Writing poetry and inspecting artillery bombs for the army do not seem like compatible endeavors, which is perhaps why many biographers and critics have overlooked Edgar Allan Poe's stint in the military, dismissing it as an odd aberration in his literary career. William F. Hecker, however, is in a unique position to appreciate the influence that military culture and training had on the young poet. A professional artilleryman and a Poe scholar, Hecker offers a lively, nuanced account of Poe's experience as an enlisted soldier and West Point cadet and relates it to his writing, especially his Poems (1831), presented here in facsimile for the first time since 1936. Military service appealed to Poe's romantic sense of adventure, and in 1827 he joined the army under the name Edgar A. Perry. He rose quickly through the ranks -- most notably learning cannon drill -- but suffered as a social misfit in the field and at West Point, where legends about a brilliantly defiant jester still abound. Shortly after being dismissed from the Military Academy for neglecting his duties, Poe published his third book of verse, Poems (1831), which he dedicated to his fellow West Point cadets and funded through subscriptions to them. Hecker explores these events, filling in biographical gaps and drawing connections to Poe's poetic vision. Poe's desire that his poems act as aesthetic bombs -- deranging the senses, striving for Beauty but failing explosively -- emerges as a key theme. With a foreword by poet and Poe critic Daniel Hoffman and an afterword by Gerard A. McGowan addressing the martial element in the poems "Tamerlane" and "To Helen," among others, Private Perry and Mister Poe offers the definitive statement about Poe's military experience while making the early versions of many of his most famous poems widely available.

A compact biography of Edgar Allan Poe and his close associates, Mr. Poe and Dr. Moran, will prove useful and entertaining to a wide range of readers. It is based exclusively on authentic historical documents and incorporates passages from many sources which became accessible only after the year 2000, following the introduction of searchable Internet databases. True-to-life portraiture of the “historical Poe” has always been problematic. Within a day or two after his death in October 1849, Poe's biography began to be distorted by fabrications and apocrypha. Oddly enough, the foremost fabricator was also our most intimate and outspoken eyewitness. The Baltimore physician Dr. John J. Moran, M.D., tried to comfort Poe on his deathbed and then wrote a tactlessly explicit letter of condolence to his anguished next of kin. Twenty-five years later that same Dr. Moran embarked on a protracted campaign to circulate a thoroughly fabulous account of his patient’s diagnosis and the circumstances surrounding his final hours. Traces of these notorious fibbings continue to pop up without warning in slipshod popular biographies as well as in medical journals. About the Author Dwight Thomas is descended from the Welsh mariner John Thomas, the captain of the vessel which brought the first English settlers to the colony of Georgia in 1733. He grew up in Savannah and attended Emory University in Atlanta. During the Vietnam War he served in the United States Army. Subsequently he received a doctoral fellowship in the English Department of the University of Pennsylvania in Philadelphia. He went on to collaborate with the veteran Poe scholar David K. Jackson in preparing The Poe Log (1987), a thousand-page encyclopedic reconstruction of the poet’s career. Dr. Thomas is a lifetime member of the Modern Language Association. In 2009 he served as keynote speaker at the bicentennial convention of the Poe Studies Association.

Edgar Allan Poe (1809--1849) has long occupied the position of literary outsider. Dismissed as unrepresentative of the main currents of antebellum culture, Poe commented incisively -- in fiction and nonfiction -- on nationalism, science, materialism, popular taste, and cultural ideology. Opposing the pressure to write nationalistic "American" tales or from a restricted New England perspective, he produced a body of work held in greater international esteem than that of any of his U.S. contemporaries. In Poe and the Remapping of Antebellum Print Culture, scholars explore Poe's anti-nationalistic Americanism as they redefine the outlines of antebellum print culture and challenge ideas that situate Poe at the margins of national thought and cultural activity. The contributors offer fresh perspectives on an often-maligned author, including essays on Poe's preoccupation with celebrity, his fascination with metropolitan crime and mystery, his impact as an observer of racial fear, his role as an eccentric cultural icon, and his fluctuating reputation in our own era. They also argue for new digital approaches that facilitate remapping of print culture. Contributors: Anna Brickhouse, Betsy Erkkila, Jennifer Rae Greeson, Leon Jackson, J. Gerald Kennedy, Maurice S. Lee, Jerome McGann, Scott Peeples, Leland S. Person, and Eliza Richards

Edgar Allans Poe "The raven" ist ein poetisches Meisterwerk. Edgar Allans Poe "The raven" is a poetic master piece.

