international poe bibliography: 1994-1997, 2001-2003

International Poe Bibliography: 1994-199'7,2001-2003 Susan Amper, Compiler

This continuation of the "International Poe Bibli- ography," supplementing the 1998-2000 installment published in Poe Studia/Dank Romanticism 35 (2003) : 38-65, first recovers entries for 1994-1997 and then provides an annotated listing for 2001-2003. It was compiled by a committee headed by Susan Amper of Bronx Community College/CUNY. Committee members included Roberto Cagliero, Roger Forclaz, Nathanael Gilbert, Sandra Hughes, Henri Justin, Christopher McGunnigle, RenC van Slooten, Becky Wagenblast, and Ikesue Yoko.

As in past installments, the committee has tried to be as comprehensive as possible, but in selecting material most likely to be of interest to an audience of literary scholars, we generally did not include references to Poe in recent fiction, poetry, film, music, and such popular forms as graphic novels. Neither the absence nor the length of an annotation should be viewed as an evaluation of the importance of the work. In some cases, we could not locate an item; in others, the title seemed self-explanatory. Thanks are owed to the MLA Znternaiional Bibliography. Sourc- es for annotations that cite the "author's abstract" may be found a t the journal's website, <libarts.wsu.edu/english/Journals/PoeStudies>. Future plans to make installments of the bibliography available in an online, searchable form are under consideration; corrections to these entries may be sent to the Editorial Office, Poe Studies/Dank Ib manticism, Department of English, Washington State University, Pullman, WA 99164-5020; argerjamail. wsu.edu.

"ATIONAL POE BIBUOGRAPRY, 1994-1991

Achilles, Jochen. "Composite (Dis)Order: Cultural Identity in Wieland, Edgar Hunily, and Arthur Gor- don Qm" In 165G1850: Ideas, Aesthetics, and Zn-

quirics in the Early Modern Era, edited by Kevin L. Cope and Laura Morrow, 252-70. NewYork AMS, 1997. . "Edgar Allan Poe's Dreamscapes and the Tran-

scendentalist View of Nature." Amcrikasiudied American Studies40 (1995): 553-73. [Achilles compares the Edenic dream presented in Poe's "DCP main of Amheim," "Landor's Cottage," and "The Journal of Julius Rodman" with the transcendentalist views of nature in Emerson's Natureand "The American Scholar."]

. "Edgar Allan Poe's Melting Pot: Skeptical Soundings of Cultural Composition." AngZia Zeii- schn~fiirEngZischePhilologie115, no. 3 (1997): 52- 74.

Akiyama, Yoshinori. "The Adventure of Self: Quest of the Heroes in Edgar Allan Poe's The Narrative of Arihur Gordon Pym of Nantuckei and Herman Melville's Type." O t s h Review 31 (1995): 30-39.

Allison, John. "Poe in Melville's 'The Bell Tower.'" Pa Studies/Dazk Romanticism 29 (1996): 9-18. [Con- temporaneous reviewers of Melville's "Bell Tower" tended to associate the tale, through parallels in plot and mood, with the works of Poe. Allison suggests that Melville, in light of the midcentury decline in Poe's reputation, found it necessary to repudiate any such connection. He attempted to do so in "The Bell Tower"-ondemning, through his characterization of the protagonist, Banna- donna, Poe's "literary persona, concern with me- chanics of form, literary ambition, and political elitism" (9) . ]

Andrews, David Arthur. "American An/Aesthete: A Study of Aesthetes in American Literature, from Edgar Allan Poe to Gilbert Sorrentino." PhD diss., State Univ. of New York, Stony Brook, 1997. [Aes- theticism in European terms is often associated with the idea of art for its own sake, but the Ameri- can ideal poses a different notion. This dissertation examines the works of Edgar Allan Poe, Will- iam Carlos Williams, and Gilbert Sorrentino to e s

Poe Studies/Dark Romanticism

tablish the unique conventions of American aesthetics.]

Angelini, Lucio. “Introduzione.” In So solo che vi amo: Lettere d’amore, edited by Lucio Angelini, 13-48. Milan: Rosellina Archinto, 1994. [On a collection of Poe’s love letters to his wife Virginia.]

Arai, Toshikazu. “Edgar Allan Poe’s View of Life and Death: Structural Analysis of ‘The Masque of the Red Death.”’ Kenkyu ronshu (Soai Women’s Col- lege) 42 (1995): 1-7.

Arburg, Hans-Georg von. “Seelengehause: Das Raum- problem im physiognomischen Diskurs vom ausgehenden 18. bis ins friihe 20. Jahrhundert.” In Symbolik von Ort und Raum, edited by Paul Michel, 33-69. Bern, Switzerland: Peter Lang, 1997.

Argersinger, Jana L., and John P. Gonzales. “Subject Index to ‘International Poe Bibliography’: Poe Scholarship and Criticism, 1989-1993.” Poe Stud- ies/Dark Romanticism 29 (1996): 31-66. [Provides a key to the entries and annotations published between 1989 and 1993 in Poe Studies/Dark Roman- ticism, volumes 25 and 27.1

Arrojo, Rosemary. “Literature as Fetishism: Some Con- sequences for a Theory of Translation.” Meta: Jour- nal des traducteurs/Translators ’ Journal 41 Uune 1996): 208-16. [In “The Philosophy of Composi- tion,” Poe is obsessed with controlling-predeter- mining-the meaning of every foot of “The Raven,” but when Poe is translated into another language, problems arise. The meaning of “The Philosophy of Composition” is often changed with the interpretation and filtration of words from one language to another. Arrojo concentrates on psychoanalysis to look at how translations can impact the meaning that Poe seeks so carefully to control in the poem.]

Aunin, T. “Edgar Allan Poe in Estonia.” In Bildning Kunskap Demokrati, edited by Cote Rudval, 298- 304. Hiftad SprHk, Sweden: Studentlitterature AB, 1995.

. “On Realistic and Grotesque Discourse: E. A. Poe, J. C. Oates, Fr. Tuglas.” Znterlitteran’a 2 (1997): 226-30.

Bachinger, Katrina. Edgar Allan Poe’s Biographies of Byron: Byrons Difered/Byrons Dejkrred in the “Tales of the Fo- lio Club. ”Salzburg: Edward Mellen Press, 1995. [An extension of Bachinger’s 1987 study, The Multi-man Genre and Poe’s Byrons, this book views Poe’s fiction as a series of “Byronographies.”]

Barth, John. “Still Farther South”: Some Notes on Poe’s Pym.” In Perspectives on Poe, edited by D. Rama-

krishna, 1-18. New Delhi: APC Publications, 1996. [Reprint from Further F+idays: Essays, Lectures, and Other Nonfiction 1984-1994 (New York: Little, Brown, 1995). Appears as well in Poe’s ‘em’; Criti- calExploration, ed. Richard Kopley (Durham: Duke Univ. Press, 1992), 217-30, and Antaeus (Autumn 1989): 7-18. Discusses use of Pym in Barth’s Sub batical: A Romance (1982) as well as latter author’s commentary on novel and its critics.]

Bate, Nancy Berkowitz. ‘‘I Think, but Am Not: The Nightmare of ‘William Wilson.”’ Poe Studies/Dark Romanticism 30 (1997): 27-38. [Bate suggests that Poe’s “preoccupation” in his early poetry with the blurring of boundaries between the “real world” and the world of dreamscape also pervades his fiction. Bate contends that “William Wilson” can thus be read as a “dream narrative” (27). By creating a narrator whose Cartesian rationalism is “inad- equate to the task of explaining the surreal events” (29), Poe seems to parody the life and work of Descartes, whose famous axiom “I think, therefore I am” is inverted in the character of William Wil- son, who thinks but is not.]

Benoit, Raymond. “Poe’s ‘The Fall of the House of Ush- er.’” Explicator55, no. 2 (1997): 79-81.

Benton, Richard P. “The Dupin MSS. As ‘Contes AClef,’ Mathematics, and Imaginative Creation.” In Per- spectives on Poe, edited by D. Ramakrishna, 109-25. New Delhi: APC Publications, 1996. [Carefully ar- gued discussion and evaluation of possible historical originals of figures in three Dupin stories, especially the Prefect, the narrator, and the detective, with attention to mathematical prowess of the latter. ]

. “Poe’s German and Germanism.” Review of The German Face of Edgar Allan Poe: A Study of Literary References in His Works, by Thomas S. Hansen with Burton R. Pollin. Poe Studies/Dark Romanticism 28 (1995): 21-25. [The book examines Edgar Allan Poe’s use of, and actual familiarity with, German sources: “In their critical approach, Hansen and Pollin tend either to overdo or underdo,” and “they develop a curious disjunction between what they affirm and what they negate” (21, 23).]

. “Poe’s ‘The Cask of Amontillado’: Its Cultural and Historical Backgrounds.” Poe Studies/Dark Ro- manticism 29 (1996): 19-26. [Supplements the factual background and arguments for reading the story as historical fiction. Benton adds to prior scholarship concerning the “factual” events of the story, providing evidence for the setting as France rather than Italy; the historical person who was

International Poe Biblioerabhv 41

most probably Poe's model for "Montresor"; the year to which Montresor refers when he says that the story occurred "fifty years previously" ( W d , 3: 1263); the use of masks, Mar& Gras, and buLr mcrcqtm in eighteenthcentury France prior to the French Revolution; and the dating of the French catacombs.]

. "The Tales: 1831-1835." In A Cumpunion to Pa Studies, edited by Eric W. Carlson, 110-28. Westport, CT: Greenwood Press, 1996. [Careful overview of early fiction texts in context of criticism and scholarship on never-published Folio Club framework, especially eleven-story version, as well as such tales as "Berenice" and "Morella."]

Bonessio di Tenet, Ettore. "Introduzione." In Lajlosoju &lh composizim, by Edgar Allan Poe, 11-21. Milan: Guerrini e Associati, 1995. [On The Phihsqhy of Composition.]

Bousseyroux, Michel. "L'tcriture du feu: 'Metzenger- stein,' La lettn 6curhte et Un pdre mud. ,,Pas tunt: Revue de la "D6couvertejieudienne" 35 (September 1995): 68-78. [An exclusively Lacanian, cryptically technical interpretation of three texts by Poe, Hawthorne, and Barbey d'Aurevilly respectively. The hole in the tapestry in "Metzengerstein" is discussed in terms of the Lacanian "hole."]

Bretzius, Stephen. "The Figure-Power Dialectic: Poe's 'Purloined Letter.'" MLN110 (September 1995): 679-91. [For Lacan and many readers, the purloined letter changes hands after the firing of a musket in the street according to the "repetition compulsion ( Wiederholungszwung) developed by Freud in Beyond the Pleasure Principle" (680). Bretzius suggests, however, that the entire compulsion instead repeats the historical violence staged by the man with a musket and even earlier by the commotion of a mob. "To read the story in this way is also to repeat it, not by imitating its various transformations but by suggesting that its power to transform is really too plain-that is, hidden in the diversion" (680) .I

Brill, Robert Densmore. "The Poes of Ayrshire, Scot- land." Family Ihc (October-November 1998): 31B. [Discusses Poe relatives in Newton Stewart, Gallo- way, Ayrshire, and Strathclyde, with mention of sources and sites found by Scottish genealogist John McInnes.]

. "Visiting the Mother Club, the Final Frontier!" B u m Chnmiclc (1998): 35-38. [Poe and his uncle John Galt and their cousin Robert Bums had ancestral connections in Greenock, Strathclyde, Scot- land.]

Britt, Theron. "The Common Property of the Mob De- mocracy and Identity in Poe's 'William Wilson.'" Mississippi Quarterly 48 (Spring 1995): 197-210. [Britt interprets William Wilson" within the framework of Poe's dismissal of the democratic rabble; the story is a comment on the psychological and moral tension of the individual amid early nineteenthcentury democracy.]

Brown, Arthur A. "Death and Telling in Poe's 'The Imp of the Perverse.'" Studies in ShurtFiction 31 (Spring 1994) : 197-205. [Applying a Lacanian interpretation, Brown analyzes Poe's fascination with death in "The Imp of the Perverse" and suggests that it would be diificult to conceive of a murder more closely related to the acts of reading and writing than the one in this tale.] . "Literature and the Impossibility of Death: Poe's

'Berenice.'" Nineteenth-Century Lite*atun 50 (March 1996): 448-63. [Poe's stories of premature burial and of the undead dramatize the horror of a dying made impossible, dying that is alive only in the existence of literature. In "Berenice," readers' attention to the details of the tale, their willingness to be told what "should not be told," reproduces the narrator's obsession with the teeth of Berenice-with that which speaks of death and does not die-and thus implicates readers in the narrator's violation of the still-living Berenice in her tomb. The destruction of Berenice-of the living being that can die-and the telling of "Berenice" consequently coincide. Heightening the awareness of the literary act in which readers are engaged, Poe intensifies the tale's effect, its horror.]

. "'A Man Who Dies': Poe, James, Faulkner and the Narrative Function of Death." PhD diss., Univ. of California, Davis, 1995. [Death is the fundamental principle of narrative: it provides material for stories, makes language and the act of narration possible, and humanizes literature. Brown analyzes Poe's "Philosophy of Composition," "Berenice," "Ligeia," "The Imp of the Perverse," and "The Cask of Amontillado"; Henry James's stories "Sir Edmund Orme," "The Friends of the Friends," and "The Beast in the Jungle"; and the first two sections of William Faulkner's Sound and the Fuzy- tracing the operation of death as it shapes a story's events and as it establishes the point of contact between writer, characters, and reader. These d i s cussions refer in large part to the theoretical work of Walter Benjamin, Mikhail Bakhtin, Maurice Blanchot, Jacques Lacan, and Shoshana Felman.]


Brown, Byron K “John Snart’s Thesaurus of Horror: An Indirect Source of Poe’s ‘The Premature Burial’?” A N Q 8 (Summer 1995): 11-14. [Brown proposes thatJohn Wilson’s satirical review of Snart’s book Thesaurus of Horror is an indirect source for “The Premature Burial.” Major components of Poe’s story can be identified in Wilson’s review. Brown also points to evidence that suggests Poe read the review.]

Brown, Gillian. “The Poetics of Extinction.” In The Ama‘can Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 330-44. Balti- more: Johns Hopkins Univ. Press, 1995. [Brown reads the anticipatory mode of Poe’s tales of terror as a peculiar nineteenth-century version of the ars longa. In “Usher,” Brown suggests, the reader can see the survival of the mind and consciousness through the narrator of the tale. Therefore, “there is no ultimate extinction in Poe’s tale, for the aesthetics of terror preserve and transmit signs of intelligence” (332).]

la croiste des chemins: Rka- lisme et scepticisme.” Revue francaise d’etudes a e c a i n e s 71 (1997): 44-50. [Brunet discusses Poe’s attitude around 1840 toward the possibility of truthful representation by focusing on his practice of the hoax and his reaction to the daguerreo-

Bryant, John. “Poe’s Ape of UnReason: Humor, Ritual, and Culture.” Nineteenth-Centuly Literature51 (June 1996): 1 6 5 2 . [Bryant contends that, in “The Mur- ders in the Rue Morgue,” “The System of Doctor Tarr and Professor Fether,” and “Hop-Frog,’’ Poe relies heavily on satire, using the hoax as a means of enacting the private ethos of his repressed sexuality in the context of his worldview of transcendental beauty. “Rue Morgue” is a hoax that effec- tively covers up Poe’s problematic identification of himself with the tale’s sexually charged ape of unreason. In “Tarr and Fether,” the reader wit- nesses Maillard’s hoax against the narrator and gains deeper insight into Poe’s hidden sexuality. With “Hop-Frog,” Poe replays the ape imagery in fairy-tale form and, in fact, becomes the ape of unreason. The humorization of Poe’s satiric intent suggests a certain cultural inevitability in the growth of humor over satire as an effective response to the divisiveness and metaphysical doubt inherent in the democratic experience.]

Burduck, Michael M. “Justifymg the Ways of Death to Men: Milton’s Influence on Poe’s ‘Shadow-A Parable’ and ‘Silence-A Fable.’” In Perspectives on

Brunet, Francois. “Poe

type.]

Poe, edited by D. Ramakrishna, 181-90. New Delhi: APC Publications, 1996. [Proposes seeing Poe’s two early tales as companion pieces influenced by Milton’s “LAllegro” and “I1 Penseroso.”]

Cagliero, Roberto. “La critica recente su Edgar Allan Poe negli Stati Uniti.” Acoma 10 (1997): 70-76. [On recent Poe criticism in the United States.]

Calanchi, Alessandra. “The Wandering Spectator: The Man of the Crowd di E. A. Poe come esplorazione (pre) tecnologica del tempo e dello spazio.” Rivista distudiangbamericani 8 (1994): 124-35. [On Poe’s conception of time and space in “The Man of the Crowd.”]

Cantalupo, Barbara. “Eureka: Poe’s Novel Universe.” In A Companion to Poe Studies, edited by Eric W. Carlson, 323-44. Westport, CT Greenwood Press, 1996. [Cantalupo describes the original lecture version with the preface, Poe’s summaries for two correspondents, and critical approaches to the essay version with a new ending that aroused o b jections from orthodox readers.]

. “The Lynx in Poe’s ‘Silence.”’ Poe Studies/Dark Romanticism 27 (1994): 1-4. [The final image in the tale, the “lynx,” points not only to an animal but to itself as a word, “linking” to its homophone and the construct that informs the “moral” of the fable, which paradoxically invokes the power of words.]

. Review of Poe’s 9 m : Critical Explorations, edited by Richard Kopley. PSA Newsletter22 (Spring 1994): 7-8. [Kopley’s edition, the first critical collection devoted to e m , includes essays by prominent Poe scholars in categories such as “literary origins,” “figuration,” “sociohistorical contexts,” and “pre- figuring.” Primary readings and theoretical research are given equal weight, providing an attractive source for scholars who “value dialogue rather than divisiveness” (7). The volume is “a significant resource for Poe criticism” (8).]

Cappi, Alberto. “Edgar Allan Poe’s Physical Cosmology.” Quarterly Journal of the Royal Astronomical Society 35 (1994): 177-92. [Cappi’s article (in a renowned scientific magazine) provides a comprehensive account of Eureka. It asserts that Poe made use of some fundamental ideas that prove very similar to modern astronomical theories, including the “Big Bang” and the expanding universe.]

. “Le intuizioni cosmologiche di Edgar Allan Poe.“ L’astmnomia 176 (1997): 26. [On Poe’s intui- tions about cosmology in Eureka.]

Carlson, Eric W., ed. A Companion to Poe Studies. West- port, CT Greenwood Press, 1996. [A reference

International Poe Bibliography 43

guide for students and scholars in the study of Poe biography, criticism, aesthetics, philosophy, and influence, reviewing major critical approaches and interpretations. Part I describes Poe’s life and times, while Parts 11, 111, IV, and V deal with his primary works, thought, art, and influence. This reference work synthesizes the vast body of material about Poe’s works and addresses topics of importance to Poe studies. See individual entries for the volume’s contributors: Richard P. Benton, Bar- bara Cantalupo, Eric W. Carlson, Randall A. Clack, Grace Farrell, William Goldhurst, David Hallibur- ton, Alexander Hammond, George Egon Ha-, David H. Hirsch, Kenneth Alan Hovey, James M. Hutchisson, Thomas Jostwick, Paula Kot, Stuart Levine and Susan F. Levine, Elizabeth Phillips, Burton R. Pollin, John E. Reilly, David E. E. Sloane and Michael J. Pettengell, Donald Barlow Stauffer, Dwayne Thorpe, Lois D. Vines, Beverly R Volo- shin, and Ian Walker.] . “Tales of Psychal Conflict: ‘Berenice,’ ‘Morella,’

‘Ligeia’”; and “Tales of Psychal Conflict: ‘William Wilson’ and ‘The Fall of the House of Usher.’” In A Companion to Poe Studies, edited by Eric W. Carslon, 168-208. Westport, CT: Greenwood Press, 1996. [The volume editor summarizes important critical readings of these two sets of tales, in relationship to what Carlson terms “Poe’s central . . . quest, psychal and cosmic, for a supernal Beauty and unifying, transcendental Truth” (169).]

Cavell, Stanley. “Being Odd, Getting Even (Descarte, Emerson, Poe).” In TheAmerican FaceofEdgarAlhn Poe, edited by Shawn Rosenheim and Stephen Rachman, 3-36. Baltimore: Johns Hopkins Univ. Press, 1995. [In an essay linking Emerson, Descartes, and Poe’s “The Imp of the Perverse” and “The Black Cat,” Cavell confronts the Anglo- American disdain for the intellectual claims of Poe’s writing, arguing that his prose blurs, for both reader and writer, the distinction between the literary and the philosophical.]

Cern, Lothar. “Mythical Aspects of Poe’s Detective.” Connotations 5 , nos. 2-3 (1995-96): 13146.

Cherednichenko, V., andYu Luchinsky, eds. Edgar Poe: Essays, Papers, Reseatrh (in Russian). Krasnodar: Kuban State Univ., 1997

Cherniavsky, Eva. “Revivification and Utopian Time: Poe versus Stowe.” In Thc Amnicon Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 121-38. Baltimore: Johns Hopkins Univ. Press, 1995. [Revised from her book That Pale Mother Rising: Sentimental Discourses and

the Imitation of Motherhood in Nineteenth-Century America Acknowledging a “dialogical relation” (137) to Jonathan Elmer’s “Terminate or Liqui- date,” Cherniavsky’s essay explores Ligeia’s relation to sentimental authority as figured in Stowe’s slave Cassy. Where Elmer regards the gothic as vi- ral imitation of the sentimental, Cherniavsky sees the sentimental as exacting revenge on the gothic.]

Clack, Randall Anthony. “The Phoenix Rising: Alchemi- cal Imagination in the Works of Edward Taylor, Edgar Allan Poe, and Nathaniel Hawthorne.“ PhD diss., Univ. of Connecticut, 1994. [Explores the use of the alchemical opus-the esoteric science concerned with the transmutation of base metals into gold-in the works of Taylor, Poe, and Hawthorne. Poe, in his work, used the alchemical opus, not only as a way of describing the transformation of the fallen human soul, but also as a way of describing the transformation of the individual and of culture and as a metaphor for the creative process itself. For Poe, the philosopher’s stone became a metaphor for the power of the imagination (a way to the supernal) .] . “‘Strange Alchemy of Brain’: Poe and Alchemy”

In A Companion to Poe Studies, edited by Eric W. Carlson, 367-87. Westport, CT Greenwood Press, 1996. [Survey of topic with emphasis on work of Karl E. Oelke, Burton R Pollin, Barton Levi St. Armand, David Ketterer, Claude Richard, and others on Poe’s early poetry and such tales as “Von Kernpelen,” “The Gold-Bug,” “Usher,” “The Assig- nation,” and “Ligeia.”]

Clark, Richard. “The ‘Homely,’ the ‘Wild’ and the Hor- ror of ‘Mere Household Events’: The Aristotelian Poe-etics of ‘The Black Cat.’” Short Story 4 (Spring 1996): 57-68. [Discusses Aristotle’s unities of time and place and shows how they match the “homely,” “wiid,” and “mere household events” of the story.]

Cole, Memll. “The Purloined Mirror.” LIT: Litcratun Znte*pretation Themy 8, no. 2 (1997): 135-51. [Cole examines issues relating to mirrors and identity dis cussed by Lacan and Demda and considers Lacan’s discussion of “The Purloined Letter” in connection with psychoanalysis.]

Collins, Caroline. “‘The Different Rhythm in the Blood’: Edgar Allan Poe’s Influence on T. S. Eliot’s Poetic Technique.” Ankansm Reuiew 4 (Fall 1995): 161-72. [Despite Eliot’s refusal to acknowledge the influence of other writers on his work, Poe’s influence can be seen in The Wmtehnd, “The Love Song of J. Alfred Prufrock,” and Four Quartets.]

Collo, Paolo. “Poe, Pessoa e gli altri.” In “The Raven,

44 Poe Studies/Dark Romanticism

“Ulalume, “Annabel Lee” nella traduzim di Fernando Pessoa, by Edgar Allan Poe, edited by Paolo Collo. Turin: Einaudi, 1995. [On Fernando Pessoa’s technique in his translation of Poe’s poems.]

Comeau, Robert C. “Reading Poe on Salary: Mark Twain’s Use of ‘The Raven,’ ‘HopFrog,’ and ‘Wil- liam Wilson’ in ‘The Facts concerning the Recent Carnival of Crime in Connecticut.”’ Southern Liter- aryJournal29 (Fall 1996): 2 6 3 4 . [The similarities between Poe and Twain are considered, with the focus on Twain’s reaction to Poe’s literary reputation. Twain’s story “The Facts concerning the Re- cent Carnival of Crime in Connecticut” borrows from Poe; however, Twain’s purpose was mainly to establish himself by maligning the literary reputation of an earlier author.]

Coulombe, Joseph, and Marjorie Feasler. “‘A Jig in Prose’: AParody.” PSA Newsletter24 (Spring 1996): 3. [“A Jig in Prose,” a parody of “The Raven,” a p peared in the Brooklyn Daily Eagle in January 1848 and has been ascribed to Walt Whitman. The authors argue that earlier versions of the parody exist, reducing the likelihood of Whitman’s authorship.]

Crisman, William. “Poe’s Dupin as Professional: The Dupin Stories as Serial Text.” Studies in American Fiction 23 (Fall 1995): 215-29. [Poe’s Dupin is a two-faced figure: one face shows an archetypical amateur detective, the other a moneyconscious professional who solves mysteries not for fun but for profit. This article explores the monetary exchanges and the two sides of Dupin in “The Mur- ders in the Rue Morgue,” “The Purloined Letter,” and “The Mystery of Marie Rogc?t.”]

Dameron, J. Lasley. “More Analogues and Resources for Poe’s Fiction and Prose.” UMSE 11-12 (1993- 95) : 460-64. [Discusses the potential magazine sources for Poe’s stories.]

-. “Poe, Plagiarism, and American Periodicals.” Poe Studies/Dark Romanticism 30 (1997): 39-47. [Poe’s shifting thoughts on plagiarism, his attacks on those he saw as plagiarists, and many of his own borrowings are well known. Dameron extends this discussion by focusing on “phrasal” and concep tual parallels between commentaries Poe produced as an “apprentice reviewer” and the work of other journalists published in American periodicals, a source that has been paid “little attention” (39, 40). The publications Dameron examines, limited to issues Poe had opportunity to read before 1842, include the KnickerbuckerMagazine, the Democratic Review, and the American Monthly Maga-

z ine-and the parallels he discovers suggest that Poe was “engag[ing] other American reviewers in critical dialogue that foreshadowed the maturation of his concept of literature” (40). More broadly, Dameron finds that Poe, and other nineteenthcentury writers with “similar composition patterns,” should be disassociated from “unwar- ranted” accusations of outright plagiarism. And though Poe’s tales, poems, and reviews are in part “derivative,” in nearly all of his best work Poe “transcend[s] outright dependence” (46) .]

. “Poe’s Concept of Truth.” In Perspectives on Poe, edited by D. Ramakrishna, 39-52. New Delhi: APC Publications, 1996. [Reprint from Mississippi Quar- terly 43.1 (Winter 1989-90): 11-21; annotated in Scott Peeples, compiler, “International Poe Bibli- ography, 1989-90,” Poe Studies/Dark Romanticism 25 (1992): 14-15.]

. “Poe’s Fym and Scoresby on Polar Cataracts.” Resources forAmerican Literary Study 21, no. 2 (1995): 258-60. [The Narrative of Arthur Gordon Fym was influenced by the travelogues of contemporary explorers. Poe’s descriptions of the polar cataracts that Pym encounters were inspired by An Account ofthe Arctic Regions with a History ofthe N o r t h Whale Fishery: Including Researches and Discoveries on the Eastern Coast of West Greenland (1820), by William Scoresby Jr.]

Damiani, Sara. “Indagini private: La scrittura dello spazio da R. Browning a M. R. James.” Confionto lettera7io 13 (1996): 249-63. [On Poe’s literary technique in space description.]

Date, Tatsuaki. “The Concept of Imagination in Poe and Baudelaire.” Aesthetics 191 (1997): 13-24.

Dauber, Kenneth. “French Poe Returns Home.” Review of The American Face ofEdgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman. Poe Studies/Dark Romanticism 29 (1996) : 27-30. [There is, Dauber indicates, an “aesthetical rightness, a kind of poetical-. . . Poesque-justice” in return- ing, as it were, the French Poe to the Americans with this collection of essays (27). Dauber applauds the editors for selecting the “best and the bright- est” of Poe scholars to contribute to the collection (29) and deems the book a considerable improve- ment over earlier treatments of Poe.]

Dayan, Joan. “Amorous Bondage: Poe, Ladies and Slaves.” In The American Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 179-209. Baltimore: Johns Hopkins Univ. Press, 1995. [Dayan ponders the cultural forces that seek to uphold the “idealized“ gender

International Poe Biblionabhv 45

relations of Poe's "ladies," an idealization that co- exists with the degradation of women in his tales. The article also draws attention to the "coercive monumentalization" of certain writers and how necessary it is that "Poe and his ladies remain as an icon to the most cherished and necessary ideals of some men" (180-81). Dayan articulates a crucial distinction between what Poe does to his ladies and what a particular 'southern" element does to Poe's ladies.]

. "Poe, Ladies, and Slaves." American Literature 6 Uune 1994): 239-73. [An earlier version of the essay printed in The American Face of Edgar Allan Poe and annotated above.]

Degener, David. "'Votre nom se mele au sien': La pre- mitre lettre connue de Mallarmt a' Sarah Helen Whitman." h u e d'histoiw litthaire d.e la France, no. 6 (November-December 1996): 116675.

De Graef, Ortwin. "Dead Herrings: 'You Must Have Mistaken the Author.'" TextuulA-actice8 (Summer

De Jong, Mary G. "Lines from a Partly Published Drama: The Romance of Frances Sargent Osgood and Edgar Allan Poe." In Patrons and Aotigics: Gendn; Fhen&hip, and Writingin Nineteent&&tqAm.ca, edited by Shirley Marchalonis, 31-58. New Brunswick Rutgers Univ. Press, 1994. [De Jong presents a detailed analysis of the relationship between Frances Sargent Osgood and Poe. De Jong claims that Osgood was not a victim of Poe's lifestyle; rather, she and Poe enjoyed, if not exploited, a mutually beneficial literary, public, and private relationship.]

Del Principe, David. "Heresy and 'Hair-esy' in Ugo Tarchetti's Fosca." Ztalica 71 (Spring 1994): 43-55. [Del Principe discusses the topos of hair (rebel- lious and threatening) and the symbolism of cas- tration and male hysteria in the works of nineteenthcentury Italian author Ugo Tarchetti, especially in his novel Fosca. Del Principe suggests that such a topos is indebted to Poe's use of body pa-yes, teeth, and hair-as in "Berenice" and "Ligeia."]

Del Vecchio, Rosa Maria. "'Into that Material Nihility': Poe's Criminal Persona as God-Peer." PhD diss., Case Western Univ., 1994. [Classifies five of Poe's tales into a group of "murder narratives" and borrows Sarah Helen Whitman's anagram of Poe's name-"a God-peer"-to describe the criminal persona of each narrator. Del Vecchio concentrates on the narrators' search for God and the "madness" that results from the role each plays, and she

1994): 239-54.

examines the fictional elements under the control of the tale teller and his struggle to usurp godlike power-namely, allegory in "William Wilson," the motif of the evil eye in "The Tell-Tale Heart," allusion to beliefs about cats in "The Black Cat," the figure of the confidence man in "The Imp of the Perverse," and parody in "The Cask of Amontil- lado." The motive for murder in each tale is the narrator's desire to usurp God's role at any cost out of fear that God does not exist.]

DeNuccio, Jerome. "History, Narrative, and Authority: Poe's 'Metzengerstein.'" Collep Literature 24 (June 1997): 71-81. [In "Metzengerstein," Poe explores the authority a writer wields over his narrative, using a writing character's loss of authority to affirm his own. Poe's strategy hinges on the dual metempsychosis that occurs in the tale: Count Berlifitzing's transmigration to a horse and a less apparent metempsychosis that takes place between Metzengerstein and the narrator. In the process of recounting Metzengerstein's obsessive desire for unbounded subjectivity, the narrator enacts a parallel desire for narrative authority. Both, however, overreach, for just as Metzengerstein's coercive quest for self-authorization generates its own subversion, so too does the narrator's attempt to present Metzengerstein's story buckle under the weight of his own need to contain and control its meaning.]

DeProspo, R C. "Salvation and Its Counterfeit: Cm- temptus Mundi in the New World from Row- landson's 'Captivity Narrative' to Poe's 'The Pit and the Pendulum.'" In Mit&hlter-Rez+tim V, edited by Ulrich Miiller and Kathleen Verduin, 95-103. appingen , Germany: Kiimmerle, 1996.

Disch, Thomas. "Edgar Allan Poe." In The Dream Our StuffZs Made OJ edited by Thomas Disch, 32-56. New York Free Press, 1998. [Argues for Poe's central place in the development of the science fiction genre. Discusses Poe's influence on later writers, with examples from the tales.]

Dixon, Wheeler Winston. 'The Site of the Body in Tor- ture/The Sight of the Tortured Body: Contemp- rary Incarnations of Graphic Violence in the Cin- ema and the Vision of Edgar Allan Poe." Film and

Donno, Paolo Maria, de. L'esteticagiovanile di EdgarAUan P a . Galatina, Italy: Congedo, 1996. [On Poe's aesthetics in his early works.]

Dougherty, Stephen. "'A Decaying City Near the Rhine': Nation, Race, and Horror in 'Ligeia."' Sycamore: A Jourrul of A k a n Culture 1 (Spring 1997) : 52 pars.

PhilosOphy 1 (1994): 62-70.


[Dougherty explores the theme of personal identity in “Ligeia” and Poe’s challenge to the popular belief of the antebellum period that national identity was an epistemological object, a “sacred gift.” Poe conducted his attack upon the nation by ex- posing its gendered and racialized foundation through his exploitation of gothic horror conventions. Situated in the context of the entwining and mutually fortifymg ascension of racist and nation- alist ideologies, Poe’s uniting of spirit and body assumes a significance that is political and cultural as well as literary and philosophical.]

Dubois, Reni. “Didale urbain et psychologique; ou, Le Mandala de ‘l’homme des foules.’” Journal of the Short Stmy in English 28 (1997): 46-56. [A slight expansion of part of Edgar A . Poe et le bouddhisme (279-83). The old man and the young narrator of “The Man of the Crowd“ are linked in contradic- tion as ego and Uungian) Self. Their inconclusive encounter is one of many in the history of their karmic destiny. In the end, as in Eureka, the man’s secret will be divulged in annihilating fusion.]

