Just this morning I was asked how Poe would feel about the exaggerated image of himself in today’s popular culture. After all, the Poe Myth most people “know” bears only a passing resemblance to the hard-working, innovative author who changed the face of literature almost two centuries ago. Would he be offended that some of the less reputable text books and biographies portray him as a madman or that his ghost was a character on the cartoon Southpark?
The Poe Museum’s Object of the Month might help shed some light on Poe’s own relationship with the mythmaking that continues to grow up around him. This month’s Object of the Month is Poe’s Autobiographical Memo.
The memo is only the lower half of a letter. The upper portion, now housed in the Boston Public Library, is addressed to the editor and anthologist Rufus W. Griswold (1815-1857) and dates to May 29, 1841. The half of the address on the back of the Boston letter matches perfectly with the half on the back of the Poe Museum’s fragment (below), confirming that they were once a single sheet. In the Boston half of the letter, Poe writes that he is sending a selection of his best poems, among which is “The Haunted Palace.” Griswold, the recipient, is preparing an important new anthology to highlight the best American poetry, so Poe has included not only some examples of his poetry for the collection but also this memo. Poe writes, “As I understood you to say chat you meant to preface each set of poems by some biographical notice, I have ventured to send you the above memo — the particulars of which (in a case where an author is so little known as myself) might not be easily obtained elsewhere.”
Verso of Memo
The Poe Museum’s half of the letter reads:
Memo. Born January 1811. Family one of the oldest and most respectable in Baltimore. Gen. David Poe, my paternal grandfather, was a quarter-master general, in the Maryland line, during the revolution, and the intimate friend of Lafayette, who, during his visit to the U.S., called personally upon the Gen’s widow, and tendered her in warmest acknowledgements for the services rendered him by her husband. His father, John Poe married, in England, Jane, a daughter of Admiral James McBride, noted in British naval history, and claiming kindred with many of the most illustrious houses of Great Britain. My father and mother died within a few weeks of each other of consumption, leaving me an orphan at 2 years of age. Mr. John Allan, a very wealthy gentleman of Richmond Va, took a fancy to me, and persuaded my grandfather Gen Poe to suffer him to adopt me. Was brought up in Mr. A’s family, and regarded always as his son and heir—he having no other children. In 1816 went with Mr. A’s family to G. Britain—visited every portion of it—went to school for 5 years to the Rev. Doctor Bransby, at Stoke Newington, then 4 miles from London. Returned to America in 1822. In 1825 went to Jefferson University at Charlottesville, Va, where for 3 years I led a very dissipated life—the college in that period being shamefully dissolute—D’Dunglison of Philadelphia; President. Took the first honors, however, and came home greatly in debt. Mr. A refused to pay some of the debts of honor, and I ran away from home without a dollar on a Quixotic expedition to join the Greeks, then struggling for liberty. Failed in reaching Greece, but made my way to St Petersburg, in Russia. Got into many difficulties, but was extricated by the kindness of Mr. H. Middleton, the American consul at St P. Came home safe in 1829, found Mrs. A. dead, and immediately went to West Point as a Cadet. In about 18 months afterwards Mr A. married a second time (a Miss Patterson, a near relative of Gen. Winfield Scott) – he being then 65 years of age. Mrs A and myself quarreled, and he, siding with her, wrote me an angry letter, to which I replied in the same spirit. Soon afterwards he died, having had a son by Mrs A. and, although leaving a vast property, bequeathed me nothing. The army does not suit a poor man—so I left West Point abruptly, and threw myself upon literature as a resource. I became first known to the literary world thus. A Baltimore weekly paper (The Visiter) offered two premiums—one for best prose story, one for best poem. The Committee awarded both to me, and took occasion to insert into the journal a card, signed by themselves, in which I was very highly flattered. The Committee were John P. Kennedy (author of Horse-Shoe Robinson) J.H.B. Latrobe, and Dr. J.H. Miller. Soon after this I was invited by Mr T.W. White proprietor of the South. Lit. Messenger, to edit it. Afterwards wrote for New York Review at the invitation of Dr Hawks and Professor Henry, its proprietors. Lately have written articles continuously for two British journals whose names I am not permitted to mention. In my engagement with Burton, it was not my design to let my name appear—but he tricked me into it.
