April is National Poetry Month and the perfect time to celebrate all the poetry in the world around us. Whether we read it in a book or listen to it on the radio, we enjoy poetry in countless forms. In Edgar Allan Poe’s time, when poetry was far more popular than it is today, people experienced poetry in a number of different ways. Much like today, poets gave public readings for their work or published it in books or magazines. Poe and his contemporaries also wrote their poems in ladies’ albums.
Ladies’ albums were popular gifts for girls throughout much of the nineteenth century. The owner would send her album to her friends and relatives who would fill them with poetry and drawings in much the same way today’s high school students sign each other’s yearbooks. In the nineteenth century, however, people put a lot more effort into signing their friends’ albums. Here are three good examples from the collection of the Edgar Allan Poe Museum.
The first belonged to Lucy Dorothea Henry (1822-1898), the granddaughter of Revolutionary War orator Patrick Henry. In spite of living on a rural Virginia plantation, she befriended some of the leading authors of her day by writing them to request their autographs for her collection. In the process, she befriended New York editor and autograph collector John Keese who gave her this album.
This is Keese’s inscription.
This page contains a poem by American poet Charles Fenno Hoffman.
Here is poem by Elizabeth Oakes Smith that shows off the poet’s beautiful handwriting.
Henry’s daughters donated both her autograph collection and her album to the Poe Museum in 1928.
The next album belonged to Louisa Anna Lynch (1825-1891), who grew up in Petersburg, Virginia. When she was a girl, Edgar Allan Poe gave her a copy of a book and autographed it for her. Read all about it here. When her descendants donated that book to the Poe Museum, they also donated her autograph album, which is full of poems dating to the early 1840s.
Somebody wrote these unsigned captions for the book’s few illustrations. The captions are quotes from various books and periodicals.
The anonymous writer of this Shakespeare quote has given Louisa the nickname Annie.
One suitor thought he could impress Louisa by writing this essay on friendship in her album.
Here are the closing lines of a poem signed “CMF” and the opening verses of a poem signed “Amicus.”
The third album belonged to Amelia Poe, the twin sister of Neilson Poe, the husband of Josephine Emily Clemm Poe Poe, half-sister of Edgar Poe’s wife Virginia Clemm Poe, who was also Edgar’s first cousin. (If that is confusing, you can read about the Poe family genealogy here.) This album is a treasure trove of poetry, artworks, and pressed flowers.
The person who wrote this poem also decorated the page with drawings.
Here is another elaborate decoration.
When writing in a lady’s album, one could either compose an original poem or quote an appropriate poem by a popular author. In the sample below, someone has quoted a couple verses of Scottish poet Thomas Campbell’s 1799 poem “The Pleasure of Hope” and signed it with a dotted line. If you look very closely, someone wrote some initials in pencil on that dotted line. They appear to be “EAP.”
In either 1829 or 1832-1836, Edgar Allan Poe wrote the first stanza of his poem “To Helen” in the album. Today this is thought to be the only surviving copy of that poem in Poe’s handwriting.
Amelia Poe’s granddaughter donated this album and other Poe family items to the Poe Museum in 1930.
This has been only a small sample of the many poems written throughout each of these albums. At a time when writing in cursive is a dying art and when writing poetry in albums has long-since gone out of fashion, we can read through the poetry in the Poe Museum’s albums to get a sense of the role poetry played in people’s daily lives back in Poe’s time.
On February 11 from 7-9 p.m. at the Patrick Henry Pub and Grille in Richmond, the Poe Museum will team up with James River Writers to bring back the grand tradition of the salon, an intimate setting to meet & fraternize with local authors as they in turn guide you in your own writing practice. Whatever your genre, this will be a great way to connect, to learn, and to philosophize. There is no cover charge. We welcome writerly types of all experience levels and readers, thinkers, and artists of every sort. To top it off, the building in which we will be meeting was the home of J.W. Fergusson, Poe’s assistant at the Southern Literary Messenger and one of the few people to attend Poe’s wedding. The theme for the first salon will be “The Secret Heart–Considering the Dark Side of Romance” with speaker Slash Coleman.
Here are the Details:
February Topic: The Secret Heart – Considering the Dark Side of Romance
Speaker: Slash Coleman
Thursday, February 11, 7:00-9:00 p.m.
Patrick Henry Pub & Grille, in the upstairs salon
2300 East Broad Street (free street parking)
About the Speaker:
NPR calls award-winning storyteller Slash Coleman “Extremely provocative and entertaining,” and WGBH says the NYC based author, “has the power to change the way people think.”
The author of The Bohemian Love Diaries, the personal perspectives blogger for Psychology Today, and an advice columnist at howdoidate.com (Ask Uncle Slash), Slash is best known for his PBS Special The Neon Man and Me and is currently creating The New American Storyteller for PBS. Slash’s performances have been featured in American Theatre Magazine, Backstage Magazine, The Washington Post, and most recently on the NPR series How Artists Make Money.
Click here for more information.
Already the world’s largest celebration of author Edgar Allan Poe’s birthday, the Poe Museum of Richmond’s annual Poe Birthday Bash will outdo itself this January 16 from noon to midnight with twelve straight hours counting down Poe’s greatest hits with performance, film, music, readings, exhibits, and more for just $5 per person.
