The Greatest Literary Works

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The Poe Shadow: The Poe Mystery That He Did Not Write

Written by eastern writer on Friday, July 03, 2009

"The Poe Shadow" is best understood as a franchise follow-up to a very clever debut novel. In "The Dante Club," Matthew Pearl combined history, mystery and literature into a book that reveled in the grisly intricacies of Dante's "Inferno." He showed off great scholarly erudition and turned some of 19th-century New England's most celebrated three-namers — Henry Wadsworth Longfellow, James Russell Lowell, Dr. Oliver Wendell Holmes — into an elite squad of armchair detectives.

Naturally, Mr. Pearl's second book attempts to replicate this feat. Using Edgar Allan Poe as its literary catnip, the new novel tries to use Poe-related ratiocination as a means of generating Poe fever. Its afterword contains a cogent explanation of Mr. Pearl's deductions, citing specific questions about Poe's last days and ways in which "The Poe Shadow" answers them. Mr. Pearl stops short of only a "Nevermore"-quothing raven in his eagerness to leave a trail of Poe-related breadcrumbs running through this story.

The first and most difficult task for Mr. Pearl is to hook his reader into a Poe obsession. There is reason to justify this. Poe figures in other current fiction. He is alive and well as a West Point cadet in "The Pale Blue Eye" by Louis Bayard, and he remains a seminal influence on virtually any mystery story with a cerebral, talkative detective. Not for nothing is the Edgar, this genre's best-known award, named in Poe's honor.

And the facts surrounding Poe's demise have been subjected to obsessive scrutiny. Poe disappeared from Richmond, Va., on Sept. 26 or 27, 1849, landed in Baltimore five days later, was found there apparently sick and disoriented on Oct. 3 and died on Oct. 7. Even the most famous of all Poe-inspired masters of deduction, Sherlock Holmes (who first appeared in a magazine story in 1887, accompanied by a drawing that gives him Poe's big, brainy forehead) would have been intrigued by the ellipses in Poe's dying days. Was his last utterance "Reynolds," "Herring" or "Lord help my poor soul"? Debate is heated enough to have produced arguments for each of these deathbed possibilities.

"The Poe Shadow" is eager — too eager — to find entree into these matters. So its main character, Quentin Clark, is a Poe admirer with a groupie's ardor. Quentin has nitpicked Poe texts ("If the raven sits at the top of the chamber door, though, what lamplight would be behind him in such a way as to cast a shadow to the floor?"). He has written the great man some letters. And he has conveniently happened to witness Poe's lonely burial. Now he is convinced that Poe left him, Quentin Clark, to do Poe's bidding in the land of the living and save Poe's sullied reputation.

"Your interest strikes me as morbid," Poe's cousin aptly tells him. Quentin's partner in a law firm exclaims, "I thought you were finished with this Poe madness, Quentin!" But Quentin becomes the self-appointed, creepily devout flame keeper ("I was still only serving Poe as I had promised him") whose goals include discovering the true identity of C. Auguste Dupin, the Poe character who appears most notably in "The Murders in the Rue Morgue." That story, which ought to be a necessary companion piece to "The Poe Shadow," has been immensely influential over time but makes ponderous reading today.

Mr. Pearl strives all too successfully to echo the fustiness of that classic prose. He favors a slow pace and painfully quaint locutions. For instance: "What dangerous restlessness had I been dandling!" "Whom did I await with palpitating breast?" "To say sooth, though, my hopes for elucidation were dim."

"The Dante Club" was a period piece too. But it was less bogged down by literary fidelity, perhaps because Dante's "Inferno" yields no conversational tone. It also managed more comfortably to incorporate action into a tale of deduction. This time, often clumsily, Mr. Pearl throws Quentin into the paths of mysterious strangers, has him clobbered a couple of times and even tosses him off a moving train. In a move that would have Poe spinning, he falls back on the old trick of having Quentin wrongly suspected of murder.