This memo is evidence of Poe’s own process of mythmaking. He begins the account by saying he was born two years later than he really was. Then he emphasizes that his family was one of the “oldest and most respectable in Baltimore” when his grandfather was an Irish immigrant who had lost most of his money supporting the Patriots during the American Revolution. His boast of staying at the University of Virginia for three years and graduating with “first honors” is also a bit of a stretch. Although he was one of the top French students, he only stayed at the University one term before leaving because he could not afford to pay either his tuition and board or the gambling debts he incurred while trying to pay those expenses.
Poe continues with a fanciful account of a journey to Europe to join the Greek Wars of Independence that ends with Poe being imprisoned in St. Petersburg, Russia. By his account, Poe returned to the United States in 1829. In reality, Poe enlisted in the U.S. Army in 1827 in Boston and was stationed at Fort Independence, Fort Moultrie, and Fort Monroe before hiring a substitute in 1829.
Despite those fabrications, there are some facts in Poe’s account. He really did win a prize for Best Short Story from the Baltimore Visiter, but he was not awarded the prize for poetry. The judges decided that the same person should not be allowed to win both prizes in the contest, so they gave the poetry prize to someone else.
Rufus W. Griswold
The year after Poe sent Griswold this memo, Griswold published the anthology The Poets and Poetry of America, which was a hit and went through numerous editions during the nineteenth century. Over eighty poets were featured in the collection. Griswold included three of Poe’s poems, “Coliseum,” “The Sleeper,” and “The Haunted Palace.” (This was still three years before Poe would publish “The Raven.”) Griswold’s introduction included much of the information Poe had provided him:
THE family of Mr. POE is one of the oldest and most respectable in Baltimore. DAVID POE, his paternal grandfather, was a quartermaster-general in the Maryland line during the Revolution, and the intimate friend of LAFAYETTE, who, during his last visit to the United States, called personally upon the general’s widow, and tendered her his acknowledgments for the services rendered to him by her husband. His great-grandfather, JOHN POE, married, in England, JANE, a daughter of Admiral JAMES McBRIDE, noted in British naval history, and claiming kindred with some of the most illustrious English families. His father and mother died within a few weeks of each other, of consumption, leaving him an orphan, at two years of age. Mr. JOHN ALLAN, a wealthy gentleman of Richmond, Virginia, took a fancy to him, and persuaded General POE, his grandfather, to suffer him to adopt him. He was brought up in Mr. ALLAN’s family; and as that gentleman had no other children, he was regarded as his son and heir. In 1816 he accompanied Mr. and Mrs. ALLAN to Great Britain, visited every portion of it, and afterward passed four or five years in a school kept at Stoke Newington, near London, by the Reverend Doctor BRANSBY. He returned to America in 1822, and in 1825 went to the Jefferson University, at Charlottesville, in Virginia, where he led a very dissipated life, the manners of the college being at that time extremely dissolute. He took the first honours, however, and went home greatly in debt. Mr. ALLAN refused to pay some of his debts of honour, and he hastily quitted the country on a Quixotic expedition to join the Greeks, then struggling for liberty. He did not reach his original destination, however, but made his way to St. Petersburg, in Russia, where he became involved in difficulties, from which he was extricated by Mr. MIDDLETON, the American consul at that place. He returned home in 1829, and immediately afterward entered the military academy at West Point. In about eighteen months from that time, Mr. ALLAN, who had lost his first wife while POE was in Russia, married again. He was sixty-five years of age, and the lady was young; POE quarrelled with her, and the veteran husband, taking the part of his wife, addressed him an angry letter, which was answered in the same spirit. He died soon after, leaving an infant son the heir to his vast property, and bequeathed POE nothing. The army, in the opinion of the young cadet, was not a place for a poor man, so he left West Point abruptly, and determined to maintain himself by authorship. The proprietor of a weekly literary gazette in Baltimore offered two premiums, one for the best prose story, and the other for the best poem. In due time POE sent in two articles, and the examining committee, of whom Mr. KENNEDAY, the author of “Horse-Shoe Robinson,” was one, awarded to him both the premiums, and took occasion to insert in the gazette a card under their signatures, in which he was very highly praised. Soon after this, he became associated with Mr. THOMAS W. WHITE in the conduct of the “Southern Literary Messenger,” and he subsequently wrote for the “New York Review,” and for several foreign periodicals. He is married, and now resides in Philadelphia, where he is connected with a popular monthly magazine.