. Edgar A . Poe et le bouddhisme. Paris: Editions Messene, 1997. [Dubois, offering a Buddhist reading of Poe’s work, makes it clear from the start that he does not see the Poe/Buddhism interface in terms of traceable influence so much as in terms of objective concurrence. Dubois discusses Eureka and some two-thirds of the tales.]

Ducreu-Petit, Maryse. Edgar Allan Poe; ou, Le l i m des bordr. Lille, France: Presses Universitaires de Lille, 1995. [The author visits the border-worlds in Poe’s tales, noting the “borderline” status of many characters (between life and death, life and art, past and future, normalcy and madness). She observes the revenants, grotesques, masqueraders, victims of the perverse, and, finally. the decipherers, who can translate codes across borders, foreshadowing Freud. Reading the tales within the magnetic field of Eureka, Ducreau-Petit explores the psychology of creation. Her driving idea is that Poe, lacking an adequate father-figure, could not establish himself within the clear limits of a personal identity, the clear limits of a body (27). And so in Eureka, after so many borrowings and collages, he dares to plagiarize the creator himself and finally see God’s heart as his own. This is not hubris in Poe but a wild effort to find a name for himself.]

Dumoulii, Camille. “Des signes d’inquiktante itran- geti.” Nouuelk muefranGaise, 493-94 (1994): 71- 79, 102-10. [This double article does not address signs of the uncanny but sets out to show that the

sign, as used in literature, is uncanny: it is endowed with a life of its own, rejects its author into absence, and intensifies our experience of the world into jouissance, linking sex and death. By making this clear, the practitioners of the fantastic (represented by Hoffmann, Poe, and Gautier) paved the way for modernism. “Usher,” “Ligeia,” and “Morella” are considered.]

Ehrlich, Heyward. “The Electronic Poe.” Poe Studies/ Dark Romanticism 30 (1997): 1-26. [Comprehen- sive listing of Poe resources available at the time of publication on the internet.]

Elmer, Jonathan. “The Jingle Man: Trauma and the Aestheticism.” In Fissions and Fusions, edited by Lesley Marx, Loes Nas, and Lara Dunwell, 131- 45. Bellville, South Africa: Univ. of the Western Cape, 1997.

. Reading at the Social Limit: Affect, Mass Culture, and Edgar Allan Poe. Stanford: Stanford Univ. Press, 1995. [This poststructuralist reading frames Poe as a central figure in the formation of modern American mass culture who demonstrates its con- figurations, ideology, and psychology.]

. “Terminate or Liquidate? Poe, Sensationalism, and the Sentimental Tradition.” In The Ammican Face ofEdgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 91-120. Baltimore: Johns Hopkins Univ. Press, 1995. First published in Rea& ing at tht Social Limit: Affect, Mass Culture, and Edgar Allan Poe, 1995. [The sentimentalist and sensationalist styles of writing seem like opposites, yet Poe exploits the dichotomy. Often in his writing, Poe will set up a sentimental scene but quickly trau- matize his reader when the sentimentality of the scene turns morbid, as when a funeral reveals a vampiric murderess. The article analyzes the in- version of the familiar through such characters as Harriet Beecher Stowe’s Eva St. Clare and Poe’s M. Valdemar.]

Engle, Sherry D. “Desperately Seeking a Poe: Sophie Treadwell’s Plumes in the Dust.” American Drama 6 (Spring 1997): 25-42.

Ernst, Jutta. Edgar Allan Poe und die Poetik des Arabesh. Wiirzburg, Germany: Konigshausen and Neu- mann, 1996.

Eskin, Blake. “Mad Dogs and English Professors.” Lin- gua Franca7 (1996-97): 10-11.

Evans, Arthur B. “Literary Intertexts in Jules Verne’s Voyages Extraordinaires.” Science-Fiction Studies 23 (July 1996): 171-87. [Examines Poe’s influence on

Jules Verne, including Verne’s discovery of Poe’s work as well as background on his positive criti-

International Poe Biblaografihy 47

cism of Poe. The Poe text that influenced Verne most, Evans contends, is The Narrative of Arthur

Evans, Robert C. "Poe, O'Connor, and the Mystery of the Misfit." f i n n n y O'Connor Bulletin 25 (1996 97): 1-12. [Describes the character of the Misfit in O'Connor's "A Good Man is Hard to Find" as a Satan figure and compares him to the devil character in Poe's "Bon-Bon."]

Farrell, Grace. "Dream Texts: The Narrative of Arthur Gordon Fym and the Journal of Julius Rodman" In A Companion to P a Studies, edited by Eric W. Carlson, 209-35. Westport, CT Greenwwod Press, 1996. [Analysis of author's two works of long fiction; dealing briefly with Rodman, the article discusses the "Sources, Publication, Reception" and "Gen- esis, Structure, Unity, Genre" of 9% then system- atically focuses on "Critical Approaches" to the latter novel under the headings "Sources, Publica- tion, Reception," "Genesis, Structure, Unity, Genre," and "Critical Approaches" (from "Vision- ary Journeys" and "Postmodern Criticism" to "Cul- tural Studies," among others.]

Fatica, Ottavio. "Introduzione." In Marginalia, by Edgar Allan Poe, 7-23. Rome: Theoria, 1994.

Fenlon, Katherine Feeney. "John Gardner's 'The Rav- ages of Spring' as Re-creation of 'The Fall of the House of Usher."' Studies in Short Fiction 3 (1994): 481-87. [Compares the two tales with regard to plot and setting, the unnamed first-person narrator, and the pairing of creativity and destruction.]

Fems, T. "Minds and Matter." New Y h , 15 May 1995, 4650. [Article dealing with modem astronomy and physics that argues Poe proposed similar basic ideas in Eureka. J

Fioraso, Roberto. "Poe e Salgari tra botole e gorghi marini." Bollettino &lla Biblioteca ciuica di V m a 3 (Autumn 1997): 159-65. [On a comparison between Edgar Allan Poe's Narrative of Arthur Gordon Fym of Nantucket and Emilio Salgari's Zpirati &lh Malcsia and other works, and on Salgari's p rob ably taking inspiration from Poe's sea narrative.]

Fisher IV, Benjamin Franklin. "Blackwood Articles A La Poe: How to Make A False Start Pay." In Perspec- tives on Poe, edited by D. Ramakrishna, 63-82. New Delhi: APC Publications, 1996. [Focus on works ranging from "Folio Club" to detective stories that "far exceed the Bkkwoodk terror tales" in aesthetic terms, reveal a taste for hoaxes, and feature "false starts" on Poe's "apparent intention" to begin in mode of "popular horror fiction" (64).]

. "Edgar Allan Poe." In The Handbook to Gothic

Gordon Fyml

Litmatun, edited by Marie Mulvey-Roberts, 173- 79. New York New York Univ. Press, 1997. [Dis- cusses Poe's place in the gothic tradition.]

. "Poe." In Arnoican Litmary Scholarship: An An- nual, edited by David J. Nordloh, 3947. Durham: Duke Univ. Press, 1994. [Reviews recent articles on Poe.]

. "Poe and Detection." Pts. 1 and 2. PSA NewslcG ter24 (Spring-Fall 1996): 3-6. [Discusses the image of Poe and his writings among authors of crime novels and stories.]

. 'Poe in the 1890s: Bibliographical Gleanings." Ammican RaaissanceLiterary 8 (1994): 142- 68. [Cited items attest to the great popularity of Poe's writings in the era. He was often bracketed with the pervasive "decadence" of the times. The large edition by Stedman-Woodberry and that of the 1884 Stoddard collection (reissued without notice that it was a reissue) gained widespread attention.]

-, Review of Edgar Allan P a : A Stud9 of the Short Fiction, by Charles May. PSA Newslcttcr 22 (Spring 1994): 5. [May's book will find uses among students and experienced Poe scholars. May shows how Poe's techniques evolved from and blended the traditions of realism and romance and offers fresh readings of the stories. His consideration of "Metzengerstein" and "Usher" and his perceptions regarding Poe's comic art are the highlights of a "worthwhile work" (5) .]

. "Simms Looks at Poe." Simm Mew 5, no. 2 (1997): 13-19. [This overview of Simms's outlook on Poe and his writings supplements Adin Turner's chapter "Poe and Simms: Friendly Critics, Some- time Friends," in Papen on Poe, edited by Richard P. Veler.]

-. "Verses on Poe and Arthur Conan Doyle." PSA Newsletter25 (1997): 1-2. [Reprints parodic verse concerning Poe-Doyle links.]

Flower, Dean. "Poe, Borges and the Analytic Detective Story." Review of The Mystery to a Solution: Poe, Borgw and the Analytic Detective S t q , by John T. Irwin. Hudson REuiew 48 (Spring 1995): 153-60.

Frank, Frederick S. , and Anthony Magistrale. The P a Encyclopediu Westport, C T Greenwood Press, 1997. [A dictionary-style reference work designed to as- sist Poe scholars and general readers with critical and factual information. Many entries refer to Poe's connections with the gothic tradition. The introduction comments on Poe's frequent comic use of the gothic in his tales.]

Frank, Lawrence. "'The Murders in the Rue Morgue':


Edgar Allan Poe’s Evolutionary Reverie.” Nine- teenth-Century Literature50 (September 1995): 168- 88. [The emergence of Darwinist theories on evolution and their contrast with natural theology provides the scientific framework for Poe’s short story “The Murders in the Rue Morgue.” Poe’s story represents nineteenthcentury society caught in the midst of a fundamental disagreement about the very roots of its origin. Dupin represents the religious skeptic, while others maintain conserva- tive religious values.]

Franz, Thomas R. “Unamuno and the Poe/Valiry Legacy.” Revista hispanica moderna50 (June 1997): 48-56.

Freeland, Natalka. ‘“One of an Infinite Series of Mis- takes’: Mystery, Influence, and Edgar Allan Poe.” ATQ 10 (June 1996): 123-39. [Explores various aspects of the detective genre and Poe’s relationship to it. Although Poe is considered one of the originators of the genre, he is also seen as one of its destroyers, overusing the genre to its ultimate oversatiation, which, Freeland suggests, is an a p propriate metaphor for the way in which the plot of the detective genre begins where it ends. Poe was the genre’s beginning and its ending.]

Frey, Matthew. “Poe’s ‘The Fall of the House of Usher.’” Explicator 54 (Summer 1996): 215-16. [Why the house falls remains a vexed topic for Frey, who revisits the muchdiscussed articles concerning the story’s ending by Patrick F. Quinn and (3. R. Th- ompson. Frey believes that the house is destroyed by a strong wind striking its rotted timbers.]

Gallatin, G. “Poetic Bang.” New Scientist 7 (September 1996): 50. [This letter responds to Albert0 Cappi’s article about Poe’s physical cosmology (annotated above) and agrees that Poe was the first to pro- pose a Big Bang as the origin of the universe.]

Garber, Frederick. “Maelzel and Me.” In Encountering the Other(s): Studies in Literature, History, and Cul- ture, edited by Gisela Brinkler-Gabler, 103-26. Al- bany, Ny: State Univ. of NewYork Press, 1995. [Vari- ous anthology publishers have found it difficult to classlfy “Maelzel’s Chess Player”: was it a short story, an essay, or something else? Garber believes that “Maezel’s Chess Player“ actively deconstructs its taxonomy to confuse and highlight binary distinctions in a manner similar to the later ME/NOT ME theory of Ralph Waldo Emerson.]

Garrett, Michael. “Death Takes a Dive: Poe’s ‘The City in the Sea’ and Lovecraft’s The Call of Cthulhu.” Lovecraft Studies 35 (Fall 1996): 22-24. [Points to some of Poe’s work, particularly “The City in the

Sea,” as sources for Lovecraft’s 1926 gothic novel.] Garrett, Peter K. “The Force of a Frame: Poe and the

Control of Reading.” Yearbook of English Studies 26 (1996): 54-64. [The gothic, already a source of parody, was obsolete by the time Poe wrote most of his stories. In order to survive financially, Poe learned to manipulate the reader. It is toward that end, Garrett argues, that Poe’s narrators twist convention and transgress literary boundaries.]

Gautier, Judith. Le second rang du collier 1902. Reprint, Saint-Cyr-sur-Loire: Chrisian Pirot, 1994. [In the second volume of her biography, the daughter of the poet ThCophile Gautier remarks that “The Gold-Bug” would generate more emotion in the reader if its narration were linear, and she tells the story of her article on Eureka, printing Baudelaire’s letter of congratulations.]

Giartosio, Tommaso. “lmitatiue propensities: Mimesi e schiavitii negli scritti di Poe.” Acoma8 (1996): 81- 95. [On the idea of imitation and dependence in “The Murders in the Rue Morgue” and other works.]

Goldbaek, Henning. “Poe and Cooper-A Comparison, between an American Democrat and a Southern Gentleman.” Jams Fenimore Cooper: His Country and His Art 1 1 (1997): 53-55. [When Cooper returned to America in 1833, he was shocked by the changes that had taken place during his absence: Andrew Jackson was president and popular culture was dramatically changed, especially with the introduction of sensational newspapers. Cooper’s attitude of decrying the new mass-democratic spirit in America interested Poe, who, while generally dis- missive of Cooper, developed his own critical attitude toward mass culture. The similarities between them include the creation of detectives-Natty Bumppo and Dupin-trying to solve the crime of America’s mass republic upon the individualistic ideals of its population.]

Goldhurst, William. “Tales of the Human Condition.” in A Companion to Poe Studies, edited by Eric W. Carlson, 149-67. Westport, CT Greenwood Press, 1996. [Overview of selected criticism of Poe tales that “treat such related themes as death and dying, the nature of the afterlife, and the place of man in the universe” (149) and “seem ultimately hopeful and optimistic” (164); tales are discussed in categories such as “Fables” (“Shadow” and “Si- lence”), “Colloquies: Psychal Visions” (“Mesmeric Revelation,” “The Power of Words,” “Eiros and Charmion,” “Monas and Una,” “The Premature Burial”), “Sea Tales” (“MS. Found in a Bottle,” “A

International Poe Bibliop-aphy 49

Descent into the Maelstrom"), as well as "The I s land of the Fay" and the manuscript fragment "The Lighthouse."]

Gske , Daniel. "The German Face of Edgar Poe: New Evidence of Early Responses in a Comparative Perspective." Ametikastudicn/Amaican Studies 40, no. 4 (1995): 575-92. [Discusses the early recep tion of Poe as well as studies in the years 184675; argues that Poe provides a "test case" for international reception studies.]

Grojnowski, Daniel. "De Baudelaire B Poe: 'L'effet de totaliti.'" P&tiqw 105 (February 1996): 101-9.

. "Faire rcver le lecteur: Saturation et inditer- mination dans quelques nouvelles d'Edgar Poe: 'BCrCnice,' 'Morella,' 'Ligeia,' 'Elionora.'" Litthaturn 108 (December 1997): 3-14.

Gunning, Tom. "From the Kaleidoscope to the X-Ray: Urban Spectatorship, Poe, Benjamin and Truffic in SouLC (1913)." Wide An& 19 (October 1997): 25-61. [Gunning examines Poe's treatment of city, gender, and modernity in "The Man in the Crowd"; he then discusses the influence of Poe's story on the works of two artists who critique the "modem" city through a focus on one location: Paris in Walter Benjamin's P h , die Hauptstadt des X I X Jar& hunderts'(1973) and NewYork in silent-film director George Loane's Puffic in Souls (1913).]

Hakumai, Mitsuyuki. 'Poe Nusumareta Tegami no 'Tegami' o Megutte" (The 'letter' of Poe's pur- loinedletter). KogaukunRonro27 (February 1994): 1-16. [Discusses the exact image of the letter as a 'mailed" letter, considering its form and style as well as the mail service of Poe's time.]

Hale, Brian Patrick. "To Touch the Stars: The NeoClas- sicism of Edgar Allan Poe." PhD diss., Univ. of South Carolina, 1993. [Poe's use of classical writings in his work. ]

Halliburton, David. "Poe's Aesthetics." In A Companion to Pa Studies, edited by Eric W. Carlson, 42747. Westport, a Greenwood Press, 1996. [Broad overview that discusses "the nature of Poe's aesthetics" with focus on the "role of experience"(427); essay organized into ten topic sections ranging from "Senses of Nature" and "The Oflices and Provinces of Criticism" to "Experiencing the True Poetical Efiect" and "Aesthetics of Revolution."]

Hamilton, Sharon. "Wright's Native Son" Explicator 55 (Summer 1997): 227-29. [Focuses on Richard Wright's echoing of the technique of Edgar Allan Poe in his novel Native Son and Wright's condem- nation of racial inequality in the United States in the 1940s. These are concerns Wright explores in

his article about the writing of Native Son, "How Bigger Was Born." Wright links the horrible death of Mary to Poe by, among other things, having a cat witness Bigger placing M q ' s dead body into the furnace. Hamilton points to the ability of both Wright and Poe to create a feeling of horror through their use of strong contrasts in color such as Wright's description of Mary's decapitation in terms of color.]

Hammond, Alexander. "Modem Poe Biography and Its Resources." In A Companion to PoeStudies, edited by Eric W. Carlson, 43-64. Westport, CT: Greenwood Press, 1996. [Guide to study of Poe biography that begins with practical entry points, surveys scholarly resources since the 194Os, and ends with evaluations of biographies by Jefiey Meyers (1992) and Ken- neth Silverman (1991).]

Hanganu, Laurentiu. "Chipul hermetic." Revista deisturie si h n i e literara 43 (January-March 1995): 13-18. [Poe's hermeneutics compared to that of early twentieth-century Romanian mathematician and poet Ion Barbu.]

Hansen, Thomas, and Burton R Pollin. The GmMnFau of EdgurAUan Po+: A Study of Litcraty R e f a m in His W&. Columbia, S C Camden, 1995. [Examines Poe's knowledge of German, his references to Ger- man literature and culture, as well as his use of the German language in his tales. Suggests that the Ger- man features of Poe's work often derived from En- glish sources.]

Harrowitz, Nancy A. "Criminality and Poe's Orangu- tan: The Question of Race in Detection." In Agonistics: Arenas of Cnative Contest, edited by Janet Lungstrum and Elizabeth Sauer, 177-95. Albany: State Univ. of New York Press, 1997.

Harvey, Ronald Clark. "A Dialogue with Unreason: The Critical History of Edgar Allan Poe's The Narrative ofArthur GordunPym 1838-1993." PhD diss., Michi- gan State Univ., 1996. [Harvey explores a variety of critical approaches to Pym, including psychoanalysis, New Criticism, and historicist and modernist readings. He points out gaps in critical attention to the work.]

Hatagaki, Yuko. "Poe and Our Times 1: The Concept of 'Man' and Identity." Jissen Eibeibungaku 26

. "Poe and Our Times 2: The Dissociation of the Self in 'A Predicament.'"Jken Women S Junior Col- lcgcRGvinu 18 (1997): 1624.

Hatvary, George Egon. "Poe and the World of Books." In A Companion to Pa Studies," edited by Eric W. Carlson, 539-60. Westport, CT Greenwood Press,

(1996): 1-9.


1996. [A marketplaceariented summary of Poe’s reading and sources, his relations to the publishers of his poems and tales, their reception (very brief), and the collecting, bibliographic descrip tion, and auctioning of Poe books published during his lifetime, ending with a guide to posthu- mous editing of his work and a brief overview of secondary studies.]

Hayes, Kevin J. “Poe’s Earliest Reading.” English Lan- guage Notes 32 (March 1995): 3 9 4 3 . [Focuses on the development of Poe’s fondness for books and reading during his boyhood years in England; lists books purchased by Poe’s foster father and discusses the significance, to Poe, of Linley Murray’s English Grammar.]

Hill, HarryJ. C. “Limplacable rythme: Edgar Allan Poe et la pidagogie.” Etudes littiraires 29 (Summer 1996): 39-46.

Hirano, Yukihiko. “Edgar Allan Poe and the Theory of Imagination. Metr@olitan University Graduate School Bulletin 41 (1997): 71-93.

Hirsch, David H. “Poe and Postmodernism.” In A Com- panion toPoeStudies, edited by Eric W. Carlson, 403- 24. Westport, CT Greenwood Press, 1996. [An assessment of the “distinction between the ‘traditional’ Poe of ‘humanist’ criticism and the Poe created by. . . postmodernist critics,” defined broadly as those who practice “deconstructionist criticism” or use deconstructionist/postmodernist “critical terminology” (403). After sampling contrasting readings of Eureka, “The Masque of the Red Death,” “The Purloined Letter,” Qm, and “Usher,” and approaches to such topics as Poe and race, Hirsch concludes that “deconstructionist readings, with their narrow and repetitious focus,” reach a dead end far quicker than do New Critical a p proaches (422).]

Hispano, Cornelio. “Jost Asuncih Silva y el misterio en el arte.” In Cob0 Borda, edited by Juan Gustavo and Leyendo a Silva 111,165-68. BogotA: lnstituto Caro y Cuervo, 1997.

Hoffman, Daniel. “Edgar Allan Poe: The Artist of the Beautiful.” American Poetry Reuiew 24 (November- December 1995): 11-18. [Hoffman discusses Poe’s poems and their influence on later writers. He praises “The Lake” as a nature poem and the for- mal properties of “Sonnet-To Science.” Hoffman also argues that Poe admitted into his fiction a range of feeling and experience banished from his poems and that the underlying assumptions on which all Poe’s writings rest are explicated in Eureka. A brief biography is included.]

. “Murder Such as We Have Seen.” Review of Nevermure, by William Hjortsbej. Seuanee Reuiew 103 (Summer 1995): Ixxvii-lxxix. [Nevermore is a mystery in which the ghost of Poe appears from time to time. The crimes are based on those in Poe’s stories; the solutions are not.]

Holland-Toll, Linda J. “‘Ligeia’: The Facts in the Case.” Studies in Weird Fiction 21 (Summer 1997): 10-17. [Contends that readers resist engaging with the text as a literal account of a supernatural event and consequently question the narrator’s reliabil-

Hone, Tamaki. “Seito to Edgar Allan Poe” ( The Blwstock- ing and Edgar Allan Poe). Eibei gengobunka kenkyu 43 (1995): 137-53. [Skto, the first feministjour- nal in Japan, published eleven Poe stories in its first two volumes. Hone suggests that the Japanese woman’s enthusiasm for Poe represents a bid for freedom.]

Hovey, Kenneth Alan. “Poe’s Materialist Metaphysics of Man.” In A Companion to Poe Studies, edited by Eric W. Carlson, 347-66. Westport, CT: Greenwood Press, 1996. [Survey of Poe’s “materialist metaphysics” that excludes cosmology, angelology, and theology while examining ramifications of his “metaphysics of man,” especially as they are shaped by the influence of “the theories of Epicurus” on his thought (349). The essay locates Poe’s philosophy in a wide-ranging analysis of the prose, fiction, and criticism, with particular emphasis on “Letter to Mr. -” and tales that address traditional issues of philosophy such as patterns of reasoning, the nature of the soul, ethics, freedom, duty, and political theory to define the author’s “idealism” ( 3 W . l

Hume, Beverly A. “The Madness of Art and Science in Poe’s ’Ligeia.’” Essays in Arts and Sciences 24 (Octo- ber 1995): 21-32.

Hutchinson, James. “Poe, Hoaxing, and the Digressions in Arthur Gordon e m . ” CEA 58 (Winter 1996): 24- 34.

Hutchisson, James M. “The Reviews: Evolution of a Critic.” In A Companion toPoeStudies, edited by Eric W. Carlson, 296322. Westport, CT Greenwood Press, 1996. [Careful guide to the character, criticism, and available modern editions of Poe’s reviews, organized to emphasize key concepts and theories as they emerge in Poe’s notices of particular works and writers during his labors for The Messenp, Burton 5, Graham 5, and The Bmudway Jour- nal.]

Ikesue, Yoko. “Deconstruction of the Masque in Se-

ity.]

International Poe Bibliografihy 51

lected Stories by Edgar Allan Poe.” Journal of the Faculty ofhttcrs (Yasuda Women’s Univ.) 2 (1997):

Imai, Hajime. “Notes on Poe’s Poetic Theory 2.” Bulb tinoftheFaculryofHumanities (OhuUniv.) 6 (1994): 31-42. [Discuses Poe’s theory that poets should create in their poetry an everlasting beauty that rises above simply imitating natural beauty.]

Inoue, Ken. “‘Gunshu no Hito’ no Keifu” (The geneal- ogy of “The Man of the Crowd” and modem Ja- pan). Studies of Gmparative Literature (Tokyo Univ.) 69 (1996): 37-66. [Inoue’s article traces the terrors of the crowd in Poe’s story to E. T. A. Hoff- mann, Victor Hugo, and Charles Dickens. These terrors reflect problems in modem cities.]

Irwin, John T. “A Clew to a Clue: Locked Rooms and Labyrinths in Poe and Borges.“ In The Anmican Facc ofEdgurAllan P a , edited by Shawn Rosenheim and Stephen Rachman, 139-52. Baltimore: Johns Hopkins Univ. Press, 1995. First published in Roritan 10 (Spring 1991): 40-57. [Irwin presents three detective stories by Jorge Luis Borges-”The Garden of the Forking Paths,” “Death and the Compass,” and “Ibn Hakkan al-Bokhari, Dead in His Labyrinth”-as antithetical doubles of Poe’s three detective stories.]

. The Mystery to a Solution: Pa , Bo?ges, and the Ana- IyticDctectiw Stoty. Baltimore: Johns Hopkins Univ. Press, 1994. [Shaping his book like a detective story, Irwin examines the significance of the analytical detective genre Poe created and traces Borges’s efforts to “double” the genre’s origins one hundred years later. Poe’s Dupin stories, paradig- matic of both analytic detective fiction and serious literature, are the ground for Irwin’s exploration of the essential embrace of lucid analysis and opaque mystery.]

Itoh, Shoko. *Mary Shelley and E. A. Poe: From Gothic to the Genesis of the Science Fiction Genre.” In Amen‘ha sahka to Y w a (American Writers and Europe), edited by Tsuboi Kiyohiko and Nishimae Takashi, 21-38. Tokyo: Eihosha, 1996. [Analyzes the work of these two writers in the frame of the science-fiction genre, focusing on doubles and monsters in their fiction.]

Itoh, Yoshiko. “Corporeality of the Beauty: Life and Death in Poe’s Fiction.“ Memoirs of Taisho Univer- sity, Faculty of Human Studies, and Faculty of Litera turc 82 (1997) : 205-14.

Iwase, Shitsu. “An Illusion of Maelstrom: The Motif of the Cliff in Poe’s Stories.” In Kakusareta isho: Eibei s& no mchifu to 5020 (A hidden device: The

61-73.

motif and the creation of English and American writers), edited by Shitsu Iwase et al., 38-53. To- kyo: Nan’undo, 1996.

Jamison, Kay Redfield. “Manic-Depressive Illness and Creativity.” SEientifiGAmffican272 (February 1995): 62-67. [Adduces, as its introductory gesture, a statement by Poe about the relation between madness and genius.]

Jernigan, William Lambert. Mnnmy’s Uncertain: Mourn- ing and Doubt in Thnc T&s iy Edgar Allan P a . PhD diss., Univ. of Florida, 1994. [In Poe’s short stories, a connection exists between memory and mourning. In works such as “The Fall of the House of Usher,” “Eleonora,” and “Morella,” for example, the reader finds an almost necrophiliac devotion to a lost loved one. The surviving narrators or main characters in the process of mourning struggle to put their memories into words, often forgetting significant details. But connected with memory is also supernatural resurrection: as the memory process unfolds, it literally brings back to life the remembered loved one.]

Johanyak, Debra. ”Poesian Feminism: Triumph or Trag- edy.” College Language Association Journal 39 (Sep tember 1995): 62-70. [Asks the question whether Poe’s various women-Morella, Ligeia, Madeline Usher, Berenice-are feminist or anti-feminist figures. The author concludes that these women, who represent knowledge and power but die nonetheless, express an ambivalence toward femininity.]

Johnson, Barbara. %trange Fits: Poe and Wordsworth on the Nature of Poetic Language.” In The Ammi- can Face of Edgar Allan Poc, edited by Shawn Rosenheim and Stephen Rachman, 37-48. Balti- more: Johns Hopkins Univ. Press, 1995. Reprinted from her book A Wmld o f D i J m e , Johns Hopkins Univ. Press, 1987. [Poe’s “Philosophy of Composi- tion” and Wordsworth’s preface to Lyrical Ballads share a common theme: poetry is meant to produce pleasure. Poe’s and Wordsworth’s aesthetic philosophies are compared, with special reference to Poe’s “Raven” and Wordsworth’s “Strange Fits of Passion.”]

. “Sublime Terror in Edgar Allan Poe’s ‘The Raven.’” Tmmssee Philological Bulletin: Aoceedings of the Annual Mating of the Tnmsee Philological As- sociation 34 (1997): 43-52.

Joswick, Thomas. “Moods of Mind The Tales of Detec- tion, Crime, and Punishment.” In A Companion to Poe Studies, edited by Eric W. Carlson, 23656. Westport, CT: Greenwood Press, 1996. [Beginning with “The Man of the Crowd,” Joswick relates Poe’s

52 Poe Studie.s/Dark Romanticism

tales of detection (“The Rue Morgue,” Marie Roget,” “The Gold-Bug,” “Thou Art the Man,” “The Purloined Letter”) with his tales of crime and punishment (“The Masque of the Red Death,” “The Tell-Tale Heart,” “The Black Cat,” “The Imp of the Perverse,” “The Cask of Amontillado,” “Hop Frog”) and summarizes associated criticism.]

Justin, Henri. “Edgar Allan Poe: Pertinence de la vie, impertinence du biographique.” In L’auteur u l’oeuvre: Incidences de la psychanalyse, edited by Patrick Di Mascio, 123-43. Fontenay-aux-Roses, France: ENS Editions, 1996. [Fighting the present “return of the author” in literary studies, Justin offers a plea for the precedence of Poe’s texts over whatever can be known of the actual existence of Poe. Life is relevant as an impersonal, secret force at work in the reading experience. Biography (itself textual) belongs in the footnotes. ]

. “L‘imagination des savoirs dans 1’Eurikade Poe.” Revue francaise d ’etudes amiricaines 71 (January 1997): 31-43. Uustin first shows how Poe appro- priated, with no slavishness, the scientific knowledge of his day, bending it to his vision. Justin then argues that Poe, defining the universe as inclusive of the human subject who thinks it up, was led to inescapable paradoxes, which could not but continue firing the scientific imagination. Hence, the number of his ideas that anticipate actual scientific findings to come.] , trans. “‘The Raven’ d’Edgar Allan Poe: Pri-

sentation suivie d’une traduction nouvelle.” Sources 3 (Fall 1997): 38. [Starting from the conviction that one must not translate “the words” but “their effects,” Justin offers a translation of “The Raven” that adapts sound and rhythm as well as sense to the target language. Typically, “Nevermore” is ren- dered by “Mort emporte” (“death carries away”), a phrase which is used as the title too.]

Kafalenos, Emma. ’Functions after Propp: Words to Talk about How We Read Narrative.” Poetics Today 18 (Winter 1997): 469-94. [Analyzes the reader’s shifting interpretations of events during the process of reading several narratives, including “The Assignation,” by Edgar Allan Poe; “My Last Duch- ess,” by Robert Browning; and “The Story of a Mas- terpiece,” by Henry James. ]

Kamada, Sachiko. ‘“Thou Art the Man’ by Edgar Allan Poe: As a Parody of Detective Stories.” Hokkaido Eigo Eibungaku 39 (1994): 21-30.

Kamaluddin, Sabiha. “The American Frontier: An In- tellectual Perspective.” In Closing of the American Frontier: A Centennial Retrospect, 1 8 9 M 990, edited

by Isaac Sequeira and R. S. Sharma, 27-30. Hyderabad, India: American Studies Research Centre, 1994.

Kawakami, Fumiko. “A Study of Spirit Personality with the Cases of Dr. Jekyll and William Wilson.” Jour- nal of Humanities (Osaka Industrial Univ.) 82

Kearns, Chris Franklin. “Four Keys to the Door of Poe’s Detective: Poe, Benjamin, Bakhtin, and Cavell.” PhD diss., Indiana Univ., 1994. [The function of the detective is analyzed through an examination of works by Poe, Walter Benjamin, Mikhail Bakhtin, and Stanley Cavell.]

Kelleter, Frank. Die M o d a e und der Tod: Dar Todesmotiv in m o d a e r Literatur, untersucht am Beispiel Edgar Allan Poe, T S. Eliot und Samuel Beckett. Frankfurt: Peter Lang, 1997.

Kennedy, J. Gerald. Arthur &don Pym and the Abyss o j

Interpretation. New York: Twain, 1994. [Suggests there are two categories of Pym critics: those who trace Pym’s growth toward spirituality and selfhood and those who find a blind movement toward illusion or meaninglessness. Kennedy sees limited growth in Pym and establishes the limits of that growth in the episodes at Tsalal.]

. “The Violence of Melancholy: Poe against Him- self.” American Literary History 8 (Fall 1996): 533- 51.

Ketterer, David. “Edgar Allan Poe in Edith Wharton’s Old New York.” Poe Studies/Dark Romanticism 28 (1995): 9. [Ketterer contends that in “False Dawn,” the first of the four stories that make up Old New Ymk, Wharton creates a fairly specific portrait of Poe’s life in New York City in 1846.1

Kidwai, A. R. “The Burning Heart in Poe’s ‘Al Aaraaf: Another Possible Source.” Notes and Qum’es 44 (September 1997): 365-66. [Kidwai finds an influence for Poe’s poem in Les sultanes de Guzarate; ou, Les songes des homes heillis, contes mogols ( I 732) by ThomasSimon Gueullette.]

Kimura, Masatsugu. “AStudy on Edgar Allan Poe’s ‘The Black Cat.”’ Journal of the Society of Liberal Arts (Hokkaido Gakugei Univ.) 61 (1996): 1-10,

Kincaid, Nancy. “The Place Poe Knows.” Carolina Quar- terly 47 (Winter 1995): 41-47.

Kindermann, Wolf. “Poe’s ‘Metzengerstein’: Erzihlen im Spiegelkabinett.” In Entwicklungslinien: 120 Jahre Anglistik in Hulk, edited by Wolf Kinderman, 77- 92. Munster, Germany: LIT, 1997.

King, Laurie R. “Diary of Edgar.” Armchair Detective 30 (1997): 280-86.

Kock, Christian. Professional litteraturlesning: 11 vinkler

(1994): 111-23.

I n t ~ a ~ i ~ n a ~ Poe Bibliography 53

PdEdgarAUan Poe's 'Berenice.' Copenhagen: Depart- ment of English, Univ. of Copenhagen, 1996.

