David Lupton, illustrator of the Folio Society’s new edition of The Narrative of Arthur Gordon Pym, took a few minutes from his busy schedule to answer some questions about his work and his interest in Edgar Allan Poe.
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.
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.
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-
Who will be the next Edgar Allan Poe? The Poe Museum in Richmond, Virginia intends to find out. From June 21-27, 2015, the Museum will host its annual Edgar Allan Poe Young Writers’ Conference for high school students. Designed and founded in 2004 by Edgar™ Award-winning author and Edgar Allan Poe’s cousin, Dr. Harry Lee Poe, the Edgar Allan Poe Young Writers’ Conference attracts students from across the country to take part in a unique and intensive writing experience. In addition to participating in daily workshops, the students will learn from writing professionals including award-winning novelists, editors, journalists, poets, and playwrights. What makes the conference special is its Poe connection. Richmond, Virginia was home to Edgar Allan Poe for thirteen years, and it is here that he began his literary career. Students will learn from and be inspired by Poe by studying his craft as well as by visiting the sites that inspired or served as settings for his greatest works.
Past speakers have included Nero, Lefty, and Shamus Award-winning author Brad Parks; Hammett Prize winning novelist and journalist Howard Owen; Edgar Award™ winning biographer and educator Dr. Harry Lee Poe; and Theresa Pollack Award winning editor Mary Flinn.
The conference is designed to empower students to be leaders, educators, and writing professionals. So far, past students have become published authors and have been accepted into prestigious university writing programs.
To learn more about the conference or to apply, please click here of call the Edgar Allan Poe Museum at 804-648-5523 or [email protected] Click here to download an application. Applications are due April 1.
More Information about the Young Writers’ Conference:
The Edgar Allan Poe Young Writers’ Conference empowers high school students with the skills they need to become the next generation of great writers. In the tradition of Edgar Allan Poe, who encouraged and inspired young writers in his own time, the Poe Museum’s annual conference brings together students with professional journalists, editors, novelists, poets, and others who have devoted their lives to writing. The program is designed to encourage future innovation, expression, and leadership in Richmond’s literary community.
The participants will learn from the professionals who have devoted their lives to writing. Each morning of the conference, professional editors, technical writers, journalists, playwrights, novelists, and poets will share their experiences and advice with the participants. These speakers have included winners of such prestigious awards as the Edgar™, the Nero, the Lefty, and the Shamus.
Each day of the conference, the students will practice the craft of writing by participating in group writing exercises with an advanced writing instructor.
Practicing the Craft
Each day’s rigorous schedule would not be complete without time for attendees to practice their newly learned skills by crafting a composition that will be completed by the end of the week.
Focus on Poe
We believe great writing is grounded in an appreciation and understanding of the writers who came before us. Therefore, each day of the conference, time is dedicated to special field trips and activities focused on learn about the art and techniques of Edgar Allan Poe’s writing.
Art is not created in a vacuum but is the result of the sharing of ideas and experiences. Each evening of the conference is devoted to building a fellowship and cooperation among the participants as well as enabling them to one become leaders in the larger writing community.
Young Writers’ Conference Points of Interest
Fifty eight students have completed in the conference in its eight years
Many graduates of the conference have been accepted to prestigious writing programs and Virginia Commonwealth University, the University of Virginia, and elsewhere.
Two Notable Conferees:
Joy Thomas’s work has been published in Style Weekly.
Rachel Martens has published a series of novels called The Poe Series.
His Darkest Story Was His Own…
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.
For more information, please visit WWW.NEVERMORESHOW.COM
The Poe Museum is proud to announce that M. Thomas Inge of Randolph-Macon College will deliver a presentation about Richard Corben’s Poe illustrations at 5p.m. at the Edgar Allan Poe Museum in Richmond, Virginia in conjunction with the opening of a new exhibit exploring four decades of the illustrator Richard Corben’s Poe-inspired artwork. The event will be part of the Poe Museum’s annual Poe Birthday Bash, which features twelve hours of Poe performances, historical interpreters, live music, walking tours, and more. Admission for the day is five dollars.