"The Poe Shadow," with its convoluted plotting and insistence on giving Poe's death a touch of international intrigue (the book is set in Paris as well as in Baltimore), also uses two dueling Dupins to churn its sense of mystery. One is the lofty Auguste Duponte, who shows off Dupin-like brilliant insights as well as the occasional clunker. The other is the more flamboyant Baron Claude Dupin, who calls himself "the upholder of justice for Edgar A. Poe and the true life model for the personage of C. Auguste Dupin of the Rue Morgue Murders." Both are entertainingly drawn, but Mr. Pearl overworks them to the point of confusion. Happily, he leaves out such real-life Dupin candidates as the lawyer André-Marie-Jean-Jacques Dupin.

In the end, as he touts his revelations about a fire, a poem about Poe's death and a lost letter, Mr. Pearl constructs an intriguing chain of theories. They are dramatized within "The Poe Shadow," but they are not easily extracted. The book's fulsome Poe-worship remains more peculiar than persuasive, to the point where the story's benighted skeptics begin to sound reasonable. "Talking of Poe, Poe, Poe!" one complains. "What is all this about Poe anyway?"

Says another: "I have read some of your friend Poe. It seems it consists chiefly of him saying plain things in a fashion that makes them hard to understand, and commonplace things in a mysterious form which makes them seem oracular." In this sense, "The Poe Shadow" is accurate to a fault.

Detail:

Matthew Pearl
THE POE SHADOW

By Matthew Pearl.

370 pages. Random House. $24.95.
source: NY Times

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Reading "To Helen" a Poem by Edgar Allan Poe

Written by eastern writer on Wednesday, March 19, 2008

by Siswo Harsono, a lecturer in English Department, Faculty of Letters, Diponegoro University. Now he is promoting and developing a blog for lectures. He also maintain lakonet.com for his project introducing traditional Indonesian play a.k.a "wayang" on the internet. Lakonet was published in two local Indonesian language: Jawa and Sunda, Indonesian National Language (Bahasa Indonesia) and also published in the international language, English.


When I read poems written by Edgar Allam Poe, I am interested in a poem entitled "To Helen". The poem has archetypal and psychological meanings. The archetypal meaning of the poem relates to Greek mythology; and the psychological one relates to the biography of Poe.

TO HELEN

Helen, thy beauty is to me

Like those Nicean barks of yore.

That gently, o'er a perfumed sea,

The weary, way-worn wanderer bore

To his own native shore.

On desperate seas long wont to roam,

Thy hyacinth hair, thy classic face,

Thy Naiad airs have brought me home

To the glory that was Greece
And the grandeur that was Rome.

Lo! in yon brilliant window-niche

How statue-like I see thee stand,

The agate lamp within thy hand!

Ah, Psyche, from the regions which

Are Holy-Land!

1831


In the poem, Poe poeticizes woman beauty by admiring and comparing to diva beauty. His adoration embodied in his language use. He addresses a woman named Helen by an aristocratic and poetic word "Thy". He does not use "you" because he puts Helen in high position. Like in praying and worshiping, Helen's beauty is Poe's religious-aesthetic object. How romantic he is!

At first, I would like to trace the mythological and biographical relations. And then I would like to analyze the poem by using Freudian psychoanalysis perspective.

Mythological Relation

The title of the poem "To Helen" refers to a woman named "Helen". There so many women named Helen, and it is hard to trace which one that Poe refers. In line 2, the word "Nicean", in line 7 the word "hyacinth", in line 8 the word "Naiad", in line 9 the word "Greece", in line 13 the word "agate", in line 14 the word "Psyche", refer to Ancient Greek. It is obvious that the name Helen refers to Helen of Troy in Greek mythology.

It seems to me that Poe uses the image of Helen to adore a goddess-like woman. Who is the woman? This question leads me to trace the biographical relation.

Biographical Relation

Poe wrote the poem when he fell in love with a woman. She was the mother of his friend, Rob. Her name's Jane Stith Stanard. Poe liked reading his poems for her. And Mrs. Stanard liked listening to his poems. Such a writer-reader relation makes them fall in love to each other. What kind of love is it? Is it a kind of motherly or a sonly love? It is a kind of Oedipal love.

Poe adores Mrs. Stanard like worshipping Helen, the prettiest goddess and the daughter of Zeus. But the life story of Mrs. Stanard is not like Helen. The love relation between Mrs. Stanard and Poe is not like Helen and Paris. Poe's allusion of Mrs. Stanard is Psyche because her beauty makes Hera feel deadly envious and jealous. Because of her beauty, the queen of the goddesses Hera governs Adonis to kill her. Such envy and jealousy cause the death of Mrs. Stanard and the sad end of his love.

