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
The Edgar Allan Poe Museum in Richmond, Virginia is excited to launch the historic reunion of iconic author Edgar Allan Poe and legendary horror actor Vincent Price over Halloween weekend, October 31, 2014 and November 1, 2014. This not-to-be-missed weekend kicks off with the family-friendly Poe Goes to the Movies on Halloween night, and culminates with a wine tasting experience like no other on Saturday, November 1 with The Author’s Appetite. Both events will be held at the Poe Museum located at 1914-16 East Main St. Richmond, VA 23223. Proceeds benefit the Edgar Allan Poe Museum’s educational programming.
Artwork by Abigail Larson
Poe Goes to the Movies takes place on Halloween night, Friday, October 31 from 6:00pm-10:00pm and includes a variety of fun and frightening activities including an appearance by Vincent Price’s daughter, Victoria Price who will introduce the film Tales of Terror starring Vincent Price, Peter Lorre, and Basil Rathbone. A special slate of guests will join Price as jurors for the Poe “look-a-like” contest and costume contests. Guests will also have the opportunity to experience the opening of the museum’s newest gallery, The Raven Room that will showcase the ca. 1882 illustrations for Edgar Allan Poe’s poem “The Raven” created by artist James Carling. This will be the first opportunity that the public will get to experience these one-of-a-kind drawings since they were designated one of “Virginia’s Top 10 Endangered Artifacts” in Virginia in 2013, and it will be the first opportunity to see the new book about the illustrations by Poe Museum curator Christopher P. Semtner. Cash bar sponsored by Richmond’s Triple Crossing Brewery. Tickets to the Halloween night event are $20 per person ($5 for children under 12) and can be purchased at the museum or through the Poe Museum Online Store by clicking here.
The Author’s Appetite follows on Saturday, November 1 from 6:00pm-10:00pm and will provide an unforgettable evening for wine and literary lovers alike. Highlighting Vincent Price’s love of Richmond and its cuisine this culinary adventure will be the first opportunity to sample the Vincent Price Signature Wine Collection with labels by artists Abigail Larson and Gris Grimly. Complimenting this unique wine experience will be hors d’oeuvre by Chef Ken Wall of the Dining Room at the Berkeley Hotel along with desserts by pastry chef Cornelia Moriconi of Can Can Brasserie, both of which are inspired by recipes from Vincent Price’s now renowned cookbook, A Treasury of Great Recipes. Throughout the event, Victoria Price will share memories of her famous father and sign copies of her recent memoir Vincent Price: A Daughter’s Biography. Guests will also be treated to the exotic live music of Richmond favorites, the Tim Harding Quartet, as well as a silent auction, private talk with the curator of the Poe Museum’s new exhibition The Raven Room, and performances of Poe’s works by historical interpreter Anne Williams. Tickets are $50 per person and can be purchased at the museum or at through the Poe Museum online store by clicking here.
Additional programs highlighting Vincent Price at the Poe Museum Weekend include a guided walking tour at 10:00am on Saturday, November 1, featuring the graves of Edgar Allan Poe’s many friends and relatives buried at Shockoe Hill Cemetery, which is located at 4th and Hospital Streets in Richmond. There will also be a guided walking tour of Poe sites in Historic Shockoe Bottom at 2:00pm on Sunday, November 2. Please meet at the Poe Museum. Make Richmond a destination over Halloween Weekend at Richmond’s historic Linden Row Inn, which has partnered with the Poe Museum to create a fabulous weekend package including two nights’ accommodations and tickets to all of the weekend’s events. Visit www.lindenrowinn.com or click here for details about this special offer. If you would like a combined admission rate for the events without the hotel room, click here.