The book launched Griswold’s career, and he would edit a number of anthologies including the first posthumous collection of Edgar Allan Poe’s complete works.
Poe, however, was not a fan of Griswold’s anthology. He thought too much space had been allotted to minor poets like Griswold’s friend Charles Fenno Hoffman, who had 45 of his poems included. In a November 1842 review in the Boston Miscellany, Poe complained that Griswold was biased in his selections in favor of New England authors, had left out a few important poets, and had included a few poets Poe would “ have treated with contempt.” This was fairly tame for one of Poe’s reviews. After all, he had attained national fame and earned himself the nickname “The Tomahawk Man” for his scathing literary criticisms.
Poe reserved his harshest condemnation of The Poets and Poetry of America for his lectures, beginning with a November 21, 1843 lecture in Philadelphia that would be repeated in other cities. The November 29 issue of the Citizen Soldier recalled of Poe’s lecture, “The subject, ‘American Poetry,’ was handled in a manner, that placed all the pseudo-critics, the Rev. Mr. Rufus Griswold, Esq. among others, to the blush, and showed the audience, how a man born a poet, could describe the true nature and object, [a]s well as the principles of poetry. The sentences of the Lecturer were vigorous, energetic and impassioned, his criticisms scathingly severe in some cases, and des[e]rvedly eulogistic in others.”
After a repeat of this lecture in Wilmington, Delaware, the Delaware State Journal reported that “the book and its author were handled by the critical Lecturer in not the most gentle manner” and that Poe had complained that “an extravagant proportion of space allotted to personal friends — altho’ inferior poets — (as in the case of Mr. Hoffman) — while superior merit has been put off with a single page.”
Poe in 1842
Poe’s lecture was a popular success, but this did not endear him to Griswold, who harbored resentment towards Poe that lasted long after the poet’s death. In fact, Griswold would write an obituary of Poe that was so harsh that he felt the need to publish it anonymously. It begins, “EDGAR ALLAN POE is dead. He died in Baltimore the day before yesterday. This announcement will startle many, but few will be grieved by it. The poet was well known, personally or by reputation, in all this country; he had readers in England, and in several of the states of Continental Europe; but he had few or no friends; and the regrets for his death will be suggested principally by the consideration that in him literary art has lost one of its most brilliant but erratic stars.”
Without knowing Griswold had written the obituary, Poe’s mother-in-law appointed him Poe’s literary executor and tasked him with compiling Poe’s complete works. In a final act of vengeance, Griswold included in this anthology a memoir of Poe designed to portray Poe as a madman and drug addict, a false portrayal which has since formed the basis of Poe’s popular image. Among the falsehoods promoted in Griswold’s account was Poe’s own account of going to Europe to fight the Turks. Griswold assumed this memoir would destroy Poe’s reputation, but it made Poe even more popular than he had been during his lifetime. The legend of Poe, which the author played a part in shaping, has grown into a caricature that even he would scarcely recognize.
When asked this morning what Poe would think about his distorted posthumous reputation, I was reminded of Poe’s fictitious autobiography, of how proud he sounded in his letters home from West Point when he wrote that a rumor had spread that he was the grandson of Benedict Arnold, and of how many successful hoaxes he had perpetrated during his lifetime. Was Poe’s autobiographical memo just another of his literary hoaxes, like “The Balloon Hoax” and “The Facts in the Case of M. Valdemar?” Would Poe have been offended by Griswold’s smear campaign against him, or would he be just a little pleased to see how it helped him become an enduring literary legend? With or without the Poe legend, we would not remember him at all if it were not for the power of his stories and poems to captivate and inspire generations of readers to this day.
The Poe Museum’s manuscript was given to the Poe Museum by Griswold’s grandson, Roger Griswold, in 1949. It is on display this month in the Elizabeth Arnold Poe Memorial Building.
Get inspired this spring at the Poe Museum as we celebrate the arts. From painting and sculpture to music and gardening, the Museum will highlight the ways Poe continues to inspire a variety of art forms. Here are some of the highlights, and you can see a complete schedule here.
