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.
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.
It all began with a high school yearbook. Believe it or not, the Edgar Allan Poe Museum’s world renowned collection of Poe artifacts and memorabilia began in 1921 with the donation of a 1917 Collegiate School yearbook containing a parody of “The Raven.” Since then, thousands more items have entered the collection. Within a decade of opening, the Poe Museum outgrew its first building and expanded to occupy a complex of four buildings of Poeana surrounding a garden constructed from even more Poe memorabilia—the salvaged materials from buildings in which Poe lived and worked from Richmond to New York. With a mission to “interpret the life and influence of Edgar Allan Poe for the education and enjoyment of a global audience,” the Poe Museum has amassed a diverse collection that tells the story of Poe’s life, documents his literary contributions, and showcases the ways his legacy continues to inspire today’s culture. This means the Poe Museum is charged with preserving and sharing thousands of objects including Poe’s possessions, first editions, manuscripts, and pop culture ephemera like movie posters and comic books.
How did the Poe Museum get such a great collection? James H. Whitty became the Museum’s first donor when he presented that yearbook in 1921, the year before the Museum opened. He went on to donate scores of Poe illustrations, documents, portraits, and objects including a lock of Poe’s hair. Since then, hundreds of generous donors have contributed everything from Poe’s tiny nail file (a gift of Kenneth Bengel in 1964) to Poe’s vest (a gift of Mrs. Antoinette Suiter in 1997). Even those who did not have artifacts to donate helped build the collection by making financial contributions of all sizes. In 1930, for instance, twenty benefactors gave towards the fund that allowed the Poe Museum to purchase the Cornwell Daguerreotype that is now prominently displayed in the Memorial Building. Similar initiatives allowed the Poe Museum to purchase Poe’s letter to Samuel Kettell in 2005 and George Julian Zolnay’s bronze bust of Poe in 2010. Other benefactors have contributed to the Poe Museum’s historic collections preservation fund or supported its annual fund drive. The Poe Museum’s outstanding collection would not have been possible without all these gifts. If you would like to join the Museum in collecting, preserving, and exhibiting the life and work of Edgar Allan Poe, just click here or contact us at [email protected]
Below are a few of the excellent items donated to the Poe Museum in 2014.
The James A. Michener Museum donated the plaster model for Charles Rudy’s 1956 statue of Poe, the first full-length statue of Poe in Virginia. The same size as the finished bronze that now adorns Capitol Square, this model is now on display in the Elizabeth Arnold Poe Memorial Building.
Gregory Lorris donated twelve pages from the 1811 edition of Institutes of Natural Philosophy, Theoretical and Practical by William Enfield . .. . And the addition of an Appendix to the Astronomical Part by Samuel Webber, a text book Poe might have used while a student at the United States Military Academy at West Point. Though we have not been able to authenticate the writing, each page bears Poe’s signature. These pages of diagrams deal with such sciences as optics and astronomy, and they give us a good idea of the material Poe studied at West Point. One of the twelve pages is now on display in the Model Building.
After hearing that we needed to borrow the book Mesmerism in Articulo Mortis for an exhibit, Susan Jaffe Tane donated a copy of the pamphlet to the Museum. Tane had already made several generous loans from her collection for the Poe Museum’s exhibits.
Sculptor Zane Wylie donated an unusual casting of a skull (above) with the verses of “The Raven” carved into it while painter Anelecia Hannah donated a painting (below) of the bust of Poe in the Museum’s garden.
Judy Rash donated a copy of the beautiful 1884 edition of “The Raven” featuring illustrations by Gustave Dore.
An anonymous donor sent a copy of the edition of Poe’s Works edited by his literary executor Rufus Griswold.
The Garden Club of Virginia provided several new plants for the Enchanted Garden in addition to the research, design, and planting that have already gone into the restoration of the site.
This year Stephen Montgomery and James Vacca loaned the Museum items for exhibits.
As the Poe Museum’s collection continues to grow, we would like to thank all those who helped build that collection. You can click here to see selections from the collection, or you can click here to learn about our Object of the Month.
November is the time for Thanksgiving, football, and Black Friday shopping. With the Christmas shopping season now underway, visitors to the Poe Museum often ask what kinds of gifts Poe gave his own family and friends. The answer is November’s Object of the Month, Poe’s gift to Louisa Anna Lynch—a copy of The New Year’s Gift and Juvenile Souvenir for 1836.
In Poe’s day, Christmas was regaining popularity in the United States thanks to the influx of European immigrants bringing with them their winter holiday customs. Many of the customs Americans now associate with the holiday were introduced at this time. Among these are Christmas trees, poinsettias, mistletoe, Christmas cards, and the popular poem “A Visit from St. Nicholas,” which begins “T’was the night before Christmas…” You can read more about Christmas in Poe’s time here.