The subject of Dr. Inge’s presentation is “Masters of the Macabre: Edgar Allan Poe and Richard Corben.” According to Dr. Inge:
Without Edgar Allan Poe and some of his fellow popular writers, there might not have been a comic book or a graphic novel. That is to say, in the early days of the comic book industry, desperate to meet the insistent and inevitable monthly publication deadlines, writers and artists turned for inspiration, or outright piracy, to the popular short fiction of such authors as O. Henry, Stephen Crane, Ambrose Bierce, or Guy de Maupassant. Before them, the nature and structure of the short story had been fully defined by Poe in his reviews and critical essays in the nineteenth century. Poe did not invent the short story, but he so successfully outlined what an effective piece of short fiction should be that everyone used his standards by which to measure their own work. Reading Poe was like taking a master class in writing fiction.
Little wonder then that the early pioneers of a new art form more frequently turned to Poe than any other author for source material and inspiration. It has been estimated that over 300 adaptations of Poe’s stories and poems have appeared in comic books and graphic novels from 1943 to the present. While nearly every major and most of the minor comic book authors and artists have turned to Poe at one time or another in their careers, only one has dedicated a major part of his life’s work to adapting his poems and tales—Richard Corben. Emerging from the underground comix movement in the 1960s, he quickly became a major force on the larger comic book scene with his work for Heavy Metal magazine and the Warren publications. Those who picked up copies of his early work like Den, Rowlf, or Fantagor, were immediately absorbed by the maturity and beauty of his style. Readers knew that they were in the presence of an extraordinary talent. Corben’s imagination pushed the boundaries of the visual possibilities of aesthetics in comic art in amazing new directions.
Beginning with his adaptations of Poe for Creepy , Eerie, and other Warren titles, especially the brilliantly rendered version of “The Raven” in Creepy No. 67 (December 1974), Corben has proven to be the most acute and creative interpreter of Poe in comics history. All of his comic book work, in fact, has been imbued with the same gothic sensibility and keen eye for the grotesque that possessed Poe himself. Thus his alliance with Poe has been a fortuitous and productive one. It is a marriage made in …, well one hesitates to say heaven. Time and again Corben has turned, or returned, to his favorite poems and stories, each demonstrating an original vision, a new way to interpret or understand Poe’s themes. This paper will provide an appreciative overview of Corben’s fascination with Poe throughout his career and what his vision has added to our general understanding of Poe’s cultural importance. Quite likely Poe would have loved these graphic versions of his work and recognized in Richard Corben a soul-mate.
About Dr. Inge:
M. Thomas Inge is the Robert Emory Blackwell Professor of Humanities at Randolph-Macon College in Ashland, Virginia, where he teaches and writes about American humor and comic art, film and animation, Southern literature and culture, William Faulkner, and Asian literature.
Inge has been writing about the comics and animation for over thirty years. He has written essays for fan publications, popular periodicals, reference works, and scholarly journals. He contributed for over twenty five years a chronology of the history of the comic book to the annual editions of Robert M. Overstreet’s Comic Book Price Guide. His books on the subject include Comics as Culture (1990), Great American Comics (1990), Dark Laughter: The Satiric Art of Oliver W. Harrington (1993), Anything Can Happen in a Comic Strip (1995), Charles M. Schulz: Conversations (2000), The Incredible Mr. Poe: Comic Book Adaptations of the Works of Edgar Allan Poe (2008), and Mark Twain in the Comics (2009). Most recently he edited the collected essays of Charles M. Schulz which appeared as My Life with Charlie Brown (2010). Inge is serving as General Editor of the “Conversations with Comic Artists” and the “Great Comic Artists” series for the University Press of Mississippi.