Restoration of the Enchanted Garden
Witness the historic restoration of the Poe Museum’s legendary Enchanted Garden by the Garden Club of Virginia. Many of the varieties of plants originally planted here in the 1920s will be highlighted.
Exhibit: Into that Darkness Peering
April 24-June 202, Exhibits Building First Floor
Ten of today’s leading artists have taken up the challenge of interpreting Poe’s works in paint. Learn more about it here.
April Unhappy Hour: “To One in Paradise”
April 24, 6-9 P.M.
Join us in the Enchanted Garden for an evening of poetry, film, an exhibit opening, and live music by Hotel X. The theme of the evening is the poem which inspired the design of the Poe Museum’s garden.
Painting Workshop in the Enchanted Garden with Charles Philip Brooks
April 27, 2-6 P.M.
Join landscape painter Charles Philip Brooks for an afternoon of painting in the Enchanted Garden.
Admission $90 Click here to register.
A Tea Party in the Enchanted Garden
May 3, 2-5 P.M.
Meet Will Rieley, the restorer of the Enchanted Garden, and Sally Guy Brown, Chair of the Restoration Committee for the Garden Club of Virginia, for a tea party and lecture about the garden’s history and the variety of unusual plants to be found there.
Admission $15 ($12 for Poe Museum members)
Painting Workshop in the Enchanted Garden with Chris Semtner
May 11, 2-5 P.M.
Sketch and paint in the Enchanted Garden with internationally exhibited artist Chris Semtner.
Admission $50 Click here to register.
Lecture about Poe’s Richmond with Dr. Richard Kopley
May 18, 2-4 P.M.
Discover newly rediscovered stories of Poe’s early years at this lecture by renowned Poe scholar Dr. Richard Kopley.
Included with Poe Museum Admission
Exhibit: Painting the Enchanted Garden
May 22-July 18, Exhibit Building
In celebration of the Garden Club of Virginia’s restoration of the Enchanted Garden, artists will be painting and drawing the Garden this spring for inclusion in this beautiful art exhibit. Learn more about this exhibit here.
May Unhappy Hour: “Hans Phaall”
May 22, 6-9 P.M.
Get carried away by this event inspired by Poe’s tale of a balloon trip to the moon. Live music will be provided by The Lost Boys. At 8 P.M. there will be a talk by special guest Morwenna Rae, the Curator of Dr. Johnson’s House in London.
Edgar Allan Poe Young Writers’ Conference
If you are a high school student who loves writing, this week-long residential writing experience is for you. The deadline to apply is April 15. Click here for more information.
Exhibit: Poe 3-D
June 26-October 19
Exhibits Building First Floor
Stand face-to-face with Edgar Allan Poe in the Poe Museum’s first exhibit devoted to sculptures of the author. The highlight of the exhibit will be the Poe Museum’s recent acquisition, the plaster model for Charles Rudy’s statue of Poe designed for the Virginia State Capitol Square.
June Unhappy Hour: “The Conqueror Worm”
June 26, 6-9 P.M.
Celebrate the opening of the Poe Museum’s latest exhibit with an evening of live music and performance in the Enchanted Garden.
July 13, 2-3:30
In conjunction with its new exhibit Poe 3D, the Poe Museum will host an afternoon of family friendly fun in which kids will make artwork inspired by Poe’s stories.
Author Talk with Brian Keene and Mary Sangiovanni
July 27, 2-5 P.M.
Meet Bram Stoker Award winner and 2014 International Horror Grandmaster Brian Keene and Bram Stoker nominee Mary Sangiovanni speak about their work and Poe’s influence on the modern horror genre.
Included with Poe Museum general admission.
Click here to see our complete schedule.
You never know who you will meet at the Poe Museum. Since it opened in 1922, it has welcomed some of the world’s leading authors, artists, and actors. Thirty-nine years ago, in February 1975, the actor Vincent Price visited the Museum, where he was treated to a lunch in his honor. A horror film legend, Price starred in several adaptations of Poe’s works, including “The Pit and the Pendulum,” “The Fall of the House of Usher,” “The Masque of the Red Death,” and “Tales of Terror.”