Koizumi, Kazuhiro. "A Detective Novelist, Poe's 'The Purloined Letter."' NaturePeopleSociety: Science and the Humanities (Kanto Gakuin Univ.) 16 (1997):

. '"The Pit and Pendulum'-The Inquisition and Horror." Nature-PeoplcSocieQ: Science and the Hu- manities (Kanto Gakuin Univ.) 13 (1994): 58-64.

Kopley, Richard. "Hawthorne's Transplanting and Transforming 'The Tell-Tale Heart.'" Studies in American Fiction 23 (Autumn 1995): 231-41. [Kopley maintains that Hawthorne adopted elements of "The Tell-Tale Heart" in chapter 10 of The Scarlet Letterin a process of "transforming" and "translating" Poe's tale.]

. Review of The Narrative of Arthur Gordon +m of Nantucket, and Related Tales, by Edgar Allan Poe, edited by J. Gerald Kennedy. PSA Newsktter23, no. 2 (1995): 6 7 . [This edition "presents some problems regarding the reliability of the text, the bal- ance of the critical approach, and the usefulness of the annotations" (6) .] , and Michael Singer. "Thomas Cottrell Clarke's

Poe Collection: New Documents." In Perspectives on Poe, edited by D. Ramakrishna, 191-202. New Delhi: APC Publications, 1996. [Reprint from Poe Studies/Da& Ronurnticism 25 (1992): 1-5; for annotation, see Scott Peeples, compiler, "International Poe Bibliography, 1992-1993," Pa Studies/Da& & manticism 27 ( 1994) : 14.1

Kot, Paula. "Feminist 'Re-Visioning' of the Tales of Women." In A Companion to Poe Studies, edited by Eric W. Carlson, 388-402. Westport, CT Green- wood Press, 1996. [Detailed overview of Poe's positions on women in his fiction, with focus on %on- tributions to Poe scholarship made by critics using feminist approaches" (389), especially to commentary on the tales by Judith Fetterley, Leland S. Person, Elisabeth Bronfen, Cynthia F. Jordan, J. Gerald Kennedy, Monika Elbert, and Joan Dayan.]

. "Painful Erasures: Excising the Wild Eye from 'The Oval Portrait.'" Poe Studies/Da& Romanticism 28 (1995): 1-6. [Poe often turns his literary attention to the torture and death of a beautiful woman. Kot suggests that "The Oval Portrait" and Poe's revisions of it, including a final re-aestheticizing of the woman, underscore both the "fictional nature of artistic constructions that use women to disguise death" (1) and Poe's own reluctance to abandon such constructs. In erasing the image of the "wild eye" in a revision of the tale, Poe retreats

81-91.

from outright rejection of the artistic models his tale critiques. "The Oval Portrait" consequently becomes a pivotal tale in the continuing discussion of Poe's attitude toward women.]

Kovalyov, Y. The Cosmogzmy of Edgar AUan Poe: Essays, Papers, Research. Vol. 2, edited by V. Chered- nichenko and Y Luchinsky, 112-46. Krasnodar, Russia: Kuban Univ. Press, 1997.

Koyasu, Keiko. "Dupin and Tente." Tbkai English Review 6 (1997): 75-89. . "Poe's Answer to Transcendentalism." Bulletin

ofzchinomiya W m ' s Junior College 34 (1995): 1- 19. . "Poe's Place among American and French Lit-

erary Circles." Bulletin of Zchinomiya Women's Junior Collep 33 (1994): 144-54. . "Reading Three Stories by Poe." Kinjo gakuin

tunsyu 169 (1996): 85-103. . "Transcendental Heroes in E. k Poe's Tales."

Language and Literature, Shukutoku Universig Gradu- ate School Bulletin 3 (1994): 99-108.

Kozo, Yanase. Jikan to bi. kikai to seimk (Time and beauty, machine and life). Tokyo: Gentosha shoten, 1994. [Includes detailed discussions of "The Cask of Amontillado," "The Black Cat," and "The Fall of the House of Usher."]

Kuhn, Wieslaw J- "The Forlorn Demon: Poe in Allen Tate's Analysis of Modernity." Polish-Anmican Lit- erary Conjhmtations, edited by Joanna Durczak and Jerzy Durczak, 81-89. Lublin, Poland: Maria Cu- rieSklodowska Univ. Press, 1995.

Kuleitz, Dorsey. "Edgar Allan Poe's Arabesque Aes- thetic." Essays and Studies in British and American Literature (Tokyo Woman's Christian Univ.) 41 (1995): 1-18.

Kuroda, Yuko. "E. A. Poe: 'Perversity' and the Age of Mass Culture." In Yominaosu A& bungaku (Re- reading American literature), edited by Toshio Watanabe, 298-311. Tokyo: Kenkyusha, 1996.

Laffal, Julius. "Union and Separation in Edgar Allan Poe." Literary and Linguistic Computing Journal of the Association for Literary and Linguistic Computing 12 (April 1997): 1-13. [Laffal offers a computa- tional approach to the study of Eureka]

Lammers, John. "Sentience and the False Dej5 Vu in 'The Fall of the House of Usher."' Publicatiuns of the Arkansas Philological Association 22 (Spring 1996): 1941.

Lemire, Elise Virginia. "Making Miscegenation: Dis- courses of Interracial Sex and Marriage in the United States, 1790-1865." PhD diss., Rutgers Univ., 1996. [Interracial marriage and reproduc-


tion was becoming more common in Poe’s day, but still remained a focal point of cultural anxiety. The racial undertones of “The Murders in the Rue Morgue” are obvious if one factors in the widespread fear of miscegenation. Poe was not above demonizing interracial interaction as part of a commercial market, playing on cultural fears for profit.]

Leverenz, David. “Poe and Gentry Virginia.” In The American Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 210-36. Balti- more: Johns Hopkins Univ. Press, 1995. [Highlight- ing Allen Tate’s 1949 essay “Our Cousin, Mr. Poe,” this article examines Poe’s role as a Southern gentlemen in relationship to the oppression of his culture. A historical approach is used to read “Ligeia,” “The Man of the Crowd,” “Berenice,” and “The Fall of the House of Usher” for manifesta- tions of “Southern values.”]

. “Poe and Gentry Virginia: Provincial Gentle- man, Textual Aristocrat, Man of the Crowd.” In Haunted Bodies: Gender and Southern Texts, edited by Anne Goodwyn Jones and Susan V. Donaldson, 79-108. Charlottesville: Univ. Press of Virginia, 1997.

Levine, Stuart, and Susan F. Levine. “Comic Satires and Grotesques: 18361849.” In A Companion to Poe Studies, edited by Eric W. Carlson, 129-48. Westport, C T Greenwood Press, 1996. [Conclud- ing that this broad group of playful, multi-purpose, witty, satiric tales “grow(s) directly out of the tex- ture of America in Poe’s day” (145), the Levines describe and review scholarship on Poe’s “Comic Satires” (“Mystification,” “Blackwood Article/A Predicament,” “The Man That Was Used Up,” “The Devil in the Belfry,” “The Little Frenchman,” “The Business Man,” “Never Bet the Devil Your Head,” “Three Sundays,” “Diddling,” and “The Spec- tacles”), “Social Satires/Mysteries” (“Thou Art the Man” and “The Oblong Box”), “Literary Satires” (“The Angel of the Odd” and “Thingum Bob, Esq.”), “Satires of Modern Reform” (“Doctor Tarr and Prof. Fether”), and “Curiosities” (“Sche- herazade,” “Some Words with a Mummy,” and “The Sphinx”) .]

Levy-Bertherat, Ann-Deborah. L‘artifice romantiqw: De Byron a Baudelaire. Paris: Klincksieck, 1994. [Quali- fymg the complicity of romanticism with nature, Levy-Bertherat argues that artifice does appear in romanticism (before triumphing in symbolism). Her analysis includes Byron, Pouchkine, Nerval, Poe, Lermontov, and Baudelaire. Levy-Bertherat

does not trace influences but makes analogies, en- dowing Poe with a spiritual family. Some twenty tales are addressed, plus a few poems and critical texts.]

Lewis, R W. B. Introduction to EdgarAllanPoe/ (Ameri- can Men and Women of Letters), by George E. Woodberry. New York Chelsea House, 1997.

Leyris, Pierre. Esquisse d’une anthologie de la pobie ambicaine du d ix-neuuih siicle. Paris: Gallimard, 1995. [This bilingual anthology contains “To Helen” and seven minor poems by Poe. The translation places a higher value on accuracy than meter.]

Ljungquist, Kent P. “Edgar Allan Poe.” In Encyclopedia of Transcendentalism, edited by Wesley T. Mott, 204- 6. Westport: Greenwood Press, 1996. [Surveys Poe’s ambivalent responses to transcendentalism.]

. “Edgar Allan Poe.” In Facts on File: Bibliography of American Fiction through 1865, edited by Kent P. Ljungquist, 200-208. NewYork Facts on File, 1994.

. “Edgar Allan Poe.” In Johns Hopkins Guide to Literary Theory and Criticism, edited by Michael Groden and Martin Kreiswirth, 579-81. Baltimore: Johns Hopkins Univ. Press, 1994. [Surveys Poe’s critical principles in the context of English and Continental sources.]

. “The ‘Little War’ and Longfellow’s Dilemma: New Documents in the Plagiarism Controversy of 1845.” Resources for Amen’can Literary Study 23, no. 1 (1997): 28-57. [Situates Poe’s attack on Long- fellow in the context of the epidemic of plagiarism charges that prevailed in Poe’s time. Ljungquist considers the relevance of these attacks to issues ofvalue, authenticity, and the role of critic and writer in society.]

. “Poe.” In Ama‘can Literary Scholarship: An An- nual, edited by Gary Scharnhorst, 3748. Durham: Duke Univ. Press, 1995. [Checklist of recent Poe criticism.]

. “Poe’s ‘Al Aaraaf‘ and the Boston Lyceum: Con- tributions to Primary and Secondary Bibliogra- phy.” Victm’an Periodicals Review 28 (Fall 1995): 199-216. [In October 1845, Poe appeared before the Boston Lyceum, where he recited his poem “Al Aaraaf.” The article reprints twenty previously unrecorded items in Boston newspapers on Poe’s lyceum appearance, including lengthy commentaries in Leander Streeter’s Boston Daily Star.]

. “Prospects for the Study of Edgar Allan Poe.” Resources forAmerican Literary Study 21, no. 2 (1995): 173-88. Reprinted in Prospects fm thestudy ofAmeri- can Literature: A Guide for Scholars and Students, ed-

International Poe Bibliomabhv 55

ited by Richard Kopley, 39-57. NewYork NewYork Univ. Press, 1997. [Surveys areas of potential new work on Poe, including his public lectures and the intersection of his fictional and critical practices.]

. "Raising More Wind: Another Source for Poe's 'Diddling' and Its Possible Folio Club Context." Essays in Arts and Scimces 26 (October 1997): 59- 70. [First published in Perspectives on P a , edited by D. Ramakrishna; see following entry.]

. "Raising More Wind": Another Source for Poe's 'Diddling' and its Possible Folio Club Context." In Perspectives on Poe, edited by D. Ramakrishna, 53-62. New Delhi: APC Publications, 1996. [Ex- amines a piece by "Jeremy Diddler" in the March 1829 New Y d Enquirer as well as other sources on "raising the wind," or swindling, and suggests that articles on "raising the wind" were common periodical fare when scholars suggest early version of tale of this title was composed for 1833 Folio Club collection.]

. "'Raising the Wind': Earlier Precedents." Poe Studies/Dah Romanticism 27 (1994): 42. [Argues that the expression "raising the wind," which Poe used as his original title for "Diddling," was a common phrase in newspapers dating back to 1829.1

. "Some Unrecorded Reprints of Poe's Works." ANQ8 (Winter 1995): 20-22. [Ljungquistpresents a list of previously unrecorded newspaper reprints of Poe's tales and poems, arranged in chronological order of appearance. Includes reprints of "Von Jung, the Mystic," "Mesmeric Revelation," "The Cask of Amontillado," and others.]

. "'Valdemar' and the 'Frogpondians': The Af- termath of Poe's Boston Lyceum Appearance." In Emersonian Circlw, edited by Wesley Mott and Rob- ert E. Burkholder, 181-206. Rochester, IW Univ. of Rochester Press, 1997. [The hoax Poe concocted in the fall of 1845, at the expense of Bostonian and transcendentalist culture, was "Valdemar." Dip cusses previously unknown reprints of Poe's tale as well as a clever parody of "Valdemar" in the Bos- ton Daily Mail.] , and Buford Jones. "William S. Robinson on

Griswold, Poe's 'Literary Executioner.'" P a S t d ies/Da& Romanticism 28 (1995): 7-8. [Notes that Robinson was an early critic of Griswold's memoir of Poe.]

LlPcer Llorca, Eusebio V. "El terror en la literatura: El diseiio de la 'Tale' de Poe." REDEN: Revista espatiola dc estudios nmtcamnicanos 7, no. 11 (1996) : 9-24. . "La traduccidn del terror: Un enfoque integ-

rador; Propuesta de traduccidn de 'The Masque

of the Red Death,' 'The Pit and the Pendulum' y 'The Cask of Amontillado' de Edgar Allan Poe" (The translation of terror: An integrated a p proach; Translation into Spanish of Edgar Allen Poe's 'The Masque of the Red Death,' 'The Pit and the Pendulum,' and 'The Cask of Amontillado'). PhD diss., Univ. de Valtncia, 1996.

Lund, Hans Peter. "Paroles d'outre-tombe: Les 'Tombeaux' de Mallarmt." La licowae 29 (1994): 255-71. [A close reading of Mallarmt's "Tombeaux," the three sonnets devoted to the dead poets Poe, Baudelaire, and Verlaine. In Mallarmt's mystic view, poets are not of this world.]

Lyons, Paul. "Opening Accounts in the South Seas: Poe's Fymand American Pacific Orientalism."BQ: A Journal of the American Renaissance 42, no. 4

MacDonald, Edgar. "Thc Vampire, a First Story by Cabell." S o u t h Literary Journal, 29, no. 1 (1996): 46-55. [ 7'he Vampin, although told realistically and ending on a note of irony, is clearly aligned with the gothic romance. It echoes the discursive tone of "The Fall of the House of Usher," and its symbolism bears similarities to that seminal work. MacDonald takes an historical-biographical a p proach to the development of The Vampire, detail- ing Cabell's interaction with Poe, Cabell's struggle to have his story recognized, and critical recep tion of the novel.]

Manguy, Henri, ed. and trans. Edgar AUan Poe: Lettres d'amour. Paris: Le castor astral, 1995. [Acollection of translated letters from and about Poe illustrat- ing his relation with women (including Mrs. Clemm). The selection of letters centers on 1848- 49, extending after Poe's death.]

Marchand-Kiss, Christophe. Introduction to EdgarAUan P a : Poinus, edited by Christophe Marchand-Kiss. L'aeil du potte. Paris: Textuel, 1997. [Introductory essay for an attractive collection of poems by Poe translated into French by Sttphane Mallarmt, Jean-Marie Maguin, Claude Richard, and Christophe Marchand-Kiss.]

Marlowe, Stephen. Octobrc solitair: Les dmiers jours dEdgar Allan P a , translated by Dominique Ptju. Pans: Editions Michalon, 1997. [Translation of Marlowe's Lighthoucc at the End of the Wwld (1995) .3

Marsh, Clayton Knight. "Clockworks: Time and Social Motion in the American Renaissance." PhD diss., Columbia Univ., 1995. [The switch from what Marsh refers to as agrarian time to industrial time challenged the stability of nineteenth-century culture and was reflected in the works of the dark

(1996): 291-326.


romantic authors of the time, including Poe, Hawthorne, and Melville.]

Martin Gutiirrez, Felix. “E. A. Poe: La transfiguracibn de la novela norteamericana.” In Lafiontera: Mito y realidad del nuevo mundo, edited by Maria Jose Alvarez, Manuel Broncano, and Jose Luis Char- mosa, 261-71. Leon, Spain: Univ. de Lebn, 1994.

Matthews, Jack. “The Raven Caper and the Writing Curse.” Antioch Review 52 (Winter 1994): 157-65. [Matthews reports on a bizarre theft of Edgar Allan Poe’s bust located at the Poe Museum in Rich- mond, Virginia, and interviews the thief.]

May, Charles. The Short Story: The Reality OfArtifice. New York: Twayne, 1995. [A survey of the history and properties of the short story from its genesis to today. In his discussion of Poe, May pays particular attention to “The Fall of the House of Usher.”]

Mayer, Ruth. “Neither Life nor Death: Poe’s Aesthetic Transfiguration of Popular Notions of Death.” Poe Studies/Dark Romanticism 29 (1996): 1-8. [Focuses on “Mesmeric Revelation” and “The Facts in the Case of M. Valdemar” to -lay bare parts of an intri- cate network of medical, popular, and aesthetic variations on the strange theme of an intermedi- ate state between life and death” (1 ) . Today, Poe’s writings about the circumstances of dying seem clearly fictional, yet in the nineteenth century his ideas held plausibility for himself and his readers.]

McCill, Meredith L. “The Duplicity of the Pen.” In Tech- nologies of Literary and Cultural Production, edited by Jeffrey Masten, Peter Stallybrass, and Nancy J. Vickers, 39-71. New York: Routledge, 1997. [McCill discusses the treatment of handwriting in “Ms. Found in a Bottle,” “The Visionary,” and “Au- tography” and makes comparisons to printing.]

. “Poe, Literary Nationalism, and Authorial Iden- tity.” In The American Face ofEdgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 271- 304. Baltimore: Johns Hopkins Univ. Press, 1995. [The period from March 1843 to late 1845 (when the Boston Athenaeum debacle occurred) brought a significant consolidation of Poe’s identity as an author and marked a high point in the popular- ization of this identity. Such popularity came at a price for Poe, as itjeopardized his autonomy.]

. “Poe’s Plagiarisms: Literary Property and the Authorial Self in Antebellum America.” PhD diss., Johns Hopkins Univ. 1993. [ I n antebel lum America, copyright infringement was a serious issue as authors struggled with concepts of authenticity and plagiarism. New copyright laws signifi- cantly affected the American book market, forc-

ing authors to find new ways to define themselves and their works.]

McCinley, Patrick. Variations sur une omelette irlandaise. Paris: Marval, 1997. [Among other literary “variations,” the book quotes stanzas 6 to 10 of “The Raven” as translated into French by Baudelaire, Mallarme, and Lucie Delarue-Mardrus.]

McCovern, Constance M. Review of Madness in Ameica: Cultural and Medical Perceptions of Mental Illness be- f i 1914, by Lynn Gamwell and Nancy Tomes. Jour- nal ofAmerican History 83 (1996): 617. [In this volume, Poe characters “are brought to our attention as embodiments of social commentary on mental illness.”]

McLaren, Angus. Review of The Mysterious Death of Mary Rogers: Sex and Culture in Nineteenth-Century New Ywk, by Amy Gilman Srebnick. Journal of Ammican History 83 (September 1996): 622.

McMullen, Bonnie Shannon. “Lifting the Lid on Poe’s ‘Oblong Box.”’ Studies in Ama‘can Fiction 23 (Au- tumn 1995): 203-14. [Considered one of Poe’s worst stories, “The Oblong Box” nevertheless holds appeal for McMullen, who analyzes it as a self-ref- erential and political critique of Poeera America. McMullen describes the story as moving beyond mere parody of popular fiction.]

Meneghelli, Pietro. “La ‘trama’ del cosmo.” In Eureka, poema inprosa, by Edgar Allan Poe, edited by Pietro Meneghelli, 7-10. Rome: Newton Compton, 1996. [On Eureka.]

Merivale, Patricia. “Gumzhoes: Kobo Abe and Poe.” In The Farce of Vision, III: Powers of Narration; Literary Theory, edited by Earl Miner, Tom Haga, Gerald Gillespie, Andrt Lorant, Will van Peer, and Elrud Ibsch, 100-106. Tokyo: International Comparative Literature Association, 1995.

Mikami, Tadashi. “E. A. Poe’s ‘The Black Cat.”’ Daito Bunka Review (Society of English and American Literature, Daito Bunka Univ.) 28 (1997): 73-83,

Miller, Perry. The Raven and the Whale: Poe, Melville, and the New Yonk Literary Scene. 1956. Reprint, Baltimore: Johns Hopkins Univ. Press, 1997.

Mitchell, Domhnall. “Drink and Disorder in The Narra- tive of Arthur Gordon 5 m . ” In Beyond the Pleasure Dome: Writing and Addictionfrom the Romantics, edited by Sue Vice, Matthew Campbell, and Tim Armstrong, 101-8. Sheffield: Shefield Academy, 1994.

Miyajima, Tatsuo. “Similarities between Vocabularies.” Journal of Quantitative Linguistics 4 (December 1997): 164-75. [Miyajima compares the vocabu- lary Poe used in his tales with that found in the

International Poe Bablaografihy 57

stories of Arthur Conan Doyle.] Miyakawa, Tadashi. "Poe's Cosmology and Alchemy 2:

Cosmology and Identity." J o u m l of the Faculty of Let& (Hosei Univ.) 39 (1994): 69-102.

. "Poe's Cosmology and Alchemy 3: Alchemy 1." Journal of the Faculty of Letters (Hosei Univ.) 41 (1996): 65-88.

. "Poe's Cosmology and Alchemy 4: Alchemy 2." Journal of the Faculty of Letters (Hosei Univ.) 42 (1997): 61-81.

Miyanaga, Takashi. "E. A. Poe and Ryunosuke Akutagawa: Analysis of Akutagawa's Margin Notes and Highlighting in Poe's Collection." So- and Labour (Hosei Univ.) 41, no. 3 (1994): 39-82.

. "E. A. Poe and Shohei Ooka." Socicry andLabour (Hosei Univ.) 44, no. 2 (1997): 40-58. . "Edgar Allan Poe and Edogawa Rampo." Society

and Labour (Hosei Univ.) 42, no. 4 (1995): 41-50. . "Japanese Reflections on Edgar A. Poe: A Brief

History." Society and Labour (Hosei Univ.) 42, no. 1 (1995): 1-46.

Moldenhauer, Joseph J. "Murder as a Fine Art Basic Connections Between Poe's Aesthetics, Psychology, and Moral Vision." In Pmpectivw on P a , edited by D. Ramakrishna, 126-59. New Delhi: AF'C Publi- cations, 1996. [Reprint from Ph4LA83 (1968): 284 97; annotated by Richard P. Benton, "Edgar Allan Poe: Current Poe Bibliography," P a Newsletter2.1 (1969): 8.1

Moskowitz, Sam. "Poe's Influence on Science Fiction." Fantasy Commentator9 (Fall 1996): 24-32.

Motoyama, Chitoshi. "Poe and Violence." In A m m h bungaku to bouryoku (American literature and violence), edited by Chitoshi Motoyama, 31-79. To- kyo: Kenkyusha, 1995. [Suggests that the violence in The Narrative of Arthur Gordon pVm is representative of civilization itself, which executes violence against people and nature.]

Mukhtar, Ali Isani. "Poe and the Lamentation of Ibn Zayyat." P a Studies/Dank Romanticism 30 (1997): 48-49. [Poe's use of the ninthcentury Arab poet Muhammad Ibn Abd al-Malik-Zayyat is crucial to the plot of 'Berenice." The line, in Latin, ascribed to Ibn Zayyat appears in the epigraph and the climax of the story, during which Egaeus, amidst vague memories of a shrieking female, senses he has done something terrible which he cannot quite remember. The historical Ibn Zayyat was a poet and lover "well-suited" for attracting Poe's notice (481.1

Murphy, Carol. "Au bord de 1'Evre: Reflets d'Amheim dans LA eaux .&mites." La mue da lettres modntles

(1994): 77-90,1157-64. [Les eauxkhoites (Narrow water), by Julien Gracq, one of the greatest French writers of the twentieth century, relates a largely metaphorical boat trip on the Ewe, a tributary of the river Loire, using as its acknowledged, but often submerged, matrix Poe's "Domain of Amheim." In both, the course of reverie and fiction plays hide-and-seek with the course of time.]

Muto, Shuji. "Impression and Effect: From Poe to Hemingway." English Language and Literatun (Chuo Univ.) 34 (1994): 24662.

Nadal, Manta. "'The Death of a Beautiful Woman Is, Unquestionably, the Most Poetical Topic in the World': Poetic and Parodic Treatment of Women in Poe's Tales." In i3md.q I-Deology: Essays on l h m y , Fiction and Film, edited by Chantal CornutGentille D'Arcy and Jose Angel Garcia Landa, 151-63. Amsterdam: Rodopi, 1996. [A feminist approach to Poe's treatment of women and death.]

Nakamura, Tohru. "Poe in Japan 15." Bulletin of the COG & g ~ of GaeralEducation (Ibaragi Univ.) 26 (1994): 275-320.

Needleman, Deborah. "Sexing the Ostrich: Anal-Eroti- cism and Homophobia in Lacans 'Seminar on the Purloined Letter.'" Literatun and Psychology 43, no. 4 (1997): 57-72. [According to Lacan, there is no such thing as "woman," and all male desire can be traced back to homoerotic desire; "woman" is merely a substitute for the phallus. Lacan's theory can be uncovered in his "Seminar on the Purloined Letter," in which he uses the ostrich as a metaphor for the characters in Poe's story.]

Nelson, Dana D. "The Haunting of White Manhood: Poe, Fraternal Ritual, and Polygenesis." Amnican Literatun69 (1997): 51546. [Prompted by "Some Words with a Mummy," Nelson examines Poe's at- titudes toward race in relation to a prevailing culture committed to racism. Nelson provides information on freemasonry in America.]

Nelson, Victoria. "Symmes Hole: Or, the South Polar Romance." Ran'tan 17 (Fall 1997): 136-66. [There is a long-standing human tendency to project inner psychological content onto the physical con- tours of Earth. Nelson discusses hollowearth and related theories, including those of John Cleves Symmes, who envisioned a hollow Earth composed of five concentric spheres accessible through holes near the North and South Poles. J

Nishiyama, Tomonori. "'Ligeia' Reconsidered: The Pocahontas Myth and the Crisis of the New Re- public." Eibei bungaku (Kwansei Gakuin Univ.) 41 (1996): 135-52. [In "Ligeia," Poe utilizes the

Poe StudiedDark Romanticism

Pocahontas myth to activate the nineteenthcentury fear of loss of identity through miscegenation.]

Noto, Takaaki. “Poe and Emerson: In Quest of God.” Language and Literature (Shukutoku Univ. Gradu- ate School Bulletin) 5 (1996): 59-69.

Nygaard, Loisa. “Winning the Game: Inductive Reason- ing in Poe’s ‘Murders in the Rue Morgue.”’ Stud- ies in Romanticism 33 (Summer 1994): 223-54. [There is a peculiarity in the criticism of Poe’s fiction: readers have learned that they cannot trust Poe’s half-mad narrators, yet there is one narrator they do trust, C. Auguste Dupin. Nygaard offers an inductive reading of “The Murders in the Rue Morgue” and examines the game Poe plays with his readers.]

Ohazaki, K~oN. “E. A. Poe: Furikireru furiko” (E. A. Poe: A cut pendulum). Jinbunkagaku henkyu (Kochi Univ.) 4 (1996): 187-96.

Oi, Koji. “Poe’s Biographers: Joseph Wood Krutch and Hervey Allen.” Jinbun ronkyu (Kwansei Gakuin Univ.) 46, no. 1 (1996): 102-15.

Olivares Merino, Julio Angel. ‘Eleonora: Intimidades con la muerte enamorada; La orfandad amorosa de Poe.” WoskingPapers on English Studies4 (1997): 567-88.

Omiya, Takeshi. “‘The Black Cat’: Nakigoe no nazo” (“The Black Cat”: The mystery of cries). Chi-Shikoku A m ‘ c a bungaku kenkyu 32 (1996): 12-20. [At the end of the story, just as the corpse is about to be discovered, the narrator emits two cries: one of silence and the other a wailing sob. These represent the narrator’s divided psyche.]

Osipova, Elvira. “On the method of Edgar Poe (‘Morella’) .” In Edgar Poe: Essays, Papers, Research, vol. 2 (in Russian), edited by V. Cherednichenko andYu Luchinsky, 19-31. Krasnodar: Kuban State Univ., 1997. [Osipova discusses peculiarities of Poe’s poetics as seen in one of his early tales.]

Otero Ruiz, Efraim. “‘El cuervo’ de Edgar Allan Poe.” Cuadenos americanos 61 (January-February 1997): 107-25. [Discussion of Poe works, particularly ”The Raven” and its influence on Colombian p e ets Josi Asuncidn Silva and Ledn de Greiff.]

Ozawa, Namie. “Three Factors in American Horror: A Comparative Study of E. A. Poe’s The Narrative of Arthur &donemand H. P. Lovecraft’s At the Moun- tains of Madness.” Journal of Rissho University 28

Pahl, Dennis. “Decomposing Poe’s ‘Philosophy.’” Texm Studies in Literature and Language 38 (Spring 1996) : 1-25. [Pahl argues that Poe’s ”Philosophy of Com-

(1994): 35-58.

position,” despite its air of scientific and critical detachment, ends up mirroring the romantic poem it attempts to master. Its own language fall- ing under the shadow of “The Raven,” the essay betrays some of the same frenzied speech found in the poem as well as the monotone of the raven. Poe’s formalist aesthetics operate like a framing device, a sign of repression; under the force of the frame, not only do theory/science and romantic poetry reveal their questionable boundaries, but material culture bursts through the otherwise cir- cumscribed space of a seemingly a-historical, formalist work of art. History (like Lenore) “returns,” and it does so in the form of Poe’s engagement, in both essay and poem, with issues of possessive in- dividualism and “writing in the feminine.”]

Pan, Da’an. “The Purloined Letter and the ‘Purblind’ Lacan: The Intertextual Semiotics of Poe and Lacan.” Studies in the Humanities 23 (June 1996): 53-69.

Pankow, Edgar Hans Daniel. “The Metaphorical Let- ter: Concepts of Epistolary Writing in Hdderlin, Jean Paul and Edgar Allan Poe.” PhD diss., Yale Univ. 1994. [Contrasts the epistolary style of the works of Holderlin, Jean Paul, and Edgar Allan Poe with the earlier epistolary styles of Goethe, Richardson, Montesquieu, and Rousseau. The newer style represents a revision of literary assump tions.]

Pannapacker, William A. “A Question of ‘Character’: Visual Images and the Nineteenth-Century Con- struction of Edgar Allan Poe.” Harvard Library Bulletin 7 (Fall 1996): 9-24. [Discusses how interpretations of Poe the man were influenced by what people saw or thought they saw, particularly in the “Ultima Thule” daguerreotype (1848) and by their reading of Rufus Griswold’s presentation of Poe as a character figuring in his own writing.]

Pasi, Carlo. “La critica speculare: Baudelaire/Poe, Bataille/Sade.” Piccolo Hans82 (1994): 47-60. [On Baudelaire’s creative translation of Poe’s poems.]

Peduto, Angela. “Lamore e la morte in E. A. Poe.” Psice terapia e scienre umane 2 (1996): 89-106. [On love and death as psychoanalytical issues in Poe’s works.]

Peeples, Scott. “Life Writing/Death Writing: Biograph- ical Versions of Poe’s Final Hours.” Biography 18 (Fall 1997): 328-38. [Surveys both nineteenthcentury and modern biographies and discusses how the suspect accounts of Poe’s death by Dr. John Moran have influenced the tone, content, and structure of these biographies and blurred the

International Poe Bibliop-a fihy 59

distinction between fact and fiction.] -. Review of The Mystery to a Solution: Poe, Bmges,

a n d t h e A n a l 9 t i c ~ v e S t m y , byJohnT. Irwin. Criti- cism36 (1994): 62&22. [Irwin's analytic path leads more to "flashes of insight" than a "sustained, accretive judgment." At times, Irwin plays detective, essentially replicating the mind-reading game Dupin describes to the narrator. In this respect, Irwin's analyses are "highly presumptuous" and "extremely interesting." Irwin "opens up" the texts he considers rather than declaring any case closed, and, for that reason, Mystery to a Solution should inspire more rereadings of the detective stories and a great many more works as well.] , comp. "International Poe Bibliography: 1992-

1993." P a Studies/Dad Romanticism 27 (1994): 5- 27. [Supplements "International Poe Bibliogra- phy" published in previous Pa Studiesvolumes.]

Peluf€o, Luisa. "Ficci6n y realidad." Suplcmcnto literario la n m i h 24 (1994): 8. [Discusses the influence of Poe on Argentinean poet and novelist Julio Cortizar and his story 'Continuidad de 10s parques" from Final de juegu (1956) .I

Perosa, Sergio. "Letteratura inglese e letteratura americana da Poe a James." In Storia dellu civilta letteraria inghe, 848-68. Turin: UTET, 1996. [On Poe's role in ninteenth-century American literature.] . "Poetica di Poe." In Semeia: Itincran'pcrMamelh

Pagnini, edited by Loretta Innocenti, Franco Marucci, and Paola Pugliatti, 109-20. Bologna: Mulino, 1994.

Perry, Dennis R. "Imps of the Perverse: Discovering the Poe/Hitchcock Connection." Literatun Film @r- terly 24, no. 4 (1996): 3.93-99. [Explores the influence of Poe on the films of Alfred Hitchcock. In the works of each, suggests Perry, art empowers self-expression, becoming the route into dream worlds of contentment and control denied to the writer and director in their own peculiarly tor- mented lives. In addition to the concern both Poe and Hitchcock have for audience reaction, they share an aesthetic revolving around obsession, neuroses, and beautiful women. Hitchcock's film Vh-tigo is used to illustrate the main theses of the article.}

Peterson, Dale E. 'Nabokov and Poe." In The Garland Companion to Vladimir Naboh , edited by Vladimir E. Alexandrov, 463-72. New York Garland, 1995. [Acknowledging Poe as a major influence on his work, Russian writer Vladimir Nabokov used "Phi- losophy of Composition" to parody Poe's themes and poetic principles. For example, Nabokov's

Lolita possesses the same type of meandering dark nostalgia for a lost love that is contained within many of Poe's works. Nabokov utilizes the blunt impact of wellchosen language with as agile a pen as Poe does himself.]

Pettengell, Michael J. [See Sloane.] Phillips, Elizabeth. "The Poems: 1824-1835." In A Com-

panion to P a Studies, edited by Eric W. Carlson, 67- 88. Westport, CT: Greenwood Press, 1996. [Em- phasizing the "experimental quality of the verse. . . before the poet became a professional critic" (67), Phillips offers an incisive, analytic introduction to Poe's pre-1835 verse with discussions of the individual poems (largely by volume stage), Politian, and the 1831 "Letter to Mr. -" in light of his "exceptional @ts" as a poet and important studies by modem critics.]

