Google Celebrates Moby Dick 161st Anniversary

"Moby-Dick; or, The Whale: Publishing history" - Melville Society. "First British edition (entitled The Whale), expurgated to avoid offending delicate political and moral sensibilities, published in three volumes on October 18, 1851 by Richard Bentley, London. First American edition published November 14, 1851 by Harper & Brothers, New York."

Deathday: Robert Bloch 1994 - Father of PSYCHO

(This photo is from my 1989 interview with RB.)

Robert Albert Bloch (April 5, 1917 – September 23, 1994) was a prolific American writer, primarily of crime, horror and science fiction.

Bloch wrote hundreds of short stories and over twenty novels, usually crime fiction, science fiction and, perhaps most influentially, horror fiction (Psycho). He was one of the youngest members of the Lovecraft Circle. H. P. Lovecraft was Bloch's mentor and one of the first to seriously encourage his talent. He was a contributor to pulp magazines such as Weird Tales in his early career, and was also a prolific screenwriter. He was the recipient of the Hugo Award (for his story "That Hell-Bound Train"), the Bram Stoker Award, and the World Fantasy Award. He served a term as president of the Mystery Writers of America. Robert Bloch was also a major contributor to science fiction fanzines and fandom in general. In the 1940s, he created the humorous character Lefty Feep in a story for Fantastic Adventures. He also worked for a time in local vaudeville and tried to break into writing for nationally-known performers. He was a good friend of the science fiction writer Stanley G. Weinbaum. In the 1960s, he wrote three scripts for Star Trek. In 2008, The Library of America selected Bloch’s story “The Shambles of Ed Gein” for inclusion in its two-century retrospective of American True Crime.

Life

Bloch was born in Chicago, the son of Raphael "Ray" Bloch (1884 - 1952), a bank cashier, and his wife Stella Loeb (1880 - 1944), a social worker, both of German-Jewish descent.

Bloch died in 1994 in Los Angeles. He was cremated and interred in the Room of Prayer columbarium at Westwood Village Memorial Park Cemetery in Los Angeles.

Career

During the 1930s, Bloch was an avid reader of the pulp magazine Weird Tales. H. P. Lovecraft, a frequent contributor to that magazine, became one of his favorite writers. As a teenager, Bloch befriended and corresponded with Lovecraft, who gave the promising youngster advice on his own fiction-writing efforts.[1] Bloch's first professional sales, at the age of just seventeen, were to Weird Tales with the short stories "The Feast in the Abbey" and "The Secret in the Tomb". Bloch's early stories were strongly influenced by Lovecraft. Indeed, a number of his stories were set in, and extended, the world of Lovecraft's Cthulhu Mythos. It was Bloch who invented, for example, the oft-cited Mythos texts De Vermis Mysteriis and Cultes des Goules.

The young Bloch appears, thinly disguised, as the character "Robert Blake" in Lovecraft's story "The Haunter of the Dark", which is dedicated to Bloch. In this story, Lovecraft kills off the Bloch character, repaying a courtesy Bloch earlier paid Lovecraft with his tale "The Shambler from the Stars", in which the Lovecraft-inspired figure dies; the story goes so far as to use Bloch's then-current street address in Milwaukee. (Bloch even had a signed certificate from Lovecraft [and some of his creations] giving Bloch permission to kill Lovecraft off in a story.) Bloch later wrote a third tale, "The Shadow From the Steeple," picking up where "The Haunter of the Dark" finished.

After Lovecraft's death in 1937, Bloch continued writing for Weird Tales, where he became one of its most popular authors. He also began contributing to other pulps, such as the science fiction magazine Amazing Stories. He gradually evolved away from Lovecraftian imitations towards a unique style of his own. One of the first distinctly "Blochian" stories was "Yours Truly, Jack the Ripper", which was published in Weird Tales in 1943. The story was Bloch's take on the Jack the Ripper legend, and was filled out with more genuine factual details of the case than many other fictional treatments.[2] Bloch followed up this story with a number of others in a similar vein dealing with half-historic, half-legendary figures such as the Man in the Iron Mask ("Iron Mask," 1944), the Marquis de Sade ("The Skull of the Marquis de Sade," 1945) and Lizzie Borden ("Lizzie Borden Took an Axe...," 1946).

