owns a autographed copy of this, her most celebrated work. In 1865 she composed a series of sonnets about Poe. Her other works include The Child of the Sea and other Poems (1848), The Myths of the Minstrel (1852), Poems (1866) and The King’s Stratagem(1869).

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Stella died in London in 1880. By then, the French poet Alphonse de Lamartine deemed her the “Female Petrarch” while Ingram considered her merely a “harpy” who had preyed upon Poe in his final years.

Martin Van Buren Moore Manuscript (1)A

Martin Van Buren Moore eventually wrote his essay about Poe. The manuscript for it is also in the Poe Museum’s collection. His grandson Otis D. Smith of Richmond, Virginia donated both the Stella letter and the manuscript to the Museum in 1979 but kept the envelope because he thought he might be able to sell it to a stamp collector.

On this page from Moore’s manuscript, he acknowledges the assistance of the “brilliant” Stella to whom he is “indebted for many of the facts in regards to Poe’s life” that were used in the essay. Among these facts, he continues, “She stated positively that Poe was born in Baltimore and not in Boston.” Click here to find out where Poe was really born. Fortunately, Moore’s essay makes no attempt to promote the discredited claims that Stella was the real Annabel Lee.

Martin Van Buren Moore Manuscript (6a)cropped

While the Poe Museum owns a number of Edgar Allan Poe’s letters, most visitors do not realize the collection also holds several rarely seen letters from the people in his life. While these are rarely anthologized and seldom read, they nevertheless provide value insights into Poe’s life and work as seen by his contemporaries. Since this Stella letter was written to a person researching an article about Poe, the document reveals the way in which Poe’s biography was shaped (or distorted) by the biases and self-interests of the people who knew him as they provided information of varying quality to his biographers.

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Honor Anniversary of Poe’s Death at the Poe Museum


Coffin-in-Shrine

Join us on Wednesday, October 7 at 6:00 PM at the Edgar Allan Poe Museum in Richmond as we mark the 166th anniversary of Edgar Allan Poe’s death and honor his legacy.

Be Among the First to Get a Copy
As a fitting tribute to Poe’s genius and his continued influence on contemporary literature, authors J. Madison Davis, Nancy Kilpatrick, and Caro Soles will be here to read from and sign copies of nEvermore! Tales of Murder, Mystery, and the Macabre—an anthology of 21 original stories inspired by Poe’s works.

Deliver a Poe Eulogy
In addition to the reading, we’ll also give Poe mourners an opportunity to say a few words about the dearly departed with our Open Mic Eulogies. In this open forum, we invite everyone to share their thoughts and memories of Poe with all of us. Whether you have a favorite story or poem of his that particularly moved you or his work has inspired you in some way, we welcome your responses!

Solve the Mystery of Poe’s Death
Poe’s death in Baltimore at the age of 40 remains something of a mystery. There are at least 27 different theories as to the cause of death…care to submit your own theory? We’ll have “Death Clues” scattered around the museum—these excerpts from primary documents detail the circumstances surrounding Poe’s last days. Read the clues and form your own theory about what happened all those years ago. A small prize will be awarded to the most original theory.

Experience New Exhibits
As always, the museum’s exhibits will be open. The Edgar Allan Poe Museum boasts the world’s largest collection of Poe memorabilia and artifacts. Last week saw the installation of a new exhibit, “The Poe Code,” all about Poe and cryptograms, which will be displayed until November 29. The special exhibit “Buried Alive: Poe’s Tales of Premature Burial” will remain on view only until October 18. Don’t miss them!

This event is free of charge. For more information, call 804-648-5523.

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Praise for nEvermore!

from Publishers Weekly:
“Poe accomplished what only the greatest writers are capable of achieving: the creation of a world. His was a world of twisty tales and dark comeuppances, his people haunted by the past and love denied. And this is what you’ll also find in nEvermore!: Tales of Murder, Mystery and the Macabre, a world of its own authored by a talented crew who have fallen under Poe’s spell and brought chilling and distinctive documents back with them. Pleasures abound.” — Andrew Pyper, author of The Damned and The Demonologist.