Piasecka, Ewa. "Edgar Allan Poe Mlodej Polsce: Dopelnienia i sprostowania." Rzcch li terdi37 (Sep tember-ctober 1996): 603-13.

Pichois, Claude. Augwte Poulel-Malassis: L'iditeur & BaudeZaire (Paris: Fayard, 1996). [Biography of Baudelaire's publisher that includes discussion of Baudelaire's Poe translations.]

Pillai, Johann. "Death and Its Moments: The End of the Reader in History." Modern Language Notes 112 (December 1997): 83675.

Pitcher, E. W. "Poe's 'The Raven' and the Ananontea." Notes and Queries 42 (June 1995): 188-89. [Perry suggests that "The Raven" owes a debt to Thomas Moore's translation of the Anmontea. While one cannot be certain that Poe read this translation, the similarity between Moore's opening lines and "The Raven" is remarkable.]

Poe, Edgar Allan. Dix potmcs d Edgar P a , translated by Alice Becker-Ho. Cognac, France: Le temps qu'il fait, 1997. [Ten poems in a slim bilingual luxury volume.]

. Edgar Allun Poe: PoZmes, edited by Christophe Marchand-Kiss. Translated by Stephane MallarmC, Jean-Marie Maguin, Claude Richard, and Chris- tophe Marchand-Kiss. L'aeil du po6te. Paris: Textuel, 1997.

-. Lcttres d'amur, suivi a2 lettns a son sujet apis sa mort, translated and edited by Henri Manguy. Paris: Le Castor astral, 1995.

-. The Narrative of Arthur Gordon Fym of Nantucket, and Rebated Tala, edited by J. Gerald Kennedy. New York Oxford Univ. Press, 1994.

-. "'The Raven' d'Edgar Allan Poe," translated by Henri Justin. S o u m 3 (Fall 1997): 3-8.

Poger, Sidney, and Tony Magistrale. "Poe's Children:


The Conjunction of the Detective and the Gothic Tale.” Clues 18 (Spring-Summer 1997): 127-50.

Polk, Noel. “Welty, Hawthorne, and Poe: Men of the Crowd and the Landscape of Alienation.” Missis- sippi Quarterly 50 (Fall 1997): 558-65. First published in Literature in Wissenchaft und Untoricht 29, no. 4 (1996): 261-70. [Welty’s”Old Mr. Marblehall” is richly poetical, densely imaged, and modem. Despite its manifest modernity, however, it reso- nates powerfully with two curious but equally enig- matic nineteenthcentury short stones. Like “Old Mr. Marblehall,” both Poe’s ”Man of the Crowd” and Hawthorne’s “Wakefield” are narrated by ob- servers who find something anomalous in the behavior of seemingly ordinary denizens of the city.]

Pollin, Burton R. “Bulwer’s Rienzi as a Multiple Source for Poe.” Poe Studies/Dark Romanticism 29 (1996): 6 6 6 8 . [Presents evidence that the chapter “The Error” in Bulwer’s novel Rienzi was a likely source for some of Poe’s works, including “The Masque of the Red Death,” “The Haunted Palace,” and “The Raven.”]

. “Maria Clemm, Poe’s Aunt: His Boon or His Bane?” Mississippi Quarterly 48 (Spring 1995): 21 1- 24. [Examines the negative impact that Maria Clemm had on Poe’s life and postmortem reputation.]

. “A New Englander’s Obituary Eulogy of Poe.” American Periodicals 4 (Fall 1994): 4-5.

. “Poe and the Dance.” In Perspectives on Poe, edited by D. Ramakrishna, 19-38. New Delhi: APC Publications, 1996. [Revised reprint from author’s Insights and Outlooks: Essays on Great Writers (New York Gordian Press, 1986), 13046. In context of Pollin’s other bibliographical work on Poe and music, surveys and documents author’s relationship to the dance as critic, poet, and fiction writer as well as dance elements in later Poe-related creative works.]

. “Poe Didn’t Write It.” Poe Messenger 25 (Fall 1995): 4-5.

. “Poe in Art, Music, Opera, and Dance.” In Com- panim to Poe Studies, edited by Eric W. Carlson, 494- 517. Westport, CT Greenwood Press, 1996. [A careful adaptation, condensation, and summary of Pollin’s extensive bibliographical and source work, this article is divided into “Poe and the Graphic Arts,” “Poe Set to Music,” and “Poe and the Dance,” with each section introducing both Poe’s own use of such media and important work by his illustrators and other creative interpreters.]

. “Poe: The ‘Virtual’ Inventor, Practitioner, In-

spirer of Modem Science Fiction.” Poe Messenger 26 (Winter 1996): 18-29,4245.

. “Poe’s Word Coinages: Supplement Il l .” Poe Studies/Dark Romanticism 27 (1994): 28-40. [List of Poe’s coinages supplements Pollin’s previous listings, published from 1974 to 1989.1

. “A Revised Guide to the Ingram Collection.” Review of John Henry Ingram? Poe Collection at the University of Virginia, 2nd ed., edited by John E. Reilly. Poe Studies/Dark Romanticism 28 (1995): 24- 26.

. ”Traces of Poe in Melville.” Melville Society Ex- tracts 109 (June 1997): 2-12. , and R. j. A. Greenwood. “Stevenson on Poe:

Unpublished Annotations of Numerous Poe Texts and a Stevenson Letter.” English Literature in Trans- lation37, no. 3 (1994): 317-49. [Hitherto unnoted comments of Robert Louis Stevenson about Poe reveal Poe’s influence on Stevenson’s fiction and literary life. Article includes a letter from Stevenson to john H. Ingram about Ingram’s edition of Poe’s work, as well as the annotations Stevenson wrote in that edition.]

Ponikwer, Fiona. “‘L‘homme des foules’: The Vampiric ‘FlPneur.’” In Essays in Memory ofMichael Parkinson and Janine Dakyn: Papers in European Languages, Literature and Culturefrom the School of Modern Lan- guuge5, edited by Christopher Smith and Mike Carr, 139-42. Nonvich, England: Univ. of East Anglia, 1996. [Compares Poe’s treatment of the crowd in “The Man of the Crowd” to similar images in the work of Charles Baudelaire.]

Ponnau, Gwenhaitl. La folie duns la littkuture fantastique. Paris: Presses universitaires de France, 1997.

Poole, Gordon. “I1 Poe politico di ‘The Pit and the Pen- dulum.’” In Caliban: Peri settanl ’anni diRomolo Run- cini, edited by A. Martone and G. Raio, 99-106. Naples: Dante and Descartes, 1995. [On Poe’s political point of view in “The Pit and the Pendu- lum.”]

Pozzo, Felice. “Da Edgar Allan Poe a Emilio Salgari.” In Awenture aipoli, 4-16. Fermo: Istituto geografco polare Silvio Zavatti, Comune di Femo, 1995. [On the similarities between Poe and Salgari as far as description of nonrealistic adventures is concerned.]

. ‘‘I figli di Gordon Pym.” In Awenture aipoli, 45- 53. Fermo: Istituto geografico polare Silvio Zavatti, Comune di Fermo, 1995. [On how TheNarrative of Arthur Gordon Pym of Nantuket has inspired travel literature.]

Prete, Antonio. “Baudelaire e Poe: Traduzione come


interpretazione." In Abitazioni immaginarie di Edgar Allan Poe nella traduzione di Charles Baudelaire: Versioni italiane di G. Manganelli, L. Koch, E. Mazzarotto, edited by Antonimo Prete, 209-34. Turin: Einaudi, 1997. [On how Baudelaire's French versions of Poe's poems are both translation and creative interpretation.]

Price, Robert M. "Lovecraft and 'Ligeia.'" Louecraj Stu& ies3l (Fall 1994): 15-17. [LovecraftveneratedPoe and considered "Ligeia" one of Poe's greatest stories. Parallels can be found in Lovecraft's "Thing on the Doorstep," "The Rats in the Wall," and "The Hound."]

Pringle, Michael. "Intoxication, Antebellum Romanti- cism, and Poe." Review of Spirits of America: Intoxi- cation in Nirutcenth-Cmtury American Literature, by Nicholas 0. Warner. Poe Studies/Darh Romanticism 30 (1997): 50-52.

Punter, David. "Death, Femininity and Identification: A Recourse to 'Ligeia.'" Women's Writing 1, no. 2 (1994): 215-28.

Quirk, Tom. "What if Poe's Humorous Tales were Funny? Poe's 'X-ing a Paragrab' and Twain's 'Jour- nalism in Tennessee.'" Studies in American Humor 3, no. 2 (1995): 36-48. [Contrasts Poe's and Twain's humor and discovers that Twain is fun- nier.]

Rachman, Stephen. "'Es I k t sich nicht schreiben': Pla- giarism and 'The Man of the Crowd."' In Tire A m : can Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 48-87. Balti- more: Johns Hopkins Univ. Press, 1995. [Rachman identifies plagiarism as a key site for Poe's au the rial identity and provides an overview of various theories of plagiarism. He also expands on his discussion of the destabilization of authorship in antebellum culture.] . "Reading Cities: Devotional Seeing in the Nine-

teenth Century." American Litera? Histmy 9, no. 4 (Winter 1997): 6534'5. , and Shawn James Rosenheim, eds. Thc Ameri-

can Face of Edgar Allan Poe. Baltimore: Johns Hopkins Univ. Press, 1995. [The thirteen contributors to this volume share the conviction that Poe, far from being disengaged from nineteenth-century American culture, was intimately bound to it. The volume aims to "expose and to make sense of the apparent jumble of Poe's cultural physiognomy" (x). See individual entries for Gillian Brown, Stanley Cavell, Eva Cherniavsky, Joan Dayan, Jonathan Elmer, John T. Irwin, Barbara Johnson, David Leverenz, Meredith L. McGill,

Stephen Rachman, Louis Renza, Shawn Rosen- heim, and Laura Saltz.]

Ramakrishna, D. "Images of Poe in Modem American Fiction." In Perspectives on Poe, edited by D. Ramakrishna, 83-98. New Delhi: AF'C Publications, 1996. [Maintains that Poe's continuing significance lies in anticipating the enthronement of death in the twentieth century. Ramakrishna makes connections to stories by Shenvood Anderson, Saul Bel- low, John Hawkes, Joyce Carol Oates, Ray Bradbury, Richard Wright, Ishmael Reed, and Ralph Ellison.]

, ed. Perspectives on Pod. New Delhi: APC Publica- tions, 1996. [The book contains new and reprinted essays by John Barth, Richard P. Benton, Michael L. Burduck, J. Lasley Dameron, Benjamin Franklin Fisher lV, Richard Kopley and Michael Singer, Kent P. Ljungquist, Joseph J. Moldenhauer, Burton R. Pollin, D. Ramakrishna, Donald Barlow Stauffer, Jack G. Voller, and Bruce L. Weiner. Some essays are critical; others deal with source research. See individual entries for essayists.]

Raynaud, Jean. "Du religieux chez Edgar Poe." In Le populrrin a l'ombre des clochers, edited by Antoine Court, 35-43. Saint-Etienne, France: Publications de I'UniversitC de Saint-Etienne, 1997. [Analyzes Poe's treatment of religion in "The Masque of the Red Death," Eureka, and "Mesmeric Revelation."]

RebazaSoraluz, Luis. "El viaje de Edgar A. Poe en la barca del modernismo y la construcci6n poktica de Manhattan en el siglo XX." Inti: Reuista de literatura hispunica 4344 (Spring-Autumn 1996): 189-203.

Reilly, John E. 'Poe in Literature and Popular Culture." In A Companion to Poe Studies, edited by Eric W. Carlson, 471-93. Westport, CT Greenwood Press, 1996. [In this expert, wide-ranging introduction to responses to Poe's writings and reputation, Reilly begins with "The Poe Legend" then examines the impact and interpretations of Poe in " P e etry," "Fiction," and "Drama and Film," followed by discussion of "Poe's Works in the Media" and in miscellaneous modes like comics.]

Renza, Louis A. "Poe's Masque of Mass Culture or Other-Wise: A Review Essay." Review of Reading at the Social Limit: A f f c , Mass Cultuse and Edgar Allan Poe, by Jonathan Elmer. Poe Studies/Darh Romanti- cism 28 (1995): 27-33. . "'Ut Pictura Poe': Poetic Politics in 'The Island

of the Fay' and 'Morning on the Wissahicon.'" In The American Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 305- 29. Baltimore: Johns Hopkins Univ. Press, 1995.


[Renza asserts that these two landscape sketches each reflect and resist various aesthetic categories. Renza also notes how both “constitute perverse autobiographical revisions of their otherwise po- litically codifiable meanings” (323).]

Rey, Marine P. “Rethinking Poetic Space: Henri Michaux and Edgar Allan Poe.” Romance Notes 37 (Fall 1996): 109-15. [Attempts to define and clas- sify French poet Henry Michaux as a metaphysical author using Poe’s Eureka as support. The article connects Eureka with Michaux’s “Entre centre et absence” as metaphysical poetry utilizing a pseudo-scientific discourse.]

Rhode, Robert T. Review of EdgarAllan Poe, T m of the Soul (PBSvideo). PSA Newsletter23 (Fall 1995): 5. [The video contains verbal inaccuracies and historical distortions. Faulty quotations and misleading reenactments mar the production, and the video overly emphasizes Poe’s “disorders and de- mons.” A version of “The Cask of Amontillado” and interviews with Poe scholars are the production’s high points.]

. Review of =The Narratiue 4 Arthur Gordon Fym ” and the Abyss of Interpretation, by J. Gerald Kennedy. PSA Newsktter 24 (Spring 1996): 7. [Kennedy establishes the literary and historical context for Pyn He sifts through mountains of secondary material to summarize important insights into this complex work. Two-thirds of the book focus on a cogent critical reading of Fym A useful chronology of Poe’s life and a selected bibliography make this book in Twayne’s Masterwork studies series a significant contribution to Poe studies.]

Richards, Eliza Clark. ‘Poetic Attractions: Gender, Ce- lebrity, and Authority in Poe’s Circle.” PhD diss., Univ. of Michigan, 1997. [Reassesses the work of Poe and several prominent contemporaries-Sa- rah Helen Whitman, Frances Sargent Osgood, and Elizabeth Oakes Smith-by locating them in the context of an antebellum literary culture that val- ued poets as performance artists and celebrities rather than originators. These writers imagine the lyric poem as both a receptacle for personality and a telegraphic medium of communication. Chal- lenging the notion of a font of originality, the writers in Poe’s circle mimic romantic conventions of genius, demonstrating in the process the imitability of their own poems. Richards reevalu- ates Poe’s work in the light of his collaborations and rivalries with woman poets, while viewing their work as part of a crossgendered literary tradition.]

Rippl, Gabriele. “E. A. Poe and the Anthropological

Turn in Literary Studies.” REAL.: The Yearbook of Research in English and American Literature 12 (1996): 223-42.

Ronnick, Michele Valerie. “Seneca’s Medea and Ultima Thule in Poe’s ‘Dream-Land.’” Poe Studies/Dark Romanticism 27 (1994): 40-42. [Ronnick suggests that Poe is indebted for the phrase “ultimate Thule” to the second act of Seneca’s tragedy Medea. Poe may have encountered the phrase in Wash- ington Irving’s Life and Vbyages of Christopher C e lumbus, in which the “ultima Thule” passage a p pears on the title page.]

Rosenheim, Shawn James. The Cryptographic Imagination: Secret Writingfiom Edgar Poe to the Intmnet. Baltimore: Johns Hopkins Univ. Press, 1997. [Attempts to explain the worldwide popularity of detective fiction. Poe’s passion for cryptography and his stories fitting this genre reflect a “cryptographic imagination”-an approach to literature that has become increasingly influential in the century and a half since Poe’s death. Contemporary culture can be viewed as a set of variations of the cryptographic imagination, bringing together literature, technology, and society. See individual entries for Gilliam Brown, Stanley Cavell, Eva Cherniavsky, Joan Dayan, Jonathan Elmers, John T. Irwin, Barbara Johnson, David Leverenz, Meredith L. McGill, Stephen Rachman, Louis Renza, Shawn Rosen- heim, and Laura Saltz.] . “Detective Fiction, Psychoanalysis, and the Ana-

lytic Sublime.” In The Amen’can Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 152-76. Baltimore: Johns Hopkins Univ. Press, 1995. [Rosenheim explores the disjunction between linguistic signs and physical bodies in murder. Detective fiction presumes that readers can decipher clues to reach some consequential ending; yet the detective genre is not an intellectual exercise, contends Rosenheim, but rather an attack on the reader’s ability and desire to be de- ceived and shocked. Poe attacks the sensibilities of the reader in ”The Murders in the Rue Morgue” by making an orangutan the murderer.] , and Stephen Rachman, eds. The American Face

ofEdgar Allan Poe. Baltimore: Johns Hopkins Univ. Press, 1995. [The thirteen contributors to thisvol- ume share the conviction that Poe, far from being disengaged from nineteenth-century American culture, was intimately bound to it. The volume aims to “expose and to make sense of the appar- entjumble of Poe’s cultural physiognomy” (x). See individual entries for Gillian Brown, Stanley Cavell,


Eva Cherniavsky, Joan Dayan, Jonathan Elmer, John T. Irwin, Barbara Johnson, David Leverenz, Meredith L. McGill, Stephen Rachman, Louis Renza, Shawn Rosenheim, and Laura Saltz.]

Rossouw, Jean-Pierre. "Edgar Allan Poe's Urban De- mon." In Infer Action, edited by Loes Nas and Lesley Mark, 151-67. Cape Town: Department of English, Univ. of Cape Town, and Department of English, Univ. of Western Cape, 1994. [Discusses Poe's treatment of the city in his work, using a sociopolitical approach and the theories of Walter Benjamin and Charles Baudelaire.]

Ruhe, Nikolaus. "'Kidding the Reader': Ein Beitrag zur Entomologie von 'The Gold-Bug.'" ARleritatudim/ AmcriGan Studies 40, no. 4 (1995) : 593-617. IAnaly- sis of "The Gold-Bug" using an approach like that employed by C. Auguste Dupin in "The Mystery of Marie Roget." Ruhe finds that the relationship between the narrator and Legrand is parallel to that between Dupin and his reader.]

Salado, Regis. "L'ttoffe du texte: Sur 'Ligeia' d'Edgar Poe." In Figures del'art: Revued'esthitique 1 (1994): 23743. [An elaborate essay leading from "Usher" and "The Philosophy of Furniture" to the metapoetical function of the draperies in "Ligeia." The effect of the text on a reader is analyzed in terms of the effect of the draperies on a visitor.]

saltz, Laura. "'(Horrible to Relate!)': Recovering the Body of Marie Roget." In The American Face ofEdgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman, 237-67. Baltimore: Johns Hopkins Univ. Press, 1995. [In "The Mystery of Marie Rogit," the victim's body is promptly put off to the side, utilized more as a reflecting sur- face for other, more masculine identities that su- persede the victim's identity. The victim's disap pearance and murder are analogous to her body's disappearance from the text and center of the story, representing the disappearance or overwrit- ing of the female identity in Poe's culture. The omissions, evasions, and concealments result in Poe's transforming of Mary Rogers into Marie Roget.]

Sammarcelli, Francoise. "Cadres, limites, rtcits: Notes sur le dtcentrement dans les contes d'Edgar Allan Poe." La l icme 28 (1994): 63-74. [Starting from the importance of frames in Poe's theory of effect, Sammarcelli shows that these frames can be mo- bile ("The Oval Portrait"), elusive ("The Murders in the Rue Morgue"), or downright tricky ("The Sphinx"). Poe's art develops less in mastery than in (self-)controversy.]

. "L'inscription de l'excts dans les contes d'Edgar Poe." In Publication des Gtvupes de Rechercks an+ ambicaines de 1 'Unim't6 de Tours (GRAAT) 15 (Sep tember 1996): 63-77. [Traces the provoking con- tiguity of excess with lack, impotence, and ellipsis in Poe's tales. More generally, Sammarcelli com- bats naive readings of Poe in terms of successful totality and closure.]

Sapir, Michal. "Cryptography in Artificial Light: Poe's Stories and Nadar's Stills." Weber Studies 14 (Win- ter 1997): 18-28.

Saunders, Rebecca. "The Syntactic Panopticon and Mallarmean Resistance." Romantic Revinu 87 (May 1996): 36%75. [Using the theories of Foucault, this article focuses on linguistic syntax as a method of control. Syntax for Foucault works toward the eradication of chance and chaos. Stephane Mal- larmt's poem "Le tombeau d'Edgar Poe" dis- mantles syntactic order and thus undermines power structures.]

Savater, Fernando. "Edgar Poe: El efecto de las som- bras." Vuclta 19 (May 1995): 50-54.

Schehr, Lawrence R. Parts of an Andmlogy: On Repnscn- tations of Men's Bodies. Stanford: Stanford Univ. Press, 1997. [In an analysis of "The Pit and the Pendulum," the author argues that Poe's men almost always determine their own existence, and survive, while Poe's women are objects quickly killed off. The survival of the masculine in Poe's work represents the survival of the male body.]

Schueller, Malini Johar. "Harems, Orientalist Subver- sions, and the Crisis of Nationalism: The Case of Edgar Allan Poe and 'Ligeia.'" Criticism: A Quar- fcrlyfm Literature and &Arts 37 (Fall 1995): 601- 23. [The Orient in nineteenthcentury American literature represents colonial national identity for the Southern United States; correspondingly, Poe is both attracted to the idea of the Orient and re- pelled by the darker implications of colonialism. "Ligeia" resides in this ambivalent middle between the fascination and the ravages of colonization. Poe is seen as simultaneously parodying Oriental discourses and parallel discourses of Southern na- tionality and womanhood, all of which undergo eventual subversion.]

Schultz, Heidi. "Edgar Allan Poe Submits 'The Bells' to Sartain 5 Magazine." Resources fm A m ' c a n Liter- ary Study 2 (1996): 16681. [This article details the biographical and creative process Poe went through in writing "The Bells." Included and examined are Poe's relationship with Sarah Helen Whitman, his ties to Sartain's Magazine, and his


attempt to preserve his poetic form throughout the publication process.]

See, Fred. “Mapping Amazement: John Irwin and the Calculus of Speculation.” Review of The Mystery to a Solution, by John T. Irwin. M o b Fiction Studies 40 (Summer 1994): 343-53.

Seed, David. “Breaking the Bounds: The Rhetoric of Limits in the Works of Edgar Allan Poe, His Con- temporaries and Adaptors.” In Anticipations: Essays on Early Science Fiction and Its Precursors, edited by David Seed, 75-97. Syracuse, Ny: Syracuse Univ. Press, 1995.

Shea, Christopher. “Edgar A. Poe (1809-1849): ‘Killed by Rabies?’ Researcher Says Rabies, Not Alcohol- ism, May Have Killed Poe.” Chronicle OfHigherEdu- cation 43 (27 September 1996): A22. [A researcher at the University of Maryland Medical Center suggests that Poe died not from alcohol withdrawal, as is widely believed, but from complications aris- ing from rabies.]

Shell, Marc. “OK Or, Handel with Care.” Common Knowledge 5 (Winter 1996): 71-113.

Silverman, Kenneth. “Mather, Poe, Houdini.” In The Literary Biography: Pmblems and Solutions, edited by Dale Salwak, 107-16. Iowa City: Univ. of Iowa Press, 1996. [Silverman identifies each of the three men as “traffickers” in the supernatural (107). He discusses their biographies, particularly in terms of their impact on readers.]

Singer, Michael and Richard Kopley. “Thomas Cottrell Clarke’s Poe Collection: New Documents.” In Per- spectives on Poe, edited by D. Ramakrishna, 191- 202. New Delhi: APC Publications, 1996.

Sloane, David E. E. and Michael J. Pettengell. “The Sci- ence Fiction and the Landscape Sketches.” In A Companion to Poe Studies, edited by Eric W. Carlson, 257-75. Westport, CT Greenwood Press, 1996. [Describing eleven Poe tales and sketches grouped under these headings, the authors emphasize that they “are developed through some kind of journey” that can be analyzed in terms of Ketterer’s notion of the arabesque, Thompson’s of hoax, or Wilbur’s of ‘)journey into a ‘hypnagogic’ state” (257), the latter of which is most “compatible” with alternatives (274).]

Smith, Dave. “Edgar Allan Poe and the Nightmare Ode.” S o u t h HumunitiesRevieu29 (Winter 1995): 1-10, [Analysis of “The Raven” as an ode to a nightmare and alienation.]

Smith, Muriel. “Chesterton, Poe and Others.” Chestdon Review 21 (November 1995): 487-503. [Originally read to the Chesterton Society on 1 July 1989,

Smith’s essay discusses Chesterton’s views on detective fiction. Chesterton believed that “The Mur- ders in the Rue Morgue” was unsurpassed in detective writing and contended that Arthur Conan Doyle weakened The Hound of the Baskervilles by introducing a sort of sneer at Poe’s Dupin that backfired on Doyle’s own detective.]

Smith, Ron. “Edgar Poe and the American Dream.” Poe Messenger27 (Winter 1997): 20-21. [Apoem set in the summer of 1849 that dramatizes Poe’s last days primarily through his awkward courtship of Elmira Royster Shelton.]

. “Mr. Poe Calls on Mrs. Shelton.” The Poe Mes- senger 26 (Winter 1996): 35. [An original poem dramatizing Poe’s frame of mind in the summer of 1849 as the impoverished, humiliated, and mys teriously ill writer desperately began his pursuit of the woman who had been his childhood sweet- heart.]

Society for the Study of E. A. Poe (Institute for Research in Language and Culture, Tsuda College), ed. E. A . Poe no m’kyu tansaku (The quest for the labyrinth of E. A. Poe). Tokyo: Ozaki Insatsu, 1996. [Naoko Hazumi, “Suffering of the Flesh and Ob session of the Soul”; Sachiko Ishii, “Reading De- tective Stories by Poe-Dangerous Detectives and Their Detective Games”; Yoshie ltabashi, Introduc- tion; Chizu Nakamura, “A Consideration of ‘Bon- Bon”’; Keiko Noguchi, “The Reversible World in The Narrative of Arthur Gordon Pym ”; Kayoko Watanabe, “Poe and the Landscape: The Sacred Nature of the Romantic South”; and Yoshiko Yamaguchi, “A Cyborg, a Mummy, a Man of the Future, and an Angel.”]

Stauffer, Donald Barlow. “The Classical Erudition of Edgar Allan Poe.” In Perspectives on Poe, edited by D. Ramakrishna, 203-12. New Delhi: APC Publi- cations, 1996. [Thoughtful review of scholarship on Poe’s displays of classical learning, and his frequent use of secondary sources for such displays, in his writing.]

. “The Language and Style of the Prose.” In A Companion to PoeStudies, edited by Eric W. Carlson, 448-67. Westport, CT Greenwood Press, 1996. [Overview of Poe as a “conscious craftsman” in selection of prose styles appropriate for the mode, genre, and narrative voices in his writings, with a systematic discussion of Poe (and his interpreters) on theory of language, views of style, five “distinct” prose styles, diction, and rhetorical devices.]

Stem, Julia. “Double Talk: The Rhetoric of the Whis- per in Poe’s ‘William Wilson,”’ ESQ: A Journal of

International Poe Bibliograflhy 65

theAmeriGan Renaissance40 (1994): 185-218. [Ex- plores "the way in which Poe uses and subverts melodramatic conventions" in order to 'resituate 'William Wilson' as a fiction deeply grounded in the culture and sectional politics of the 183Os."]

Stitt, Peter. "Edgar Allan Poe's Secret Sharer." Pts. 1 and 2. Gettysbusg Reuiew 10 (Summer-Fall 1997).

Sullivan, Jack, "New Worlds of Terror: The Legacy of Poe in Debussy and Ravel." LIT: Literatun Intnpre- tation Theory 5, no. 1 (1994): 83-93.

Swirski, Peter. "Poe, Lem, and the Art and Science of Literature." PhD diss., McGill Univ., 1995. [Tran- scending the boundaries of literature, the works of Edgar Allan Poe and Stanislaw Lem contribute to a dialogue between literary, philosophical, and scientific cultures. Focusing on epistemology and analytical aesthetics, Swirski studies the two authors' fiction and essays, and the contributions they make to diverse fields of inquiry.]

Takahashi, Hisako. "Soseki and Poe." Studies in Ikuk JunimCoUegel3 (1995): 15-21.

Takahashi, Michiaki. "Poe no shima-Prose kenkyu" (Poe's islands: A study of prose.) Kyoto joshidaigaku Junbun R~lnso 43 (January 1995): 1-27.

Takashima, Kiyoshi. Shosetuka Poe (Poe the novelist). Tokyo: Kokushokankoukai, 1995.

Takeda, Yuichi. "Me no shujigaku-Poe no 'shisen' o yomu" (The rhetoric of the eye: Reading Poe's 'glance'). In Yominopanorama: Ei6ei bunguku m h u , edited by Masatoshi Ogino, 171-82. Tokyo: Kobian shobo, 1994. [Detailed analysis of eyes in Poe's works, pointing especially to Poe's use of both the eye's beauty and its usefulness as an image that drives people to insanity.]

Takemura, Naoyuki. Poe no uchukan-Sono sonzairo (Poe's view of the universe: Its ontology). Tokyo: Otowa shobo Tsurumi shoten, 1994.

. "Poe to Swedenborg" (Poe and Swedenborg). Eibeibunguku to p g o 4 (December 1994): 1-10. [The author suggests that many of Poe's ideas and views originated with Swedenborg.]

Takeuchi, Kohji. "Deciphering Poe: Holes and Turns." Studies in English Literutun 70, no. 2 (1994): 193- 206.

Tamura, Einosuke. Tutsu to bi no keifu: 'Ode on Mel- ancholy' saiko." Eigo seinen/Rising Generation 141 (December 1995): 503-23. [The article focuses on the treatment of melancholy in John Keats's ode and its relation to beauty and creativity. Compari- sons are made to Poe's "Philosophy of Composi- tion" and "The Raven."]

Tanman. Lea. "Poe's 'ATale of the Ragged Mountains'

as a Source for Golding's Post Mortem Conscious- ness Technique in P i n c h Martin." Notes on Con- tmtpmaty Literature 25 (September 1995): 6 7 .

Tatsumi, Takayuki. E. A. Poe wo yomu (Reading E. A. Poe). Tokyo: Iwanamishoten, 1995.

. "Literacy, Literality, Literature: The Rise of Cultural Aristocracy in 'The Murders in the Rue Morgue.'" American and Canadian Studies (Sophia Univ.) 12 (1994): 1-23.

. "The Voyage to Vineland in 1001: Poe, Bloch, and Marlowe." In Sai to douitsuJua (Difference and identity), edited by Kazumi Yamagata, 177-94. Tokyo: Kenkyusha, 1997. [Includes a translation of Poe's 'Light-House" into Japanese.]

Tee, G. "Bosovic's Parallel." New Scientist, 24 May 1997, 53. [Letter in response to E. R. Van Slooten's letter ("Parallel Poe," below) suggests that a multiple universe was proposed by others before Poe.]

Templeton, Joan. "Women as 'Manitres de sentir la beaut2 in Poe and Baudelaire." In The Fme of Vi- sion. Vol. I , Dramas of Dcsin; Visions of Beauty, edited by Earl Miner, Tom Haga, Ziva Ben-Porat, Hana Wirth-Nesher, Roseann Runte, and Hans R Runte, 501-7. Tokyo: International Comparative Literature Association, 1995. [Discusses Baude- laire's Lesfrcurs du malas it pertains to Poe's treatment of women and their relationship to his concept of beauty.]

Thau, Eric. "Implicaciones de la parodia de 'The Pur- loined Letter' de Edgar Allan Poe en 'La muerte y la bnijuli' de Jorge Luis Borges." Mester 24 (Fall

Thomas, Ronald R Review of Thc Mystery to a Solution: Poe, B v s , and the Analytic Detective Story, by John T. Irwin. Modrrnism/Modmrity 2 (April 1995): 94- 95.

Thompson, G. R. "Literary Politics and the 'Legitimate Sphere': Poe, Hawthorne, and the 'Tale Proper.'" Nineteenth-Cmtuty Literature49 (September 1994): 167-95. [Poe's review of Hawthorne's TwicoTold Tales raises questions of genre presumptions-and thus of comprehension and evaluation. Haw- thorne's Tales and Poe's response establish in out- line the two major lines of development of Ameri- can short fiction-the Hawthornesque and the Poesque.]

Thorpe, Dwayne. "The Poems: 1836-1849." In A Com- panion to Poe Studies, edited by Eric W. Carlson, 89- 109. Westport, C T Greenwood Press, 1996. [Em- phasizing the relative neglect and critical questions that many raise about Poe's middle and late poetry, Thorpe discusses the themes and techniques

1995): 1-12.


of individual poems with reference to the themes of Poe’s tales and his critical formulations.]

Thorpe, Kathleen E. “Poe in Venice or the Narration of a Literary Hallucination: Wer war Edgar Allan? by Peter Rosei.” Carleton Cermunic Papers 24 (1996): 185-96. [Peter Rosei’s novel Wer war Edgar Allan? has obvious allusions to Edgar Allan Poe, but despite Poe’s influence on Rosei, the allusion in Rosei’s title is a deliberate misleading designed to suggest the presence or search for Poe. Rosei’s real search is for narrative convention and reveals neither Edgar Allan Poe nor any kind of completed identity.]

Tochiyama, Michiko. “‘The Infernal Twoness’ of the House of Usher.” Ohtani Women 5 College Studies in English Language and Literature24 (1997): 103-25.

. “The Love of Poe: Poetry and Reproduction.” Ohtani Women 5 College Studies in English Language and Literature 22 (1995) : 97-1 14.

Tsushima, Michiko. “The Abyss in Edgar Allan Poe’s Poetry.” Tosa Women’s Junior College Journal 2 (1995) : 31-45.

Udono, Erika. “The Double Face of Edgar Allan Poe.” Bulletin of the Faculty of L&ers (Aichi Prefectural Univ.) 46 (1997): 17-31, 53-67.

Vail, William A. “Premature Burial: New in the Annals of Crime.” BakerStreetJournaZ46 (September 1996): 7-12. [Vail points to similarities between “The Pre- mature Burial” and Arthur Conan Doyle’s “Disap pearance of Lady Frances Carfax.”]

Van Calmthout, M. “Twee boogseconden verschil tussen Newton en Poe” (Two seconds of arc between Newton and Poe). De Volkskranf, 7 October 1995, 1. [An interview with Poe scholar Rene van Slooten in a major Dutch newspaper. The article compares the cosmological ideas of Newton, Poe, and Einstein, with particular regard to their differing views of the character of gravitational force.]