Campaign manager for Carl Zeidler

In 1939, Bloch was contacted by James Doolittle, who was managing the campaign for a little-known assistant attorney in Milwaukee, Wisconsin named Carl Zeidler. He was asked to work on his speechwriting, advertising, and photo ops, in collaboration with Harold Gauer. They created elaborate campaign shows; in Bloch's 1993 autobiography, Once Around the Bloch, he gives an inside account of the campaign, and the innovations he and Gauer came up with — for instance, the original releasing-balloons-from-the-ceiling shtick. He comments bitterly on how, after Zeidler's victory, they were ignored and not even paid their promised salaries. He ends the story with a wryly philosophical point:

If Carl Zeidler had not asked Jim Doolittle to manage his campaign, Doolittle would never have contacted me about it. And the only reason Doolittle knew me to begin with was because he read my yarn ("The Cloak") in Unknown. Rattling this chain of circumstances, one may stretch it a bit further. If I had not written a little vampire story called "The Cloak," Carl Zeidler might never have become mayor of Milwaukee.

Psycho and screenwriting

Bloch became most famous as the author of the novel Psycho, one of the first examples of modern urban horror relying on realism rather than the supernatural[citation needed], which was adapted by Joseph Stefano into the screenplay for the 1960 film of the same name, directed by Alfred Hitchcock. He had written an earlier split-personality short story, "The Real Bad Friend," which appeared in the February, 1957 Mike Shayne Mystery Magazine, that foreshadowed the 1959 novel Psycho. His best-known work as a screenwriter is probably The Night Walker (1964), which he wrote for William Castle, although he also penned several scripts for the original series of Star Trek including "What Are Little Girls Made Of?," "Wolf in the Fold," and "Catspaw." He seemed happiest, among his television work, with his contributions to the Boris Karloff-hosted series Thriller.

Bloch also contributed to Harlan Ellison's science fiction anthology, Dangerous Visions. His story, "A Toy for Juliette," evoked both the Marquis de Sade and Jack the Ripper. In fact, Ellison's own contribution to the anthology was a direct follow-up of Bloch's, and was titled "The Prowler in the City at the Edge of the World."

Writings on Bloch

An early reference work by Australia's Graeme Flanagan, Robert Bloch: A Bio-Bibliography (1979) includes valuable material including interviews with Bloch and memoirs by fellow writers such as Harlan Ellison, Mary Elizabeth Counselman and Fritz Leiber.

Randall D. Larson has authored three reference books about Robert Bloch: The Robert Bloch Reader's Guide (1986, a literary analysis of Bloch's entire output through 1986), The Complete Robert Bloch (1986, an illustrated bibliography of Bloch's writing), and The Robert Bloch Companion (1986, collected interviews). In addition, an issue of Paperback Parade magazine (No. 39, August 1994) contains two articles by Larson on collecting Bloch - "Paperblochs: Robert Bloch in Paperback" and "Robert Bloch in Paperback."

There is an essay on Bloch's work, with particular reference to the novels Psycho and The Scarf, in S. T. Joshi's book The Modern Weird Tale (2001). Joshi examines Bloch's literary relationship with Lovecraft in a further essay in The Evolution of the Weird Tale (2004).

A new essay collection focusing on a range of Bloch's work is Robert Bloch: the Man Who Collected Psychos, edited by Benjamin J. Szumskyj (McFarland, 2009).