His publications on animation include “Walt Disney’s Snow White: Art, Adaptation, and Ideology,” Journal of Popular Film and Television, 32 (Fall 2004); “Mickey Mouse” in American Icons (Greenwood 2006); “Bing Crosby, Walt Disney, and Ichabod Crane” in Going My Way: Bing Crosby in American Culture (Hofstra/Rochester 2007); and “Mark Twain, Chuck Jones, and the Art of Animation,” Studies in American Humor, N.S. No. 17 (2008). He wrote the biography of Walt Disney for the Dictionary of Literary Biography Vol. 22 (Gale 1983) and is working on a book-length study of Disney and adaptation.
Inge wanted to be cartoonist but was diverted into academic work. He would rather draw and considers himself a failed comic artist who became a professor because he couldn’t do any better.
December Object of the Month: The John-Donkey
Most of what we know about Poe is wrong. It has long been well known that his literary executor Rufus W. Griswold fabricated stories about him in a successful effort to damage Poe’s reputation. When considering Poe’s literary enemies, one must not forget Thomas Dunn English, a rival editor Poe referred to in a January 4, 1848 letter to George Evelyth as “the Autocrat of all the Asses.” Poe and English even came to blows in 1846. According to Poe (in a June 27, 1846 letter to Henry B. Hirst), “I gave E. a flogging which he will remember to the day of his death — and, luckily, in the presence of witnesses. He thinks to avenge himself by lies — by [sic] I shall be a match for him by means of simple truth.”
English’s own account of that “flogging” (written fifty years after the fact), tells a different story:
One word led to another, and he rushed toward me in a menacing manner. I threw out my fist to stop him, and the impetus of his rush, rather than any force of mine, made the extension of my arm a blow. He grasped me while falling backward over a lounge, and I on top of him. My blood was up by this time, and I dealt him some smart raps on the face. As I happened to have a heavy seal ring on my little finger, I unintentionally cut him very severely, and broke the stone in the ring, an intaglio cut by Lovatt, which I valued highly. Tyler tried to call me off, but this did not succeed; and finally the racket of the scuffle, which only lasted a few moments, brought Professor Ackerman from the front room, and he separated us. He then led Poe away. The latter, in going up the street, met a friend of mine, who asked him how he had cut his face so terribly. His reply was that an Irishman carrying a beam on his shoulder had accidentally struck him.
During Poe’s lifetime, Thomas Dunn English ridiculed the author in the novels Walter Woolfe, or the Doom of the Drinker and 1844, or the Power of S.F., in which the character Marmaduke Hammerhead, the drunken author of “The Black Crow,” was based on Poe. English also attacked Poe in the press, and Poe even sued a magazine for libel (and won) after it printed some of English’s unfounded accusations. Even the lawsuit did not stop English from publicly ridiculing Poe, and the Poe Museum’s Object of the Month for December is English’s short-lived magazine The John-Donkey, which regularly printed jokes at Poe’s expense.
The first issue, dated January 1, 1848 contains the following notice alluding to Poe’s drinking.
A week later, in the January 8 issue, English responded to a Pennsylvania magazine that had written a positive notice of Poe.
The January 29 issue contained “Sophia Maria,” a parody of Poe’s new poem “Ulalume.”
The February 5 issue of the Saturday Evening Post calls “Sophia Maria” “a capital parody on a poem recently published in the [American Review], and supposed to have been written by E. A. Poe — at least it is decidedly Poe-ish.”
In the February 5 issue of the John-Donkey, English jokes about the announcement that Poe will be delivering a lecture about the universe.
Contrary to English’s opinion, Poe’s lecture on the universe received favorable reviews. The Morning Express for February 4 reported, “The conclusion of this brilliant effort was greeted with warm applause by the audience, who had listened with enchained attention throughout.”
