November 23, 2014 / by admin / American Literature / No Comments

The Cambridge Companion to Edgar Allan Poe (Cambridge Companions to Literature)

The Cambridge Companion to Edgar Allan Poe (Cambridge Companions to Literature)

Kevin J. Hayes

Language: English

Pages: 288

ISBN: 0521797276

Format: PDF / Kindle (mobi) / ePub


This Companion consists of 14 essays by leading international scholars. They provide a series of new perspectives on one of the most enigmatic and controversial American writers. Specially tailored to the needs of undergraduates, the essays examine all of Poe's major writings, his poetry, short stores and criticism, and place his work in a variety of literary, cultural and political contexts. This volume will be of interest to scholars as well as students. It features a detailed chronology and a comprehensive guide to further reading.

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compulsively replayed their inadequacies until they ruined their professional chances and thus cemented their “talentless” status once and for all. In doing so, however, they did not compromise their value to the market. Although the tendency in Poe scholarship is to attribute his professional failure to psychic peculiarities that rendered him “unfit” for the demands of the popular market, Poe’s value to this market was, as ever, contingent upon his record of failure and defeat. Much as their

as irrelevant to the analysis of the poem, but which, as we have seen, precisely, directly, dictates its length and other aspects of its formal structure. “The Philosophy of Composition,” while insisting that the work of art, “the poem per se,” should be considered without reference to external factors, is genially explicit about the external circumstances of its own composition. The idea for the essay, Poe indicates, was more a magazine editor’s businesslike sense of the possibilities of

fantasies by a boy impersonating fighting ring-tailed roarers. Also recorded by Poe “The Fight” evokes practical jokes such as eye-gouging and gander-pulling, the combatants senselessly becoming friends again at the end. “The Horse Swap” derides the rascality of tricksters who find it good to be shifty by concealing the many defects of a hack. While such narratives were challenging gentility with chaotic, iconoclastic images, the narrator usually stood aloof from the burlesque dramatis personae

second question seems to be logical. Roderick Usher may, on one hand, descend from the terrifying Gothic villain in his treatment of Madeline; he may have committed incest with her, and then – in a fit of guilt and remorse as she sickens, with an admixture, nonetheless, of power mania – he buries her alive. Roderick as artist figure may suggest that he feels no bounds of ordinary human love or decency. He is, however, a “sick” artist in that his poem is horrifying, his music weird, his own

conventions: “the death just avoided, was of that very character which I had regarded as fabulous and frivolous in the tales respecting the Inquisition.” Rumors and readings about the Inquisition structure his response to his situation: he steps “with all the careful distrust with which certain antique narratives had inspired me” and cannot “forget what [he] had read of these pits.” The way the narrator’s experience is mediated through 106 Poe, sensationalism, and slavery convention is also

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