Gift giving was also fashionable, but, unlike today’s elaborate displays, presents in Poe’s time often consisted of small items like gloves or candy. Another popular present was the gift book. In the 1830s, American publishers started issuing these deluxe gift books each year around Christmas. Poe contributed to several installments (1836, 1840, 1842, 1843, 1845) of the most popular of these, The Gift: A Christmas and New Year’s Present. None of these stories, which include “The Pit and the Pendulum,” “William Wilson,” and “The Purloined Letter,” had a Christmas theme. His stories also appeared in The Baltimore Book: A Christmas and New Year’s Present in 1838, The Opal in 1844 and 1845, The Missionary Memorial in 1846, and the May Flower in 1846. The Irving Offering and the American Keepsake published his works immediately after his death.
Poe did not contribute a story to The New Year’s Gift and Juvenile Souvenir for 1836, a collection of children’s stories. On the first page of the Poe Museum’s copy, he inscribed the present in his tiny handwriting, “To Miss Louisa Ann Lynch with the compliments of her sincere friend Edgar A. Poe.” The recipient of the present was a young girl named Louisa Ann Lynch (1825-1891). Her father, Peyton Lynch (1787-1832) died when she was just seven years old, and she grew up with her mother and three brothers in Petersburg, Virginia. She would have been about ten years old when this book was published.
Like most gift books of its kind, The New Year’s Gift and Juvenile Souvenir was likely published in the fall of 1835 for the 1836 New Year. Poe could have given it to Lynch if she and her family visited Richmond in late 1835 or as late as early 1837, when Poe left Richmond for New York. He could have also given the book to Miss Lynch in Petersburg, which is about thirty miles south of Richmond. The donor recalled Poe presenting it during a visit to Petersburg, which could have been during his honeymoon in May 1836 (a little late for a Christmas present). He must certainly have given her the piece before July 23, 1844, when she married the commission merchant James C. Deaton in Petersburg, because Poe would have written her married name instead of her maiden name.
In addition to the inscription on the first page, Poe also wrote in pencil on page 67, “To L.A. Lynch.” The reason for the second inscription is unknown, but it is tempting to speculate it might have something to do with the story on that page “Days at My Grandfather’s,” which references Ralph the Raven, but Poe did not publish his own poem “The Raven” until 1845.
By the early 1850s, Mr. and Mrs. Deaton had moved to Richmond, where they settled in a brick house at the northeast corner of 1st and Cary Streets (pictured below). On January 6, 1854, the funeral of the Deaton’s son Walter was held in this house. (Daily Dispatch, January 7, 1854) Another son, James C. Deaton, Jr., became a prominent Richmond physician. Louisa Ann Deaton passed away on July 23, 1891 at the age of sixty-six.
Her descendant, Mary Elizabeth Morton, who inherited the book, gave both it and Deaton’s album, filled with poems written for her by her friends, to the Poe Museum in 1979. This month, the gift Poe gave his friend is on display in the Poe Museum’s Model Building as a reminder of Poe’s generosity and his fondness for inspiring young readers. Maybe this Christmas you will be inspired by Poe’s example to give someone special the gift of a good book.
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.
Do you love a good book? Do you want to help a new generation of readers share your love of literature? Here’s something you can do about it:
For the next day and a half the Poe Museum will be competing in the Amazing Raise, a 36-hour challenge in which Central Virginia non-profits try to see how many donations they can collect between 6 A.M. on September 17 and 6 P.M. on September 18. And you can help. Your donation of $50 or more helps the Poe Museum compete for thousands of dollars in bonus prizes, so even a small gift can make a big difference.
Why support the Poe Museum? Your donation will help the Poe Museum foster a love or reading and writing in future generations. For over ninety years the Poe Museum has been an invaluable resource to teachers and students around the globe. Through our educational programs, website, and educator information packets, we support teachers in their efforts to both educate and inspire their students.
What will we do with your gift? Fifty dollars pays for enough tour guides to give a guided tour for one hundred students. One hundred dollars buys the latest books for our ever expanding reference library. Five hundred dollars pays for plaster repair for one of our exhibit galleries. One thousand dollars helps conserve a small painting. Five thousand dollars buys a new heat pump for one of our buildings. Eight thousand dollars pays the expenses associated with our annual Edgar Allan Poe Young Writers’ Conference.
If you believe in the work the Poe Museum is doing, please consider making a donation today using this form. If you are reaching this page after the competition has ended, you can still contribute to the Poe Museum here.
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.