In the April 15 issue, English announces that Poe is planning a new version of The Literati of New York City, a popular series of opinions on New York authors. In The Literati Poe praises some of the writers, including Frances Osgood, while ridiculing others, including English. In the July 1846 installment, Poe points out English’s deficiencies as the editor of The Aristidean:
No spectacle can be more pitiable than that of a man without the commonest school education busying himself in attempts to instruct mankind on topics of polite literature. The absurdity in such cases does not lie merely in the ignorance displayed by the would-be instructor, but in the transparency of the shifts by which he endeavours to keep this ignorance concealed…he was not, I say, laughed at so much for his excusable deficiencies in English grammar (although an editor should certainly be able to write his own name) as that, in the hope of disguising such deficiency, he was perpetually lamenting the “typographical blunders” that “in the most unaccountable manner” would creep into his work. Nobody was so stupid as to suppose for a moment that there existed in New York a single proof-reader — or even a single printer’s devil — who would have permitted such errors to escape. By the excuses offered, therefore, the errors were only the more obviously nailed to the counter as Mr. English’s own.
In the same article, Poe pokes fun at English’s poetry, writing, “The inexcusable sin of Mr. E. is imitation — if this be not too mild a term. Barry Cornwall and others of the bizarre school are his especial favorites. He has taken, too, most unwarrantable liberties, in the way of downright plagiarism, from a Philadelphian poet whose high merits have not been properly appreciated — Mr. Henry B. Hirst.”
This is English’s April 1848 response to learning that Poe is planning a new series of similar articles:
English was sure he would be featured if the article were to be printed. Fortunately for him, the new series, Literary America, did not appear until after Poe’s death. The entry about English was given the name “Thomas Dunn Brown” although much of the entry was taken from earlier entry for English printed in The Literati. Among the additions to the Literary America entry was the following passage:
Mr Brown had, for the motto on his magazine cover, the words of Richelieu,
–Men call me cruel;
I am not: –I am just.
Here the two monosyllables “an ass” should have been appended. They were no doubt omitted through “one of those d——d typographical blunders” which, through life, have been at once the bane and the antidote of Mr Brown.
Poe’s most enduring response to English’s attacks was the short story “The Cask of Amontillado,” which ridicules English while making reference to English’s novel 1844, or The Power of S.F.
Although Poe was a favorite target, The John-Donkey also took aim at other literary and political figures of the day. Here is a notice about Poe’s rival Rufus Griswold.
Here is a review of some female poets.
This is one of the political cartoons to appear in the magazine.
The John-Donkey ceased publication after about a year. Thomas Dunn English lived until 1902. In his later years, his interests turned to politics. He served on the New Jersey General Assembly in 1863 and 1864 and was elected to Congress from 1891 until 1895. He chaired the Committee on Alcoholic Liquor Traffic during the Fifty-Third Congress.
English harbored a dislike of Poe for years after the author’s 1849 death, and English supplied the critic E.C. Stedman with negatively biased information about Poe. (Here is a letter from English to Stedman in the Poe Museum’s collection.) English also responded to Poe’s biographers who he thought either were either overlooking Poe’s faults or libeling Poe’s biographer Rufus Griswold. In 1896, English wrote for the Independent the series Reminiscences of Poe, a supposedly frank account of his relationship with the poet. According to English, he finally wrote the series, nearly fifty years after Poe’s death, to defend himself against the attacks on his and Griswold’s character made by Poe’s biographers. The series opens with English’s own attacks on Poe’s biographers William Gill, John Henry Ingram, and George Woodberry. English continues by portraying Poe as a drunk, a liar, and a cheat. He also hints at an affair between Poe and the poet Frances Osgood.
On one point, however, English actually defends Poe’s reputation against the rumors surrounding him. In response to accusations about Poe’s use of drugs, English writes, “Had Poe the opium habit when I knew him (before 1846) I should both as a physician and a man of observation, have discovered it during his frequent visits to my rooms, my visits at his house, and our meetings elsewhere — I saw no signs of it and believe the charge to be a baseless slander.”
Thomas Dunn English
As an editor and author, Thomas Dunn English helped shape the public’s perception of Poe as a drunken scoundrel. Even though Poe himself discredited English by successfully suing his for libel, English’s image of Poe is still widely accepted as fact. This Poe myth English, Griswold, and others created has long concealed the truth about Poe’s life and character. The Poe Museum’s issues of The John-Donkey document these literary rivalries so that today’s biographers can paint a more complete picture of the genesis of the Poe myth and the literary feuds that promoted it.