About Vincent Price:
Actor, writer, and gourmet, Vincent Leonard Price, Jr. was born in St Louis, Missouri. He traveled through Europe, studied at Yale and became an actor. He made his screen debut in 1938, and after many minor roles, he began to perform in low-budget horror movies such as House of Wax (1953), achieving his first major success with the House of Usher (1960). Known for his distinctive, low-pitched, creaky, atmospheric voice and his quizzical, mock-serious facial expressions, he went on to star in a series of acclaimed Gothic horror movies, such as Pit and the Pendulum (1961) and The Abominable Dr. Phibes (1971). He abandoned films in the mid-1970s, going on to present cooking programs for television and writing “A Treasury of Great Recipes” (1965) with his second wife, Mary Grant. He also recorded many Gothic horror short stories for the spoken-word label Caedmon Records. Vincent Price died at age 82 of lung cancer and emphysema on October 25, 1993. (Source: IMDB MINI BIOGRAPHY BY LESTER A. DINERSTEIN)
About Edgar Allan Poe:
Edgar Allan Poe is the internationally influential author of such tales of “The Raven,” “The Tell-Tale Heart,” and “The Black Cat.” He is credited with inventing the mystery genre as well as with pioneering both the modern horror story and science fiction. Poe died under mysterious circumstances at the age of forty. Although much of his life is known through contemporary documents, some areas of his life remain shrouded in mystery.
About Victoria Price:
Following in her father’s footsteps, Victoria has become a popular public speaker on topics ranging from the life of her famous father Vincent Price to interior/industrial design, as well as topics in the realm of the visual arts such as the role of the art collector in society and learning how to see. In 2012, she was delighted to be invited to be a TedX speaker at TedX Acequia Madre. Over the past fifteen years, Victoria has spoken around the world to audiences who have enjoyed her ease and erudition in sharing her enthusiasm for a joy-filled life in the arts. The 2014 edition of her book Vincent Price: A Daughter’s Biography was released in August 2014.
About the Edgar Allan Poe Museum:
Opened in 1922, the Edgar Allan Poe Museum in Richmond hosts the world’s finest collection of Poe artifacts and memorabilia. The five-building complex features permanent exhibits of Poe’s manuscripts, personal items, and a lock of the author’s hair. The Poe Museum’s mission is to interpret the life and influence of Edgar Allan Poe for the education and enjoyment of a global audience. Poe is America’s first internationally influential author, the inventor of the detective story, and the forerunner of science fiction; but he primarily considered himself a poet. His poems “The Raven”, “Annabel Lee”, and “The Bells” are considered classics of world literature. The Edgar Allan Poe Museum was recently recognized by TIME Magazine as Virginia’s “Most Authentic American Experience,” by Publishers Weekly as one of the “2013 Top Ten Literary Landmarks of the South,” and the “2013 Top Ten Things To Do in Richmond” on the Huffington Post.
On September 11, 2014 from 6:30-9:00P.M., the Edgar Allan Poe Museum in Richmond, Virginia will host a talk and signing by artist/author James O’Barr, creator of the comic book series The Crow. O’Barr will speak about influence and inspiration Poe’s works provided for his own. After the talk, O’Barr will introduce a screening of the 1994 film The Crow starring Brandon Lee.
Admission to the event is $5. Proceeds benefit the Poe Museum’s educational programs.
Now one of the most valuable books in American literature, this humble volume could have easily ended up in a trash heap or floating down the Hudson River along with several other copies. Ben Hardin, Jr. (1784-1852), the first owner of this first edition of Poe’s third book Poems, scrawled abusive language on the end pages. Ben Hardin, Jr. was a Kentucky lawyer who had likely received the book from his son John Pendleton Hardin (1810-1842, Class of 1832, resigned 1832), one of Poe’s fellow cadets at the United States Military Academy at West Point. John Hardin would have been one of the 131 out of the 232 cadets who contributed $1.25 toward the work’s publication in April 1831. Fewer than 1,000 copies were printed, and, judging by the cadets’ response to the book, it is not surprising that only about twenty survive. (Some of those cadets are said to have thrown their copies into the river in disgust.)
Dedication Page of Poems
One of the cadets, Allan B. Magruder, later recalled, “[The book] was a miserable production mechanically, bound in green boards and printed on inferior paper, evidently gotten up on the cheapest scale. The subscription was not fully paid until the book was delivered, and I remember a general expression of indignation at the inferior quality and condition of the book.”
Another cadet, Thomas W. Gibson, added, “The book was received with a general expression of disgust. It was a puny volume, of about fifty pages, bound in boards and badly printed on coarse paper, and worse than all, it contained not one of the squibs and satires upon which his reputation at the Academy had been built up.”
Ben Hardin, Jr., the owner of the Poe Museum’s copy, wrote on the front page, “This book is a damn cheat. All that fills 124 pages could have been compiled in 36.” Beneath this, someone wrote “lie.” Below that is written, “Calliope [the Greek muse of epic poetry] is a cheat/ any how–.”