Van Slooten, E. R. “Edgar Allan Poe, Eureka.” Filosojie magazine (July-August 1995): 12-13. [This article in a leading Dutch philosophical magazine gives a brief description of the philosophical ideas in Eu- reka. It suggests a link between Poe and such well- known European thinkers as Nietzsche and Bergson .]

. “Eureka.” Trouw, 15 March 1997, 19. [Article in a major Dutch newspaper. Van Slooten suggests that Eurekamay have influenced the development of twentiethcentury astronomy and philosophy in Europe.]

. “Parallel Poe.” New Scientist, 19 April 1997, 55. [Letter in which Van Slooten states that Eurekapro-

posed an idea in modem quantum physics, namely the existence of multiple universes in different dimensions.]

. “Zal CEO 600 het mysterie van Poe oplossen?” (Will CEO 600 solve the riddle of Poe?). Technisch weekblad, 20 August 1997, 18. [This article in the leading Dutch technical magazine speculates on the infinite velocity of gravity, as suggested by Poe in Eureka. If Poe was right, this could have considerable consequences for research with the gravity wave detectors that are under construction in the United States, Europe, and Japan.]

Vatan, Florence. “La melancolie sans miroir: Une lecture de ‘Brumes et pluies.’” French Review 70 (De- cember 1996): 219-30. [Vatan finds Baudelaire’s sonnet congruent with Poe’s critical tenets but contrasting with “The Raven.”]

Verdone, Mario. “I1 Colosseo in un dramma roman0 di Edgar Allan Poe.” In Strenna dei romanisti, edited by M. Barberito, 561-68. Rome: Edizioni Roma amor, 1995.

Vines, Lois D. “Edgar Allan Poe: A Writer for the World.” In A Companion to Poe Studies, edited by Eric W. Carlson, 51838. Westport, CT Greenwood Press, 1996. [Learned review of worldwide response to Poe, with emphasis on his influence, translation, and reputation in cultures and language commu- nities ranging from France and Russia to Latin America and China-an anticipation ofVines’s edited collection, PoeAhad: Influences andAfjinities.1

Voller, Jack G. “The Power of Terror: Burke and Kant in the House of Usher.” In Perspectives on Poe, edited by D. Ramakrishna, 160-80. New Delhi: APC Publications, 1996. [Reprint from Poe Studies/Dark Romanticism 21 (1988): 27-35; annotated in Su- san Beegle, compiler, “International Poe Bibliog- raphy: 1988,” Poe Studies/Dark Romanticism 23 (1991): 20-21.1

Voloshin, Beverly R. “The Essays and ‘Marginalia’: Poe’s Literary Theory.” In A Companion to Poe Studies, edited by Eric W. Carlson, 27695. Westport, CT Greenwood Press, 1996. [Description of “the literary and aesthetic theories” that Poe expressed in his prose magazine pieces, with emphasis on available editions, secondaq approaches to the material, and a roughly chronological survey of his early and later theory of poetry, his concept of the tale, and the role of his “Marginalia.”]

Wigenbaur, Thomas. “Europiische Literatur gegen Rassismus ( m a und Poe).“ In Suchbild Europa- kunstlerische Konzgbte der M o h e , edited by Jiirgen Wertheimer, 181-98. Amsterdam: Rodopi, 1995.

International Poe Bib1iografih-y 67

[Includes a discussion of "The Masque of the Red Death."]

Walker, Ian. "The Poe Legend." In A Cotnpanim to P a Studies, edited by Eric W. Carlson, 19-42. Westport, C T Greenwood Press, 1996. [Supplementing Walker's Edgar AUan P a : The Critical Heritup, this essay incisively discusses the growth of major stages in Poe biography from contemporary accounts, death notices, and early defenses and biographical accounts, through popular and psychoanalytic interpretations, to AH. Quinn's precise, corrective, if "unfailingly generous" Edgar AUan Pa: A Critical Biography (38-40) .]

Walter, Georges, and Albert0 Claveria, trans. EdgarAUan Poe, poeta ammicano. Madrid: Muchnick, 1995. [Translation of Poe's poetry into Spanish.] *

Ware, Tracy. "The 'Salutary Discomfort' in the Case of M. Valdemar." Studies in Short Fiction 31 (Summer 1994): 471-80. [Ware discusses the implications of Roland Barthe's essay "Textual Analysis: Poe's 'Valdemar,'" arguing that, while an ironic reading of Poe's narrator is compelling, it compromises reading Poe's other works as other than hoaxes.]

Warner, Nicholas 0. Sjnnts OfAmerica: Intoxication in Nine UCnth-Century American Litmatun. Norman: Univ. of Oklahoma Press, 1997. [A study of intoxication as represented in nineteenthcentury American literature. Considering the writings of Cooper, Haw- thorne, Emerson, Poe, Dickinson, Melville, Alcott, and Stowe, Warner combines literary analysis with cultural-historical perspective. He discusses the ex- tent to which intoxication became associated with literature itself and with supposedly literary values, as opposed to those of the emerging industrialcapi- talist nation. Chapter 4 is devoted to Poe.]

Washizu, Hiroko. "Hako no naka shitsumku-Edgar Al- lan Poe." (Lost in the fun house: An approach to Edgar Allan Poe). Studies in Languuge and Liter& tun (Univ. ofTsukuba) 30 (1996): 107-28. [Argues that Maelzel's chess player is a pseudoscientific device and that it and the deceptive narrative of the work can be read as representing nineteenthcentury American culture.]

. "The Mystery of 'The Mystery of Marie Roget.'" Setjo University Arts and Literature Quarterly 149 (1995): 21-41.

Watanabe, Kayoko. "Wise Blood: The 'Double' Motif in a Wasteland." Tsuda Review 41 (November 1996): 63-89. [The double motif in O'Connor's Wse Blood and her characterization of Hazel Motes are testament to the influence of Poe, specifically "Will- iam Wilson."]

Watanabe, Mitsue. "'The Black Cat' and Desire for Destruction." Kym'n University Review of the Faculty OfForeign Language 6 (1994): 35-57. [The para- praxis of the narrator is the product of a mixture of incestuous obsession, narcissism, and masoch- ism.]

. "Edgar Allan Poe no shigaku: Kanatano bi o motomete" (Edgar Allan Poe's poetics: The quest for the distant beauty). In K q a kara utagoe ga k h , edited by Shinji Watanabe, 19-45. Tokyo: Chobunsha, 1994. [Watanabe finds that Poe's t hee ries on poetics apply to many of his major poems that share the theme of the quest for heaven.]

Weiner, Bruce L. "Poe and the Culture of American Magazines." In Perspectives on P a , edited by D. Ramakrishna, 99-108. New Delhi: APC Publica- tions, 1996. [Expert's brief exploration of Poe's relationship to American magazines, with emphasis on the "democratic" hopes for the marketplace in terms of "leveling up," bridging high and low interests, and contradictory aesthetic demands.]

Weiss, Margit Anna. "Der Traum von der Geliebten: h s s e r e und innere Bauform, Erzihlweise und stofflicher Gehalt in Werken von Novalis, E. T. A. Hoffman, E. A. Poe und Nerval." PhD diss., Univ. of Alberta, 1996. [Weiss traces what she sees as a conceit of dreams of dead lovers in the works of Hoffman, Poe, Novalis, and Gra rd de Nerval.]

Weissberg, Liliane. "Vom Naturalienkabinett zur h h e t i k der Moderne: Zu den Marginalien Edgar Allan Poes." In Die Erjindung der Natur: Max Ernst, Paul Klee, Wok und das sumale Universum, edited by Karin Orchard and J6rg Zimmermann, 89-96. Freiburg: Rombach, 1994.

Wetzel, George T. "Comments on 'The Light-House."' Fantasy Cornnuntator9 (Fall 1996): 32-33.

Whalen, Terence. "The Code for Gold: Edgar Allan Poe and Cryptography." Representations 46 (Spring 1994): 35-57. [Whalen expands on and takes issue with Shawn Rosenheim's opinions of "The Gold-Bug" and its detective to demonstrate how the tale embodies Poe's conflict between mass and elite audiences and between fiction written for money and that written for art's sake.]

. "Poe's 'Diddling' and the Depression: Notes on the Sources of Swindling." Studies in American Fic- tion 23 (Autumn 1995): 195-201. [Sets Poe's interest in the subject of swindling and his sketch "Diddling" in the context of the treatment of the topic in the media of his time, with special attention to two popular magazines, the Corsairand the United States Democratic Review.]


. “Subtle Barbarians: Poe, Racism, and the P e litical Economy of Adventure.” In Styles of Cultural Activism: From Theory and Pedagogy to Women, Zndi- am, und Communism, edited by Philip Goldstein, 169-83. Newark Univ. of Delaware Press, 1994. , and Jan Whitt. “The ‘Very Simplicity of the

Thing’: Edgar Allan Poe and the Murders He Wrote.” Clues 15 (Spring-Summer 1994): 2540. [Poe continues to influence contemporary writers of mysteries, including those who write such television drama as M u r h , She Wrote, whose detective, argues Whitt, uses much the same meth- ods as C. Auguste Dupin in “The Mystery of Marie Rogit” and “The Purloined Letter.”]

Williams, Michael J. S. “New Bearings on Pym.” Review of PoeS Pym: Critical Explorations, edited by Rich- ard Kopley. Poe Studies/Dark Romanticism28 (1995): 11-20.

Worley, Sam. The Narrative of Arthur Gordon Pym and the Ideology of Slavery.” ESQ: Afournal of thedmeri- can Renaissance 40 (1994): 219-50. [Worley suggests that Poe’s portrayal of the natives in Tsalal is akin to commonly held nineteenthcentury images of blacks as either bloodthirsty savages or compli- ant children.]

Yamamoto, Tsunemasa. “E. A. Poe and French Symbol- ism 1.” Journal ofKoyasan University 31 (1996): 1- 22.

. “Edgar Poe: An Ontological Reverie XIV.” Jour- nal ofKoyasan University 29 (1994): 2 5 4 7 . . “Edgar Poe: An Ontological Reverie XV.” Mikkyo

bunka 187 (1994): 136-22. Yanase, Kozo. Jikan to bi, kikai to seimk: Gendai shakai no

byon’ wo terasu Poe to Hawthorne no bungaku (Time and beauty, machine and life: Enlightened mod- e m society in the works of Poe and Hawthorne). Tokyo: Gentosha shoten. 1994. [Includes detailed discussions of “The Cask of Amontillado,” “The Black Cat,” and “The Fall of the House of Usher.”]

Zettu, Tomoyuki. “Seduction of Blue Genre: ‘A Street- car Named Desire’ and Edgar Allan Poe.” A m ’ - can Literature (American Literature Society of Ja- pan, Tokyo Branch) 58 (1997): 10-17.

Zimmerman, Brett. “‘I Could Read His Prose on Sal- ary, but Not Jane’s’: Poe’s Stylistic Versatility.” Lan- guage and Discourse 5 (1997) : 97-1 17.

INTERNATIONAL POE BIBLIOGRAPHY, 2001-2003

Achilles, Jochen. “Monkey Business in Intercultural Perspective: Species- and Ethnos-Orientation in Poe’s ‘The Murders in the Rue Morgue,’ Le Fanu’s ‘Green Tea,’ and Spofford’s ‘Circumstance.’” In POEtic Effect and Cultural Discourses, edited by Hermann Josef Schnackertz, 1-32. Heidelberg : Universitiitsverlag, 2003. [In the editor’s words, “A comparative analysis of the cultural influence of the orangutang in Poe’s protypical detective story and of animal representations in two other nineteenth-century stories” (ix) .]

Amfreville, Marc, “Stratkgies d’initiation chez Brown et Poe.” E u q e : Revue littkaire muel le79 (August- September 2001): 97-107. [Poe and Charles Brockden Brown both aim at a new verisimilitude. Through closure and “anamorphosis,” understood as the distortion of the real by “misleading narrators” (103), they come to representations of un- checked desire. And, contrary to Brown, Poe ends with nothing but the text, a text into which the narrator has “dissolved” (105) and in which the reader is compelled to recognize “a new definition of his own [inner] reality” (107).]

Amper, Susan. “The Biographer as Assassin: The Hid- den Murders in ‘The Assignation.”’ Poe Studies/ Dark Romanticism 35 (2002): 14-21. [Developing the idea that Moore’s biography of Byron serves as a source for Poe’s tale, Amper views the object of Poe’s ironic treatment not as Byronism or the tale of romance but as Moore’s biography itself and, by extension, literary biography in general. Moore engages in character assassination; Poe’s narrator carries out a real one. Amper’s evidence includes the narrator’s visible resentment of the hero, his own love for the marchesa, and the doubt- ful authorship of the poem he professes to find in the hero’s palazzo.] . “Introduction: Essays on Poe, Epistemology, and

Modem Thought.” PoeStudies/Dark Romanticism 36 (2003): 1-2. [As guest editor of the journal section devoted to papers from the “Calculation and Detection” panel at the 2002 Second International Edgar Allan Poe Conference, Amper introduces three essays that “present Poe as genuinely interested in modem science and technology, particularly with regard to their epistemological implications.” The “reach of Poe’s thought elucidated in . . . the intricacy of the design of his tales . . . roils the question of his seriousness of purpose,” and the “persuasiveness of these essays. . . tends to


block our dismissal of Poe's epistemology, complicating but enriching our attempt to fathom his designs" (1, 2).]

. "Masters of Deceit: Poe's Lying Narrators." PhD diss., Fordham Univ., 2001. [Disparities long noted in Poe's stories between the first-person narrators' versions of events and those constructed by readers can be attributed not to the narrators' confusion but to deliberate deceit. Telltales of deceit include contradictions, implausible explanations, clumsy or hyperbolic language, and other long- recognized staples of Poe's fiction. Analyzing the patterns of deceit leads to the discovery of con- ceded murders in numerous stories. These murders, in turn, often figure the literary crimes of the narrator-authors.]

Anspaugh, Kelly. "The Black Cat Inside: Burroughs as Unredeemed Confessant." Genn34 (SpringSum- mer 2001): 125-47. [A close reading of William S. Burroughs's allusions to Poe's "Black Cat" in various of his autobiographical texts (includingJunkie, Queer, and The Cat Inside) reveals a covert confes sion of premeditation in the killing of his wife, Joan, in September of 1951-a confession that is itself very Poesque.]

Argersinger, Jana L. "From an Editor's Easy Chair: A Partial View of Prospects in Poe Studies." Edgar Allan P a Reuinv 4 (Spring 2003): 42-50. [Arger- singer, coeditor of P a Studies/Dad Romanticism and ESQ discusses two broad trends in current Poe studies: historicist approaches that attend to various "sociocultural contexts" and "paradoxically dislodge [Poe] from his place at the center of Poe studies"; and considerations of Poe's international presence that "stretch beyond a Eurocentric f e CUS" (43, 44). Future studies of Poe may be en- riched by transnational and global issues, including nationalism, market economics, and matters of translation.]

Amtzen, Even. "En malstrem ti1 begjier: Moskeness- traumen som myte og metafor hos Petter Dass, Edgar Allan Poe og Jules Verne." Nmdlit: Arbeid- stidsskrij i littcratur 13 (Spring 2003): 255-77.

Asselineau, Roger. Interview by Barbara Cantalupo. Edgar Allan Poe Review 2 (Fall 2001): 91-97. [Asselineau was first introduced to American culture by U.S. soldiers in France in World War l; after the war, he studied English literature and gravitated toward American literature. His interest in Poe developed almost accidentally when Allen Tate asked him to write a pamphlet on Poe.]

. 'Poe's Aesthetics." Tma Beaka 14 (JulySeptem-

ber 2002): 3-9. Astic, Guy. "Tel qu'en hi-meme entin l'tternitk le

change?-Edgar Poe et le fantastique contem- porain" (Such as into himself at last eternity changes him?). Eu+: Revue littirain mnrrueh 79 (AugustSeptember 2001): 21630. [Some ten Poe stories appear again and again as intertext in the twentiethcentury literature of the fantastic. Rob ert Bloch and Clive Barker stand out among numerous authors cited.]

Atzmon, Leslie. "Arthur Rackham's Phrenological Landscape: In-Betweens, Goblins, and Femmes Fatales." Design Issues 18 (Autumn 2002): 64-83. [Atzmon explores several of Rackham's fairy illustrations in J. M. Barrie's Petcr Pan in Kensington Gardens (1906), Edgar Allan Poe's Tales of Mystcry and Imagination (1935), the Germanic legend The Ring h i e s (1910), and Christina Rossetti's Goblin Ma& (1933). The illustrations, Atzmon argues, are marked by the effects of late-nineteenthcentury psychology venturing into the pseudosciences of phrenology and physiognomy as well as exploring notions of the unconscious. These produced threatening images both of the grotesque and of enchanting beauty. Each area of psychology reflected and was influenced by the material of the other; each evidenced anxieties and habits of thought that characterized Victorian visual imag-

Barbina, Alfredo. "Taccuino pirandelliano." An'el 1 (2003): 153-70.

Bareau, Michel. "Du grotesque chez Poe: 'Hop Frog' et le 'Beffroi.'" Eu+: h u e littirain mensuelk 79 (AugustSeptember 2001): 10&24. [In this close reading of 'HopFrog" (108-20) and, subsidiarily, "The Devil in the Belfry" (1 21-23), Bareau lets his imagination work freely within the context offered in order to recapture the "metaphorical networks" structuring each story (115). "HopFrog" is de- coded as a mock children's story of a failed birthday party-with, mainly, the chandelier as birthday cake.]

Baronian, Jean-Baptiste. "Edgar Allan Poe: L'esth6tique de l'angoisze." M a p i n e littirain 422 (July-August 2003): 52.

Barrett, Lindon. "Presence of Mind: Detection and Racialization in 'The Murders in the Rue Morgue.'" In Romancing the Shadau: Poe and Race, edited byJ. Gerald Kennedy and Liliane Weissberg, 157-76. Oxford: Oxford Univ. Press, 2001. [Whereas texts that deal explicitly and directly with issues of racism in nineteenthientury culture are

ery (641.1


valuable for understanding the spirit of the times, just as valuable are those texts that seem to shy away from or avoid any commentary on the Ameri- can slave culture. Poe has become an important figure in reevaluating racism in history; according to this article, the seeming irrelevance to racial discourse of stories like “The Murders in the Rue Morgue” actually hides deeper meaning. In Poe’s story of a murderous orangutan, the differ- entiation between the human mockery of the orangutan and the developed intuitive powers of In- spector Dupin represents the cultural divide between black and white. ]

Bartocci, Clara. “L’ultima storia di Scheherazade, owero” (The last voyage of somebody the sailor). In Le milk e una kttera: Sam’ sulk narrativa di John Barth, 231-33. Naples: ESI, 2001. [On Barth’s reading of e m . ]

Bautista, Daniel. “Cortizar: Translator of Poe.” Romance Reuieu 11 (Fall 2001): 11-19.

Berglund, Michael H. “Looking Back to Look Ahead: Homosexuality and the Postmodern Gothic in American Literature.” Review of The American Byron: Homosexuality and the Fall of Fitz-Greene Halleck, by John W. M. Hallock; and American Gothic: New Interventions in a National Narrative, edited by Robert K Martin and Eric Savoy. Poe Stud- ies/Dark Romanticism 36 (2003): 110-17. [Hallock sets out to “explain the decline of a once-cel- ebrated nineteenth-century poet,” Fitz-Greene Halleck, who was outed as a homosexual and soon “ousted from the canon of American poetry” (1 11). The most “compelling” chapter of the biography centers on the death of Joseph R. Drake and Hallecks resulting elegy, which evidences the poet’s grief over the death of his lover (1 13). The study, suggests Berglund, is an attempt “to resur- rect the literature of Fitz-Greene Halleck not only for the sake of the wrongly maligned man but also to encourage a revision and exploration of home sexual traditions in literature” (1 14). As to Ameri- can Gothic, the editors and contributors “use postmodern and poststructural psychoanalytic theory to theorize-in terms of race, gender, and sexuality-traditionally (white male) heterosexual literature.” While there is no section “devoted to queering the gothic,” many essays “touch upon or involve queer readings of gothic texts.” The essays “work hard and convincingly” to realize the editors’ attempts to provide a “‘composite of “interventions” that explore specific issues’“ of the gothic tendencies in Western culture (1 14-15).]

Bernstein, Susan. “It Walks: The Ambulatory Uncanny.” ML.N 118 (December 2003): 1111-39. [Theories of the uncanny by Sigmund Freud, Martin Heidegger, and Samuel Weber form the framework of Bernstein’s treatment of the uncanny in, among other works, “The Man of the Crowd” and “The Fall of the House of Usher.”]

BPrubi, Renald. ‘“La premiere question i vider, c’est la langue du chiffre’ ou quand Poe Ocrit ses lectures” (“The first question regards the languageof the cipher” or when Poe writes his readings). In Edgar Allan Poe: Unepensie de k j n , edited by Jean- Francois Chassay et a]., 175-86. Montreal: Liber, 2001. [Berubi offers a smiling but insightful reverie on the Poe/Allan, Boston/Richmond, North/ South split-with Edgar as child in search of the symbolic Father or self-willed Will. Poe fashioned the split in his self-reflective fictions: “The Balloon- Hoax,” “How To Write a Blackwood Article,” and “The Gold-Bug,” among others.]

Beuka, Robert A. “The Jacksonian Man of Parts: Dis- memberment, Manhood, and Race in ‘The Man That Was Used Up.”’ Edgar Allan Poe Review 3 (Spring 2002): 27-44. [Beuka “complicates” Poe’s treatment of “race, masculinity, and national identity” (27) by reading “The Man That Was Used Up” as a commentary on Jacksonian America. The tale deconstructs the myth of national unity through dismemberment of the representative character, John A. B. C. Smith, a Jacksonian hero caught up in the contradictions of Indian removal and sla-

Blanc, Dominique. “Les peintres chez les poites.” L‘oeil, no. 530 (October 2001): 83. [Brief review of a show at the BibIiothGque de la Part-Dieu in Lyon, 18 October 2001-19 January 2002. The Manet- Mallarmi Raven is one of the 126 livres de dialogue; the books are from the BibliothGque Jacques Doucet (Paris).]

Blasco Grau, Javier. “Un encuentro afortunado: Poe y Corman.” CUJ: C u a d a o s de literatura infantil y juvenill5 Uune 2002): 44-58.

Blevins-Le Bigot, Jane. “Valiry, Poe and the Question of Genetic Criticism in America.” Esprit criateur41 (Summer 2001): 68-78.

Blythe, Hal, and Charlie Sweet. “Drawing on Memory: A Technique for Making Short Fiction Come Alive.” Eureka Studies in TeachingShorl Fiction 3 (Fall 2002): 1619. [Blythe and Sweet help their students understand the significance of what they read by having them draw on the board a picture of the landscape or architecture depicted in the

very. 1

International Poe Bibliography 71 - - -

text. For example, when students draw the bedchamber from "Ligeia," they realize that the pentagonal shape of the chamber resembles a pen- tagram and that the "semi-Druidical" carvings in the ceiling hint at mystical ceremonies and supernatural occurrences. Blythe and Sweet also recom- mend using this pedagogical technique for teaching "The Fall of the House of Usher."]

Bottiroli, Giovanni. "Tre registri e tre regimi: I1 semin- ario su la lettera rubata." In Jacques Lacan: Artc linguaggio desidmio, 28-42. Bergamo: Edizioni sestante, 2002. [On Lacan's reading of Poe.]

-. "La firma di Medusa." In Jacques Lacan: Arte linguaggio desiderio, 42-49. Bergamo: Edizioni sestante, 2002. [On Lacan's reading of Poe.]

Boulter, Doug. "'Lines on Ale': A Covert Action in the Longfellow War?" ANQ 14 (Winter 2001): 17-22. [These "Lines on Ale" were discovered by Thomas 0. Mabbott in the late 1930s and are included in his volume of Poe's poetry. Boulter believes that their significance has been overlooked and that this "harmless little rhyme" is in fact a parody of Longfellow's "Psalm of Life."]

Bouvet, Rachel. "L'Orient et les reflets de la mort dans les contes de Poe: Du fantastique au comique" (The Orient and the refractions of death). In Edgar Allan Poe: Une pmsie de la fin, edited by Jean- Francois Chassay et al., 57-78. Montreal: Liber, 2001. [New close readings of "A Tale of the Ragged Mountains," "Ligeia," and "The Thousand-and- Second Tale of Scheherazade" examine the tales in terms of the Orientalism that arose in the West during the 1820s. The mummies found intact in the midst of their now readable histories is a case in point (67-68).]

Bozzetto, Roger. Le Fantastique duns tour ses itats. Aix- en-Provence: Publications de I'Universite de Pro- vence, 2002. [Poe is among the authors studied. ]

-. "La recherche de I'emerveillement et de la sidgration." Eunge: Revue l i thain mmruelle 79 (Au- gustSeptember 2001): 139-47. [Beyond their a p parent heterogeneity, all Poe's tales aim at the same kind of effect-an effect springing from the coincidence of climax and denouement. It ranges from surprise (as in "A Tale of Jerusalem"), to wonder ( h h l h t ) (as in the Dupin tales), to petnfy- ing bewilderment (sidiration) (culminating in "Ligeia" and "Valdemar"). Poe's fantastic is a fantastic of visible, palpable "excess" (146) .]

Brill, Robert Densmore. "Edgar Allan Poe's Prescrip tion for a Good Night's Sleep: 'The Premature Burial.'" Atlantic Literaty Revim (January-March

2002): 12647. [Brill discusses the hieroglyphic level of the story.] . 'Edgar Allan Poe's UlsterScots Connection."

UlsterScot (November 2003): 13. [Poe's father's an- cestors emigrated from Ireland to Pennsylvania in 1742, but previously came from Fenwick Parish, Ayrshire, Scotland.]

. "Robert Bums at the Caledonian Club of San Francisco's 134th Annual Scottish Gathering and Games." Burns Chronicle 109 (2001): 183-89. [Bums and Poe had a common cousin, Alexander Allan.]

Burgoyne, Daniel. "Coleridge's 'Poetic Faith' and Poe's Scientific Hoax." Romanticism on the Net 21 (Febru- ary 2001), http://www.erudit.org/revue/ron/ 2001 /v/n21/005960ar.html. [Burgoyne explores the relation between romanticism and science fiction by examining the development of scientific and futuristic hoaxes in the early nineteenth century. Burgoyne is interested in the specific manipu- lations of genre and media in which each hoax engages. He discusses "The Balloon-Hoax" and suggests that Poe used the hoax as a strategy to provoke the reader.]

Bumick, Frederick L. "Edgar Allan Poe: The Sublime and the Grotesque." Aism(s): &says in Romanticism

Cagliero, Roberto. "Edgar Allan Poe e la difesa dello schiavismo." Acoma 23 (2002): 68-69. [Discusses the debate about the attribution of "On Slavery" to Poe.] . " L a grande paura: Coloni e fuggiaschi dopo la

rivoluzione haitiana, 1804-1860." In Spethi di Haiti: Dal colonialism0 francme all f mpmalismo amm'cano, edited by Roberto Cagliero and Francesco Ronzon, 61-89. Verona: Ombre corte, 2002. [On Poe and the tradition of black Haiti as political scapegoat within American culture.]

. 'Poe's Interiors: The Theme of Usurpation in 'The Cask of Amontillado.'"EdgarAlhn Poe Review 2 (Spring 2001): 30-36. [Cagliero suggests that Montresor's unstated grudge against Fortunato can be discerned from Poe's play on "arms." Fortunato has usurped Montresor's family name and title with such arrogance that he does not re- call what Montresor's coat-of-arms represents. Montresor acts to "reestablish the original hierar- chy of values upon which the aristocracy is based" by burying Fortunato alive and cutting him off forever from the "stolen" family lineage (34-35) .]

Campanini, Silvia. "'I1 Corvo' di E. A. Poe verso il mimetismo." In Stmtcgie e metodi hlla traduzione

8 (2000): 67-123.


poetica, 10639. Turin: LHarmattan Italia, 2002. [A critical history of Italian translations of “The Raven.”]

Canada, Mark. “Flight into Fancy: Poe’s Discovery of the Right Brain.” S o u t h Litera7 Journal 33 (Spring 2001): 62-79. [Canada discusses phrenology in Poe’s work and the connections between art, cognitive function, and the goal of discovery in Poe’s construction of fictional narratives. The essay examines The Narrative of Arthur Gordon F’ym.1

Cantalupo, Barbara. Interview with Burton Pollin. Edgar Allan Poe Review 2 (Fall 2001): 98-120. [See entry for Pollin.]

. Interview with Daniel Hoffman. EdgarAllan Poe Review 3 (Spring 2002): 95-112. [See entry for Hoffman.]

. Interview with Elvira Osipova. Edgar Allan Poe Reuieu 2 (Spring 2001): 67-77. [See entry for Osi- pova.]

. Interview with John E. Reilly. Edgar Allan Poe Review2 (Spring 2001): 78-86. [See entry for Reilly.] . Interview with Justin Henri. Edgar AUnn Poe Re-

view2 (Spring 2001): 87-98. [See entry for Henri.] . Interview with Richard Wilbur. Edgar Allan Poe

Review 4 (Spring 2003): 68-86. [See entry for Wilbur.]

. Interview with Roger Asselineau. EdgarAllan Poe Review 2 (Fall 2001): 91-97. [See entry for Asse- Iineau.]

-. “NYU’s Legal Agreement: The Inside Story.” In- terview with Michael Deas. Edgar Allan Poe Revim 2 (Spring 2001): 97-107. [See entry for Deas.]

. “Poe’s Female Narrators.” Southern Quarterly 39(Summer 2001): 49-57. [Cantalupo examines the female narrators in “A Predicament” and “How to Write a Blackwood Article” and notes their similarities as storytellers to Scheherazade.]

Carlson, Eric W. “Poe’s Ten-Year Frogpondian War.” Edgar Allan Poe Review 3 (Fall 2002): 37-51. [Carlson discusses Poe’s war against the Bostonians in an attempt to sort out overt and hidden motiva- tions ranging from personal envy to the champi- oning of intellectual, aesthetic, and cultural principles.]

Carter, Catherine. “‘Not a Woman’: The Murdered Muse in ‘Ligeia.”’ Poe Studies/Dank Romanticism 36 (2003): 45-57. [Carter suggests that reading Ligeia as muse reduces the emphasis we see Poe placing on gender in the story and “allows us to understand the story primarily as gothic.” Reading in this way “demonstrates Poe’s consciousness of and ambivalence, not to ‘real women’ or nineteenth-

century ideas of the feminine, but to his own creative process” (55,56).]

Castricano, Jodey. Cryptomimesis: The Gothic and Jacques Dertida’s Ghost Writing. Montreal: McGill-Queen’s Univ. Press, 2001. [Discusses gothic conventions, deconstructionism, and the writings of Jacques Demda. Castricano pays particular attention to the gothicism evident in “The Fall of the House of Usher.”]

Castronovo, Russ. “The Pit and the Gothic Chiasmus.” Review of Gothic Passages: Racial Ambiguity and the American Gothic, by Justin D. Edwards. Poe Studies/ Dark Romanticism 36 (2003) : 11 8-2 1. [Edwards reads texts from 1830 to 1890 that fall into the “dark, chiastic pit that both racializes the gothic and promotes the ‘gothicization of race.’” “For readers interested in tracing a thematic concern with moral darkness, genealogical decay, and racial hybridity across the nineteenth century, Gothic Passages will be a useful text.” However, according to Castronovo, the book is ”not gothic enough.” The question that Castronovo believes remains unanswered is, why is it important to “discern . . . a chiasmus crossing and connecting race and narrative?” (118).]

Chareyre-Mkjean, Alain. “L‘entitk et le lieu: Poe ou la mystique laique du sentir” (Entity and place: The godless mystique of sensation). Europe: Revue litthaire mensuelle 79 (August-September 2001): 148-53. [The charm of Poe’s work lies in his reach- ing at the mere feeling of “being (there)” (153)- until the world is experienced as palpable space. Hence his treatment of the dead, which is neither morbid nor metaphorical. “Annabel Lee” conveys pure presence. *The last words of ‘The Colloquy of Monos and Una’ constitute one of those powerfully magical moments when literature ‘thinks’” (152). Such mysticism, rooted in sensation, could well lead to a new definition of the fantastic.]

Charis-Carlson, Jeffrey A. “‘You, Who So Well Know the Nature of My Soul’: Poe and the Question of Lit- erary Audience.” Amen‘can Periodicals 12 (2002): 198-207. [Charis-Carlson centers his reading of “The Cask of Amontillado“ around a theory regarding the second-person addressee of the line, “You, who so well know the nature of my soul.” He suggests that Poe was writing to the primarily female audience of the publication in which the tale appeared, Godey’s Lady’s Book, and its literary editor, Sarah J. Hale. According to Charis-Carlson, “Poe’s text enacts a move away from the business- defined limitations of a masculine literary sphere

International Poe Bablioerabhv 73

and contributes to a conversational, sisterly voice that interpenetrates the separate spheres" by speaking directly to female readers (204-5) .]

Chassay, Jean-Francois. "Revenir d'entre les mom: Poe et le magnitisme animal" (Coming back from the dead). In Edgar AUan Poe: Une penst% de la fin, edited by Jean-Francois Chassay et al., 79-92. Montreal: Liber, 2001. [Chassay treats as one the three stones in which Poe, in 184445, put animal magnetism to use. Chassay argues that Poe exploited the potential of this "science" to expand the mere point of contact between consciousness and death, thus giving himself means of (science)fictional expression of the inexpressible.] , et al., eds. Edgar AUan Pa: Une F i e de la fin

(Thinking the end). Montreal: Liber, 2001. [The twelve contributors have focused on the dark tales and the tales of mystery with a view to showing that the end is notjust an obsession of Poe's but a concept on which he builds. See Berube, Bouvet, Chassay, Cossette, C8tt.5, Courville Nicol, Dori, Bertrand Gervais, Larochelle, Morency, Vidal, and Xanthos.]

Citati, P. "Poe: Cosi ha aperto le porte dell'universo" (Poe: Thus he opened the door of the universe). La qfphlica 21 (August 2001). [This newspaper article gives a favorable review of the Italian-En- glish edition of Eumka edited by Paolo Guglielmo (see entry under Poe, below) and underlines Poe's genius and originality in the fields of science and philosophy.]

Clabough, Casey. "Poe as Source: James Dickey's Use of Poe and Poe Scholarship in the Composition of Alnilam" EdgarAllan PoeReuiew2 (Spring 2001): 87-89. [In Alnilam, Clabough suggests, Dickey uses biographical information and descriptions of Poe's aesthetics drawn from Daniel Ho&nan's Poe, Poe, Pa, Pa, Pa, Pa, Poe to create the novel's central figure, Joel Cahill.]