This phenomenon guides me to analyze the poem by using psychoanalysis.

Psychological Relation


Referring to the biography of Poe, his mother Elizabeth Arnold Hopkins died in 1811 when he was two years old, then Mr. and Mrs. Alan nurtured him. The relation between Poe and his surrogate parents led to oedipal tendency. Poe loved his surrogate mother, Nancy Alan; and he hated his surrogate father John Alan. The oedipal relation made Poe love motherly women and hate fatherly men. His love is embodied in his dark romantic poems like "To Helen"; and his hate embodied in his tragic stories like "A Tell-Tale Heart".

Poe's oedipal love is not incest of matrimony relation like in Oedipus. His hate does not make him kill his (surrogate) father like in Oedipus. He expresses his oedipal love and hate in his works.

His love can be categorized as dark romanticism because it has sad and sorrowful ending. For him a beauty lies in the deadly moment of beautiful women he loved. It is a dark romantic moment of myterium tremendum.

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Edgar Allan Poe: Poem Collection

Written by eastern writer on Wednesday, February 06, 2008

SERENADE

So sweet the hour, so calm the time,
I feel it more than half a crime,
When Nature sleeps and stars are mute,
To mar the silence ev'n with lute.
At rest on ocean's brilliant dyes
An image of Elysium lies:
Seven Pleiades entranced in Heaven,
Form in the deep another seven:
Endymion nodding from above
Sees in the sea a second love.
Within the valleys dim and brown,
And on the spectral mountain's crown,
The wearied light is dying down,
And earth, and stars, and sea, and sky
Are redolent of sleep, as I
Am redolent of thee and thine
Enthralling love, my Adeline.
But list, O list,--so soft and low
Thy lover's voice tonight shall flow,
That, scarce awake, thy soul shall deem
My words the music of a dream.
Thus, while no single sound too rude
Upon thy slumber shall intrude,
Our thoughts, our souls--O God above!
In every deed shall mingle, love.


THE CITY IN THE SEA

Lo! Death has reared himself a throne
In a strange city lying alone
Far down within the dim West,
Where the good and the bad and the worst and the best
Have gone to their eternal rest.
There shrines and palaces and towers
(Time-eaten towers that tremble not)
Resemble nothing that is ours.
Around, by lifting winds forgot,
Resignedly beneath the sky
The melancholy waters lie.

No rays from the holy heaven come down
On the long night-time of that town;
But light from out the lurid sea
Streams up the turrets silently,
Gleams up the pinnacles far and free:
Up domes, up spires, up kingly halls,
Up fanes, up Babylon-like walls,
Up shadowy long-forgotten bowers
Of sculptured ivy and stone flowers,
Up many and many a marvellous shrine
Whose wreathed friezes intertwine
The viol, the violet, and the vine.

Resignedly beneath the sky
The melancholy waters lie.
So blend the turrets and shadows there
That all seem pendulous in air,
While from a proud tower in the town
Death looks gigantically down.

There open fanes and gaping graves
Yawn level with the luminous waves;
But not the riches there that lie
In each idol's diamond eye,--
Not the gayly-jewelled dead,
Tempt the waters from their bed;
For no ripples curl, alas,
Along that wilderness of glass;
No swellings tell that winds may be
Upon some far-off happier sea;
No heavings hint that winds have been
On seas less hideously serene!

But lo, a stir is in the air!
The wave--there is a movement there!
As if the towers had thrust aside,
In slightly sinking, the dull tide;
As if their tops had feebly given
A void within the filmy Heaven!
The waves have now a redder glow,
The hours are breathing faint and low;
And when, amid no earthly moans,
Down, down that town shall settle hence,
Hell, rising from a thousand thrones,
Shall do it reverence.


THE RAVEN

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore,--
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visitor," I muttered, "tapping at my chamber door.
Only this and nothing more.

Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;--vainly I had sought to borrow
From my books surcease of sorrow--sorrow for the lost Lenore,
For the rare and radiant maiden whom the angels name Lenore:
Nameless here for evermore.

And the silken sad uncertain rustling of each purple curtain
Thrilled me--filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visitor entreating entrance at my chamber door,
Some late visitor entreating entrance at my chamber door:
This it is and nothing more."

Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"--here I opened wide the door:--
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore:"
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore;
Let my heart be still a moment and this mystery explore:
'Tis the wind and nothing more."

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door,
Perched upon a bust of Pallas just above my chamber door:
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling
By the grave and stern decorum of the countenance it wore,--
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore:
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning--little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door,
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing further then he uttered, not a feather then he fluttered,
Till I scarcely more than muttered,--"Other friends have flown before;
On the morrow he will leave me, as my Hopes have flown before."
Then the bird said, "Nevermore."

Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore:
Till the dirges of his Hope that melancholy burden bore
Of 'Never--nevermore.'"

But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore,
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore."

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee--by these angels he hath sent thee
Respite--respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!"
Quoth the Raven, "Nevermore."

Prophet!" said I, "thing of evil! prophet still, if bird or devil!
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted--
On this home by Horror haunted--tell me truly, I implore:
Is there--is there balm in Gilead?--tell me--tell me, I implore!"
Quoth the Raven, "Nevermore."

Prophet! "said I, "thing of evil--prophet still, if bird or devil!
By that Heaven that bends above us, by that God we both adore,
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore:
Clasp a rare and radiant maiden whom the angels name Lenore!"
Quoth the Raven, "Nevermore."

"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting:
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken! quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven, "Nevermore."

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor:
And my soul from out that shadow that lies floating on the floor
Shall be lifted--nevermore!


ANNABEL LEE

It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of Annabel Lee;
And this maiden she lived with no other thought
Than to love and be loved by me.

I was a child and she was a child,
In this kingdom by the sea,
But we loved with a love that was more than love,
I and my Annabel Lee;
With a love that the winged seraphs of heaven
Coveted her and me.

And this was the reason that, long ago,
In this kingdom by the sea,
A wind blew out of a cloud, chilling
My beautiful Annabel Lee;
So that her highborn kinsmen came
And bore her away from me,
To shut her up in a sepulchre
In this kingdom by the sea.

The angels, not half so happy in heaven,
Went envying her and me;
Yes, that was the reason (as all men know,
In this kingdom by the sea)
That the wind came out of the cloud by night,
Chilling and killing my Annabel Lee.

But our love it was stronger by far than the love
Of those who were older than we,
Of many far wiser than we;
And neither the angels in heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful Annabel Lee.

For the moon never beams, without bringing me dreams
Of the beautiful Annabel Lee;
And the stars never rise, but I feel the bright eyes
Of the beautiful Annabel Lee;
And so, all the night-tide, I lie down by the side
Of my darling,--my darling,--my life and my bride,
In her sepulchre there by the sea,
In her tomb by the sounding sea.


THE VALLEY OF UNREST

Once it smiled a silent dell
Where the people did not dwell;
They had gone unto the wars,
Trusting to the mild-eyed stars,
Nightly, from their azure towers,
To keep watch above the flowers,
In the midst of which all day
The red sunlight lazily lay.
Now each visitor shall confess
The sad valley's restlessness.
Nothing there is motionless--
Nothing save the airs that brood
Over the magic solitude.
Ah, by no wind are stirred those trees
That palpitate like the chill seas
Around the misty Hebrides!
Ah, by no wind those clouds are driven
That rustle through the unquiet Heaven
Uneasily, from morn till even,
Over the violets there that lie
In myriad types of the human eye--
Over the lilies there that wave
And weep above a nameless grave!
They wave:--from out their fragrant tops
Eternal dews come down in drops.
They weep:--from off their delicate stems
Perennial tears descend in gems.

ALONE

From childhood's hour I have not been
As others were; I have not seen
As others saw; I could not bring
My passions from a common spring.
From the same source I have not taken
My sorrow; I could not awaken
My heart to joy at the same tone;
And all I loved, I loved alone.
Then--in my childhood, in the dawn
Of a most stormy life--was drawn
From every depth of good and ill
The mystery which binds me still:
From the torrent, or the fountain,
From the red cliff of the mountain,
From the sun that round me rolled
In its autumn tint of gold,
From the lightning in the sky
As it passed me flying by,
From the thunder and the storm,
And the cloud that took the form
(When the rest of Heaven was blue)
Of a demon in my view.