“The stories in nEvermore! truly capture the macabre, mysterious essence of Poe. It’s a wonderful read for all Poe fans.” — Susan Jaffe Tane, Curator, The Persistence of Poe, the finest collection of Poe-related material in private hands

“I was genuinely delighted by the originality of Kilpatrick and Soles’ nEvermore….It was with great relief that I found the presence of Poe looming large in this anthology. Most importantly, the authors truly honor his spirit.” — Elaine Pascale (The Horror Review)

“Probably the most formally ambitious story in the collection is “Afterlife,” a collaboration between William F. Nolan, Jason V. Brock and Sunni Brock, which synthesizes aspects of Poe’s legend and biography with his late cosmogonic poem Eureka, putting the results under a kind of amnesiac erasure.” – Postscripts to Darkness




Meet the Next Edgar Allan Poe at Poe Young Writers’ Conference 2015


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On Friday, June 26 from 7-8:30 p.m., the Poe Museum at 1914 East Main Street in Richmond, Virginia will host a reading and reception at which the students of the 2015 Edgar Allan Poe Young Writers’ Conference will read the works they produced during the week-long residential writing conference. This year’s students will be coming from Virginia, Kansas, Pennsylvania, South Carolina, Michigan, and Puerto Rico to learn the craft of writing from professionals in the field and to be inspired by the places featured in Edgar Allan Poe’s stories and poems. Admission to the reading and reception is free.

About the Edgar Allan Poe Young Writers’ Conference

From June 21-27, 2015, a select group of eleven high school students from across the country will come to Richmond, Virginia to learn from and to be inspired by American author Edgar Allan Poe at the Edgar Allan Poe Young Writers’ Conference. Among the speakers addressing the students during the conference will be Pollack Prize and Library of Virginia People’s Choice Award winning novelist Gigi Amateau; novelist and blogger Julie Farley; author and journalist Harry Kollatz; poet Joanna Lee; and Theresa Pollack Award-winner and New Virginia Review Editor Mary Flinn. When not attending lectures and writing workshops in the Parish Hall at St. John’s Church (where Poe’s mother is buried), the students will seek inspiration by visiting a number of Poe sites including the the cemetery in which his foster parents and first love are buried, the setting of his short story “A Tale of the Ragged Mountains,” and the locations that inspired some of Poe’s best-known stories and poems. The students will also visit major Poeana collections including that of the Edgar Allan Poe Museum, where students will conclude the week with a reception and reading.

The attendees of this unique conference will follow in Poe’s footsteps, visiting the places his lived or worked and seeing the places that inspired his poems and short stories. Founded in 2004 by Edgar™ Award-winning author and Poe relative Dr. Harry Lee Poe, the conference has attracted students from California to Massachusetts over the years.




Poe Scholar Decodes Poe’s Gold-Bug


Illustration for the 1843 first printing of "The Gold-Bug"

Illustration for the 1843 first printing of “The Gold-Bug”

Poe was much more than the Master of the Macabre. He was also the Master of Mystery, the inventor of detective fiction, and an avid cryptographer who introduced puzzles and codes into his poems and short stories. His short story “The Gold-Bug” features an encrypted treasure map and a search for clues and codes that set the standard for such popular films as National Treasure and The Da Vinci Code. This spring the Poe Museum planted a new Gold-Bug Garden modeled after this setting of this important story. In honor of the opening of the new Gold-Bug Garden at the Poe Museum in Richmond, on Tuesday, June 23 at 6 p.m., Poe scholar Richard Kopley will deliver “Decoding the Gold-Bug,” a talk about Edgar Allan Poe’s influential treasure hunt mystery “The Gold-Bug.” Admission is free.

Richard Kopley

Richard Kopley

About Richard Kopley:

Richard Kopley is Distinguished Professor of English, Emeritus, at Penn State DuBois. He is the author of Edgar Allan Poe and the Dupin Mysteries, as well as numerous articles, chapters, and reviews on Poe. He is the editor of Poe’s Pym: Critical Explorations and the co-editor, with Jana Argersinger, of Poe Writing, Writing Poe. He has spoken on Poe widely in the United States, and he has given papers on Poe in Spain, Italy, Poland, Russia, and (by DVD) Japan.. He is a former president of the Poe Studies Association, organizer of several Poe conferences, co-organizer of the recent Fourth International Edgar Allan Poe Conference in New York City, and a member of the program committee for the next international Poe-Hawthorne Conference, scheduled for June 21-24, 2018, in Kyoto, Japan.

May 5 2015 Low Country Garden-web

About the Poe Museum’s Gold-Bug Garden:

Designed by Riely and Associates, the firm that restored the gardens at the Virginia Executive Mansion, Monticello, and the University of Virginia, the Poe Museum’s Gold-Bug Garden recreates the Low Country setting of “The Gold-Bug” with an unusual combination of palms, umbrella plants, fatsia, and banana shrubs. This garden is only one stage in the Garden Club of Virginia’s restoration of the Poe Museum’s gardens, which date back to 1922.

Palms-web