New exhibits opening that day include the interactive “Poe’s Greatest Hits” in which the visitor gets to be part of a Poe story. There will also be a display of original artwork from the new film Extraordinary Tales. Live music includes fan favorites The Embalmers and more great bands. There will be readings and performances throughout the day in addition to neighborhood tours, museum tours, and historical interpreters. We will be joined by James River Writers and Sisters in Crime for readings and the announcement of the winner of the inaugural Poe Inspires Award for flash fiction and poetry at 5:30 p.m. Guests will vote for Poe’s greatest short story, and the winner will be announced at 6 p.m.
There will be crafts and games for the kids, a sad poetry reading contest for all ages, and a midnight champagne toast for the adults. Other highlights of the day include a screening of the film Extraordinary Tales, The Embalmers playing live music to accompany screenings of silent Poe films, a walking tour the neighborhood by Poe’s mother, and readings by members of Sisters in Crime. A cash bar will be provided by Center of the Universe.
Here is the schedule so far:
11:00 a.m. to Dark
Walking Tour with Poe’s Fiancee Elmira Shelton
Begins and ends at Poe Museum and includes a stop at St. John’s Church.
Noon to 1:30 p.m.
With Margot MacDonald
“The Conqueror Worm”
Performed by Dean Knight
Walking Tour of Shockoe Bottom with Poe’s Mother
Begins and ends at Poe Museum with a stop at the oldest continuously used Masonic Lodge in the country.
Sisters in Crime
Talk and Book Signing
Talk by the Poe Museum’s curator
Birthday Cake Served
See some little known oddities and rarities from the collection taken out of the vault just for this event!
Sad Poetry Reading Contest, Reading Activities
“Poe Inspired” Contest Presentation with Poe Museum and James River Writers
Poe’s Greatest Hit Countdown Announcement
6:30 p.m. Walking Tour
Poe’s Last Night in Richmond
Retrace Poe’s path during his final night in Richmond, just over a week before his death.
6:30 p.m. to 8:00 p.m.
With Ocean Versus Daughter
7:00 p.m. Museum Tour
“Berenice” Reading by Dean Knight
“The Raven” Reading by Michael Fawcett
8:00 p.m. – 9:15 p.m.
9:30 p.m. Museum Tour
10:00 p.m. to 11:30 p.m.
Live Music by Embalmers and Silent Films
Champagne Toast in the Poe Shrine
Join us on Wednesday, October 7 at 6:00 PM at the Edgar Allan Poe Museum in Richmond as we mark the 166th anniversary of Edgar Allan Poe’s death and honor his legacy.
Be Among the First to Get a Copy
As a fitting tribute to Poe’s genius and his continued influence on contemporary literature, authors J. Madison Davis, Nancy Kilpatrick, and Caro Soles will be here to read from and sign copies of nEvermore! Tales of Murder, Mystery, and the Macabre—an anthology of 21 original stories inspired by Poe’s works.
Deliver a Poe Eulogy
In addition to the reading, we’ll also give Poe mourners an opportunity to say a few words about the dearly departed with our Open Mic Eulogies. In this open forum, we invite everyone to share their thoughts and memories of Poe with all of us. Whether you have a favorite story or poem of his that particularly moved you or his work has inspired you in some way, we welcome your responses!
Solve the Mystery of Poe’s Death
Poe’s death in Baltimore at the age of 40 remains something of a mystery. There are at least 27 different theories as to the cause of death…care to submit your own theory? We’ll have “Death Clues” scattered around the museum—these excerpts from primary documents detail the circumstances surrounding Poe’s last days. Read the clues and form your own theory about what happened all those years ago. A small prize will be awarded to the most original theory.
Experience New Exhibits
As always, the museum’s exhibits will be open. The Edgar Allan Poe Museum boasts the world’s largest collection of Poe memorabilia and artifacts. Last week saw the installation of a new exhibit, “The Poe Code,” all about Poe and cryptograms, which will be displayed until November 29. The special exhibit “Buried Alive: Poe’s Tales of Premature Burial” will remain on view only until October 18. Don’t miss them!
This event is free of charge. For more information, call 804-648-5523.
Praise for nEvermore!
from Publishers Weekly:
“Poe accomplished what only the greatest writers are capable of achieving: the creation of a world. His was a world of twisty tales and dark comeuppances, his people haunted by the past and love denied. And this is what you’ll also find in nEvermore!: Tales of Murder, Mystery and the Macabre, a world of its own authored by a talented crew who have fallen under Poe’s spell and brought chilling and distinctive documents back with them. Pleasures abound.” — Andrew Pyper, author of The Damned and The Demonologist.
“The stories in nEvermore! truly capture the macabre, mysterious essence of Poe. It’s a wonderful read for all Poe fans.” — Susan Jaffe Tane, Curator, The Persistence of Poe, the finest collection of Poe-related material in private hands
“I was genuinely delighted by the originality of Kilpatrick and Soles’ nEvermore….It was with great relief that I found the presence of Poe looming large in this anthology. Most importantly, the authors truly honor his spirit.” — Elaine Pascale (The Horror Review)
“Probably the most formally ambitious story in the collection is “Afterlife,” a collaboration between William F. Nolan, Jason V. Brock and Sunni Brock, which synthesizes aspects of Poe’s legend and biography with his late cosmogonic poem Eureka, putting the results under a kind of amnesiac erasure.” – Postscripts to Darkness
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.