Bibliography

Novels

The Scarf (1947, rev. 1966)
Spiderweb (1954)
The Kidnapper (1954)
The Will to Kill (1954)
Shooting Star (1958) (note: published in a double volume with the ss collection Terror in the Night)
This Crowded Earth (1958)
Psycho (1959) (adapted into the 1960 film, Psycho, directed by Alfred Hitchcock; later remade in 1998 by Gus Van Sant)
The Dead Beat (1960)
Firebug (1961)
The Couch (1962)
Terror (1962)
Ladies Day / This Crowded Earth (1968)
The Star Stalker (1968)
The Todd Dossier (1969)
Sneak Preview (1971)
It's All in Your Mind (1971)
Night World (1972)
American Gothic (1974)
Strange Eons (1978) (a Cthulhu Mythos novel)
There Is a Serpent in Eden (1979)
Psycho II (1982) (unrelated to the film of the same name)
Night of the Ripper (1984)
Unholy Trinity (1986) (collects The Scarf, The Couch and The Dead Beat)
Lori (1989)
Screams: Three Novels of Suspense (collects The Will to Kill, Firebug and The Star Stalker)
Psycho House (1990) (unrelated to the films Psycho II, Psycho III or Psycho IV: The Beginning)
The Jekyll Legacy (1991)
Yours Truly, Jack the Ripper (1991) (Pulphouse; a 100-copy hardbound signed edition of Bloch's famous short story)
The Thing (1993) (Pretentious Press; a limited edition of 85 copies, only 9 bound in cloth, of the author's first appearance in print - a parody of H.P. Lovecraft which originally appeared in the April 1932 issue of The Quill, his Lincoln High School literary magazine)
Psycho - The 35th Anniversary Edition (1994) (Gauntlet Press; limited edition of 500 copies; the last work to be signed by Bloch before his death; includes a new intro by Richard Matheson and a new Afterword by Ray Bradbury)

Short-story collections

The Opener of the Way (1945)
Sea Kissed (1945)
Terror in the Night (1958) (note: published in a double volume with the novel Shooting Star)
Pleasant Dreams: Nightmares (1960)
Blood Runs Cold (1961)
Nightmares (1961)
More Nightmares (1961)
Yours Truly, Jack the Ripper (1962)
Atoms and Evil (1962)
Horror 7 (1963)
Bogey Men (1963)
House of the Hatchet (1965)
The Skull of the Marquis de Sade (1965)
Tales in a Jugular Vein (1965)
Chamber of Horrors (1966)
The Living Demons (1967)
Dragons and Nightmares (1968)
Bloch and Bradbury (1969)
Fear Today, Gone Tomorrow (1971)
House of the Hatchet (1976)
The King of Terrors (1977)
The Best of Robert Bloch (1977)
Cold Chills (1977)
Out of the Mouths of Graves (1978)
Such Stuff as Screams Are Made Of (1979)
Mysteries of the Worm (1981)
Midnight Pleasures (1987)
Lost in Space and Time With Lefty Feep (1987)
The Complete Stories of Robert Bloch: Volume 1: Final Reckonings (1987)
The Complete Stories of Robert Bloch: Volume 2: Bitter Ends (1987)
The Complete Stories of Robert Bloch: Volume 3: Last Rites (1987)
Fear and Trembling (1989)
Mysteries of the Worm (rev. 1993) from Chaosium books
The Early Fears (1994)
Flowers from the Moon and Other Lunacies (1998)
The Lost Bloch: Volume 1: The Devil With You! (1999)
The Lost Bloch: Volume 2: Hell on Earth (2000)
The Lost Bloch: Volume 3: Crimes and Punishments (2002)
The Reader's Bloch: Volume 1: The Fear Planet and Other Unusual Destinations (2005)
The Reader's Bloch: Volume 2: Skeleton in the Closet and Other Stories (2009)

Non-fiction

The Eighth Stage of Fandom (1962)
Out of My Head (1986)
Once Around the Bloch: An Unauthorized Autobiography (1993)
Robert Bloch: Appreciations of the Master (1995)

Movies

The following is a list of films based on Bloch's work. For some of these he wrote the original screenplay; for others, he supplied the story or a novel (as in the case of Psycho) on which the screenplay was based.