The life of Edgar Allan Poe (1809–49) is the quintessential writer’s biography—great works arising from a life of despair, poverty, alcoholism, and a mysterious solitary death. It may seem like a cliché now, but it was Poe who helped shape this idea in the popular imagination. Despite or perhaps even inspired by his many hardships, Poe wrote some of the most well-known poems and intricately crafted stories in American literature. In Edgar Allan Poe,Kevin J. Hayes argues that Poe’s work anticipated many of the directions Western thought would take in the century to come, and he identifies links between Poe and writers and artists such as Walter Benjamin, Salvador Dalí, Sergei Eisenstein, and Jean Cocteau. Whereas previous biographers have tended to concentrate on the sorry details of Poe’s life, by contrast Hayes takes an original approach by examining Poe’s life within the context of his writings. The author offers fresh, insightful readings of many of Poe’s short stories, and presents newly-discovered information about previously unknown books from Poe’s library, as well as updated biographical details obtained from nineteenth-century newspapers and magazines. This well-researched biography goes beyond previous scholarship and creates a complete picture of Poe and his significant body of work. Approachably written, Edgar Allan Poe will appeal to the many fans of Poe’s work—from “The Raven” to the “Tell-Tale Heart”—as well as readers interested in American literary history.

Bringing to bear his expertise in the early modern emblem tradition, William E. Engel traces a series of self-reflective organizational schemes associated with baroque artifice in the work of Herman Melville and Edgar Allan Poe. While other scholars have remarked on the influence of seventeenth-century literature on Melville and Poe, this is the first book to explore how their close readings of early modern texts influenced their decisions about compositional practice, especially as it relates to public performance and the exigencies of publication. Engel's discussion of the narrative structure and emblematic aspects of Melville's Piazza Tales and Poe's "The Raven" serve as case studies that demonstrate the authors' debt to the past. Focusing principally on the overlapping rhetorical and iconic assumptions of the Art of Memory and its relation to chiasmus, Engel avoids engaging in a simple account of what these authors read and incorporated into their own writings. Instead, through an examination of their predisposition toward an earlier model of pattern recognition, he offers fresh insight into the writers' understandings of mourning and loss, their use of allegory, and what they gained from their use of pseudonyms.

Presents a selection of Poe's tales and poems with in-depth marginal notes elucidating his sources, obscure words and passages, and literary, biographical, and historical allusions.

Although Edgar Allan Poe is most often identified with stories of horror and fear, there is an unrecognized and even forgotten side to the writer. He was a self-declared lover of beauty who “from childhood’s hour . . . [had] not seen / As others saw.” Poe and the Visual Arts is the first comprehensive study of how Poe’s work relates to the visual culture of his time. It reveals his “deep worship of all beauty,” which resounded in his earliest writing and never entirely faded, despite the demands of his commercial writing career. Barbara Cantalupo examines the ways in which Poe integrated visual art into sketches, tales, and literary criticism, paying close attention to the sculptures and paintings he saw in books, magazines, and museums while living in Philadelphia and New York from 1838 until his death in 1849. She argues that Poe’s sensitivity to visual media gave his writing a distinctive “graphicality” and shows how, despite his association with the macabre, his enduring love of beauty and knowledge of the visual arts richly informed his corpus.

A new selection for the NEA’s Big Read program A compact selection of Poe’s greatest stories and poems, chosen by the National Endowment for the Arts for their Big Read program. This selection of eleven stories and seven poems contains such famously chilling masterpieces of the storyteller’s art as “The Tell-tale Heart,” “The Fall of the House of Usher,” “The Cask of Amontillado,” and “The Pit and the Pendulum,” and such unforgettable poems as “The Raven,” “The Bells,” and “Annabel Lee.” Poe is widely credited with pioneering the detective story, represented here by “The Purloined Letter,” “The Mystery of Marie Roget,” and “The Murders in the Rue Morgue.” Also included is his essay “The Philosophy of Composition,” in which he lays out his theory of how good writers write, describing how he constructed “The Raven” as an example.