The February 11, 1975 issue of the Richmond News Leader reported that, in addition to visiting the Poe Museum, Price gave a lecture and dramatic reading at the Women’s Club where he drew “loud applause for his readings of such Poe classics as ‘The Raven.’”
The reporter Joy Propert describes Price during his visit as “conservatively dressed in a dark suit, light blue shirt and a red and blue paisley tie.” Of his appearance, Propert adds, “Price has carefully waved gray hair and a small mustache that seem appropriate for a voice that can change instantly from dulcet to sinister tones.” Price is quoted as telling the Women’s Club, “I love playing the villain…It’s boring playing good men.”
When asked about Poe, Price tells the reporter, “He was born with a demon called genius, and his poems show an inner despair in much the same way as some contemporary art.”
The raven that appears in the above photo with Price is still at the Poe Museum.
In honor of Price’s 100th birthday in 2011, the Poe Museum hosted a special exhibit in honor of the man who introduced generations of audiences to Poe’s works through the medium of film.
Vincent Price Life Mask
Above is a life mask of Vincent Price from the Poe Museum’s collection. The Museum also holds several posters for Vincent Price’s Poe movies and related items like this Vincent Price figurine.
From April 24 until June 22, the Edgar Allan Poe Museum in Richmond, Virginia will host a special exhibit of Poe-inspired artwork by ten of the world’s leading painters including Richard Thomas Scott, Melinda Borysevicz, Jeff Markowsky, Brian Busch, Chris Semtner, Charles Philip Brooks, Anelecia Hannah, Christine Sajecki, Jude Harzer, Thony Aiuppy, and Adrienne Stein. The artists live in different parts of the country and have studied in different parts of the world, but they are all united by a commitment to the craft of painting. Each artist in this diverse group of painters has taken up the challenge of interpreting Poe’s works through their unique artistic visions. The title of the exhibit, Into that Darkness Peering, is the passage from Poe’s immortal poem, “The Raven,” which reads, “Deep into that darkness peering, long I stood there, wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before…”
The exhibit will open on April 24 from 6 to 9 P.M. during the Poe Museum’s monthly Unhappy Hour, which features live music, performances, and refreshments.
About the Artists:
Richard T. Scott is an American figurative painter working in New York and Paris, France.His contributions as a writer and aesthetic theorist have also been noted in realist circles, where he has participated in discussion panels with Donald Kuspit, and Vincent Desiderio. Scott is a proponent of an alternative philosophical superstructure for figurative painting, separate from that of the contemporary art world. Along with Odd Nerdrum, Helene Knoop, and Jan-Ove Tuv, Scott is one of the most vocal members of the Kitsch Movement. A one-time painter for Jeff Koons’s New York studio, Scott also worked and studied with the Norwegian painter Odd Nerdrum.
Christine Sajecki is an artist living between Savannah, Georgia and Baltimore, Maryland, and a native of Connecticut. Sajecki’s encaustic paintings are dreamy and sometimes allegorical explorations of her surroundings, and informed by history and storytelling, social engagement, urban foot paths, and the body and behavior of the materials she uses. Her paintings have been included in many juried and solo exhibitions throughout the United States and Europe. She has been a guest lecturer, teacher, or resident artist at several institutions and community centers, including the American Visionary Art Museum, Armstrong Atlantic State University, Clayton State University, the Creative Alliance at the Patterson, The Providence Center for Adults with Disabilities, Maryland Institute College of Art, Savannah College of Art and Design, and School 33 Baltimore.
Melinda Borysevicz was born on Long Island in New York to a father who built things, fixed things, fermented things (sauerkraut and choke-cherry wine, for example), and gave slide shows about his time in the Peace Corps; and a mother who grew things, canned things, baked things, let no one go to bed angry, and made play-dough from scratch. Melinda spent the better part of her TV-less childhood in a small town near the ocean, climbing trees, building forts, bossing her two younger brothers around (until they outgrew her), weeding the garden, exploring various woods and marshes, catching salamanders, writing poems, reading, drawing, painting and (intermittently) playing viola.