Psycho (1960)
The Couch (1962)
The Cabinet of Dr Caligari (1962)
Strait-Jacket (1964)
The Night Walker (1964)
The Skull (1965)
The Psychopath (1966)
Torture Garden (1967)
The Deadly Bees (1967)
The House That Dripped Blood (1970)
Asylum (1972)
The Cat Creature (Tv movie 1973)
The Dead Don't Die (Tv movie 1974)
The Amazing Captain Nemo (1978)
Psycho (1998)

References

1.^ Haining, Peter (1975). The Fantastic Pulps. Victor Gollancz Ltd. ISBN 0-575-02000-8.
2.^ Zinna, Eduardo. "Yours Truly, Jack the Ripper". Casebook: Jack the Ripper.

Mary Cecilia Rogers Found Floating in the Hudson 1841

Mary Cecilia Rogers, also known as the "Beautiful Cigar Girl," was a 19th-century murder victim whose story became a national sensation and was fictionalized most notably by Edgar Allan Poe as "The Mystery of Marie Rogêt" (1842).

Background

Mary Rogers was probably born in 1820 in Lyme, Connecticut, though her birth records have not survived.[1] Her father died in a steamboat explosion when she was 17 and she took a job as a clerk in a tobacco shop owned by John Anderson in New York City.[2] Anderson paid her a generous wage in part because her physical attractiveness brought in many customers. One customer wrote that he spent an entire afternoon at the store only to exchange "teasing glances" with her. Another admirer published a poem in the New York Herald referring to her heaven-like smile and her star-like eyes.[3] Some of her customers included notable literary figures James Fenimore Cooper, Washington Irving, and Fitz-Greene Halleck.[4]

First disappearance

On October 5, 1838, the New York Sun reported that "Miss Mary Cecilia Rogers" had disappeared from her home.[2] Her mother Phoebe said she found a suicide note which the local coroner analyzed and said revealed a "fixed and unalterable determination to destroy herself".[5] The next day, however, the Times and Commercial Intelligence reported that the disappearance was a hoax and that Rogers only went to visit a friend in Brooklyn.[2] The Sun had previously run a story known as the Great Moon Hoax in 1835, causing a stir.[6] Some suggested this return was actually the hoax, evidenced by Rogers's failure to return to work immediately. When she finally resumed working at the tobacco shop, one newspaper suggested the whole event was a publicity stunt overseen by Anderson.[7]

Murder

On July 25, 1841, Rogers told her fiancé Daniel Payne that she would be visiting her aunt and other family members.[8] Three days later, on July 28, police found her body floating in the Hudson River in Hoboken, New Jersey.[9] Referred to as the "Beautiful Cigar Girl", the mystery of her death was sensationalized in newspapers and received national attention. The details surrounding the case suggested she was murdered. Months later, the inquest still ongoing, her fiancé was found dead, an act of suicide. By his side, a remorseful note and an empty bottle of poison were found.

The story, heavily covered by the press, also emphasized the ineptitude and corruption in the city's watchmen system of law enforcement.[10] At the time, New York City's population of 320,000 was served by an archaic force, consisting of one night watch, one hundred city marshals, thirty-one constables, and fifty-one police officers.[11]

The popular theory was that Rogers was a victim of gang violence.[12] In November 1842, Frederica Loss came forward and swore that Rogers's death was the result of a failed abortion attempt. Police refused to believe her story and the case remained unsolved.[8] Interest in the story waned nine weeks later when the press picked up on a different murder.[13]

In fiction

Rogers' story was fictionalized most notably by Edgar Allan Poe as "The Mystery of Marie Rogêt" (1842). The action of the story was relocated to Paris and the victim's body found in the Seine.[12] Poe presented the story as a sequel to "The Murders in the Rue Morgue" (1841), commonly considered the first modern detective story, and included its main character C. Auguste Dupin. As Poe wrote in a letter: "under the pretense of showing how Dupin... unravelled the mystery of Marie's assassination, I, in fact, enter into a very rigorous analysis of the real tragedy in New York."[14] In the story, Dupin suggests several possible solutions but never actually names the murderer.[15]