Cossette, Isabelle. "Du gothique B l'empirisme psychologique: La rationalisation de la peur." In EdgarAUan Pa: Unepensk de la fin, edited by Jean- Francois Chassay et al., 37-55. Montreal: Liber, 2001.

CBtt, Jean-Francois. "Eurika : La fin du dtbut est le debut de la fin" (The end of the beginning is the beginning of the end). In Edgar Allan Poe: Une pen.& de lafin, edited by Jean-Francois Chassay et al., 13-36. Montreal: Liber, 2001. [with Euwka, Poe moves away from Newton and Kant and, with Hegel, opens a new "metaphysical universe" (18) that is still ours today. It is characterized by the

union of logic and aesthetics, the reciprocity of beginning and end, and so, of spirit and matter or research and cosmos. Hence the "new Pantheism" Poe initiates in "panic" contemplation of his own "vertigo" (33) .]

. L.e Triangle d'H&-Pa, Stein, Warhol: Figures de la m o h i t i estliitiquc (Hermes's triangle). Brus- sels: La lettre volee, 2003. [Professor CBd, a Doc- tor in Sociology, considers artistic expression within the general context of social communication. The triangular circulation of meaning between the self, the other, and the Other is presided over by Hermes in (336's mythological allegory, and E. A. Poe, Gertrude Stein, and Andy Warhol have been chosen as the representatives of three phases in the parallel development of modernity and mass democracy. The early phase, illustrated by Poe's work, consists in direct contact between the self and the Other (and is presided over by Pan, the first figure of the modem self). The middle phase, illustrated by Stein, is presided over by Narcissus. The final phase, illustrated by Warhol, is presided over by Echo. Or again: first, the gothic, the grotesque, and the arabesque; second, the autobiography; third, the media. Warhol is Poe put upside down, with, for example, jealous originality turned into mechanized production.]

Courville Nicol, Valerie de. "Du gothique B l'empirisme psychologique: La rationalisation de la peur" (The rationalization of fear). In Edgar AUan Pa: Unc pensie de lafin, edited by Jean-Francois Chassay et al., 37-56. Montreal: Liber, 2001. [Gothic literature (understood as ranging from Walpole to Stoker) contributed to the emergence of a ratie nal approach to the psyche.]

Coviello, Peter. 'Poe in Love: Pedophilia, Morbidity, and the Logic of Slavery." ELH70 (Fall 2003): 8 7 5 901. [ Coviello claims that a study of the dysfunc- tional intimacy in Poe can lead to a better understanding of both sexuality and race in his work. Focusing his discussion on "The Fall of the House of Usher," "The Man That Was Used Up," and "Morella," Coviello argues that Poe makes use of the distinction between the sexes to emphasize distinctions between races according to the following formula: 'as women are incontestably and ab- solutely different from men, just so are whites a b solutely different from blacks" (897) .]

Craven, Paul W. "Charting the Course of Gentleman- lines in the Antebellum U.S.: The Gentleman Nar- rator in Poe, Dana and Melville." PhD diss., Univ. of Southern Mississippi, 2000. [This dissertation


uses four different critical approaches- postcolonialist, Marxist, New Historicist, and formalist-to examine Poe’s Narrative of Arthur Gor- don Fym, Richard Henry Dana’s Two Years Bejibre the Mast, and Herman Melville’s Moby-Dick and “The Confidence-Man.” The narrators of each text r e p resent the gentleman class of antebellum America, and the journeys upon which the narrators em- bark symbolize the construction of this identity.]

Crisman, William. ”Poe as Cornparatist: Hawthorne and ‘the German Tieck’ (Once More).”ATQ16 (March 2002): 53-64. [In an 1847 criticism, Poe calls Hawthorne “unoriginal,” identical in style to Ger- man writer Ludwig Tieck. Specifically, Haw- thorne’s “Young Goodman Brown” remarkably resembles Tieck’s “Die Freunde” in regard to plot structure, auditory images, characters, and their respective endings. Scholars have interpreted Poe’s criticism to suggest that Hawthorne plagiarized from Tieck, but Hawthorne’s knowledge of Ger- man was insufficient to translate Tiecks work. Nonetheless, Poe’s charges still stand because Young Goodman Brown” does bear an uncanny similarity to previously published material.]

Croswell, Ken. “Wondering in the Dark.” Sky and Tele- scope (December 2001): 44-50. [This article in a magazine for astronomers confirms that Poe solved Olbers’s paradox in Eureka.]

Cutler, Edward S. Recovering the New: Transatlantic Roots ofModernism Hanover, NH: Univ. Press of New England, 2003. [Considers the transatlantic circulation of Poe’s urban texts in the context of emerging modernism.]

Dayan, Joan. “Poe, Persons, and Property.” In Romanc- ing the Shadow: Poe and Race, edited by J. Gerald Kennedy and Liliane Weissberg, 106-26. Oxford: Oxford Univ. Press, 2001. [Dayan explores the way in which civil identity is constructed in Poe’s stories and, even more importantly, the way in which civil death occurs. As Poe focuses on the composition of his works, so does he focus within his stories on the structure of other systems-for example, the workings of the law and the American legal system. But what is truly important in Poe’s work is not the way in which he constructs legal systems but the way in which the various crises of his narrators destroy and undermine those systems, revealing the inadequacies of the dominant culture.]

Deas, Michael. “NYU’s Legal Agreement: The Inside Story.” Interview by Barbara Cantalupo. Edgar AUnn PoeReview2 (Spring 2001): 97-107. [Michael Deas

discovered by chance New York University’s plans to demolish the Greenwich Village house in which Poe once lived. In Cantalupo’s interview, Deas re- counts efforts to organize a protest that won from the university a measure of preservation.]

De Jong, Mary. Review of A Histotical Gui& to EdgarAllan Poe, by J. Gerald Kennedy. Edgar Ailan PoeReview 2 (Fall 2001): 78-81. [De Jong applauds the book and its editor for “assembling expertise made accessible to a multilayered audience” (Sl).]

De Prospo, R. C. “Refreuding Lacan.” Review of The Porous Sanctuary: Art and Anxiety in Poek Short Fic- tion, by William Freedman. Poe Studies/Dark Roman- ticism 36 (2003): 10610. [ The Porous Sanctuary by William Freedman covers familiar theoretical ground in its argument that Poe’s short fiction can be interpreted psychologically rather than deconstructively. Freedman proposes that a model of reading Poe through a lens of psychological denial may more satisfactorily account for the gaps and contradictions that confuse meaning. De Prospo suggests that, other than the claim that Poe’s fiction is at least in some part “infraliterary” and the discussion of Poe via death rather than sex, much of the rest of Freedman’s study is derivative of earlier psychological studies of Poe’s fiction.]

Dern, John A. “Poe’s Public Speakers: Rhetorical Strat- egies in ‘The Tell-Tale Heart’ and ‘The Cask of Amontillado.”’EdgarAllan PoeReview2 (Fall 2001): 53-70. [In each of these stories, Dern argues, Poe uses his narrator’s rhetoric as a way to develop character as well as “reader-narrator rapport” (53 ) . The narrators’ speeches are dramatically powerful but morally moribund.]

Dori, Kim. “Une giomitrisation de la pensie” (A ge- ometrization of thought). In Edgar Allan Poe: Une pensie de lafin, edited by Jean-Franqois Chassay et al., 109-20. Montreal: Liber, 2001. [Playing H. Jus- tin against G. Poulet, Dori shows, in readings of “The Masque of the Red Death,” “The Pit and the Pendulum,” and “The Purloined Letter,” that Poe’s obvious and deadly circumscription of space is a way to force open the infinite space of thought.]

Dougherty, Stephen. “Foucault in the House of Usher: Some Historical Permutations in Poe’s Gothic.” Pupms onLunguage and Literature37 (Winter 2001): 3-24. [Dougherty discusses the emphasis in “Usher” on class and aristocracy and places the embedded poem in the context of race relations. Dougherty also considers the place of the story in the development of the gothic.]

International Poe Bibliografihy 75

Drost, Christian. "Illuminating Helen : Some Illustra- tions for Poe's Early Poem 'To Helen' as Transfor- mations of the Text." In POEtic Effect and Cultural Discourses, edited by Hermann Josef Schnackertz, 33-50. Heidelberg : Universidtsverlag, 2003. [Of twenty illustrations of "To Helen" since 1869, article focuses on four that "reflect a wide range of interpretive possibilities" and "modify the percep tion of the text" (4647).]

Dubois, Rent. "'The Masque of the Red Death': Une alltgorie esthktique i la rencontre des eschatologies poesque et orientale" (An aesthetic allegory attuned to Poesque and Oriental eschatologies). las cahiers de la nouvek'e 37 (Autumn 2001): 9-29. [Poe's plot is seen by Dubois as an allegory of "Eurekean" and Buddhist eschatologies, with death as central emptiness. Challenging this order, hubristic Prosper0 moves through "a per- verted mandala" (21). This article is an amplifica- tion of a discussion in Dubois's Edgar A. P a et le Bouddhisme (Paris: Messene, 1997), 295-300.1

Ducreu-Petit, Maryse. "Le regard duvoyant" (The seer's gaze). Europe: Revue lithaire m~nsuelle 79 (August- September 2001): 125-38. [This thematic study moves from the act of looking (which is always misleading), to looking into an eye (which leads to vertigo), to thinking in the dark (Dupin's method). Indeed, thought should lead the gaze, and those who can face nothingness (as the De- mon and the lynx in "Silence") pave the way for the seers (Vankirk in "Magnetic Revelation" and Poe as poet in Eureka) .]

du Plessis, Eric H. "Deliberate Chaos: Poe's Use of Col- ors in 'The Masque of the Red Death.'" Poe S t u d ies/Dank h n t i c i s m 34 (2002): 4042. [The oddly specific color arrangement of Prince Prospero's seven chambers in "The Masque of the Red Death" has long puzzled readers and critics. Du Plessis contends that Poe deliberately chose a succession of colors that cannot possibly be harmonized with one another. The result is an optical shock, which challenges readers' standards of artistic harmony while reinforcing the atmosphere of aesthetic dis- sonance that permeates the tale.]

Duquette, Elizabeth. "'The Tongue of an Archangel': Poe, Baudelaire, Benjamin." Zkm.slation and Litera- tu7e 12 (Spring2003): 18-44). [Duquette examines Charles Baudelaire's French translations of Poe's writings. She discusses Baudelaire's inspiration for translating Poe's works and his collection of Poe's writings; she also considers the tasks of translators and the theory of translation that captured

Baudelaire's genius.] Eakin, Emily. "What Did Poe Know about Cosmology?

Nothing. But He Was Right." New Yonk Times, 2 November 2002. [The article gives a short descrip tion of Poe's cosmology and confirms Poe's influence on the Russian scientist Alexander Friedmann (1888-1925).]

Edgecombe, Rodney Stenning. "'The Fall of the House of Usher' and Little DOmt." Victotian Newsletter 101 (Spring 2002): 32-34. [Edgecombe sees the col- lapsing house in "The Fall of the House of Usher" as a likely source for similar events in Little Donit. Plagued by bad weather, both houses reflect the melancholic psychological states of their inhabit- ants. Despite the similarities of plot, Edgecombe notes important differences in "tone and presentation" (33), with Poe emphasizing supernatural elements while Dickens emphasizes the realistic.]

Eduarda Gating, Maria. "Das fronteiras do 'Estranho': Edgar Allan Poe por Baudelaire, MallarmO e Pes- soa." In A tradq& nus enmilhadas da cultura (At the crossroads of culture), edited by JoPo Ferreira Duarte, 119-30. Lisbon: Colibri, 2001.

Edwards, Michael. 0mbns de lunc: Rifrcxionr sur la m'ation litttraire. Montpellier, France: Editions espaces 34, 2001. [Contains a piece on Mallarmt's translations of Poe.]

Ehrlich, Heyward. "Poe in Cyberspace." EdgarAllan Poe Review 2 (Spring 2001): 61-66. [Ehrlich reviews three search engines: Lycos, which he feels has too much advertising for term papers, Google, which is more select, and AltaV~sta, which provides the "most help and the most versatility" in configur- ing or limiting search results (64)].

. 'Poe in Cyberspace." Edgar Allan P a Review 2 (Fall 2001): 85-90. [Ehrlich reviews a website, poecentral, which has an "unexpected wealth" of materials about Poe (85).]

, "Poe in Cyberspace." Edgar Allan Poe Review 3 (Spring 2002): 89-94. [Ehrlich reviews a premium search service on Yahoo, which as of this writing is no longer available. Ehrlich also provides a list of ten plagiarism-prevention sites.]

. "Poe in Cyberspace." Edgar Allan Poe h i m 3 (Fall 2002): 118-23. [Ehrlich reports on six reli- able commercial electronic databases: Northern- light, elibrary, the New Yonk Times, JSTOR, Project Muse, and Academic Search Premier.]

. "Poe in Cyberspace." Edgar Allan Poe Ratiew 4 (Spring 2003): 99-104. [Ehrlich cautions research- ers about the unstableness of international sites, which can disappear overnight. He provides a list


of current international Poe sites that he has per- sonally inspected.]

. “Poe in Cyberspace: Electronic Guides to Printed and Online Research.” Edgar Allan Poe Review 4 (Fall 2003): 93-97. [Ehrlich argues that electronic research tools can be as useful as print versions and, in some respects, are better.]

Elbert, Monika. “The Ligeia Syndrome; or, Many ‘Happy Returns,’ in Conrad’s Gothic.” Conradiana 33 (Summer 2001): 129-52. [Elbert discusses sources in Poe, particularly “Ligeia,” for Conrad’s tales “The Return” and “A Smile of Fortune.”]

Erkkila, Betsy. “The Poetics of Whiteness: Poe and the Racial Imaginary.” In Romncingthe Shadmu: Poe and Race, edited by J. Gerald Kennedy and Liliane Weissberg, 41-74. Oxford: Oxford Univ. Press, 2001. [The emergence of a new brand of aesthetics in Poe’s time is deeply connected to changes in racial discourse brought on by the Enlighten- ment. The Enlightenment ushered in scientific- based notions of racial purity and supremacy that relate to cultural anxieties displayed in art- Orientalism, negrophobia, slave culture, and noble savagery. Subconsciously, or perhaps collective-un- consciously, Poe’s works contain themes of black- ness and exoticism that play at the intersection between art and racism.]

Faeti, Antonio. “Postfazione.” In Le avventure di Arthur Gordon e m , by Edgar Allan Poe, 319-24. Milan: Fabbri, 2003. [Introduction to e m . ]

Falkenberg, Marc. “The Poetical Uncanny: A Study of Early Modern Fantastic Fiction.” PhD diss., Univ. of Chicago, 2000. [Falkenberg discusses the uncanny and the fantastic in “The Fall of the House of Usher” and compares the story to works by E. T. A. Hoffman and Ludwig Tieck. He also applies the theories of Freud and Ernst Jentsch to his readings.]

Ferrara, Maurizio. “Prefazione.” In Edgar Allan Poe, by Charles Baudelaire, 5-15. Florence: Passigli, 2001. [Introduction to Baudelaire’s writings on Poe.]

Fisher IV, Benjamin Franklin. “Cooke, Philip Pendleton.” In Ammican National Biography, edited by John A. Garraty and Mark C. Carnes, 5:403-4. New York: Oxford Univ. Press, 1999. [Includes comments on Poe and suggests that Cooke’s name remains alive chiefly because of their association and not on the strength of his own writings.]

. “Edgar Allan Poe.” In Encyclopedia of Amen’can Literature, edited by Steven Serafin and Alfred Bendixen, 891-93. New York Continuum Books, 1999. [Overview of Poe’s life, career, techniques.]

. “Frederick Irving Anderson.” In Dictionary of Literary Biography: NineteentbCentury American Fic- tion Writers, edited by Kent P. Ljungquist, 3-7. De- troit: Bruccoli Clark Layman, 1999. [Anderson’s characters descend from those of Poe and other antecedent American authors. Anderson repeat- edly draws on Poe’s works; in particular, his detective story, “Beyond All Conjecture,” owes debts to “The Murders in the Rue Morgue.” Like Poe, Anderson was mainly a “magazinist.”] . “Frederick William Thomas.” In Dictionary of

Literary Biography: Nineteenth-Century American Fic- tion Writers, edited by Kent Ljungquist, 259-63. Detroit: Bruccoli Clark Layman, 1999. [Although Thomas experimented in interesting ways with American literary materials, he is remembered mainly because of his connection with Poe.]

. “James Kirke Padding’s Gothicism and Ameri- can Literary Nationalism.” Gothic Studies 1 (August 1999): 31-46. [Touches briefly on Poe’s enlisting Padding to get ”Tales of the Folio Club” published by Harper’s. Also notes affinities between Poe’s and Padding’s techniques in gothicism, especially those involving alcoholic states.]

. “Lewis Gaylord Clark.” The Dictionary of Literary Biography: Antebellum Writers in New York and the South, rev. ed., edited by Kent Ljungquist, 89-96. Detroit: Bruccoli/Clark, 2001. [Clark was a magazine editor in the 1830-60 era. Fisher’s entry notes Clark’s increasing enmity toward Poe.]

. “The ‘Mystery’ of Poe’s Death Solved?” PoeStud- ies/Dark Romanticism 35 (2002): 83-85. [Reviewing John Evangelist Walsh’s Midnight Dreary: The Mys- terious Death of Edgar Allan Poe (1998), Fisher argues against Walsh’s thesis that Poe’s death re- sulted from violent treatment by Elmira Shelton’s brothers. Walsh’s response and Fisher’s response to that response follow.]

. “Poe and Detection (Again).” Edgar Allan Poe Review 1 (Spring 2000): 17-23.

. “Poe and the Gothic Tradition.” In The Cam- bridge Companion to EdgarAllan Poe, edited by Kevin J. Hayes, 72-91. Cambridge: Cambridge Univ. Press, 2002. [Poe has long been recognized as among the most famous of gothic writers, but what exactly does “gothic” mean and how does Poe fit the description? Fisher’s article begins by defining the gothic and moves on to describe how Poe changed the genre, transforming its conventions of sentimental and grotesque excesses into an exploration of psychological disintegration.]

. “Poe and the John-Donkq-A Nasty Piece of

International Poe Bibliop-a#hy 77

Work." Essays in Arts and Sciences 29 (2000) : 17-41. [Reprints and assesses items that satirize Poe in a short-lived comic periodical with which Poe's en- emy, T. D. English, was associated.]

Forclaz, Roger. "Poe in Europe: Recent German Criti- cism." Poe Studies/Dad Romanticism 34 (2001): 29- 39. [This survey of German criticism on Poe, which carries on from the installments previously published in Pa Studies, covers the period 1990-99. Several of the studies under review stress the American character of Poe's fiction: for instance, The Narrative of Arthur Gordon Fym and "The Jour- nal of Julius Rodman" thematize the American dream of westward expansion. Others focus on Poe's modernity: his heroes and his reflections about terror have a particular relevance for our own time, and his use of thanatological metaphors show him to be a precursor to T. S. Eliot and Samuel Beckett.]

Frank, Frederick S. "Edgar Allan Poe (1809-1849)." In Gothic Writers: A Critical and Bibliographical Guia'e, edited by Douglass H. Thomson, Jack G. Voller, and Frederick S. Frank, 330-43. Westport, CT Greenwood, 2002. [Frank provides a listing of prin- cipal gothic works and modem reprints and editions as well as a selected annotated bibliography of criticism pertaining to Poe's gothicism. In the narrative portion of the entry, Frank suggests that Poe improved upon classic gothic tropes such as enclosure and metempsychosis by exploring the psychological implications of such material. Be- cause Poe's gothicism "internaliz[es] horror and terror to a point of no return" (340), his work demands an intellectual as well as an emotional response from readers.]

Freedman, William. '"Berenice' and the Art of Incor- porative Exclusion." Poe Studies/Dank Romanticism 36 (2003) : 68-76. [Freedman seeks to explain the "source and nature of the tale's denturelike elu- siveness" through a "gendered reading that takes note of Poe's unresolved ambivalence toward woman and her place in the realm or work of art" (681.1 . "Poe's Oval Portrait of 'The Oval Portrait.'" Poe

Studies/Dad Romanticism 34 (2001): 7-12. [Freed- man argues that previous readings of this story do not satisfactorily investigate the self-reflexivity of the tale or its implicit comment on art. In Freedman's reading, the tale appears as "a convo- luted, defensive, and only partially successful effort to establish itself as an insulated sanctuary against a menacing, fleshly, and everencroaching reality" (7) .I

. ThePmoucSanctuary:ArtandAnxidy inPoe'sShort Fiction. New York: Peter Lang, 2002. [A practicing psychotherapist, Freedman views Poe's tales as the product of the conflict between Poe's aesthetic goals and his own repressed sexual fears. Tales discussed at length include "The Premature Burial," "The Imp of the Perverse," "Berenice," "Morella," "Ligeia," "Mystification," "The Purloined Letter," "The Oval Portrait," and "The Masque of the Red Death."]

Fusco, Richard. "Poe's 'Life' and Hawthorne's 'Death': A Literary Debate." Pod Studies/Dank Romanticism 35 (2002): 31-37. [Following the critical method of Robert Regan, Fusco interprets Poe's "Life in Death" (later "The OM1 Portrait") as a "disguised" review of Hawthorne's Twice-TOM Tubs (31). Fusco compares Poe's detective, Dupin, in the ratiocina- tive tales and Hawthorne's painter in "The Pro- phetic Pictures" and speculates that Poe wrote "Life in Death" as a parody of Hawthorne's artist, who, unlike the supremely confident Dupin, questions his place in the universe.]

. "Using Narrative Form to Teach Poe's Gothic Fiction." In A#nmches to Teaching GothicFiction: The British and A m ' c a n Traditions, edited and introduced by Diane Long Hoeveler and Tamar Heller, 190-95. New York: Modem Language Association of America, 2003. [Fusco explains how he uses a specific narrative form-"madman narratives" following a "descending helical" plot structure-to unify his gothic syllabus. Like the whirlpool in "A Descent into the Maelstrhm," these first-person accounts of degenerating minds begin slowly, ebb and flow, and then accelerate in a movement "away from rationality, safety, and civilization toward ir- rationality, death, and chaos" (192).]

Garber, Marjorie. "" " (Quotation Marks)." In TaR, Talk, Talk: The Cultural Life of Everyday Conversation, edited by S. I. Salamensky, 12146. NewYork: Rout- ledge, 2001.

Garrait-Boumer, Anne. "Poe Translated by Baudelaire: The Reconstruction of an Identity." Comparative Literatureand Culture4 (September 2002), http:// clcwebjoumal.lib.purdue.edu/clcwebO23/garrai t- bourrier02.html. [Baudelaire devoted half of his life to translating Poe's work into French and the other half to the creation of poetry that was inspired, to say the least, by the American writer. Garrait-Boumer attempts to define the nature of Baudelaire's attraction to Poe, suggesting it may be a case of unconscious psychological identification.]


Garren, Samuel B. ”The ‘Too Long Unjoin’d Chain’: Gilbert Adair’s Use of Edgar Allan Poe in His Trans lation of Georges Perec’s La Dispan’tion.” CLA Jour- nal 44 (March 2001): 373-82. [In his translation of Perec’s La Dispantion into English, Adair substi- tutes five English poems, including “The Raven,” for the French originals. Garren discusses the sub- stitution in the context of structuralist influences on the novel.]

Gentry, Marshall Bruce. “Elusive Villainy: The Wafenu& as Doctorow’s Poesque Preface.” South Atlantic Re- view 67, no. 1 (Winter 2002): 63-90.

Gerber, Joseph Charles. “Double Booking: How Edi- tors Rewrote the American Renaissance in the Cold War.” PhD diss., Harvard Univ., 2003. [As unoficial canons were outlined in the twentieth century, earlier works were edited to conform to the dominant culture of the time; authorial control is lost in this editing process, and the text as it once stood is transformed into something new. This dissertation discusses the impact of the Cold War on the editorial process of conforming the works of Poe, Dickinson, and Melville.]

Gervais, Bertrand. “S’enterrer dans le texte: Au com- mencement itait la fin” (Self-burial in the text: At the beginning was the end). In Edgar Allan Poe: Unepmie de lafin, edited by Jean-Francois Chassay et al., 121-34. Montreal: Liber, 2001. [Gervais re- sists the self-burial to which Poe’s texts drive their readers. Since Poe’s philosophy of composition requires that the denouement be constantly in view and privileges protagonists telling their own stories, the result is a remarkable proportion of narrators speaking from a spectral locus that defies credibility and imagination. The supreme instance is “The Fall of the House of Usher.” “The creative power of the mind is boundless,” Poe insists in his self-review in the Aristidean, but (according to Ger- vais) the end that the creator must always have in mind finally gets the upper hand.]

Gervais, David. “After Poe: Poetics and Poetry.” PNRe- view 29 (March-April 2003) : 30-34.

Goddu, Teresa. “Poe, Sensationalism, and Slavery.” In The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes, 92-1 12. Cambridge: Cambridge Univ. Press, 2002. [Poe-era writers often deliberately inflamed the passions of their audience with regard to contemporary controversial issues; the majority of these sensationalist writers exploited slavery to increase their sales. Poe, Goddu argues, was just as guilty of sensationalism, preying for profit on the fear and arousal the public felt over

the sufiering of American slaves.] Gracg, Julien. Enhetiens. Paris: Jose Corti, 2002. [Accord-

ing to Dix-neuvieme sieck, no. 35 (June 2002): 156, Poe is the subject of these conversations, along with Verne, Stendahl, Balzac, Rimbaud, and Wagner.]

Graham, Kevin. “Poe’s ‘The Bells.’” Explicator 62 (Fall 2003): 9-11. [Graham discusses the figures of speech and the moods reflected in the sounds of bells in the poem. He weighs the tone of each stanza and speclates about what type of bell is described in each.]

Guglielmoni, Paolo. “Introduzione.” In Eureka: Un poema in prosa, by Edgar Allan Poe, v-xii. Milan: Bompiani, 2001.

Guthrie, James R. “Broken Codes, Broken Seals, and Stolen Poems in ‘The Purloined Letter.”’ Edgar Allan Poe Review 3 (Fall 2002): 92-102. [Guthrie views Dupin’s battle of wits with the Minister as a rivalry between “secretive, larcenous poets” and the letter itself as an encrypted poem (92).]

Gutierrez, Amparo P. “Variaciones en torno a ‘El cuervo’ de Poe.” Espiculo: Revista de estudios Ziteranos 20 (March-June2002) , h ttp: / /www.ucm.es/info/ especulo/numero20/eapoe. html.

Hammond, Oscar. “Buried Bones and the Doghouse of Usher.” In Poe y Los Pmos, edited by Jennifer Schubert McCarthy, 212-27. Rushing, WA: Granny’s Teeth Press, 2003.

Harris, Paul A. “Poe-tic Mathematics: Detecting Topol- ogy in ‘The Purloined Letter.’” PoeStudies/Dank Ro- manticism36 (2003): 18-31. [In this piece from “Es says on Poe, Epistemology, and Modern Thought,” edited by Susan Amper, Hams “first situates ‘The Purloined Letter’ in the context of mathematical debates current in Poe’s time. Harris describes the respective approaches of the Prefect, the Minis ter, and Dupin as corresponding to competing mathematical approaches.” The essay goes on to suggest “the story’s preferred concept of space and mathematical reasoning” as an imaginative anticipation of “the branch of geometry known as to- pology” (Amper’s introduction, 1) .]

Harrison, Ruth M. “Poe Mobius: An Exploration of Poe’s Fractal Universe.” Poe Studies/Dark Romanti- cism 36 (2003): 32-44. [This piece from “Essays on Poe, Epistemology, and Modern Thought,” edited by Susan Amper, argues that Poe’s “anticipation of the twentiethcentuly infatuation with paradox, chaos theory, and self-reference” is found in its earliest form in Eureka and is “developed in detail in his fiction” and essays. Poe’s works contain “Escher-like descriptions, twisted paper loops,

International Poe BiblioffraPhy 79

clues and labyrinths," and "thematic examples of Poe's version of the liar's paradox" can be found in the unreliability of the narrators of his fiction (32, W.1

Hasinger, Gunther, and Roberto Gilli. "The Cosmic Reality Check." Scientific American (March 2002). [This article discusses Poe's solution to Olbers's paradox.]

Hauss, Jon. "Manuscripts of the Maelstrom, or, the Never-To-Be-Imparted Secret of Poe's 'MS. Found in a Bottle.'" W a h Humanities RGuicu 55 (Fall 2001): 139-57. [Hauss argues that Poe's obtuse, restlessly world-traveling narrator from Europe inadvertently "discovers"-in an obvious allegory for the Americas-an ancient civilization practicing a remarkably "porous" and celebratory relation to its own "outside," involuntarily sensing its superiority to his own former thickheadedness.]

Hayes, Kevin J. "Alice Guy's The Pit and the Pendulum (1913)." Edgar Allan Poe h i m 2 (Spring 2001): 37-42. [Hayes discusses Alice Guy's direction of a three-reel French film based on Poe's story and released in 1913. Although the film is considered lost, Hayes notes that the first reel is available in the Library of Congress, and enough evidence survives to surmise the contents of the two missing reels.] . "One-man Modernist." In The Camlnidge Corn-

panion to Edgar AUan Poe, edited by Kevin J. Hayes, 225-40. Cambridge: Cambridge Univ. Press, 2002. [Hayes's title comes from an epithet for Poe coined by artist Robert Motherwell. Hayes discusses Poe as a powerful influence on avant-garde art, who, writing at a time when art served mainly as an in- structional and recreational tool, turned his own work instead to expressive purposes. Hayes considers Poe's influence on Edouard Manet, Odile Redon, Paul Gauguin, Alfred Kubin, and Rent Magritte.]

. "Poe, the Daguerreotype, and the Autobio- graphical Act." Biography 25 (Summer 2002): 477- 92. [Hayes discusses Poe's remarks on daguerreotype and engraved portraiture and examines his views on the relationship between writing and personal image and the importance of illustrations to literary biography.]

. "Visual Culture and the Word in Edgar Allan Poe's 'The Man of the Crowd.'" Nineteenth-Century Literature 56 (March 2002): 445-65. [Hayes discusses the narrator's stated ability to discern character on the basis of external appearance.] , ed. The Camlnidgv Companion to Edgar Allan Poe.

Cambridge: Cambridge Univ. Press, 2002. [Con- taining essays by Benjamin Franklin Fisher lV, Teresa Goddu, Kevin Hayes, Richard Kopley, Kent Ljungquist, Mark Neimeyer, Scott Peeples, Rachel Polonsky, Daniel Royot, Geoffrey Sanborn, Peter Thomas, Sandra Tomc, John Tresch, and Karen Weekes, this collection treats a large portion of Poe's canon, focusing on such topics as Poe's criticism, aesthetic theory, humor, gothicism, sensationalism, science fiction and detective tales, treatment of female characters, and influence on popular culture. Individual texts discussed at length include e m , "The Fall of the House of Usher," "The Raven," and 'Ulalume." (See entries for individual contributors.) The collection also includes a chronology of Poe's life and a select bibli-

Henry, Brian Keith. "Aesthetic Disruptions: Crises of the Artist in Poe, James and Nabokov." PhD diss., Univ. of California, Riverside, 2002. [Using mainly the critical theories of Kaja Silverman, the dissertation emphasizes the erotic energies often inter- laced in artistic endeavors. Although the dissertation focuses mainly on Henry James, the first chap ter explores "The Fall of the House of Usher," depicting Roderick Usher as a failed romantic artist in a subliminally erotic relationship with the narrator of the story.]

Hirano,Yukihiko. "Conscience Grim: Another Allegori- cal Reading of 'William Wilson.'" Niigata Studies in Foreign Languages and Cultures 8 (2002): 49-52. . "Why Does the Allegorist Denunciate Allegory?

Interpreting Edgar Allan Poe's Tales of Supernatu- ral Terror." Niigata Studics in Fore'gn Languages and

Hoffman, Daniel. Interview by Barbara Cantalupo. Edgar Allan Poe Review 3 (Spring 2002): 95-112. [Hoffman discusses the research, writing, and reception of Poe, Poe, Poe, Poe, P a , Poe, Poe and his encounters with literary critics and authors including Richard Wilbur, Allen Tate, and Jorge Luis Borges.]

Hughes, John. "Poe's Resentful Soul." Poe Studies/Dank Romanticism 34 (2001): 20-28. [Hughes identifies the peculiar intimacies and complexities of Poe's fiction in terms of an underlying and pervasive attitude of resentment. While drawing throughout on Poe criticism and biography, Hughes's main debt is to Gilles Deleuze's analysis of Nietzsche's man of ressentimat. The article explores how in tale after tale Poe stages and interrogates such a psychic predicament, observable in many of the

ography.]

Cultures 7 (2001): 61-72.


complications that determine the cognitive and affective world of Poe’s tales-the strange doublings and exchanges of identity, the anach- ronistic temporality, and the ambivalence of feeling, in particular the combinations of hostility and longing that mark Poe’s representation of women.]

Hull, Richard. “Puns in ‘The Gold-Bug’: You Gotta Be Kidding.” Arizona Quarterly 58 (Summer 2002): 1- 18. [Poe uses puns to create “aural coincidence”: various random combinations of sound produce hidden meanings. The awful dialect of Jupiter in Poe’s story creates a secondary narrative of meaning that is more truthful because the subtext r e p resents a subconscious loss of control.]

Hulsey, Dallas. “Plagiarizing the Plagiarists: Poe’s Cri- tique of Exploration Narratives.” Edgar Allan Poe Review 3 (Fall 2002): 28-36. [Exploration tales hinge on a linguistic distinction between nature and culture. By complicating this binary, “The Jour- nal ofJulius Rodman” consciously undermines the ideology of exploration literature and westward expansion.]

Hunter, Dianne. “Poetics of Melancholy and Psychic Possession in Ted Hughes’s Birthday Letters and Other Haunted Texts.” Partial 1 uanuary 2003): 129-50. [Read intertextually with Poe’s “Ligeia” and other gothic accounts of melancholy and spou- sal mourning, Ted Hughes’s Birthday Letters evinces ancestral haunting and literary vampirism. “Ligeia,” Hughes’s Birthday Letters in their biographical context, and the aftermath of the death of Eva Peron exemplify Abraham and Torok’s concept of how family histories communicate, via psychic crypts, a sense of possession by the dead. In- sofar as intertextuality reveals how texts are lodged within one another, literary history reveals itself as a vampiric tale.]

Ikesue, Yoko. “Devil’s Harp and Irish Melodies: The Soundscape in Edgar Allan Poe’s ‘The Devil in the Belfry.”’ Studies in Ammican Literature 37 (February 2001): 3-21. [Ikesue argues that the musicality of the text enables the tale to be thought of as a musical work like an opera; the Irish music thus emerges not merely as representative of Ireland but as an important element in the elaboration of the work.]

