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Poe: Science Fiction Pioneer

Most people know Edgar Allan Poe for his chilling tales of terror and his melancholy poetry. A few even know his for his groundbreaking detective stories, but most people have no idea he pioneered the science fiction story. That is why the Poe Museum’s new temporary exhibit Poe: Science Fiction Pioneer (running from October 17 until December 31, 2013) will highlight the author’s contributions to one of today’s most popular genres.

Poe wrote early accounts of cyborgs, space travel, and the distant future. Some of his tales about the marvels of modern science were so realistic some of his readers thought they were true. Explore the exhibit to discover such little known works as “The Man That Was Used Up,” “Some Words with a Mummy,” and “The Balloon Hoax.”

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New Exhibit Focuses on Poe’s Horror Masterpiece

From January 19 until March 31, 2013, the Poe Museum in Richmond, Virginia will feature a special exhibit celebrating the 170th anniversary of Edgar Allan Poe’s horror masterpiece “The Tell-Tale Heart.” Opening on Poe’s birthday, January 19, the exhibit brings together the Poe Museum’s recently acquired first printing of the story and loans of sixteen original drawings for comic book adaptations of the story by acclaimed illustrators Richard Corben and Michael Golden.

Michael Golden is one of the world’s most popular comic artists, having provided artwork for G.I. Joe, The Adventures of Superman, Batman, The Micronauts, and several other series. The artwork in the exhibit, which is among his earliest published work, was printed in Marvel Classics #28 in 1977.

Richard Corben began his career in animation before turning to underground comics. In 1976 he adapted a Robert E. Howard story into what is considered the first graphic novel, Bloodstar. His illustrious career has included work in album covers and movie posters, collaboration on a graphic novel with rock musician and filmmaker Rob Zombie, and an award-winning short film Neverwhere. The artwork on display was printed in Edgar Allan Poe’s Haunt of Horror #2 in 2006. One of the pieces will be an unpublished alternative cover design.

Admission to the exhibit is included in the price of Poe Museum general admission. The January 19 opening will coincide with the Poe Museum’s annual Poe Birthday Bash running from noon to midnight and featuring readings, live music, and a lecture about the legacy of “The Tell-Tale Heart.”

The exhibit was made possible by loans of artwork from the collections of Richard Corben and James Vacca.

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Museum Acquires Poe’s Most Famous Story and a Piece of Poe’s Home

Even after ninety years, the Poe Museum’s collection continues to grow. Here are a few of the recent acquisitions made possible by the Poe Museum’s friends.

First Printing of “The Tell-Tale Heart”

Almost everyone has read Edgar Allan Poe’s most famous short story of madness and murder, but this week the Poe Museum in Richmond finally acquired the coveted first printing of “The Tell-Tale Heart.” The story first appeared in the inaugural issue (January 1843) of the Boston magazine The Pioneer, edited by poet James Russell Lowell (1819-1891). Since only three issues were published before Lowell discontinued the magazine, copies are now relatively rare. Considered the most ambitious literary journal of Antebellum America, The Pioneer’s three issues contained contributions by Poe, Lowell, Nathaniel Hawthorne, John Greenleaf Whittier, and Elizabeth Barrett Browning. Poe Museum President Dr. Harry Lee Poe commented on the Poe Museum’s acquisition of the important first printing, “This is a prize for any collection especially because it is the story that is included in all the anthologies.” The piece will will go on display at the Poe Museum during the Museum’s day-long celebration of Poe’s birthday on January 19, 2013 from noon until midnight.

Though the story is a favorite with today’s readers, “The Tell-Tale Heart” was rejected the first time Poe tried to publish it– the publishers of the Boston Miscellany writing in their rejection letter, “If Mr. Poe would condescend to furnish more quiet articles, he would be a most desirable correspondent.” Lowell, however, liked the story and acquired it for the first issue of his own magazine, paying Poe ten dollars for the work. A number of magazines soon reprinted the story, but, owing to the lax copyright laws of the time, Poe did not receive any royalties for these unauthorized reprints. Two years later, the editor of Poe’s next collection of short stories did not select it for inclusion in what would be the last collection of Poe’s tales published during his lifetime.