What little critical notice the book attracted was not overwhelmingly favorable, either. In the May 7, 1831 issue of the New-York Mirror, the reviewer (probably George P. Morris), complains that Poe’s poetry is incomprehensible:
The poetry of this little volume has a plausible air of imagination, inconsistent with the general indefinitiveness of the ideas. Every think in the language betokens poetic inspiration, but it rather resembles the leaves of the sybil when scattered by the wind. The annexed lines, which close a short poem, entitled the “Doomed City,” are less incomprehensible than most in the book, although the meaning is by no means perfectly clear…It sometimes happens that poetry, at first sight unintelligible, is discovered, upon a repeated and more careful examination, to be fraught with the treasure of thought and fancy. The “Rime of the Ancient Mariner” belongs to this class; but we cannot flatter Mr. Poe with any similar hopes respecting his own composition, although it occasionally sparkles with a true poetic expression, and sometimes a conflict of ¬beauty and nonsense takes place, in which the latter seems to have the best of it. It is indeed encumbered by numerous obscurities, which we should be pleased to see either very much brightened or entirely expunged. What is the meaning of this?
In anticipation that the meaning of his poetry would confound some critics, Poe wrote in the volume’s introduction,
Poetry, above all things, is a beautiful painting whose tints, to minute inspection, are confusion worse confounded, but start boldly out to the cursory glance of the connoisseur…A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having for its object an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with indefinite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music without the idea is simply music; the idea without the music is prose from its very definitiveness.
By the time Poems was released in April 1831, Poe was living in New York after having been expelled from West Point in February. Even though Poe was no longer at the academy, he remained the subject of the cadets’ scorn and ridicule for some time after his departure. As Gibson recalled, “For months afterward quotations from Poe formed the standing material for jests in the corps, and his reputation for genius went down at once to zero. I doubt if even the ‘Raven’ of his after-years ever entirely effaced from the minds of his class the impression received from that volume.”
After the commercial failure of Poems, Poe still considered himself primarily a poet and continued to write poetry, but he would not publish another volume of his poetry for fourteen years when he issued The Raven and Other Poems in 1845.
Listing from Chamberlain Catalog
The Poe Museum’s copy of Poems eventually entered the collection of scientist Jacob Chester Chamberlain (1860-1905) who worked in Thomas Edison’s laboratory during the early 1880s and contributed to Edison’s pioneering work with electric lighting. The book was #706 in the auction of Chamberlain’s collection on February 16, 1909 at the Anderson Auction Company in New York when the formerly $1.25 book sold for $315. The piece next entered the library of book collector Walter Thomas Wallace of South Orange, New Jersey. He sold his collection at auction on March 22-24, 1920 at the American Art Galleries in New York. This time, the book sold for only $140. The next owner was the California psychologist John Wooster Robertson, whose special interest in Poe led him to compile a bibliography of Poe first printings and to write the book Edgar A. Poe: A Psychopathic Study. Robertson donated Poems, along with the rest of his large collection of Poe first editions, to the Poe Museum in 1927.
Listing from Wallace Catalog
Although some readers in the author’s time could not appreciate it, Poems is now considered one of Poe’s most important collections. Among the soon-to-be classic poems first printed in this volume are early versions of Poe’s classics “To Helen,” “Lenore” (under its original title “A Paean”) and “Israfel.” Poe’s biographer Arthur Hobson Quinn summed up the significance of the book as follows:
If the volume of 1829 [Al Aaraaf, Tamerlane, and Minor Poems] contained poetry unlike any that had as yet appeared in the United States, the volume of 1831 gave us in “To Helen,” “Israfel,” “The Doomed City,” “The Valley Nis” and “Irene,” poetry of a kind that had not yet been written in the English language.
The Poe Museum is fortunate Ben Hardin, Jr. decided not to discard his copy of Poems. Thanks to collectors like Robertson, Wallace, and Chamberlain, the book has been preserved for future generations to study and enjoy. That is why this first edition of Poems is the Poe Museum’s Object of the Month.
Walter Wallace Bookplate in Poems
During “Vincent Price at the Poe Museum,” legendary horror actor Vincent Price and iconic author Edgar Allan Poe reunite this Halloween Weekend (October 31-November 1, 2014) at the Edgar Allan Poe Museum in Richmond, Virginia.