Thony Aiuppy received a BFA in Painting/Drawing at the University of North Florida in 2010 and an MFA degree in Painting at Savannah College of Art and Design in the Fall of 2013. His current body of work consists of thickly handled paintings produced with rich oil pigment that focus on the human form. The figures that employ these works become the focus within the confines of fictionalized situations with the intention to provoke the human understanding of identity by transposing time, culture, and ideology. Through the creation of such oil paintings, the artist merges socio-economic and -political themes with personal experiences of living with the residue of a racially divided American South to offer a new perspective on the pressing issues that face his contemporary landscape. Mr. Aiuppy is an art educator, a contributing writer for the blog Metro Jacksonville, and has a painting studio at CoRK Arts District. He lives in Jacksonville, Florida.
Brian Busch studied at the School of The Art Institute of Chicago and the Rhode Island School of Design before continuing his studies with Irving Shapiro and Bill Parks at the American Academy of Art in Chicago. Working solely from the live model at the Academy, Brian fell in love with the emotion and drama that can be expressed with the human form. Brian finds inspiration in the ordinary things around us, whether it be still life, landscape or farm animal. He makes no attempt to glorify his subjects, but to treat them with honesty and respect. Brian currently resides with his wife, Kathie in West Chicago, IL.
Anelecia Hannah currently lives and paints in a converted cotton mill in Columbus, Georgia and in the grey light of the Pacific Northwest. She attained a Bachelor of Arts in Seattle Pacific University and continued her studies in the Florence Academy of Fine Art in Florence, Italy in addition to private studies with acclaimed artist Bo Bartlett.
Chris Semtner is an artist, author, and curator living in Bon Air, Virginia. In recent years, he has displayed his work at the Science Museum of Virginia in Richmond, The Pennsylvania Academy of the Fine Arts in Philadelphia, and Viktor Wynd Fine Art in London; and his paintings have entered a number of public and private collections. He has curated several exhibits, and the New York Times called the show he curated for the Library of Virginia, Poe: Man, Myth, or Monster, “provocative” and “a playful, robust exhibit.” He has served as author, co-author, or editor of eight books and his currently writing a book about the nineteenth century artist James Carling.
Born in North Carolina, Charles Philip Brooks studied painting in New England in the studio of highly respected Boston School authority Paul Ingbretson and with the renowned American Barbizon painter Dennis Sheehan. He is widely known for his evocative Tonalist landscapes. His recent works include paintings, drawings, prints, and sculptures reflecting a highly emotive and personal approach, informed by a deep reverence for the history of art.
Jude Harzer is an award winning nationally renowned artist whose figurative paintings are inspired by childhood, memories and the power of thought to define lives and overcome circumstances. Using oil paint as her preferred medium, she creates psychologically provocative visual narratives featuring adolescents as observers and guardians of inter generational mythologies. Born in 1963, Jude is the third of six children, raised by a single visually impaired mother. Earning a full academic scholarship, the artist received her Bachelors degree in 1987 from Mount Holyoke College in South Hadley, MA. In 2001, Jude earned a K-12 Visual Arts teaching certification and completed her Masters of Fine Art in Painting from the Savannah College of Art and Design in 2013. Jude has participated in solo and group exhibitions that include venues such as The Misciagna Family Center Gallery, Penn State, The George Segal Gallery, NJ, Pen and Brush, Salamagundi Art Center, ACA Gallery and Prince Street Gallery, NYC. Jude’s paintings belong to both national and international private collections. She is the recipient of both the Dana and Geraldine R. Dodge fellowships and continues to paint, teach and prepare for upcoming exhibitions and art residencies. Jude lives and works in Ocean County, New Jersey.
One of the questions the Poe Museum’s tour guides hear most often is, “Who is Annabel Lee?” Since Poe’s classic poem “Annabel Lee” first appeared in print two days after the author’s death in 1849, readers have speculated about whether or not the poem refers to a real person from the author’s life. Opening just in time for Poe’s Birthday Bash on January 18, the Poe Museum’s new exhibit “By the Name of Annabel Lee” will explore the poem and the people who may have inspired it.
The exhibit will profile the multiple women considered to be inspirations for the poem, and visitors will learn in the words of Poe’s close friend Frances S. Osgood who she believed was “the only woman whom he ever truly loved.” Rare artifacts to be displayed include the manuscript for Poe’s essay about Osgood, original letters by Osgood and others, and stunning portraits of Poe’s muses including Sarah Helen Whitman. The show promises to reveal the rarely seen romantic side of Poe and his work.