. “An Introduction to a Thesis by Abe Tomoji: ‘Edgar Allan Poe as a Poet.’” Abe Tomoji kenkyu 9 (2002): 4-19. [Abe Tomoji was a well-known Japa- nese author and an eminent scholar of English and American literature. His thesis, submitted to To- kyo University in 1926, was on Poe. Ikesue trans-

lates the thesis from English into Japanese and annotates it.]

Inge, M. Thomas. “Poe and the Comics Connection.” EdgarAllanPoeReuim2 (Spring 2001): 2-29. [Inge provides an overview and chronology of Poe in the comics from 1944 to 2001.1

Irwin, John T. “Knight’s Gambit: Poe, Faulkner, and the Tradition of the Detective Story.” In William Faulkner: Six Decades of Criticism, edited and introduced by Linda Wagner-Martin, 355-75. East Lan- sing: Michigan State Univ., 2002. Previously p u b lished in Arizona Quarter4 46 (Winter 1990): 95- 116.

Itoh, Shoko. “Poe, Faulkner, and Gothic America.” Faulkner3 (March 2001): 17-32. [Examining first The Narrative ojArthur Gordon Pym and “The Black Cat” and then “The Fall of the House of Usher” and Absalom, Absalom!, Itoh describes Poe and Faulkner as shifting the grammars of the gothic genre to the expression of the repressed. An internet version of this paper appeared in August 2001 on the website of the Faulkner Society of Japan’s electronic magazine; see http:/ / www.isc.senshuu.ac.jp/-thb0559/No3/ EJNo3.htm.I

. Review of Poe to zasshi bungaku: Magazinist no America (Poe and magazine literature: As a magazinist in America), edited by Keiko Noda and Yoshiko Yamaguchi. Shukan dokushojin, 1 June 2001.

Jackson, Leon. “‘The Italics are Mine’: Edgar Allan Poe and the Semiotics of Print.” In Illuminating Letters: Typography and Literaly Interpretation, edited by Paul C. Gutjahr and Margaret L. Benton, 139-61. Amherst: Univ. of Massachusetts Press, 2001.

Jahshan, Paul. “The Deferred Voice in ‘The Murders in the Rue Morgue.’” EdgarAllanPoeReuiew3 (Fall 2002): 78-91. [The problem ofvoice, Jahshan contends, is a recurrent theme in Poe’s writing, which has not been fully explored. “Rue Morgue,” he suggests, is a perfect example of Poe’s theories of writing, and the story marks Poe as a “proto-post-structuralist theorist of the deferral of voice and the dissemination of trace” (78) .]

Jarab, Josef. “Edgar Allan Poe’s Literary Strivings : How to Sell Beauty When Truth is a Bore.” In POEtic Effect and Cultural Discourses, edited by Hermann Josef Schnackertz, 51-60. Heidelberg : Univer- sititsverlag, 2003. [Essay stresses role of beauty in Poe’s aesthetic principles.]

Joguin, Odile. Itinh-aire tnitiatique d Edgar Poe (Poe’s progress in initiation). Paris: Edite, 2002. Uoguin

International Poe Bibliomabhv a1

finds in Poe’s work an invitation to approach the sacred. Viewing Poe from the perspective of a tsa- ditional faith in “the spiritual destiny of man” (57), Joguin acknowledges but minimizes Poe’s resistance to such faith. The book considers Poe’s treatment of such topics as gnosticism, freemasonry, the tarot, and alchemy.]

Jones, Paul Christian. “The Danger of Sympathy: Edgar Allan Poe’s ‘HopFrog’ and the Abolitionist Rheto- ric of Pathos.” Journal o/Amnican Studies 35 (Au- gust 2001): 239-54. Uones argues that “HopFrog” was written to warn contemporary readers against the dangers of heeding sentimental abolitionist rhetoric. In this antebellum allegory, HopFrog is a slave and the king his master. The story first en- genders sympathy for HopFrog through discussion of the dwarfs deformity and the king’s cm- elty, then turns the tables on readers by transforming this object of compassion into a formidable instrument of revenge against his masters. Poe expects this conclusion to horrify readers, who are duly chastised for allowing a rhetoric of pathos to blind them to the inevitable slave uprising.]

Jumeau-Lafond, Jean-David, ed. Naissance du f a n t h e (Birth of the ghost). Paris: La bibliothtque, 2002. [In Europe at the end of the nineteenth century, there appeared in literature a new kind of ghost, designed not to create a sensation, as his predecessor, but to bear witness to the survival of the spirit. This collection of short stones by French symbolists, including Camille Mauclair, who also wrote h&ie d’EdgarPoe (Paris, 1925), opens with Poe’s “Morella,“ as Poe appears as the originator of this new generation of ghosts.]

Jundze, Amo. “Edgars Po un Latvija.” In Salidzinosa literaturzinatne Austrumeiropa un pmauh, edited by Anita Rozkalne, 163-70. Riga, Latvia: Petergailis, 2001.

Jung, Yonjae. “The Imaginary Double in Poe’s ‘Will- iam Wilson.’” LIT: LiteratureZnte@tation Tluo7y 11 (February 2001): 385402. uung analyzes the identity of the second Wilson in relation to Lacan’s theory of foreclosure and Freud’s concept of the superego.]

. “‘The Most Inseparable of Companions’: Lacan(-izing) Freud(-ianized) Poe.” PhD diss., Case Western Reserve Univ., 2000. [This dissertation creates a cooperative theory between Poe and Lacan: Lacan’s clinical theories are used to ana- lyze Poe’s short stories and, conversely, Poe’s own literary theories are used to examine Lacan and many of his psycho-philosophical claims. Two of

Poe’s short stories are examined through a Lacanian lens: issues of sadomasochism in “Will- iam Wilson” are explored in relation to the Lacanian imaginq, while oedipal dynamics are discussed in reference to “The Tell-Tale Heart.”]

. “Poe, Lacan, and the ‘Impossible’ Real” [in Korean]. British and Amm‘can Fiction to I900 9 (Summer 2002): 239-58.

Jupp, Daniel. “The Insecure Art of Edgar Allan Poe.” PhD diss., Univ. of Essex, 2002. [Criticism on Poe has ranged almost too divergently and dichote mously, as is exemplified by the almost opposite readings of “The Purloined Letter” by Lacan and Derrida. Rather than a critical accident, the bipo- lar diversity in interpreting Poe is a direct result of the way in which Poe infuses anxiety into his works, creating an insecure and divisive text that eludes any unified understanding.]

Justin, Henri. “Edgar Allan Poe: Aux limites de la raison.” Nouvelh revue pidapgique 9 (May-June 2003): 9-16. [Poe is the only foreign writer who is felt as “French” enough for this magazine forjun- ior high school teachers to devote a whole dossier to him. In his article, Justin discusses Poe’s tales in relation to Baudelaire’s translation, the gothic, the fantastic, and the detective genre.]

. “Une filiation majeure: Godwin-Simms-Poe.” Europe:~ l i~a i remenrzce l l c79 (AugustSeptem- ber 2001): 44-55. [It was to denounce the master/servant (akin to the master/slave) relationship that Godwin wrote Things As They Are; ol; The A& ventures o/CaM William. In so doing, he fashioned key concepts that would be adopted and theorized further by Poe (fascination of the reader, unity of effect, writing backwards, perversity). Simms, by picking up Godwin’s formula in a series of domes- tic stories ostensibly disconnected from his historical novels, appears as the missing link between Poe and the South.]

. Interview by Barbara Cantalupo. EdgarAUanPoe Revinu 2 (Spring 2001): 87-98. Uustin traces his interest in Poe dating from the start of his career as a lecturer in Paris, describes Poe’s long-distance embrace of the romantic, and discusses his (Justin’s) dissertation on Poe, recently translated into English, which argues that Poe’s literary imagination is more amenable to visual expression than to language.] . “Quel Poe?” (Which Poe?) . Eurvpe: Revue littimire

m u e l h 79 (AugustSeptember 2001): 3-8. [In- troduction to an issue of the Revuedevoted to Poe.]

. “Voyage au cmur de Charybdis.” In L’aventure


maritime, edited by Jean-Michel Racault, 187-97. Paris: L‘Harmattan, 2001. [Homer’s monster, Charybdis, became a whirlpool when it was revis- ited first by Dante in his Infmo and then by Spen- cer in The Faily Queen. Then came the mathematical concept of the “free vortex,” whose speed in- creases with the nearing of the center (Saulmon, c. 1720). It inspired the romantic vortices. An early instance is found in Schiller’s poem “The Diver,” and the figure reaches conceptual perfection in Poe’s maelstrom. It remained active throughout the nineteenth century (Melville and Dickinson) and declined in the twentieth.]

Kearns, Christopher. “Poe’s Peering Eyes of Science.” EdgarAllan PoeReuiew3 (Fall 2002): 73-77. [Poe’s interest in relating science to poetry, which reached its acme in Eureka, began early in his career. It can be seen in “Sonnet-To Science” and “Al Aaraaf,” both published in 1829.1

. “Rehearsing Dupin: Poe’s Duplicitous Confron- tation with Coleridge.” Edgar Allan Poe Review 3 (Spring 2002): 3-14. [Kearns compares Poe and Coleridge and argues that Poe, in spite of attempts to formulate an original theory of poetry, ends up repeating many of the English poet’s ideas. Poe’s “complex polemic” with Coleridge is evident in Dupin’s poetic strategies of detection: “projecting oneself into the place of the other” and proceed- ing by indirection and “cursory glance[s]” to avoid missing the obvious (3, lo ) . ]

Keiller, Patrick. “The Poetic Experience of Townscape and Landscape, and Some Ways of Depicting It.” In The Undercut Reader: Critical Writings on Artists’ Film and Video, edited by Nina Danino and Michael Mazitke, 75-83. London: Wallflower, 2003.

Kelly, Warren Hill. “Detecting the Critic: The Presence of Poe’s Critical Voice in His Stories of Dupin.” Edgar Allan PoeReview4 (Fall 2003): 77-86. [Kelly argues that Poe inserts his own critical voice in the Dupin tales, using his first-person narrator to “appropriate’’ the readers’ process of reading (77). In this way, Poe demonstrates the readers’ suscep tibility to being “led by the nose” in their interpretation of the tales (79) . ]

Kennedy, J. Gerald. “‘Trust No Man’: Poe, Douglass, and the Culture of Slavery.” In Romancing the Shadow: Poe and Race, edited by J. Gerald Kennedy and Liliane Weissberg, 225-57. Oxford: Oxford Univ. Press, 2001. [Poe and Frederick Douglass literally lived a few blocks away from each other, although their works represent different views on the spirit of their times. This article traces the

movement and proximity of Poe and Douglass as part of its attempt to explore the way in which each author signifies his time period.]

, and Liliane Weissberg, eds. Romancing the Shadow: Poe and Race. Oxford Oxford Univ. Press, 2001. [A collection of nine essays examining Poe’s role in shaping concepts of race in the EureAmeri- can imagination; see individual entries for Lindon Barrett, Joan Dayan, Betsy Erkkila, J. Gerald Kennedy, Elise Lemire, Leland S. Person, John Carlos Rowe, Liliane Weissberg, and Terence Whalen.]

Kenyon, Joseph P. “Auber and Avernus: Poe’s Use of Myth and Ritual in ‘Ulalume.”’ Poe Studies/Dark Romanticism 36 (2003): 58-67. [“Ulalume” ex- presses Poe’s state of mind during the final months of his wife’s illness. To deal with that experience, Kenyon suggests, Poe “constructed a poem rich in mythic symbolism.” The experiences of despair, lamentation for the dead, and “hope for some sort of rebirth” are “summed up in the confused mind of a narrator who attempts a heroic mythic journey toward rebirth and finds . . . a reunion . . . with his own sanity” (66).]

Kim, Yongsoo. “Identity Difference, and the Dissolu- tion of Power in Poe’s ‘Morella”’ [in Korean]. Nine- teenth Century Literature in English 5 (2001): 155- 67.

Kopley, Richard. “Readers Write: Nineteenth-Century Annotations in Copies of the First American Edi- tion of Poe’s The Narrative of Arthur Gordon Q m . ” Nineteenth-Centuly Literature 55 (2000) : 399-408. [Elaborates on contemporary handwritten comments on Pym, both negative and positive, appear- ing in three copies of the first edition of the novel.]

, ed. The Narrative ofArthur Gordon Pym. NewYork: Penguin, 1999. [This volume offers Burton R. Pollin’s text of the novel and Kopley’s introduction and annotations. The introduction argues for autobiographical and biblical subtexts in the work.]

, and Kevin J. Hayes. “Two Verse Masterpieces: ‘The Raven’ and ‘Ulalume.”’ In The Cambridge Com- panion to EdgarAllan Poe, edited by Kevin J. Hayes, 191-204. Cambridge: Cambridge Univ. Press, 2002. [Poe is famous for both his prose work and his poetry, but his poetical success is disproportion- ate to the amount of quality poetry he produced. In truth, he is known for only a handful of poems, and only a couple of these achieved any long-last- ing fame. Kopley and Hayes dissect “The Raven” and “Ulalume” to explore how Poe achieved such

International Poe Bibliom-abhv 83

acclaim despite his small poetical canon.] Labriola, Patrick. “Edgar Allan Poe and E. T. A.

Hoffmann: The Double in ‘William Wilson’ and The Devil’s Elixirs.” International Fiction Revieu 29 (2002) : 69-77.

La Cassagnere, Christian. “La voix ttrange: Les avatars du sujet dans les contes de Poe.” Europe: Revue littkaire mensuelk 79 (AugustSeptember 2001): 84-96. [With the help of Lacanian concepts, the author follows the avatars of the “I” in major tales. Facing empty mirrors, losing a sense of personal identity, becoming invisible to others, the Self, fad- ing out, lets the voice of the Other within, the voice of deepest, fusional desire, be heard. Hence, the unarticulated “voices” doubling the articulated ones. Thus, the texts spoken from nowhere within the texts spoken by the narrators.]

La Cassagnere, Mathilde. “La mort et le simulacre dans ‘Ligeia’ d’Edgar Allan Poe.” A n n a h de 1’Universiti deSavoie 30 (December 2002): 169-77. [This syn- thetic article moves through three possible readings of the tale. In the first, naive reading, the will to return lies in Ligeia herself. In the second, it lies in the narrator who builds simulacra of her and, like Freud’s child playing “Fort/Da,” stages her return. In the third, it is “by that sweet word alone” and other stylistic felicities that, as narrator, he conjures up a living symbol. Thus, Poe guides us from the fantastic to the fantasmatic, and, from there, to the poetic.]

Lallier, Francois. “La lettre qui manque au poeme” (The letter missing in the poem). Europe: Revue littkaiw masuelk79 (AugustSeptember 2001): 64-83. [In this remarkable, difficult article, the tales and the poems are read as two responses to the same ques tion: how to give linguistic expression to cosmic Silence. In “A Tale of the Ragged Mountains,” a missing letter makes the tale perfect-as a fissure does in “Usher.” In the poems, Poe was trying to find “the missing letter” (80)-the too silent “en in “Poe”?]

Larochelle, Marie-Renee. “Le musement et le double dans ‘Double assassinat dans la rue Morgue’: Une lecture sans fin. . .” (Musing and doubling in ‘The Murders in the Rue Morgue’: An endless reading). In Edgar Allan Poe: Une p m i e de la fin, edited by Jean-Francois Chassay et al., 153-74. Montreal: Liber, 2001. [Larochelle reads the tale in terms of the play of desire in psychoanalytical detection. The most original sequence presents the murder of Mme. L’Espanaye as the outcome of a mutual misunderstanding, a failed relation.]

Lee, Maurice S. “Absolute Poe: His System of Transcen- dental Racism.” American Literature 75 (December 2003): 751-81.

Lemire, Elise. “‘The Murders in the Rue Morgue’: Amalgamation Discourses and the Race Riots of 1838 in Poe’s Philadelphia.” In Romancing the Shadow: Poe and Race, edited by J. Gerald Kennedy and Liliane Weissberg, 177-204. Oxford: Oxford Univ. Press, 2001. [The 1838 Philadelphia race riot had an impact upon Poe’s cultural consciousness, leading him to write his (in)famous short story “The Murders in the Rue Morgue.” Poe’s story exemplifies the anxiety of many white Southern- ers about African-American culture. This article discovers in African-American barbershops the origin of Poe’s image of a razor-wielding orangutan.]

Uvy, Sydney. “Experience de penste, la penste comme exptrience.” Europe: Revue littkaire mensuelle 79 (August-September 2001): 175-85. [With the Dupin stories, Poe carries out a thought experiment on thought itself, anticipating cognitive sciences. Extremely rapid computation, probability theory, auto-correction-did Poe see thought as a mechanical process? The aporetic presentation of the question in the first sentence of the first Dupin story shows the contrary, and the Valdemar thought experiment stages a case where disen- tanglement is impossible. Thought is notjust computation; it is an experience.]

Lewis, Paul. “A ‘Wild’ and ‘Homely Narrative’: Resist- ing Argument in ‘The Black Cat.”’ In POEtic Effect and Cultural Discourses, edited by Hermann Josef Schnackertz, 61-84. Heidelberg : Universitit- sverlag, 2003. [See annotation for following en-

.“A ‘Wild’ and ‘Homely Narrative’: Resisting Ar- gument in ‘The Black Cat.’” Poe Studies/Dark Ri+ manticism 35 (2002): 1-13. [Lewis criticizes strict “historicist” or “cultural” readings of Poe that “ob- scure his originality” (1) by projecting too much of the political into his work. In contrast to interpretations by Terence Whalen, David S. Reynolds, Teresa Goddu, T. J. Matheson, Joan Dayan, and others, Lewis argues that a story like “The Black Cat” reveals a Poe more “interested in disturbing and terrifying his audience” (5) than in express- ing an ideological opinion or holding up the gothic as a worldview.]

Ljungquist, Kent I! ” ‘Fellowhip with Other Poets’: Lowell, Longfellow, and Poe Correspond with A. M. Ide, Jr.” Resources forAmeriGanLiteravStudy28 (2003): 27-51.

try.]

84 Poe StudiedDark Romanticism

. “The Poet as Critic.” In The Cambridge Compan- ion to Edgar Allan Poe, edited by Kevin J. Hayes, 7- 20. Cambridge: Cambridge Univ. Press, 2002. [This article connects Poe’s life with his reputation as both artist and critic. His development as a critic is explored, and the influences on his philosophy of composition are discussed.]

. Review of The Peculiarity of Literature: An Alle- gorical Approach to Poe’s Fiction, by Jeffrey De Shell. Mississippi Quarterly 51 (Spring 1998): 353-55. [De Shell’s “apparent command of theoretical issues is not matched by a requisite coverage of Poe’s scholarship.”]

Lloyd, Rosemary. “Mallarm6 and the Bounds of Trans- lation.” Nottingham French Studies 40 (Autumn 2001 ): 1 4 2 5 . [Lloyd discusses Mallarmt’s translation of “The Bells.“]

Luca, Liana de. “Introduzione.” In Poe, 7-9. Turin: Genesi, 2001.

. “Note.” In Poe, 53-60. Turin: Genesi, 2001. Luker, Daniel J. “An Analysis of Observing: A Study of

the Icon of the Flaneur in E. T. A. Hoffmann’s ‘My Cousin’s Corner Window’ and Edgar Allan Poe’s ‘The Man of the Crowd.”’ In The Image ofthe Out- sider in Literature, Media, and Society, edited by Will Wright and Steven Kaplan, 152-55. Pueblo, CO: Society for the Interdisciplinary Study of Social Imagery, 2002.

Luminet, Jean-Pierre. “Douze petites cosmologies d’Edgar Poe.” Europe: Revue littiraire mensuelk 79 (August-September 2001): 158-74. [This astro- physicist, who likes to link science with imagination, moves from twelve scientific propositions found in Poe’s sea narratives and Eureka to today’s scientific developments. He stresses Poe’s relevance to relativistic physics.]

Machor, James L. “Mastering Audiences: Poe, Fiction, and Antebellum Reading.” ESQ: A Journal of the Arna’can Renaissance 47 (2001): 163-83.

Magrelli, Valerio. “Traduzione, adattamento, riscrittura: Mallarmt fra Poe e Beckford.” Rivista di litterature moderne e comparate 55 (January-March 2002): 55- 66. [On translation, adaptation, and rewriting in Mallarmt, compared to Poe and Beckford.]

Manferlotti, Stefano. “Aldous Huxley: I francesi e Poe.” Testo afronte28 (2003): 189-96.

Markley, A, A. “The Godwinian Confessional Narrative and Psychological Terror in Arthur Gordon e m . ” Edgar Allan Poe Review 4 (Spring 2003) : 4 1 6 . [An acknowledged source for Poe’s manner of developing the first-person voice of Arthur Gordon Pym is Daniel Defoe’s Robinson Crusoe. Markley finds,

however, a strong influence of William Godwin’s style, particularly from Cakb William, in Poe’s characterization of Pym. ]

Marling, William. “Vision and Putrescence: Edogawa Rampo Rereading Edgar Allan Poe.” Poe Studies/ Dark Romanticism 35 (2002): 22-30. Uapanese author Edogawa Rampo (Hirai Taro) uses themes and techniques from Poe works-“Berenice,” “The Facts in the Case of M. Valdemar,” “The Domain of Amheim”-such as the gazed-upon, unspeak- able woman as the gateway to decomposition (26). Rampo, unlike Poe, is able to see and interpret his own complex sexuality and explores “the mu- tations possible in Poe’s gaze on the flesh” (29) .]

, and Hiroe Monguchi. “Edgar Allan Poe’s Ideal Reader: Edogawa Rampo.” Ronsyu 48 (2001): 25- 41.

Marvin, Thomas F. ”‘These Days of Double Dealing’: Edgar Allan Poe and the Business of Magazine Pub- lishing.” Amm’can Pm’odicals 11 (2001): 81-94.

Marzano, Pasquale. “Dalla Polonia al paese di Poe: I1 fascino dei nomi in Paul Auster.” I1 name nel testo: Rivista internazionale di onomastica letteraria 2-3 (2000-2001): 115-24. [On Poe and Auster.]

Mawhinney, Heather. “‘Vol du Bourbon’: The Purloined Letter in Perec’s La Disparition.” Modern Language Review 97 (January 2002): 47-58.

Medail, Cesare. “Morte e rinascita nei gorghi del des- tino.” In Ston’a di Gordon Pym, by Edgar Allan Poe, 7-10. Milan: RCS Editori, 2002. [Introduction to

Meitinger, Serge. “Portrait d’un heraut, ou I’invention de Poe par Baudelaire, Mallarmt et Valtry.” Eu- rope: Revue littiraire masuelk 79 (August-Septem- ber 2001): 186-99. [The three French writers made their hero, htros the herald, htraut of their own projects (186). Meitinger, himself a writer of poetry, seeks out the essence ofwhat they respectively found in Poe.]

Menegaldo, Gilles. “Edgar Allan Poe et Jean Epstein: Des affinitts Clectives.” Europe: Revue littiraire mensuelle 79 (August-September 2001): 231-43. [Epstein’s film The Fall of the House of Usher (1928) is less an adaptation of Poe’s story than a variation on Poe motifs. As such, it is often brilliantly successful. The article details the transpositions from text to film and stresses the affinities between Epstein and Poe.1

Mieszkowski, Jan. “Exhaustible Humanity: Using Up Language, Using Up Man.” Dijferences: A Journal of Feminist Cultural Studies 14 (Summer 2003): 106- 33.

e m . 1

International Poe Bibliop-a#hy 85

Mildonian, Paola. "Tempo dell'immaginazione e tempo della rappresentazione." In Alterego: Racconti in fm di diario tra Otto e Novccato, 171-79. Venice: Marsilio, 2001. [On Poe's work in journal form.]

Miyakawa, Tadashi. "A Metaphysical Parody in 'Berenice.'" In Am.erika bungaku millennium (At millennium's beginning: Essays on American literature), edited by Junji Kunishige, 210-23. T e kyo: Nan'undo, 2001. [Miyakawa describes John Locke's concept of identity, which he finds had a great influence on Poe. "Berenice," Miyakawa believes, revitalized empiricism.]

Miyanaga, Takashi. "Echoes of Poe: The Influence of Edgar A. Poe on Maupassant and Doyle." Shakai- shirin: Hosei Journal of Sociology and Social Sciences

. Poe: Wakakihino tegami (The letters of young Poe). Tokyo: Sairyuusha, 2002. [Miyanaga trans- lates into Japanese Mary Newton Stanard's Edgar Allan Poe Letters till Now Unpublished]

Miyazawa, Mieko. "The Art of E. A. Poe's 'The Masque of the Red Death.'" Hakodate eibei bungaku 40

Monti, Silvia. "Corpo e scrittura nella narrativa inglese, americana e tedesca tra Ottocento e Novecento." I1 confinto letterario 40 (2003) : 307-24.

Morency, Jean, and Isabelle Cossette. "De Poe 1 Melville et Crimazie: L'imaginaire de la fin et la naissance de la littkrature en Amerique du Nord" (The imagination of the end and the birth of literature in North America). In Edgar Allan Poe: Une pensie de lafin, edited by Jean-Francois Chassay et al., 93- 108. Montreal: Liber, 2001. [The paradox addressed here is the omnipresence of the theme of death at the birth of North American literature ("itatsunienne" with Poe and "quibicoise" with Crimazie). Three factors are identified (1) the influence of dark romanticism, (2) the apocalyptic vision of the Puritan fathers, and (3) Poe's influence in Quebec.]

Morrison, Robert. "Poe's De Quincey, Poe's Dupin." Essays in Criticism 51 (October 2001): 424-41. [Momson discusses sources for the character of Dupin in the work of Thomas De Quincey. J

Mortimer, Annine Kotin. "Balzac and Poe: Realizing Magnetism." Dalhovsie Fmch Studies 63 (Summer

Munkh-Amgalan, Yiimjir. "Edgar Allan Poe in Mon- golia.- Edgar Allan Poe Review 4 (Fall 2003) : 87-92. [Since the 1950s, Poe has been taught at several Mongolian universities. Munkh-Amgalan notes that the first Poe work to be translated into Mon-

48 (2002): 82-142.

(2001): 21-27.

2003): 22-30.

golian was "The Gold-Bug," which appeared in 1935. Munkh-Amgalan provides an annotated list of Poe's translated works, which include "Annabel Lee," "The Purloined Letter," "The Murders in the Rue Morgue," and The Unparalleled Adventures of One Hans PfaalL]

Nate, Richard. "Feigned Histories : Edgar Allan Poe's 'The Unparalleled Adventure of One Hans Pfaall' and the Tradition of the Experimental Essay." In POEtic Eflect and Cultural Discourses, edited by Hermann Josef Schnackertz, 85-102. Heidelberg : Universidtsverlag, 2003. [Poe's tale reflects tradition of seventeenth-century experimental essay and author's skepticism toward science.]

Neimeyer, Mark. "Poe and Popular Culture." In The Cambridge Companion to Edgar AUan Poe, edited by Kevin J. Hayes, 205-24. Cambridge: Cambridge Univ. Press, 2002. [Metapopular culture arises when a specific conceit in popular culture becomes a subculture in itself. This article catalogs metapopular cultural references to Poe and considers the reasons for his pervasive presence in pop culture.]

Neiworth, James, comp. "International Poe Bibliogra- phy: 1998-2000." Poe Studies/Dark Romanticism 35 (2002): 38-65. [This installment of the "Interna- tional Poe Bibliography" covers the years 1998- 2000.1

Nishiyama, Tomonori. "Imperialism and the U.S. Mu- seum Movement: Poe, Excavation, and Resurrec- tion." Eibei bungaku 46 (2002): 12848. . "The Metaphor of Walls in American Fiction."

Eibei bungaku 45 (2001). Noda, Keiko, and Yoshiko Yamaguchi, eds. Poe to russhi

bungaku: Magazinist no America (Edgar Allan Poe and magazine literature: As a magazinist in America). Tokyo: Sairyuusha, 2001. [The third book by the members of the Society for the Study of E. A. Poe (Institute for Research in Language and Culture, Tsuda College). Individual entries include: Sanae Fujino, "Criticizing the American Republic of Letters: 'The Literary Life of Thingum Bob, Esq'"; Yoko Maeda, "Allegory as Parody: 'Never Bet the Devil Your Head"'; Michiko Mayuzumi, "Woman Contributors to Graham's Magazine"; Chizu Nakamura, "New Experiments of the Detective Editor: 'Autography,' and 'Maelzel's Chess-Player'"; Misao Nishida, "Multi- standard View of Women: 'Berenice,' 'Morella,' and 'Ligeia'"; Keiko Noguchi, "Introduction: Poe and Magazine Literature" and "Between the Masses and the Art: 'The Murders in the Rue Morgue,'


‘The Gold-Bug,’ and ‘The Purloined Letter’”; Kayoko Watanabe, “Short Stories Long Ignored: ‘The Oblong Box,’ and ‘The Oval Portrait”’; Reiko Watanabe, “A High-Nosed Gentleman Loves L‘Omellette: ‘The Duc de I’Omelette,’ and ‘Some Passages in the Life of a Lion”’; Yoshiko Yama- guchi, ‘Journalism and the Melancholy of Beauti- ful Women: ‘The Mystery of Marie Rog&t’” and the afterword.]

Noumbissi, Nzachie. “Poe no inventa el cuento y el delito; a1 detective tampoco.” Acta literaria 26

Ono, Kazuto. “Amerika runesansuki no bunka/ bungaku ni okeru uchu ishiki: Gaikan.” Eigo kbungaku rongi52 (2002): 25-54.

Osipova, Elvira. Interview by Barbara Cantalupo. Edgar Allan PoeReview2 (Spring 2001): 67-77. [Osipova recalls that her interest in Poe began when, in the course of studying American transcendentalists, she encountered Poe’s polemic against them. She notes that Poe is widely translated and studied in Russia.]

. Ralph Emerson and Amm’can Romanticism [in Russian]. St. Petersburg: St. Petersburg Univ. Press, 2001. [In this book devoted to Emerson’s philose phy and art, Osipova devotes one chapter to Poe’s ideologcal differences with the transcendentalists as manifest in some early tales, “Ligeia,” and his philosophic dialogues.]

Palazzi, Roberto. “Pasticci e misteri: Edgar Allan Poe per l’ltalia.” Charta 51 (March-April 2001): 64- 67. [On the relevance of Poe as mystery writer in relation to Italian literature.]

Peeples, Scott. “Poe’s ‘Constructiveness’ and ‘The Fall of the House of Usher.”’ In The Cambridge Compan- ion to EdgarAllun Poe, edited by Kevin J. Hayes, 178- 90. Cambridge: Cambridge Univ. Press, 2002. [The genius Poe has for structural details and the art of putting stories together to perfect effect is here called “constructiveness,” a metaphor for the writer as mechanic or builder. “The Fall of the House of Usher” captures Poe’s constructiveness perfectly, not only in the images of the house as a construct but in the composition of the story itself.]

Perosa, Sergio. “I1 ritratto che uccide (da Poe a Wilde) .” In Le metamorfosi del ritratto, edited by Renzo Zorzi, 271-99. Florence: Olschki, 2002. [On deadly por- traits, from Poe to Wilde.]

Person, Leland S. “Poe’s Philosophy of Amalgamation: Reading Racism in the Tales.” In Romancing the Shadow: Poe and Race, edited by J. Gerald Kennedy and Liliane Weissberg, 205-24. Oxford: Oxford

(2001): 99-115.

Univ. Press, 2001. [The article examines metaphors for interracial relationships in “The Black Cat,” “Ligeia,” and “The Murders in the Rue Morgue” and finds color, specifically black and white, en- coded in the text of many of Poe’s works.]

Peyrache-Leborgne, Dominique. “Paradis milanco- liques de Jean Paul i Edgar Poe.” Romantisme, no. 117 (2002): 13-29,esp. 22-28. [Thefirstpafagraph proclaims that Poe and Baudelaire “ont i t6 21 la fois les fils saturniens et les iclatants th6oriciens” “de la milancolie et de la Beaut6 Triste,” and gives supporting quotations from both writers. J

Pichois, Claude. Auguste Poulet-Malassis: L’iditeur de Baudelaire. Paris: Fayard, 1996.

Pisanti, Tommaso. “E. A. Poe poeta.” In “I1 C m o ” e tutte lepoesie, by Edgar Allan Poe, 7-27. Rome: Newton Compton, 2003. [A critical assessment of Poe’s poetry.]

Pobo, Kenneth. “Poets among the Stones.” Markers: Annual Journal of the Association for Gravestone Stud- ies 20 (2003): 302-11.

Poe, Edgar Allan. Eureka. Edited by Reni van Slooten. Hoofddorp, the Netherlands: Uitgeverij boe- kenplan, 2003. [This is the first Dutch edition of Eureka.]

. Eureka. Foreword by Sir Patrick Moore. Lon- don: Hesperus, 2002. [This paperback edition is part of the Hesperus Press series of classic masterpieces.]

. Eureka, un poema in prosa. Edited by Paolo Guglielmo. Milan: Bompani testi a fronte, 2001. [A bilingual Italian-English edition of Eureka. The introduction gives special attention to Poe’s cosmology, but also to his original philosophical ideas.]

Pollin, Burton R. “Alexander Pope and His Works in the Writings of Edgar Allan Poe.” Edgar Allan Poe Review4 (Fall 2003): 52-71. [Pope’s influence on Poe has been noted by Thomas Ollive Mabbot and Killis Campbell, and yet virtually no further scholarship on the connection between the two has ensued. Pollin provides a list of seventy-three items in Poe’s work showing links to Pope].

. Interview by Barbara Cantalupo. EdgarAUan Poe Review 2 (Fall 2001): 98-120. [Pollin’s interest in Poe arose from research he was doing on William Godwin and his circle, as well as Pollin’s friend- ship with T. 0. Mabbot.]

. “Jack Sullivan and Poe’s Influence on European Music.”EdgarAllan PoeReuiew4 (Spring 2003): 72- 75. [European composers continue to look to Poe for inspiration. Pollin reviews three new compact

International Poe Babliografihy 87

disks. A new recording of Olivier Messiaen's Tarangalila, originally written between 1946 and 1948, invokes "The Pit and the Pendulum." Mae& stmm by Hans-Peter Kyburz is a 1998 orchestral rendering of "Descent in to the Maelstr6m." And On t h e k t Fmtieris a 1997 choralarchestral work by composer Einojuhani Rautavaara, which sets the final passages of The Narrative of Arthur Gordon Pym to music.] . "Music and Edgar Allan Poe: A Fourth Anno-

tated Checklist." Poe Studies/Dad Romanticism 36 (2003): 77-100. [The fourth installment of a de- scriptive bibliography of music inspired by Poe's work.]