The weekend kicks off Halloween night, October 31, from 6-10 P.M. with Poe Goes to the Movies
, a costume contest and film screening hosted by Vincent Price’s daughter, Victoria Price
. Ms. Price and a panel of special guests will help judge the costume contest and Poe Look-Alike Contest. Then Victoria Price will introduce the movie Tales of Terror starring Vincent Price, Peter Lorre, and Basil Rathbone. The evening will also include the opening of the Poe Museum’s newest gallery, The Raven Room, featuring James Carling’s original ca.1882 illustrations for Poe’s poem “The Raven.” Poe Goes to the Movies will be a fun, frightening evening with games, tricks, and treats for the whole family. Admission for the evening is $20, and proceeds benefit the Edgar Allan Poe Museum’s education programming.
The following evening, November 1 from 6-10 P.M., the Poe Museum will host The Author’s Appetite, featuring the new Vincent Price Signature Collection wines in addition to Vincent Price’s foods prepared from recipes in his own cookbook. Victoria Price will share some her memories of her famous father. The evening will also feature performances of Poe’s works by Anne Williams, a book signing by Victoria Price, curator talks in the new Raven Room. Admission for the evening is $50 and will benefit the Edgar Allan Poe Museum’s educational programming.
For more information, contact the Poe Museum at 804-648-5523.
Edgar Allan Poe lived at the perfect time in history to be able to observe and to write about many of the most dramatic technological changes that had taken place in world history. Scientist Sir Alfred Russell Wallace called the nineteenth century “The Wonderful Century” because of its “marvelous inventions and discoveries,” which he regarded as immensely superior to anything which had been developed up until that time by “our comparatively ignorant forefathers”(1). Suddenly, within the span of a few decades, the introduction of new Industrial Age technologies such as electricity, telegraphic communications, cross-country railroads, photography, astronomy, and high- speed printing presses dramatically altered the culture and lifestyle of the American public in ways in which few people who lived at the time could ever have expected. In 1903, Sir Norman Lockyer, the then President of the British Association echoed Wallace’s remarks, stating that, “The nineteenth century will ever be known as the one which the influence of science was first fully realized in western countries; the scientific progress was so gigantic that it seems rash to predict that any of its successors can be more important in the life of a nation” (Nature). By the time that Poe started writing professionally (in the early 1830s), the literacy rate was higher than it had previously ever been in America, and the average person could read and understand most articles written in the newspaper. A person could travel to distant parts of the country by rail, and communicate almost instantly via the telegraph to almost anyone in the United States. Through the development of the daguerreotype (an early prototype of photography), people could obtain realistic and long lasting images of their family members to remember for generations. Many of those taken at that time may still be clearly visible today. The introduction of a new class of highly powerful telescopes and microscopes also demonstrated that the Universe of space and the unseen space within objects are much more expansive than anyone had previously imagined.
Peter Swirski argues that it is essential for our present understanding of nineteenth century culture to explore popular writers like Edgar Allan Poe because his “writing may be a suitable barometer of the role that science and philosophy had on nineteenth century society. Poe’s science narratives are perhaps most important because he was the first American authors who was able to distill the important information and ideas that were developed by professional scientists and publish them to a national and international audience in the form imaginative poems, non-fiction essays and journalistic stories, fiction, and science fiction stories.
The next entry of the “Poe and Science” blog will discuss how a studying the stories of the non-professional science writer helps us to have a better understanding of nineteenth-century society. Please send comments or questions to [email protected] or [email protected]
Lockyer, Sir Norman. “Inaugural Address as President of the British Association.” Nature. 10 September 1903: 439.
Swirski, Peter. Between Literature and Science: Poe, Lem, and Explorations in Aesthetics, Cognitive Science, and Literary Knowledge. Montreal: McGill-Queens University Press, 2000.
Wallace, Alfred Russell. The Wonderful Century: Its Successes and Failures. Toronto: George N. Morang, 1898 (digital reproduction).
Last Sunday, the Poe Museum was proud to host a talk by award-winning authors Mary SanGiovanni and Brian Keene. Guests came from as far away as Pennsylvania and Illinois to meet the authors and hear their insights into the continuing relevance of Poe’s fiction.
Since the Poe Museum’s mission is to “interpret the life and influence of Edgar Allan Poe for the education and enjoyment” of the public, Keene and SanGiovanni helped support this mission by speaking about Poe’s influence on today’s writers. SanGiovanni began by discussing the impact of Poe’s short story “The Masque of the Red Death” on horror fiction. She provided a fascinating overview of the themes and imagery of the story and drew parallels between these and the recurrent themes found in modern psychological horror and cosmic horror.