The twentieth century’s leading Poe scholar Thomas Ollive Mabbott called Poe’s short story “The Tell-Tale Heart” “a supreme artistic achievement,” and the tale has long been a favorite among readers. A staple at readings of Poe’s works, the story has been adapted several times to film, including the 2009 movie “Tell-Tale” starring Josh Lucas and the upcoming “The Tell-Tale Heart” starring Rose McGowan. It even inspired an episode of the television program “The Simpsons” in which Lisa built a diorama based on the story.

Plaster from Poe’s Home in Baltimore

On October 25, the outgoing Curator of the Poe House and Museum of Baltimore, Jeff Jerome, presented the Poe Museum with a piece of horse hair from the Poe House. The plaster was removed from the interior east wall of the front room during a wall repair, and Jerome saved a few pieces of the plaster the repairmen discarded at that time. This piece, which measures about seven inches in width, may be a remnant of the house’s original (ca. 1830) plaster and would, therefore, date to the time of Poe’s residence in the building from early 1833 until August 1835. During Poe’s residence there, he wrote some of his major early tales including his first horror story “Berenice.” He lived in the house with his grandmother Elizabeth Poe, his cousin Henry Clemm, his aunt (and future mother-in-law) Maria Poe Clemm, and his cousin (and future wife) Virginia Clemm.

This piece will be a welcome addition to the Poe Museum’s collection of building materials from various buildings (most of which have been demolished) in which Poe lived or worked. Among the Poe-related building materials already in the Poe Museum’s collection are bricks from the office in which Poe worked for the Southern Literary Messenger, bricks from the headquarters of Poe’s foster father’s firm Ellis and Allan, granite from the home in which Poe was married, bricks from Poe’s home in New York City, a mantle from Poe’s bedroom in Richmond, locks and hinges from other Richmond buildings associated with Poe, lumber from the Southern Literary Messenger office, an urn from the garden in which Poe courted his first fiancée, and the staircase from Poe’s boyhood home. The Poe Museum’s collection of furnishings from Poe-related buildings includes the author’s bed, the chair on which he sat while editing the Southern Literary Messenger, and paintings from his home.

An Article about Poe

Another fine addition to the Poe Museum’s collection was the recent gift of Michael Blankenship of Roanoke, Virginia. The gift, the April 1891 issue of Frank Leslie’s Popular Monthly contains the article “Some Memorials of Edgar Allan Poe” by Clara Dargan Maclean, who reports on her visits to the surviving residences of Poe and her interviews with people who knew him. The article contains some fine engravings as well as some interesting details about Poe’s death. Maclean was a proponent of the theory that Poe’s death resulted from cooping, the practice of abducting and drugging of men to force them to vote multiple times. The actual cause of Poe’s disappearance and death remains a mystery.

Appropriately enough, Blankenship donated the piece to the Poe Museum on Halloween. This magazine will be added to the Poe Museum’s reference library, which boasts already thousands of books and periodicals about Edgar Allan Poe’s life and works.

Below are some of the beautiful engravings from the article.

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See “The Masque of the Red Death” in Stunning Stained Glass

The Poe Museum is pleased to announce the upcoming exhibition of new artwork inspired by Edgar Allan Poe’s short story “The Masque of the Red Death.” The show will open on October 7 and run through December 31. In honor of the show, the Poe Museum will host a special “Masque of the Red Death” Unhappy Hour on October 25 from 6-9 P.M. The highlight of the exhibit will be a stained glass window (pictured above) created by award-winning Wisconsin glass artist David Fode. Earlier this year, Fode displayed the piece at the American Glass Guild’s juried members’ exhibit in Pittsburg. David Fode was trained in drawing and illustration at the American Academy of Art in Chicago and began his career illustrating various periodicals in the United States and Europe. In 1999 Fode began working exclusively in stained glass, primarily in restoration and conservation. Fascinated by the idea of using light itself as a medium, Fode made a careful study of traditional means and methods used to manipulate light in painted designs. Fode currently designs and paints new stained glass for churches, businesses and private homes using the styles and traditional techniques found in the 19th century works that originally inspired him. More examples of his work can be found here.

In addition to Fode’s work, the exhibit will feature a series of lithographs (pictured above) by Indre McCraw, who works as a freelance glass painter and is based in NY. She started her stained glass training as a stained glass conservation intern at St. Ann’s for Restoration and the Arts in Brooklyn in 1993 while getting her BFA in Illustration and Art Education from Parsons School of Design (1994). She was hired as the third staff apprentice of the St. Ann’s program in 1996. She does a good deal of replication work through various studios for churches, historic places, and the Cloisters/Metropolitan Museum of Art, as well as new work of her own and for others.