References

1.^ Stashower, Daniel (2006). The Beautiful Cigar Girl. New York: PenguinBooks. pp. 20. ISBN 052594981X.
2.^ Sova, Dawn B. (2001). Edgar Allan Poe: A to Z (Paperback ed. ed.). New York: Checkmark Books. pp. 212. ISBN 081604161X.
3.^ Stashower, Daniel (2006). The Beautiful Cigar Girl. New York: PenguinBooks. pp. 22. ISBN 052594981X.
4.^ McNamara, Joseph. The Justice Story: True Tales of Murder, Mystery, Mayhem. Sports Publishing LLC, 2000: 99. ISBN 1582612854
5.^ Stashower, Daniel (2006). The Beautiful Cigar Girl. New York: PenguinBooks. pp. 22–23. ISBN 052594981X.
6.^ Maliszewski, Paul. "Paper Moon", Wilson Quarterly. Winter 2005. p. 26
7.^ Stashower, Daniel (2006). The Beautiful Cigar Girl. New York: PenguinBooks. pp. 23. ISBN 052594981X.
8.^ Sova, Dawn B. (2001). Edgar Allan Poe: A to Z (Paperback ed. ed.). New York: Checkmark Books. pp. 213. ISBN 081604161X.
9.^ Thomas, Dwight & David K. Jackson (1987). The Poe Log: A Documentary Life of Edgar Allan Poe 1809-1849. New York: G. K. Hall & Co. pp. 336–337. ISBN 0783814011.
10.^ Lardner, James, and Thomas Reppetto (2000). NYPD: A City and Its Police. Owl Books. pp. 18–21.
11.^ Lankevich, George L. (1998). American Metropolis: A History of New York City. NYU Press. pp. 84–85. ISBN 0814751865.
12.^ Silverman, Kenneth (1991). Edgar A. Poe: Mournful and Never-Ending Remembrance (Paperback ed. ed.). New York: Harper Perennial. pp. 205. ISBN 0060923318.
13.^ Nelson, Randy F. The Almanac of American Letters. Los Altos, California: William Kaufmann, Inc., 1981: 183. ISBN 086576008X
14.^ Rosenheim, Shawn James (1997). The Cryptographic Imagination: Secret Writing from Edgar Poe to the Internet. Baltimore: Johns Hopkins University Press. pp. 68–69. ISBN 9780801853326.
15.^ Meyers, Jeffrey (1992). Edgar Allan Poe: His Life and Legacy (Paperback ed. ed.). New York: Cooper Square Press. pp. 135. ISBN 0815410387.

Deathday: Poe Editor & Publisher George Rex Graham 1894

George Rex Graham (January 18, 1813 – July 13, 1894) was a journalist, editor, and publishing entrepreneur from Philadelphia, Pennsylvania. He founded the journal Graham's Magazine at the age of 27 after buying Burton's Gentleman's Magazine and Atkinson's Casket. His journal became very popular and it was known for its generous payment to contributors.

Graham worked with notable literary figures like Edgar Allan Poe and Rufus Wilmot Griswold, and possibly sparked the enmity between the two. After Poe's death, Graham defended him from Griswold's accusations and character assassination.

Life and work

Graham was born on January 18, 1813; his father was a shipping merchant who had lost much of his money in early in the 19th century. Graham was raised by his namesake and maternal uncle, George Rex, a farmer from Montgomery County, Pennsylvania. At age 19, Graham became an apprentice for a cabinet-maker before deciding to study law.[1] After being admitted to the bar in 1839, Graham became interested in publishing at a time when Philadelphia stood neck-and-neck with New York City as leader of the book and periodical publishing industry in America.[2]

Publishing career

Graham first began his publishing work with an editorial position with the Saturday Evening Post.[1] Its owner Samuel C. Atkinson announced on November 9, 1839, that he had sold the Post to Graham and John S. Du Solle.[3] He then became the proprietor of Atkinson's Casket.[1] At the age of 27, Graham combined the fledgling publication with Burton's Gentleman's Magazine in December 1840. The acquired publication had 3,500 subscribers, bringing his total list to 5,000. In its first year, that number jumped to 25,000. Success was partially owed by Graham's willingness to include brand new engravings and illustrations at a time when most monthly publications were re-using old plates from other magazines. He also paid his freelance writers very well. In fact, in later years, a "Graham page" was the new standard of payment for magazine work.[4]