Join author Clay McLeod Chapman on Wednesday, October 15 at 6P.M. at the Poe Museum for an evening of reading and performance from a variety of his works. After the reading, he will be signing copies of his books. This event is part of the Virginia Literary Festival. Click here to learn more about the festival and its schedule of events.
More about the Author:
“Like a demonic angel on a skateboard, like a resurrected Artaud on methadrine, like a tattletale psychiatrist turned rodeo clown, Clay McLeod Chapman races back and forth along the serrated edges of everyday American madness, objectively recording each whimper of anguish, each whisper of skewed desire. This is strong stuff, intense stuff, sometimes disturbing stuff, but I think the many who admire Chuck Palahniuk will admire Chapman as well.” —Tom Robbins, author, Still Life with Woodpecker
Clay McLeod Chapman is the author of rest area, a collection of short stories, and miss corpus, a novel. Miss corpus was recognized in part of The New Yorker’s “Reading Glasses” series. Currently, he is writing the middlegrade adventure series The Tribe (Disney/Hyperion)—book one, Homeroom Headhunters, is out now and book two, Camp Cannibal, hits the shelves in April 2014. He also writes for his geek-gods Marvel Comics (Amazing Spider-Man, Ultimate Spider-Man Adventures, Spider-Man 2099 and The Avengers: Earth’s Mightiest Heroes) and Fangoria Magazine.
Chapman’s story the battle of belle isle was featured in Akashic Books’ regional-noir anthology Richmond Noir. He was a contributing author on “The Rolling Darkness Revue,” a roaming reading-series of horror writers created by Glen Hirshberg and Pete Atkins, culminating in the anthology At The Sign of the Snowman’s Skull. He was a contributing author to One Ring Zero’s As Smart As We Are album, featuring such writers as Paul Auster and Jonathan Lethem.
Chapman’s story late bloomer was adapted into film by director Craig Macneill. An official selection at the 2005 Sundance Film Festival, the short won the audience award for Best Short at the Lake Placid Film Festival and the Brown Jenkins Award at the 12th Annual H.P. Lovecraft Film Festival. Their most recent collaboration, Henley, a short film based on the chapter “The Henley Road Motel” from his novel miss corpus, was an official selection at the 2012 Sundance Film Festival. It was awarded Best Short Film at the 2011 Gen Art Film Festival and the 2011 Carmel Arts and Film Festival.
Upcoming feature films include The Boy, a full length version of Henley, produced by The Woodshed (Elijah Wood, Daniel Noah, and Josh C. Waller) and the sci-fried feature White Space.
Chapman is the creator of the rigorous storytelling session The Pumpkin Pie Show. In its ten-plus years of existence, it has performed internationally at the Romanian Theatre Festival of Sibiu, the Edinburgh Fringe Festival, the New York International Fringe Festival, the Winnipeg Fringe Festival, the Edmonton Fringe Festival, the Minnesota Fringe Festival, the Dublin-based thisisnotashop art space, IGNITE Festival, the Women Center Stage Festival and the Impact Theatre Festival. The Pumpkin Pie Show continues to perform in New York City annually with long-time scene-stealer Hanna Cheek.
Chapman has written the book for the musical Hostage Song with music and lyrics by Obie-winning Kyle Jarrow. He also wrote the book for SCKBSTD, a new musical with Grammy-winner Bruce Hornsby. He is the author of such plays as commencement, teaser cow, Julian, bar flies, lee’s miserables, No Exitway, duct-tape to family-time, redbird, jewish mothers, junta high, nested doll, the interstate and on, the cardiac shadow and volume of smoke. Stage versions of his short stories birdfeeder and undertow were selected for publication in The Best American Short Plays: 2007-2008 and 2009-2010 anthologies.
Chapman was educated at the North Carolina School of the Arts for Drama, the Burren College of Art, and Sarah Lawrence College. He currently teaches writing at The Actors Studio MFA Program at Pace University. Visit him at www.claymcleodchapman.com