Poecraft is a new literary remix, which combines the the world renown short stories of Edgar Allan Poe with the writings of the master of horror himself, H. P. Lovecraft, into 13 of the most terrifying tales ever recorded.
"Poe reclaims the Baltimore and Virginia writer's reputation and power, retracing Poe's life and career. James M. Hutchisson captures the boisterous worlds of literary New York and Philadelphia in the 1800s to understand why Poe wrote the way he did and why his achievement was so important to American literature. The biography presents a critical overview of Poe's major works and his main themes, techniques, and imaginative preoccupations." "This portrait of the writer emphasizes Poe's southern identity. It traces his existence as a workaday journalist in the burgeoning magazine era and later his tremendous authority as a literary critic and cultural arbiter. To counter the long-lasting damage done by Poe's literary enemies, Hutchisson explores the far-reaching, posthumous influence Poe's literary and critical work exerted on the sister arts and on modern writers from Nietzsche to Nabokov."--BOOK JACKET.
This work explores the relationship between twenty-five enduring works of horror literature and the classic films that have been adapted from them. Each chapter delves into the historical and cultural background of a particular type of horror--hauntings, zombies, aliens and more--and provides an overview of a specific work's critical and popular reception. Among the print-to-film titles discussed are Frankenstein, Dracula, Doctor Jekyll and Mr. Hyde, The Masque of the Red Death, The Hound of the Baskervilles, The Phantom of the Opera, Psycho, The Exorcist, and The Shining.
Perhaps no one would be more shocked at the steady rise of his literary reputation—on a truly global scale—Than Edgar Allan Poe himself. Poe's literary reputation has climbed steadily since his death in 1849. In Poe Abroad, Lois Vines has brought together a collection of essays that document the American writer's influence on the diverse literatures—and writers—of the world. Over twenty scholars demonstrate how and why Poe has significantly influenced many of the major literary figures of the last 150 years. Part One includes studies of Poe's popularity among general readers, his influence on literary movements, and his reputation as a poet, fiction writer, and literary critic. Part Two presents analyses of the role Poe played in the literary development of specific writers representing many different cultures. Poe Abroad commemorates the 150th anniversary of Poe's death and celebrates his worldwide impact, beginning with the first literal translation of Poe into a foreign language, “The Gold-Bug”into French in 1845. Charles Baudelaire translated another Poe tale in 1848 and four years later wrote an essay that would make Poe a well-known author in Europe even before he achieved recognition in America. Poe died knowing only that some of his stories had been translated into French. He probably never would have imagined that his work would be admired and imitated as far away as Japan, China, and India or would have a lasting influence on writers such as Baudelaire, August Strindberg, Franz Kafka, Jorge Luis Borges, Julio Cortázar, and Tanizaki Junichiro. As we approach the sesquicentennial of his death, Poe Abroad brings together a timely one-volume assessment of Poe's influence throughout the world.
The present volume contains general essays on: unequal African/Western academic exchange; the state and structure of postcolonial studies; representing male violence in Zimbabwe’s wars; parihaka in the poetic imagination of Aotearoa New Zealand; Middle Eastern, Nigerian, Moroccan, and diasporic Indian women’s writing; community in post-Independence Maltese poetry in English; key novels of the Portuguese colonies; the TV series The Kumars at No. 42; fictional representations of India; the North in western Canadian writing; and a pedagogy of African-Canadian literature. As well as these, there is a selection of poems from Malta by Daniel Massa, Adrian Grima, Norbert Bugeja, Immanuel Mifsud, and Maria Grech Ganado, and essays providing close readings of works by the following authors and filmmakers: Thea Astley, George Elliott Clarke, Alan Duff, Francis Ebejer, Lorena Gale, Romesh Gunesekera, Sahar Khalīfah, Anthony Minghella, Michael Ondaatje, Caryl Phillips, Edgar Allan Poe, Salman Rushdie, Ghādah al-Sammān, Meera Syal, Lee Tamahori. Contributors: Leila Abouzeid, Hoda Barakat, Amrit Biswas, Thomas Bonnici, Stella Borg Barthet, Ivan Callus, Devon Campbell–Hall, Saviour Catania, George Elliott Clarke, Brian Crow, Pilar Cuder–Domínguez, Bärbel Czennia, Hilary P. Dannenberg, Pauline Dodgson–Katiyo, Bernadette Falzon, Daphne Grace, Adrian Grima, Kifah Hanna, Janne Korkka, T. Vijay Kumar, Chantal Kwast–Greff, Maureen Lynch Pèrcopo, Kevin Stephen Magri, Isabel Moutinho, Melanie A. Murray, Taiwo Oloruntoba–Oju, Gerhard Stilz, Jesús Varela Zapata, Christine Vogt–William.
This interdisciplinary study establishes connections between divergent approaches to rationality in philosophy, social science, and literary studies. Livingston provides a broad survey of the basic assumptions and questions associated with concepts of rationality in philosophical accounts of action, in decision theory, and in the theory of rational choice.
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.
Founder of the detective genre and author of works on cryptography, Edgar Allan Poe possessed what Shawn Rosenheim called a “cryptographic imagination.” Not only was Poe’s work influenced by secret writing, it inspired future critics to search his texts for secret clues and that fostered new modes of reading. Poe’s acclaimed complexity owes as much to a long and sophisticated tradition of his interpretative reading as it does to the “undercurrent of meaning” ciphered in his texts. Grounded in previous scholarly work, Deciphering Poe: Contexts, Subtexts, Subversive Meanings explores the hoaxing and subversive nature of Poe’s art and expands this contextual framework. Contributors to the volume offer a highly nuanced picture of Poe’s engagement in the major discourses of the time—religious, philosophical, social, and literary. Twelve essays of the collection discuss Poe’s debt to baroque tradition, his response to Catholicism, his tribute to philosophical idea of sublimity, his complex response to racial issues, and his controversial afterlife reception. The volume includes new readings of Poe’s texts explicitly using codes, secret writing or techniques of detection—“The Gold Bug,” The Narrative of Arthur Gordon Pym, and the Dupin tales. The essays in the collection were originally presented as talks at the Poe Studies Association’s Third International Edgar Allan Poe Conference: The Bicentennial in October 2009. The contributors are Poe scholars from the United States, France, Germany, and Canada: Amy C. Branam, Lauren Curtright, Daniel Fineman, William E. Engel, John C. Havard, Henri Justin, John Edward Martin, Sean Moreland, Philip E. Phillips, Stephanie Sommerfeld, and Timothy N. Towslee.