Edgar Allan Poe was hired as an editor and writer in February 1841. Graham agreed to help Poe with his planned journal The Penn if Poe worked for him for six months.[5] By all accounts, Poe and Graham got along very well and had a good working relationship. Poe was paid $800 per year while Graham boasted $25,000 in profits.[6] Poe originally called this salary "liberal" but later referred to it as "nambypamby" when compared to Graham's profits.[7] Graham's Magazine was the first to publish many of Poe's works, including "The Murders in the Rue Morgue" and "The Colloquey of Monos and Una." Poe left the magazine in April 1842.

Graham would hire Rufus Wilmot Griswold, Poe's rival, as his next editor. Griswold was paid a salary of $1000 per year, more than he had paid Poe, lending some additional venom to the animosity between the two men. To his credit, Griswold was able to contract with Henry Wadsworth Longfellow to write for Graham's exclusively for a time.[7]

Allegedly, Poe had offered first publication of "The Raven" to Graham, who refused. He may have given $15 to Poe as a friendly charity, but did not like the poem. Graham made it up to Poe a short while later by publishing the essay "The Philosophy of Composition" in which Poe tells of his inspiration for his famous poem and the technique of writing well.[8]

After Poe's death, Graham defended him against critics like Griswold. In March 1850, he published in his magazine "Defense of Poe" and, four years later in February 1854, "The Genius and Characteristics of the Late Edgar Allan Poe."[6]

Graham and his magazine worked with many other notable authors including William Cullen Bryant, James Fenimore Cooper, Nathaniel Hawthorne, James Russell Lowell and others.[9]

Graham invested in copper, a decision that left him in severe financial difficulty. In 1848, he sold his magazine to Samuel Dewee Patterson, though he retained the title of editor.[10] A year later, artist John Sartain, whose engravings had become a major selling point of Graham's, left to found his own journal, Sartain's Union Magazine.[10] By 1850, Graham was able to buy back his interest in Graham's Magazine with the help of friends who sympathized with his financial woes.[11] However, competition with Harper's New Monthly Magazine caused significant drops in subscriptions, as did the lack of an international copyright. Charles Godfrey Leland took over when Graham left the magazine in 1853 or 1854 and Graham's Magazine ceased publication in 1858.[12]

Later life

At the age of 70, Graham lost his eyesight though it was partially restored in an operation. He was assisted financially by George William Childs before dying on July 13, 1894, at a hospital in Orange, New Jersey.[12] He was buried at Laurel Hill Cemetery in Philadelphia.[13]

References

1.^ Oberholtzer, Ellis Paxson. The Literary History of Philadelphia. Philadelphia: George W. Jacobs and Co., 1906: 263.
2.^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991: 141. ISBN 0060923318.
3.^ Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809-1849. Boston: G. K. Hall and Co., 1987: 276. ISBN 0816187347.
4.^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991: 162–163. ISBN 0060923318.
5.^ Bittner, William. Poe: A Biography. Boston: Little, Brown and Company, 1962: 160–161.
6.^ Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001: 99. ISBN 081604161X.
7.^ Silverman, Kenneth: Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991: 216. ISBN 0060923318.
8.^ Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge, LA: Louisiana State University Press: 79–80. ISBN 0807123218.
9.^ [1] "Cooper's Autobiography of a Pocket-Handkerchief as a Defense of Authorship" by Steven P. Harthorn
10.^ Oberholtzer, Ellis Paxson. The Literary History of Philadelphia. Philadelphia: George W. Jacobs and Co., 1906: 277. ISBN 1932109455
11.^ Oberholtzer, Ellis Paxson. The Literary History of Philadelphia. Philadelphia: George W. Jacobs and Co., 1906: 282. ISBN 1932109455
12.^ Oberholtzer, Ellis Paxson. The Literary History of Philadelphia. Philadelphia: George W. Jacobs and Co., 1906: 284. ISBN 1932109455
13.^ Oberholtzer, Ellis Paxson. The Literary History of Philadelphia. Philadelphia: George W. Jacobs and Co., 1906: 285. ISBN 1932109455.