The exhibit opens during the Poe Birthday Bash on January 18, and, in honor of the exhibit, the day’s festivities will begin with historical interpreters portraying Poe and Osgood reading their love poetry to each other. The show continues until April 20, 2014.
On January 18, 2014 from noon to midnight, the Poe Museum in Richmond, Virginia will celebrate Edgar Allan Poe’s 205th birthday with twelve straight hours of Poe-themed fun for the whole family. Included in the day will be dramatic readings, living history, a mock trial of the murderer from Poe’s story “The Tell-Tale Heart,” and even interpretive dance inspired by Poe’s stories and poems. Authors Jeff Abugel (Edgar Allan Poe’s Petersburg), Trish Foxwell (A Visitor’s Guide to the Literary South), and contributors to the new anthology Virginia is For Mysteries will be here to sign and discuss their latest books. There will also be live music and appearances by Poe impersonators as well as walking tours of Poe sites in the neighborhood. Don’t forget about the birthday cake. Guests get all this for just $5 for the day.
The day kicks off with Edgar Allan Poe and his friend Frances Osgood reading their flirtatious love poetry to each other. In the Museum’s Exhibit Building, you’ll get to see a new exhibit about Poe’s love poetry including the original manuscript for his essay about Frances Osgood and a letter by Osgood herself. Here is a tentative schedule for the day:
Noon: Event Begins, Edgar Poe and Frances Osgood mingle with guests
12:00 (Ongoing until 8:00) Abigail Larson Trunk Show
12:30 Poetry Reading: Edgar Allan Poe and Frances Osgood read their love poetry to each other
1:00 Tour: Walking Tour of Poe’s Shockoe Bottom
1:30 Dance: “Poe in Motion”
2:00 Live Music by Classical Revolutions
2:30 “The Tell-Tale Heart” with Jamie Ebersole
3:00 Performance of “Hop-Frog”
Tour: Tour of Poe Museum
Book Signing: Virginia is for Mysteries (until 6 P.M.)
(CASH BAR OPENS)
3:30 Live Music
5:00 Tour: Poe’s Church Hill
5:30 Dance: “Poe in Motion”
6:00 Cake Cutting
Silent Auction Ends
Jeffrey Abugel speaks about Poe’s Petersburg
6:30 “The Tell-Tale Heart” with Jamie Ebersole
7:00 Tour of Poe Museum
7:30 Live Music
9:00 Performance: “The Conqueror Worm” by Amber Edens
9:15 – 11:45pm Live Entertainment
Midnight: Toast to Poe in the Poe Shrine
Most people know Edgar Allan Poe for his chilling tales of terror and his melancholy poetry. A few even know his for his groundbreaking detective stories, but most people have no idea he pioneered the science fiction story. That is why the Poe Museum’s new temporary exhibit Poe: Science Fiction Pioneer (running from October 17 until December 31, 2013) will highlight the author’s contributions to one of today’s most popular genres.
Poe wrote early accounts of cyborgs, space travel, and the distant future. Some of his tales about the marvels of modern science were so realistic some of his readers thought they were true. Explore the exhibit to discover such little known works as “The Man That Was Used Up,” “Some Words with a Mummy,” and “The Balloon Hoax.”
Here is the latest installment of the Poe Museum’s newsletter Evermore. Inside you will find updates on the museum’s fall events and exhibits as well as some members-only programs.
After a break for the summer, the Poe Museum’s popular monthly event series, the Unhappy Hour, returns Thursday, September 26 from six to nine for an evening of live music, fine food and drink, and the closing of the museum’s special exhibit Poe in Paris. The theme for the night is “The Fall of the House of Usher,” so we will be screening a short film inspired by the story. The music will be provided by Margot MacDonald, and, in honor of the Poe in Paris exhibit, food will be provided courtesy of La Parisienne Bistro and Café. The event will take place in the Poe Museum’s legendary Enchanted Garden. Admission is by five dollar optional donation, and a cash bar will be available. For more information, contact the Poe Museum at 888-21-EAPOE or email us at [email protected]
Fine French Food Courtesy of:
Get all the latest Poe Museum news with the Spring 2013 issue of our newsletter Evermore. This issue features updates on new acquisitions, upcoming events, and the Poe Museum kittens. spring2013newsletter