After SanGiovanni’s talk, Keene spoke about Poe’s novel The Narrative of Arthur Gordon Pym, its inspiration for his own writing, and its influence on later writers. He traced the influence of this novel on Herman Melville, Jules Verne (who wrote a sequel to it), and H.P. Lovecraft (whose novel At the Mountains of Madness borrows from it). Keene continued by describing how At the Mountains of Madness helped inspire John W. Campbell’s novel Who Goes There which has been adapted into three films, the second of which is John Carpenter’s 1982 movie The Thing, which Keene considers the most important horror film of the 1980s. The Thing topped Boston Globe’s list of the Fifty Scariest Movies of All Time and was ranked #2 on Moving Arts Film Journal’s list of the Twenty-Five Greatest Horror Films. The film, in turn, was a great inspiration to Keene himself.
The talks were followed by a question-and-answer period in which the authors discussed their own work as well as the international significance of Poe’s literary contributions. A sizeable crowd gathered afterwards to have the authors sign copies of their books. Keene and SanGiovanni also donated some copies of their books to the museum’s gift shop to help support the museum’s educational mission. The Poe Museum would like to thank SanGiovanni and Keene for sharing their insights with our audience.
Our next author talk will take place on October 15 at 6 P.M. when the Virginia Literary Festival Presents: An Evening with Clay McLeod Chapman. Click here for a complete list of upcoming events.
Clay McLeod Chapman, our October speaker
The 2014 World Horror Grand Master is coming to Richmond. On Sunday, July 27 from 2-5 P.M., the Poe Museum in Richmond, Virginia is pleased to announce it will be hosting a talk by authors Brian Keene and Mary SanGiovanni. The authors will discuss how Poe has influenced the modern horror genre. Don’t miss this opportunities to learn how Poe inspired two of today’s best horror writers. Admission is included with Poe Museum general admission.
About the authors:
Brian Keene writes novels, comic books, short fiction, and occasional journalism for money. He is the author of over forty books, mostly in the horror, crime, and dark fantasy genres. His 2003 novel, The Rising, is often credited (along with Robert Kirkman’s The Walking Dead comic and Danny Boyle’s 28 Days Later film) with inspiring pop culture’s current interest in zombies. Keene’s novels have been translated into German, Spanish, Polish, Italian, French, Taiwanese, and many more. In addition to his own original work, Keene has written for media properties such as Doctor Who, Hellboy, Masters of the Universe, and Superman.
Several of Keene’s novels have been developed for film, including Ghoul, The Ties That Bind, and Fast Zombies Suck. Several more are in-development or under option. Keene also serves as Executive Producer for the independent film studio Drunken Tentacle Productions.
Keene also oversees Maelstrom, his own small press publishing imprint specializing in collectible limited editions, via Thunderstorm Books.
Keene’s work has been praised in such diverse places as The New York Times, The History Channel, The Howard Stern Show, CNN.com, Publisher’s Weekly, Media Bistro, Fangoria Magazine, and Rue Morgue Magazine. He has won numerous awards and honors, including the 2014 World Horror Grand Master Award, two Bram Stoker Awards, and a recognition from Whiteman A.F.B. (home of the B-2 Stealth Bomber) for his outreach to U.S. troops serving both overseas and abroad. A prolific public speaker, Keene has delivered talks at conventions, college campuses, theaters, and inside Central Intelligence Agency headquarters in Langley, VA. The father of two sons, Keene lives in rural Pennsylvania.
Mary SanGiovanni is the author of the novels THE HOLLOWER (nominated for the Bram Stoker Award), FOUND YOU, THE TRIUMVIRATE, THRALL, and CHAOS, and the novellas FOR EMMY, POSSESSING AMY, and THE FADING PLACE, as well as numerous short stories. Her fiction has appeared in periodicals and anthologies for the last decade. She has a Masters degree in Writing Popular Fiction from Seton Hill University, Pittsburgh, where she studied under Gary Braunbeck, Tom Monteleone, Mike Arnzen, and others. She is currently a member of The Authors Guild, The International Thriller Writers, and Penn Writers, and was previously an Active member in the Horror Writers Association.