Lost World Media's "The Gold Bug"

LOST WORLD MEDIA:

"Short film made in 72 Hours for a competition in October 2009. The festival coordinators passed out the secret criteria (similar to the 48 Hour Festivals) on Thursday night at 9PM. Things we had to include in the film were Edgar Allan Poe and a man staring at spilled toothpicks. The film was due the following Sunday at 9PM."

"The Gold Bug" Published 1843

"The Gold-Bug" is a short story by Edgar Allan Poe. Set on Sullivan's Island, South Carolina, the plot follows William Legrand, who was recently bitten by a gold-colored bug. His servant Jupiter fears him to be going insane and goes to Legrand's friend, an unnamed narrator who agrees to visit his old friend. Legrand pulls the other two into an adventure after deciphering a secret message that will lead to a buried treasure.

The story is often compared with Poe's "tales of ratiocination" as an early form of detective fiction. Poe became aware of the public's interest in secret writing in 1840 and asked readers to challenge his skills as a code-breaker. Poe took advantage of the popularity of cryptography as he was writing "The Gold-Bug" and the success of the story centers on one such cryptogram. The character of Jupiter has been criticized as racist from a modern perspective especially because his speech is written in dialect and because of his often-comical dialogue.

Poe submitted "The Gold-Bug" as an entry to a writing contest sponsored by the Philadelphia Dollar Newspaper. His story won the grand prize and was published in three installments, beginning in June 1843. The prize also included $100, likely the largest single sum Poe received for any of his works. "The Gold-Bug" was an instant success and was the most popular and most widely-read of Poe's works during his lifetime. It also helped popularize cryptograms and secret writing.

Plot summary

William Legrand becomes obsessed with searching for treasure after being bitten by a scarab-like bug thought to be made of pure gold. He notifies his closest friend, the narrator, telling him to immediately come visit him at his home on Sullivan's Island in South Carolina. Upon the narrator's arrival, Legrand informs him that they are embarking upon a search for lost treasure along with his African-American servant Jupiter. The narrator has intense doubt and questions if Legrand, who has recently lost his fortune, has gone insane.

Legrand captured the bug but let someone else borrow it; he draws a picture of the bug instead. The narrator says that the image looks like a skull. Legrand is insulted and inspects his own drawing before stuffing it into a drawer which he locks, to the narrator's confusion. Uncomfortable, the narrator leaves Legrand and returns home to Charleston.

A month later, Jupiter visits the narrator and asks him to return to Sullivan's Island on behalf of his master. Legrand, he says, has been acting strangely. When he arrives, Legrand tells the narrator they must go on an expedition along with the gold-bug tied to a string. Deep in the wilderness of the island, they find a tree, which Legrand orders Jupiter to climb with the gold-bug in tow. There, he finds a skull and Legrand tells him to drop the bug through one of the eye sockets. From where it falls, he determines the spot where they dig. They find treasure buried by the infamous pirate "Captain Kidd," estimated by the narrator to be worth a million and a half dollars. Once the treasure is safely secured, the man goes into an elaborate explanation of how he knew about the treasure's location, based on a set of occurrences that happened after the discovery of the gold bug.

The story involves cryptography with a detailed description of a method for solving a simple substitution cipher using letter frequencies. The cryptogram is:

53‡‡†305))6*;4826)4‡.)4‡);806*;48†8
¶60))85;1‡(;:‡*8†83(88)5*†;46(;88*96
*?;8)*‡(;485);5*†2:*‡(;4956*2(5*—4)8
¶8*;4069285);)6†8)4‡‡;1(‡9;48081;8:8‡
1;48†85;4)485†528806*81(‡9;48;(88;4
(‡?34;48)4‡;161;:188;‡?;

The decoded message is:

A good glass in the bishop's hostel in the devil's seat
forty-one degrees and thirteen minutes northeast and by north
main branch seventh limb east side shoot from the left eye of the death's-head
a bee line from the tree through the shot fifty feet out.