THE LAKE

In spring of youth it was my lot
To haunt of the wide world a spot
The which I could not love the less--
So lovely was the loneliness
Of a wild lake, with black rock bound,
And the tall pines that towered around.

But when the Night had thrown her pall
Upon that spot, as upon all,
And the mystic wind went by
Murmuring in melody--
Then--ah then I would awake
To the terror of the lone lake.

Yet that terror was not fright,
But a tremulous delight--
A feeling not the jewelled mine
Could teach or bribe me to define--
Nor Love--although the Love were thine.

Death was in that poisonous wave,
And in its gulf a fitting grave
For him who thence could solace bring
To his lone imagining--
Whose solitary soul could make
An Eden of that dim lake.


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Edgar Allan Poe: An Introduction Biography

Written by eastern writer on Wednesday, February 06, 2008

Edgar Allan Poe was born in Boston, Massachusetts, on January 19, 1809. Poe's father and mother, both professional actors, died before the poet was three and John and Frances Allan raised him as a foster child in Richmond, Virginia. John Allan, a prosperous tobacco exporter, sent Poe to the best boarding schools and later to the University of Virginia, where Poe excelled academically. After less than one year of school, however, he was forced to leave the University when Allan refused to pay his gambling debts.

Poe returned briefly to Richmond, but his relationship with Allan deteriorated. In 1827, he moved to Boston and enlisted in the United States Army. His first collection of poems, Tamerlane, and Other Poems, was published that year. In 1829, he published a second collection entitled Al Aaraaf, Tamerlane, and Minor Poems. Neither volume received significant critical or public attention. Following his Army service, Poe was admitted to the United States Military Academy, but he was again forced to leave for lack of financial support. He then moved into the home of his aunt, Mrs. Maria Clemm and her daughter Virginia, in Baltimore, Maryland.

Poe began to sell short stories to magazines at around this time, and, in 1835, he became the editor of the Southern Literary Messenger in Richmond. He brought his aunt and twelve-year-old cousin, Virginia Clemm, with him to Richmond. He married Virginia in 1836. Over the next ten years, Poe would edit a number of literary journals including the Burton's Gentleman's Magazine and Graham's Magazine in Philadelphia and the Broadway Journal in New York City. It was during these years that he established himself as a poet, a short-story writer, and an editor. He published some of his best-known stories and poems including "The Fall of the House of Usher," "The Tell-Tale Heart," "The Murders in the Rue Morgue," and "The Raven." After Virginia's death from tuberculosis in 1847, Poe's life-long struggle with depression and alcoholism worsened. He returned briefly to Richmond in 1849 and then set out for an editing job in Philadelphia. For unknown reasons, he stopped in Baltimore. On October 3, 1849, he was found in a state of semi-consciousness. Poe died four days later of "acute congestion of the brain."

Poe's work as an editor, a poet, and a critic had a profound impact on American and international literature. His stories mark him as one of the originators of both horror and detective fiction. Many anthologies credit him as the "architect" of the modern short story. He was also one of the first critics to focus primarily on the effect of the style and of the structure in a literary work; as such, he has been seen as a forerunner to the "art for art's sake" movement. French Symbolists such as Mallarmé and Rimbaud claimed him as a literary precursor. Baudelaire spent nearly fourteen years translating Poe into French. Today, Poe is remembered as one of the first American writers to become a major figure in world literature.

Selected Bibliography

Poetry

Tamerlane and Other Poems (1827)
Al Aaraaf, Tamerlane, and Minor Poems (1829)
Poems (1831)
The Raven and Other Poems (1845)
Eureka: A Prose Poem (1848)

Fiction

Berenice (1835)
Ligeia (1838)
The Fall of the House of Usher (1839)
Tales of the Grotesque and Arabesque (1939)
Murders in the Rue Morgue (1841)
The Black Cat (1843)
The Tell-Tale Heart (1843)
The Purloined Letter (1845)
The Cask of Amontillado (1846)
The Oval Portrait (1850) The Narrative of Arthut Gordon Pym of Nantucket (1850)

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Quote on Art and Literature

    "There is only one school of literature - that of talent."
~ Vladimir Nabokov (1899 - 1977)



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