Complementing the new artwork by Fode and McCraw will be select pieces from the Poe Museum’s collection by Michael DeMarco, Berni Wrightson, and others.

The Poe Museum’s exhibit will build upon the museum’s tradition of bringing to Richmond the best in contemporary visual art inspired by the works of Edgar Allan Poe. Since 1922 (when the Poe Museum worked with Mt. Rushmore sculptor Gutzon Borghlum in the development of a portrait bust of Poe) the Poe Museum has brought the best in contemporary art to Richmond. While visiting the Poe Museum to see “The Masque of the Red Death,” guests can also see the Poe Museum’s outstanding permanent collections and its other temporary exhibit “Picturing Poe: Portraits from the Poe Museum’s Collection” featuring portraits of Poe done by a variety of artists from 1884 to 2009.

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August Unhappy Hour Celebrates “Hop-Frog”

On August 23 from 6-9 P.M., the Poe Museum will host an Unhappy Hour featuring Poe’s classic revenge tale “Hop-Frog.” Join us for live music by accoustic duo Haze and Dacey, a cash bar, and a special installation of the story by Haunts of Richmond. Admission is free, but a $5 suggested donation is welcomed.

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Find a Lost Treasure at the Poe Museum

Did you enjoy Treasure Island, The Da Vinci Code, or National Treasure? These and similar tales had their origins in Edgar Allan Poe’s 1843 tale of hidden treasure, invisible messages, cryptograms, riddles, and mysterious clues “The Gold-Bug.” It was Poe’s most popular story during his lifetime and has spawned countless imitations. Find out how it all began with an evening at the Poe Museum’s “Gold-Bug” Unhappy Hour.

On Thursday, July 26 from 6-9 P.M., the Poe Museum will host an Unhappy Hour and Carnival inspired by Poe’s classic treasure-hunt mystery “The Gold-Bug.” Guests can look forward to live music, Poe-themed carnival games, a performance of “The Gold-Bug,” a cash bar, and more. You can join the fun for a suggested donation of only five dollars. This is the perfect opportunity to rediscover “The Gold-Bug,” a forgotten treasure of world literature.

Click here to see photos and video from last summer’s carnival at the Poe Museum. This month’s event promises to be bigger and better.

Below are photos of the original illustrations for the first printing of the story as it appeared in the Philadelphia Dollar Newspaper in June 1843. Poe won a prize of $100 for the tale, and it was so popular it was reprinted in magazines around the world and even adapted into a play during the author’s lifetime.

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Charles Dickens Meets Edgar Allan Poe

Poe (left) and Dickens (right)

Charles Dickens turned 200 today. Many readers know the novels of Dickens, but few may know that he and Poe were personally acquainted. Edgar Allan Poe was an admirer of Dickens’s works since “strongly recommending” Dickens’s works to American readers in a June 1836 review from the Southern Literary Messenger. In an 1839 issue of Burton’s Magazine, Poe wrote, “Charles Dickens is no ordinary man, and his writings must unquestionably live.”

Three years later, during Dickens’s 1842 tour of the United States, he met Poe in Philadelphia. Though we do not know exactly what was said during their conversation, we can assume Dickens agreed to help Poe find publishers for his work in England. There is no evidence Dickens told Poe about the death of his pet raven Grip, but, by the time of their meeting, Poe had already read Dickens’s novel Barnaby Rudge, which features a talking raven.

Today, three letters from Dickens to Poe survive as evidence of the meeting of Poe and Dickens. The texts are printed below.

Upon receiving Poe’s invitation to meet, Dickens wrote Poe:

United States Hotel, March 6, 1842.
My Dear Sir, — I shall be very glad to see you whenever you will do me the favor to call. I think I am more likely to be in the way between half-past eleven and twelve, than at any other time. I have glanced over the books you have been so kind as to send me, and more particularly at the papers to which you called my attention. I have the greater pleasure in expressing my desire to see you on this account. Apropos of the “construction” of “Caleb Williams,” do you know that Godwin wrote it backwards, — the last volume first, — and that when he had produced the hunting down of Caleb, and the catastrophe, he waited for months, casting about for a means of accounting for what he had done?
Faithfully yours always,
Charles Dickens.