. "Poe in The Hades Factorof Robert Ludlum and Gayle Lynds." Edgar Allan Poe Review 2 (Spring 2001): 89-90. [Shades of "The Purloined Letter" and "The Masque of the Red Death" can be found in the novel by Ludlum and Lynds.]

-. "Poe's Greek A Short Prolegomenon to a Long Inquiry." Edgar Allan PoeReuiew 2 (Fall 2001): 71- 77. [Elizabeth Barrett wrote in a letter to Poe that many of her friends were taken by the "fear" of "The Raven." Poe transcribed the word as "yias," evidently believing this to be a Greek word, as he knew Barrett to be a Greek scholar. Poe passed the word along in letters to publishers soliciting laudatory accounts of his work.]

-. Review of Eureka, by Edgar Allan Poe. Foreword by Sir Patrick Moore. EdgarAllan P o e h i e w 3 (Fall 2002): 113-15. [Pollin believes that readers will be "ill served" by this edition of Eureka (1 15), as Moore has "arbitrarily removed most of Poe's individual and distinctive touches" (1 14) .]

. "Who DeseIves Credit for Coining and Circu- lating 'Marginalia': Coleridge or Poe?" Edgar Allun PoeRevim2 (Spring 2001): 90-91. [Both authors can be credited with coining the term, but Pollin and the OEDgive Poe the credit for its early circulation.]

Pollock, Jonathan. "Opium and the Occult: Antonin Artaud and Samuel Taylor Coleridge." Revue de littkrature comparie 75, no. 4 (October-December 2001): 567-77. [Several passing references to Artaud's fondness for Poe. In the last paragraph, Pollock refers to Artaud's translation of "Israfel" and quotes-in the original-the last stanza.]

Polonsky, Rachel. "Poe's Aesthetic Theory." In The Cam- bridge Companion to Edgar AUan Poe, edited by Kevin J. Hayes, 42-56. Cambridge: Cambridge Univ. Press, 2002. [Despite being a late runner in the American romantic movement, Poe does not draw

his avant-garde aesthetics from romantic theory. Poe's theory is more mechanical, focusing on the way in which an artist constructs a text instead of allowing spontaneous organic art. "The Literary Life of Thingum Bob" is analyzed in the context of the theories of Poe, Baudelaire, and Coleridge, with emphasis on producing an "effect" as the most important aspect of poetic creation.]

Pritchard, Hollie. "Poe's 'The Tell-Tale Heart.'" Expli- cator 61 (Spring 2003) : 14447.

Rachman, Stephen. "Subterranean Homesick Poe: Lou Reed's 'The Raven.'" Edgar Allan Poe Review 4 (Spring 2003): 2W1. [Rachman discusses the al- bum made by Lou Reed from his 2002 stage p r e duction "POEtry."]

Ramakrishna, D. The CraJofPoe's Tdes. New Delhi: Cyan Publishing, 2001. [The book deals with Poe's aims and techniques in a variety of fictional modes, highlighting both successes and failures.]

. "Gothic Resonances: The Fiction of Edgar Allan Poe and Joyce Carol Oates." Kakatiya Journal of English Studies 21 (2001): 166-76. [Ramakrishna maintains that, despite initial denials of Poe's influences on her fiction, Joyce Carol Oates follows the nineteenthcentury master in using the gothic mode to depict the nightmares of postmodern times in works like The Tiiumph of the Sfi.der Mon- key, "Our Lady of the Easy Death of Alferce," "The Assignation," "Stalking," and "Last Days."]

Ranzato, Irene. "Baudelaire traduttore di Poe." I1 tradutture numo 1 (2003): 51-61. [On Baudelaire's strategies in translating Poe.]

Rasilla Garcia, Carmen de la. "Poe Visits Dali: Doubles in Autobiography." Edgar Allan Poe Review 4 (Fall 2003): 3-13. [A hitherto unremarked passage near the end of The Secret Life of Salvador Dali leads Garcia to discover a pervasive pattern of references to Poe.]

Reilly, John E. Interview by Barbara Cantalupo. Edgar Allun Poe Review 2 (Spring 2001): 78-86. [Reilly's first scholarly interest was Chaucer; after several years in the business world, he returned to a study of Shakespeare, and finally, due to his admiration for Floyd Stovall, to the study of Poe.]

Renza, Louis A. Edgar Allan Poe, Wallace Sfevens, and the Poetics ofAmerican Privacy. Baton Rouge: Louisiana State Univ. Press, 2002. [As title announces, study focusing on Poe's prose and Stevens's Hannonium in terms of writers' engagement with a "radical 'write to privacy'" (ll)].

. "Never More in Poe's Tell-Tale American Tale." Edgar Allan Pod Review 4 (Fall 2003): 22-40. [De-


spite Poe’s popularity with readers and critics in America and abroad, he does not, suggests Renza, “fit into anyone’s ‘American Renaissance’” (22). Renza examines “The Tell-Tale Heart” and, subsidiarily, “The Colloquy of Monos and Una” and “The Raven,” tracing in these works an utter rejection of meaning-making; it is this that puts Poe so out of step with his contemporaries.]

. “Pitfalls in Reading ‘The Pit and the Pendu- lum.’” In POEtic E f f t and Cultural Discourses, edited by Hermann Josef Schnackertz, 103-116. Heidelberg : Universitiitsverlag, 2003. [Discusses tale in terms of defense of American privacy amidst “mid-nineteenthcentury, abstract modes of com- munal surveillance” (109) 1.

. “Poe’s King: Playing It Close to the Pest.” Edgar Allan P o e h i m 2 (Fall 2001): 3-18. [Renza reads “King Pest” as an early example of Poe’s “allego- rizing the negation of allegory” (4). Poe packs the tale with sexual innuendo as part of an effort to privatize the literary act. Ultimately, suggests Renza, the tale “bespeaks [Poe’s] private fantasy of writing and being read as if not permitting any such reading” (14).]

. “‘The Raven’: Speaking of Mommy Dearest.” Review of Word, Birth, and Culture: The Poetry of Poe, Whitman, and Dickinson, by Daneen Wardrop. Poe Studies/Dark Romanticism 36 (2003) : 121-24. [Wardrop connects Poe to Whitman and Dickinson and contends that “all three adhere to a feminine poetics” (122). The main point of Wardrop’s analysis is that the three authors em- ploy tactics that disrupt patriarchal signification. While “admirably painstaking,” Renza writes, Wardrop’s reading of “The Raven,” among other Poe works, often “appears straightjacketed by her single-minded if also enabling commitment to her Lacanian-Kristevan allegory.“ In addition, Wardrop’s “sense of ‘culture’” in her readings of Poe “possesses a certain transhistorical cast, and so it is unlikely to convince hard-line neohistoricist critics who keep dreaming that they can isolate the specific identity of Poe’s intended audience and values for interpretive purposes” ( 1 23) .]

Ricca, Bradley James. “American Zodiac: Astronomical Signs in Dickinson, Melville, and Poe.” PhD diss., Case Western Reserve Univ., 2003. [This dissertation begins by connecting the works of Poe, Dickinson, and Melville with the shared experience of the 1833 Leonid meteor storm. Astronomi- cal references and other scientific topics in the works of these authors are explored, with a focus

on the way in which each author attempts to ratio- nalize the schism between a growing scientific world and a universe of divine wonder.]

Richards, Eliza. Review of Edgar Allan Poe and the Masses: The Political Economy of Literature in Antebellum America, by Terence Whalen. Studies in Romanticism 41 (Spring 2002): 117-23.

Richards, Jeffrey H. “Poe, Politian, and the Drama of Critique.” Edgar Allan Poe Reuim 3 (Fall 2002): 3- 27. [Richards believes that Politian, little discussed by recent critics, deserves another look. He sees it as satirizing Europeanized verse drama, as well as presaging drama’s move toward the absurd, and he suggests that if given an absurdist production today “the play might work“ (22).]

Robertson, Ritchie. “Carnage of Cannibals.” Times Lit- erary Supplement, 10 October 2003,7-8. [Review of Mike Mitchell, ed. and trans., The Dedalus Book of Austrian Fantasy, 1890-2000 ([London] : Dedalus, 2003). Robertson observes that Poe’s influence was “powerfully apparent, especially in the Gothic fiction of Meyrink, Paul Leppin, and Leo Perutz.”]

Rodriguez Monroy, Amalia. “La traducci6n como transculturaci6n: Edgar Poe y el fin de siglo.” In La traduccidn en la Edad de Plata, edited by Luis Pegenaute, 271-82. Barcelona: Promociones y publicaciones universitarias, 2001.

Roth, Marty. “Gilman’s Arabesque Wallpaper.” Mosaic 34 (December 2001): 145-62. [More concerned with Gilman than with Poe, Roth’s essay traces Gilman’s use of the arabesque design in “The Yel- low Wallpaper” to “The Masque of the Red Death” and Tales of the Grotesque and Arabesque. Gilman is also indebted to Poe for the aesthetic of unreadability evident in “The Gold-Bug,” “The Man of the Crowd,” and The Narrative of Arthur Gordon ern, as well as for the narcotic associations and Orientalism of “Ligeia.”]

Routledge, Christopher. “The Chevalier and the Priest: Deductive Method in Poe, Chesterton and Borges.” Clues 22 (Spring-Summer 2001): 1-11.

Rowe, John Carlos. “Edgar Allan Poe’s Imperial Fan- tasy and the American Frontier.” In Romancing the Shadow: Poe and Race, edited by J. Gerald Kennedy and Liliane Weissberg, 75-105. Oxford: Oxford Univ. Press, 2001. [A closer look at many of Poe’s short stories will reveal the way in which Poe reinscribed racial hierarchies into American culture. In works such as “The Journal ofJulius Rod- man” and “A Tale of the Ragged Mountains,” Poe creates an imperial fantasy whereby the role of the author mimics the power and authority of colo-


nialism. In many of Poe’s works, writing is analogous to conquest.]

Rowe, Stephanie L. “What We Confusedly Call ‘Animal’: Deconstruction and the Zoology of Narrative.” PhD diss., Univ. of Oregon, 2002. [As narrative literature evolved, the lines between what is human and what is animal devolved and dissolved. Poe’s “Murders in the Rue Morgue,” Melville’s Moby-Dkck, and Flaubert’s ‘La Legende de Saint Julien 1’Hospitalier” illustrate the quandary of trying to separate human and animal nature.]

Rowe, Stephen. “Poe’s Use of Ritual Magic in His Tales of Metempsychosis.” Edgar Allan Poe Review 4 (Fall 2003): 41-52. [Rowe examines Poe’s knowledge of the rituals of necromancy to weigh whether he deliberately made use of ceremonial magic in his tales of metempsychosis.]

Royot, Daniel. ’Poe’s Humor.” In The Cambridge Com- panion to Edgar Allan Poe, edited by Kevin J. Hayes, 57-71. Cambridge: Cambridge Univ. Press, 2002. [Poe’s use of hoax, masquerade, satire, and cari- cature was typically designed to mediate the often violent and transgressive horror of his stories. Poe’s humor helped reconcile the horror of his life.]

Rozelle, Lee. “Oceanic Terrain: Peristaltic and Ecologi- cal Sublimity in Poe’s “The Journal of Julius Rod- man” and Isabella Bird’s A Lady’s Life in the Rocky Mountains.” In From Virgin Land to Disnq, Wmld: Nature and Its Discontents in the USA of Yaterduy and Today, edited by Bernd Herzogenrath, 105-22. Amsterdam: Rodopi, 2001.

Rust, Richard Dilworth. “‘Punish with Impunity’: Poe, Thomas Dunn English, and ‘The Cask of Amon- tillado.’” Edgar Allan PoeReviezu 2 (Fall 2001): 33- 52. [Rust contends that Poe’s story is an act of revenge against Thomas Dunn English, who was critical of Poe’s drinking, libelously accused Poe of fraud and forgery, and vilified Poe in a serial novel of 1844. Poe’s revenge comes, Rust believes, in the story itself, in which Poe’s literary superiority to Dunn is displayed.]

Sammarcelli, Francoise. “ReSearched Premises or In- tellectual Games with the Other: Notes on Poe’s Tales of Ratiocination.” Poe Studies/Dank Romanti- cism 35 (2001): 13-19. [Sammarcelli assumes that the tales of ratiocination are “infinitely worth in- vestigating, worth rereading,” if only because of the questions they raise concerning our own re- flexive practices. Sammaracelli examines Poe’s use of “deferral and/or digression,” in particular the digression on analysis and algebra in “The Pur- loined Letter” and the reflection on analysis in

“The Murders in the Rue Morgue.” The essay examines the “twofold nature of the tales’ narration,” attempting to shed light on the relationship between the epistemological inquiry and the detective plot in texts that foreshadow Eureka]

Sanborn, Geoffrey. “A Confused Beginning: The Narm- five of Arthur Gordon Q m , of Nantucket.” In The Cam bridge Companion toEdgarAllan P a , edited by Kevin J. Hayes, 163-77. Cambridge: Cambridge Univ. Press, 2002. [Why does Poe often refer to or hide the origin of things? For example, Arthur Gordon Pym a casual and seemingly trivial recognition of his origins in Nantucket, while the narrators of many of Poe’s short stories, such as “Ligeia,” simply cannot remember important derails. Accord- ing to Sanborn, this theme of reference and absence in Poe’s canon is used to deconstruct identity, specifically aimed at reestablishing white masculinity.]

Santander, Hugo N. “Poe, la mLcara de la muerte roja y su correspondencia con la civilizaci6n occiden- tal” (Poe, “The Masque of the Red Death,” and their correspondence with modern society). Espiculo: Revista de estudios literanos 21 (July-Octo- ber 2002), http://www.ucm.es/info/especulo/ numero21 /m-roja. html.

Savoye, Jeffrey A. “An Addendum to Ostrom’s Revised Check List of the Correspondence of Edgar Allan Poe, and Two ‘New’ Poe Letters.” Edgar Allan Poe Rmim2 (Fall 2001): 19-32. [Savoye notes that any listing of Poe’s letters should include two previously unknown, one by Joseph L. Chester to Poe written in 1846 and one from Poe to A. S. Cum- mings written in 1840. Savoye includes the text of both letters.]

. “A ‘Lost’ Roll of Marginalia.” Edgar Allan Poe I h i e w 3 (Fall 2002): 52-72. [Between November 1844 and September 1849, Poe published seven- teen installments of “Marginalia.” Savoye suggests that, in addition to those, Poe appears to have written several installments that were not published. A typescript of a complete unpublished installment appears in Savoye’s article.]

Schnackertz, Hermann Josef. “Mesmerizing the Reader.” In POEtic Eflect and CulturalL?iscouna, edited by Hermann Josef Schnackertz, 117-62. Heidelberg: Universi&tsverlag, 2003. [In material added to symposium proceedings, author explores Poe’s use of mesmerism in “A Tale of the Ragged Mountains,” “Mesmeric Revelation,” and “The Facts in the Case of M. Valdemar” to reveal emphasis on imaginative exploration, his “ironic and


self-conscious play with both . . . illusionist possibilities . . . and the readers’ susceptibility” (xi), and his own practice of “literary mesmerism” (126, 135) .I , ed. POEtic E f f t and Cultural Discourses. Heidel-

berg: Universitiitsverlag, 2003. See individual entries for Jochen Achilles, Christian Drost, Josef Jarab, Paul Lewis, Richard Nate, Louis A. Renza, Hermann J. Schnackertz, Joseph Schopp, Vera Shamina, David Van Leer, and Liliane Weissberg. [Collection based on proceedings of international symposium on the sesquicentennial of Poe’s death at the Catholic University of Eichstatt-Ingostadt, 12-14 September 1999. The general focus is on “the relations” of Poe’s writings “to various forms of cultural discourse” and how such cultural readings take into account the works’ character as “tales of effect” and the “mass-cultural marketplace” W.1

Schhpp, Joseph. “Cliques at War : Poe and the Battle of Poetic Discourses in Antebellum America.” In POEtic Effect and Cultural Discourses, edited by Hermann Josef Schnackertz, 163-76. Heidelberg : Universitiitsverlag, 2003. [Focusing on the Boston Lyceum affair and Poe’s later theoretical essays, Schopp argues that 1845 was a “crucial year. . . of critical reorientation” in Poe’s long battle with the “nationalism and moralism of the North” (176, 166) .I

Seger, Daniel Tobias. “Stiirze in den Malstrom: Edgar Allan Poes ‘A Descent into the Maelstrhm’ im Horizont von Kants ’Analytik des Erhabenen.”’ Literatunuissenschaftliches Jahrbuch im Auflrage der G6rres-Gesellschaft 42 (2001): 225-43.

Shaffer-Koros, Carole M. “Edgar Allan Poe and Edith Wharton: The Case of Mrs. Mowatt.” Edith Wharton Review 17 (Spring 2001): 12-16. [This article focuses on Wharton’s literary relationship with Poe and the case of actress/playwright Anna Cora Mowatt, seen largely through the lens of Poe’s literary criticism. Poe’s literary reviews of the nineteenthcentury Mowatt and some intertextual links between Mowatt’s work and Wharton’s Custom of the Country are explored.]

Shamina, Vera. “Edgar Allan Poe and Russian Writers of the ‘Silver Age.”’ In POEtic Effect and Cultural Discourses, edited by Hermann Josef Schnackertz, 177-88. Heidelberg : Universitiitsverlag, 2003. [Re- viewing work on Balmont and Brusov but focusing on Tchulkov, the essay argues that “the mood, the general world outlook of Edgar Poe as well as his philosophical and aesthetic positions were very

much in tunen with the “Silver Age” (188).] Sharrett, Christopher. “‘Toby Dammit,’ Intertext, and

the End of Humanism.” In Feda’co Fellini: Contem- porary Perspectives, edited by Frank Burke and Mar- guerite R. Waller, 121-36. Toronto: Univ. ofToronto Press, 2002. [Sharret discusses Federico Fellini’s contribution to Spirits ofthe Dead, a 1968 film based on three of Poe’s stories. Sharret suggests that Fellini’s Toby Dammit is a filmed version of Poe’s “Never Bet the Devil Your Head.” In Fellini’s version, Terence Stamp is an actor at the end of his rope, who comes to Rome to star as Christ in a New Testament Western.]

Smith, Ron. “Edgar Poe’s Last Words.” Poe Messenger-28, no. 1 (Winter 1998Spring 1999): 8-9. [Smith’s poem depicts Poe’s final weeks and hours with compassion and a measure of bitterness at Poe’s treatment by his contemporaries.]

Stegagno Picchio, Luciana. “‘Ulalume’: Um Jog0 entre o Som e o Sentido de Murilo Mendes.” Remate & Males: Revista do Departamento & teona literaria

Stevenson, Frank W. “Resonant Noise: Poe’s Pit and Deleuze’s Pendulum.” Concentric 27 (January 2001): 29-65. [Stevenson applies the theories of French postmodern philosopher Gilles Deleuze to Poe’s story.]

Stewart, David M. “Neo-Poe: How to Be Hip but Stay Legit.” Minnesota Review 55-57 (2002): 331-36.

Sullivan, Jack. “Poe and Music: A Continuing Legacy.” Edgar Allan Poe Review 4 (Fall 2003): 72-76. [Sullivan reviews three new compact disks based on works by Poe. Olivier Messiaen’s Turangalila, which evokes the darkness of “The Pit and the Pendulum,” is newly recorded by Antoni Wit and the Polish National Radio Orchestra. The performance is a “passionate” if not “polished reading [72]. Mmlstrorn is a 1998 orchestral rendering of “Descent into the Maelstrom” by Hans-Peter Kybruz, new on compact disk. Though it does suggest the “violence and stasis” of Poe’s maelstrom, Sullivan finds it a “rather cold piece” (73.) On the Last Frontier, a choral-orchestral work by Finnish composer Einojuhani Rautavaara, sets the final passage of The Narrative of A. Gordon Fym to music. Sullivan deems it a “masterpiece” (75).]

Sweeney, Susan Elizabeth. “The Magnifylng Glass: Spec- tacular Distance in Poe’s ‘Man of the Crowd’ and Beyond.” Poe Studies/Dark Romanticism 36 (2003): 3-17. [In this piece from “Essays on Poe, Episte- mology, and Modern Thought,” edited by Susan Amper, Sweeney suggests that, for Poe, detection

21 (2001): 9-14.

International Poe Biblioerabhv 91

seems to require a figurative magnifying glass, if not an actual hand lens. Sweeney analyzes the narrator's scrutiny of passing pedestrians- through a large, curved bow window that serves as magnlfylng glass-at the beginning of "The Man of the Crowd," as well as his failed attempts to fur the urban spectacle with his gaze once he leaves that vantage point behind.]

Takemura, Naoyuki. "Self-reformation of the Subject: Edgar Allan Poe." MITReuiew (Musashi Institute of Technology) 20 (2002): 14-18.

Tatsumi, Takayuki. "The Men That Were Used Up: Poe, Bartok, and Terayama." In America! Genrou t o p j i t u (America! Fantasy and reality), edited by Toshio Yagi, 161-85. Tokyo: Kenkyusha, 2001. [Tatsumi posits that one of the subjects of "The Man That Was Used Up" is the fear of Indians or the early Yellow Peril, which is incorporated into the plot through the metaphorical image of a cyborg. Tatsumi suggests that Bartok's Miraculous Manda- rin and the remake by Terayama take over this cultural heritage from Poe. These three men used up cities, ages, and finally themselves as devices of their own expression.]

Thibaud, Anne. Review of Enntntiens, by Julien Gracq. La quirrzaine littirain, no. 824 (2002): 13 [In the words of the reviewer, "Le romancier kvogue ses grandes passions de lecteur: enfant, les romans de Jules Verne et de Fenimore Cooper, adolescent les nouvelles d'Edgar Poe et la d i couverte pricoce de Stendhal.]

Thomas, Peter. "Poe's Dupin and the Power of Detec- tion." In The Cambdge Companion to Edgar A h n Poe, edited by Kevin J. Hayes, 133-48. Cambridge: Cambridge Univ. Press, 2002. [Poe is often seen as the inventor of the detective fiction genre, but Poe also undermines and challenges the genre. His stories blur the line between detective and criminal, often portraying Dupin as a self-sening figure of authority and oppression, whose investi- gative need for order creates the same transgres- sion in which criminals engage.]

Timmerman, John H. "House of Mirrors: Edgar Allan Poe's 'The Fall of the House of Usher."' Papers on Language and Literature 39 (Summer 2003) : 227- 44. [For Timmerman the key to reading "The Fall of the House of Usher" lies in an understanding of Poe's cosmology as set forth in Eureka The emphasis on order in Eureka and the integration of order into Poe's aesthetic principles as discerned from his essays lead to an interpretation of "Usher" as a fable about the tension between Enlighten-

ment order, symbolized by Madeline, and romantic passion, symbolized by Roderick. Poe indicates the value he placed on a harmony between En- lightenment and romantic ideals by portraying as fatal the split between the siblings.]

Toal, Catherine Josephine Frances. "Free Slaves: The Construction of Cruelty in French and American Literature and Theory." PhD diss., Hanard Univ., 2001. [Toal considers the ways in which cruelty has been defined in French and American literary, philosophical, and theoretical texts. The first half of her work examines Poe, Baudelaire, and Melville.]

Tomc, Sandra M. "Poe and His Circle." In The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes, 21-41. Cambridge: Cambridge Univ. Press, 2002. [Though Poe is considered one ofAmerica's greatest writers, his financial circumstances were far from spectacular. This article explains the con- tradiction by exploring how the emergence of a new literary economy impacted an author's ability to make money through writing. Tomc focuses on the way in which Poe used eccentric behavior to increase his literary market value and the self- defeating nature of that strategy.]

Tresch, John. "Extra! Extra! Poe Invents Science Fic- tion!" In The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes, 113-32. Cambridge: Cambridge Univ. Press, 2002. [Many of Poe's short stories involve scientific hoaxes. Poe understood that science was as much about abolishing old beliefs as it was about creating new systems of thought. Thus, many of Poe's sci-fi stories revolve around debunking evidence and searching for truth. Additionally, Poe uses writing, communication, and literary world-building like a scientific process of invention. The theme ofvoyages in Poe's stories is an important science-fiction motif related to the world-building of science and literature.]

. "The Uses of a Mistranslated Manifesto: Baude- laire's 'La Gen&e d'un potme.'" Esprit Cr.4ateur43 (Summer 2003): 23-35.

Tsuji, Kazuhiko. "Collecting Landscapes: A Study of E. A. Poe's Nature Writings." Menwirs of the Fhculty of Education and Regional Studies (Fukui Univ.) 59 (2003): 25-37. [Tsuji attempts to trace in Poe's life the roots of the landscapes depicted in his poems and stories. Tsuji focuses especially on "The D e main of Amheim" and "Landor's Cottage."]

-. "Colonial Desires: The Dark Aspects of 'Hop Frog."' Studies in the SGimcc of Literary Art 3 (2000) : 34-57. [Drawing on postcolonial theory, Tsuji re-


gards HopFrog and Trippetta as representative of the depressed in American society of the time and examines the story as a conflict between periph- ery and center. Tsuji suggests that Poe ironically adopted both sides of the conflict.]

Uysal, Faruk. “Tahta atin icindekiler.” Hece: Aylik edebiyat dergisi 5 (March 2001): 4650.

Valle, Gustavo. “Museo Edgar Allan Poe.” Cuadmos hispanoammicanos 624 Uune 2002): 125-27.

Van Leer, David. “Poe’s Cosmology: The World of the Mind.” In POEtic Eflect and Cultural Discourses, edited by Hermann Josef Schnackertz, 189-207. Heidelberg: Universifitsverlag, 2003. [Advocating “a return to the question of Poe’s intellectual contexts” (193) and a corrective to “attempts to nor- malize and domesticate Poe” (207), Van Leer takes Eureka seriously and advocates cosmological study of Poe’s post-Newtonian “world of the mind in non-Romantic terms (199-201) .I

Vidal, Jean-Pierre. “La melodie de la mort” (The melody of death). In Edgar Allan Poe: Une penste & la fin, edited by Jean-Francois Chassay et al., 187-98. Montreal: Liber, 2001. [Vidal offers a skeptical interpretation of all apocalyptic writing. The sen- tences that proclaim death suspend it in the proc- lamation-till meaning, being ceremoniously stripped of its signs one by one, ultimately looms through in its paralysing nudity (se h e . . . comme urn sidkafiun) (190), The voyeuristic writer/reader then blissfully sees his own gaze returned to him as pure light: here is the final violence. Poe’s apocalyptic texts suspend death by their endless doublings and embeddings, compose a space in which death is de-realized by dint of being built in. By this “dream of universal coincidence,” Poe aims at “perpetual respite” (195), just as opera heroes launch into protracted dying songs that run counter to the coming death they ostensibly express-such is “the melody of death” (196).]

von Frank, Albert J. “‘MS. Found in a Bottle’: Poe’s Earliest Debt to Tennyson.” PoeStudies/Dalk Roman- ticism 34 (2001): 1-5. [While stylistic affinities between Poe and Tennyson have long been noted, von Frank argues, no scholar has seen the link between Tennyson’s poem “The Kraken” and “MS. Found in a Bottle.” Specifically, Poe’s use of the kraken to evoke hidden mysteries and fear is Tennyson’s own.]

Walden, Daniel, and Hannah Berliner Fischthal. “Poe’s Influence on I. B. Singer.” Studies in Amm’can Jew- ish Literature 20 (2001): 50-61.

Wallaert, Ineke. “The Translation of Sociolects: A Para-

digm of Ideological Issues in Translation.” In Lan- g w g ~ acmss Boundaries, edited by Janet Cotterill and Anne Ife, 171-84. London: Continuum, 2001. [This paper, delivered at the Annual Meeting of the British Association for Applied Linguistics, discusses Charles Baudelaire’s translation of “The Gold-Bug” into French.]

Warner, Marina. “The Making of Imperial Gothic. Omai, Aladdin and the British Encounter with Zombies.” Times Literary Supplemat (12 April 2002), 14-15. [“Why, in American literature, do local tales of hauntings, of horror and dread from the bayous and the levees of the Mississippi inspire Edgar Allan Poe in mid-century, and why do the magic capers, vanishings and enchantments that feature in Count Anthony Hamilton’s ironic orientalist fairy tales, then spur William Beckford to write Vathek? In the case of Poe and Beckford, there are personal, direct Creole connections, through Poe’s Louisiana years,* and Beckford’s Jamaican fortune.- (*A confusion with Sofcadio Hearn. Poe never lived in Louisiana.)]

Weekes, Karen. “Poe’s Feminine Ideal.” In The CambridgE Companion to Edgar Allan Poe, edited by Kevin J. Hayes, 148-61. Cambridge: Cambridge Univ. Press, 2002. [Women in Poe’s literature are mere plot devices designed to catalyze the emotional needs of male narrators. Poe’s feminine ideal is infa- mously captured in “Philosophy of Composition,” in which he proclaims the death of a beautiful woman the most poetic of topics. The article discusses Poe’s poetry and tales.]

Weiner, Bruce I. “A New Poe Companion.” Review of The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes. Poe Studies/Dank Romanticism 36 (2003): 101-6. [The Cambridge Companion to Edgar AllanPoeedited by Kevin J. Hayes is “not as friendly to undergraduates” as its marketing would claim (101). Yet, except for the neglect of Poe’s poetry, Weiner writes that the collection of fourteen essays provides “admirable” coverage. The essays are *uneven in purpose, conception of audience, and quality,” but there is “much for students and in- structors to glean . . . , though they will want to be selective” (106).]

Weissberg, Liliane. “Black, White, and Gold.” In POEtic Effect and Cultural Discourses, edited by Hermann Josef Schnackertz, 209-44. Heidelberg: Carl Win- ter Universifitsverlag, 2003. [See annotation for following entry.]

. ”Black, White and Gold.” In Romancing the Shadow: Poe and Race, edited by J. Gerald Kennedy

International Poe Bibliom-abhv 93

and Liliane Weissberg, 127-56. Oxford: Oxford Univ. Press, 2001. [Weissberg relates the history of Sullivan's Island, South Carolina, the setting for "The Gold-Bug," as a port of entry for slaves in the early eighteenth century and a wealthy retreat for whites a century later. Poe's island, though, is neither; rather, it is a place for adventure, temporarily deserted but with a history that can be "recaptured by a black woman's memory or a white pirate's cryptographic script" (150). Today, Sullivan's Is- land seeks to replace its real history with its fictive past: references to the island's role in the slave trade are absent from current tourist brochures, while Poe's name graces street signs, the local library, and commercial displays.]

Werner, James V. "The Detective Gaze: Edgar A. Poe, the Flaneur, and the Physiognomy of Crime." ATQ 15 (March 2001): 5-21. [Werner examines the relationship between Poe's detective, the flaneur as theorized by Walter Benjamin, and the physiognomy of crime as described in The Spectator and the City in Ninefeenth-Ccntuty AmeriGan Liferafun by Dana Brand. The notion of what would come to be called flaneur, contends Werner, represents a pivotal influence on Poe's philosophical perspective, literary aims, and fictional strategies, an influence most evident in the detective tales.]

. "'Ground-Moles' and Cosmic Flaneurs: Poe, Humboldt, and Nineteenth-Century Science." Edgar Allan Poe Reuiew 3 (Spring 2002): 45-65. [Werner sees Poe and the German scientist Alexander von Humboldt as part of a movement in the nineteenth century to reconcile the increasingly particular, specialized aspects of science with the more general, abstract, and amateur approaches of traditional scientific study. As such, they use many techniques characteristic of the wandering urban flaneur: indirect and random observation, intuition, imagination, and a 'delib erate abstraction" (50) that allows them to recognize the interconnectedness and wholeness of the cosmos. Werner cites Poe's Eunka and his detective Dupin as examples of this scientific "flanerie."]

Whalen, Terence. "Average Racism: Poe, Slavery, and the Wages of Literary Nationalism." In Romancing the Shadow: Poe and Race, edited by J. Gerald Kennedy and Liliane Weissberg, 340. Oxford: Oxford Univ. Press, 2001. [A society that found itself exploiting the African Americans it depended on, the America of Poe's time included a wide range of views not only of slavery but of race in general. Whalen argues that Poe and other ante-

bellum writers forged as a literary construct a racism that would be acceptable to white readers divided over the issue of slavery.]

White, Ed. "The Ourang-Outang Situation." Colkge Lit- eratun 30 (Summer 2003): 88-108. [White reads "The Murders in the Rue Morgue" as a response to American slave rebellions. He describes a way to teach the story, a way that encourages the par- ticipation of the student, by presenting the tale alongside historical records of slave rebellions.]

Wilbur, Richard. Interview by Barbara Cantalupo. Edgar Alhn Poe Review 4 (Spring 2003): 68-86. [During World War 11, Wilbur carried a paperback edition of Poe, which he read in the trenches. Wilbur discusses his reasons for focusing on Poe while editor of the Laurel poetry series.]

Wreszin, Michael. "'Edgar Allan Poe? I Dig Him.'" Edgar AlhnPoeRAlieur3 (Spring 2002): 18-24. [Wreszin, a biographer of twentieth-century American writer and critic Dwight Macdonald, points out similarities between Macdonald and Poe. Poe, he argues, served as a model for Macdonald, who admired his predecessor's negative, passionate criticism and his rejection of such popular American ideals as progress. Wreszin also says that both men refused to compromise their principles to make money from their writing by "pandering to the mob"

Wright, Thomas. "Edgar Allan Poe's Tales ofthe Grotesque and Arabesque." In American Writcrs Chsics, vol. 1, edited and introduced by Jay Parini, 339-58. New York Thomson Gale, 2003. [This essay analyzes Poe's most popular book for an audience of general readers.]

Xanthos, Nicolas. "Quand G.. . s'igare, ou les voies de la raison dans les aventures de Dupin" (When G.. . goes astray, or the ways of reason in the adventures of Dupin) . In Edgar Allan Poe: Une p m i e de la fin, edited by Jean-Francois Chassay et al., 135-52. Montreal: Liber, 2001. [In the Dupin stories, the end-the crime-is even before the beginning, and the way to it must then be identified. Thus the narrative mode gives way to the argumenta- tive. Dupin's method consists in taking things in from far out and paying full attention to notations out of the ordinary.]

Zarei, Rouhollah. "Axes of Evil Live Evermore: Brother Poe in Iran." Edgar Allan Poe Review 4 (Fall 2003): 14-21. [Persian writers seriously began incorpe rating foreign sources into their literature in the twentieth century. Zarei singles out Sadeq Hedayatas (d. 1951) as being particularly familiar

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with Poe. Hedayatas, in his work, takes inspiration from “The Raven,” “The Black Cat,” and “Ligeia,” among other Poe tales. More recent studies in Iran, Zarei adds, are mostly dissertations and are pn- manly written by women.]