After returning to London, Dickens wrote Poe:

London, 1 Devonshire Terrace, York Gate, Regent’s Park,
November 27, 1842.
Dear Sir, — by some strange accident (I presume it must have been through some mistake on the part of Mr. Putnam in the great quantity of business he had to arrange for me), I have never been able to find among my papers, since I came to England, the letter you wrote to me at New York. But I read it there, and think I am correct in believing that it charged me with no other mission than that which you had already entrusted to me by word of mouth. Believe me that it never, for a moment, escaped my recollection; and that I have done all in my power to bring it to a successful issue — I regret to say, in vain.
I should have forwarded you the accompanying letter from Mr. Moxon before now, but that I have delayed doing so in the hope that some other channel for the publication of our book on this side of the water would present itself to me. I am, however, unable to report any success. I have mentioned it to publishers with whom I have influence, but they have, one and all, declined the venture. And the only consolation I can give you is that I do not believe any collection of detached pieces by an unknown writer, even though he were an Englishman, would be at all likely to find a publisher in this metropolis just now.
Do not for a moment suppose that I have ever thought of you but with a pleasant recollection; and that I am not at all times prepared to forward your views in this country, if I can.
Faithfully yours,
Charles Dickens.

Almost four years later, Dickens wrote Poe:

1 Devonshire Terrace, London. Nineteenth March 1846.
Dear Sir,
Although I have not received your volume, I avail myself of a leisure moment to thank you for the gift of it.
In reference to your proposal as regards the Daily News, I beg to assure you that I am not in any way connected with the Editorship or current Management of that Paper. I have an interest in it, and write such papers for it as I attach my name to. This is the whole amount of my connection with the Journal.
Any such proposition as yours, therefore, must be addressed to the Editor. I do not know, for certain, how that gentleman might regard it; but I should say that he probably has as many corespondents in America and elsewhere, as the Paper can afford space to.
I am Dear Sir
Faithfully Yours
Charles Dickens
Edgar A. Poe Esquire

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Poe in Comics

This isn’t technically related to the bicentennial, but the exhibit of Poe in the comics is still running at the Poe Museum. For those of you who haven’t had a chance to see it, you still have until the end of October visit. Even those of you who are not particularly interested in comic books or graphic novels will still be able to appreciate the artistry of some of these drawings and paintings. Among my favorites were the illustrations by Richard Corben for “The Raven” and “The Tell-Tale Heart.” Beautifully rendered, these dramatic images really make an impression on the viewer. The murderer’s face in “The Tell-Tale Heart” truly evokes his nervousness and paranoia. Corben’s drawings for “The Raven” are lyrical and enigmatic. They are hanging in a suitably creepy black room on the second floor of the exhibit building along with some dark drawings by other artists.

The first floor of the exhibit contains an overview of Poe in the comics. This section shows how not only Poe’s stories but also Poe, himself, have appeared in comics from the 1940s until today. The area devoted to Poe as a comic character gives the viewer a new perspective on the idea of Poe as a pop culture icon. Here you will encounter Poe joining forces with Batman and helping “the world’s smallest super hero” the Atom fight crime. An original drawing by Rick Geary for his book The Mystery of Mary Rogers details the real Poe’s attempt to solve an actual murder mystery, proving that Poe didn’t need Batman’s help to battle the forces of evil. (Come to the Poe Museum’s Summer 2009 exhibit “Ratiocination” to learn more about how Poe tried to solve some real-life mysteries.)

One case in this room is devoted to Poe parodies. Among these are a Simpsons version of “The Cask of Amontillado” and a story entitled “The Tell-Tale Fart.”

A favorite with many of visitors is Gris Grimly’s watercolor cover art for Edgar Allan Poe’s Tales of Mystery and Madness. Grimly uses subtle washes of watercolor with delicate pen-and-ink details to create a twisted world that reminds one of a cross between a Tim Burton film and an Egon Schiele drawing.

In addition to the exhibit, the Poe Museum has published a catalog, The Incredible Mr. Poe, which includes a history of Poe in the comics by Dr. M. Thomas Inge, the collector who loaned many of the pieces in the show, as well as chronology of most of Poe’s comic appearances from the 1940s until 2007.