Analysis

"The Gold-Bug" includes a cipher that uses polyphonic substitution.[1] Though he did not invent "secret writing" or cryptography (he was likely inspired by an interest in Daniel Defoe's Robinson Crusoe[2]), Poe certainly popularized it during his time. To most people in the 19th century, cryptography was mysterious and those able to break the codes were considered gifted with nearly supernatural ability.[3] Poe had drawn attention to it as a novelty over four months in the Philadelphia publication Alexander's Weekly Messenger in 1840. He had asked readers to submit their own substitution ciphers, boasting he could solve all of them with little effort.[4] The challenge brought about, as Poe wrote, "a very lively interest among the numerous readers of the journal. Letters poured in upon the editor from all parts of the country."[1] In July 1841, Poe published "A Few Words on Secret Writing"[5] and, realizing the interest in the topic, wrote "The Gold-Bug" as one of the few pieces of literature to incorporate ciphers as part of the story.[6] Poe's character Legrand's explanation of his ability to solve the cipher is very like Poe's explanation in "A Few Words on Secret Writing".[7]

The actual "gold-bug" in the story is not a real insect. Instead, Poe combined characteristics of two insects found in the area where the story takes place. The Callichroma splendidum, though not technically a scarab but a type of Cerambycidae, has a gold head and slightly gold-tinted body. The black spots noted on the back of the fictional bug can be found on the Alaus oculatus or click beetle, also native to Sullivan's Island.[8]

Poe's depiction of the African servant Jupiter is often considered stereotypical and racist from a modern perspective. Jupiter is depicted as superstitious and so lacking in intelligence that he cannot tell his left from his right.[9] Poe likely included the character after being inspired by a similar character in Sheppard Lee (1836) by Robert Montgomery Bird, which he had reviewed.[10] Black characters in fiction during this time period were not unusual, but Poe's choice to give him a speaking role was. Critics and scholars, however, question if Jupiter's accent was authentic or merely comic relief, suggesting it was not similar to accents used by blacks in Charleston but possibly inspired by Gullah.[11]

Though the story is often included amongst the short list of detective stories by Poe, "The Gold-Bug" is not technically detective fiction because Legrand withholds the evidence until after the solution is given.[12] Nevertheless, the Legrand character is often compared to Poe's fictional detective C. Auguste Dupin[13] due to his use of "ratiocination."[14][15][16] "Ratiocination," a term Poe used to describe Dupin's method, is the process by which Dupin detects what others have not seen or what others have deemed unimportant.[17]

Publication history and reception

Poe originally sold "The Gold-Bug" to George Rex Graham for Graham's Magazine for $52 but asked for it back when he heard about a writing contest sponsored by Philadelphia's Dollar Newspaper.[18] Incidentally, Poe did not return the money to Graham and instead offered to make it up to him with reviews he would write.[19] Poe won the grand prize; in addition to winning $100, the story was published in two installments on June 21 and June 28, 1843, in the newspaper.[20] His $100 payment from the newspaper may have been the most he was paid for a single work.[21] Anticipating a positive public response, the Dollar Newspaper took out a copyright on "The Gold-Bug" prior to publication.[22]

The story was republished in three installments in the Saturday Courier in Philadelphia on June 24, July 1, and July 8, the last two appeared on the front page and included illustrations by F. O. C. Darley.[23] Further reprintings in United States newspapers made "The Gold-Bug" Poe's most widely-read short story during his lifetime.[20] By May 1844, Poe reported that it had circulated 300,000 copies,[24] though he was likely not paid for these reprints.[25] It also helped increase his popularity as a lecturer. One lecture in Philadelphia after "The Gold-Bug" was published drew such a large crowd that hundreds were turned away.[26] As Poe wrote in a letter in 1848, it "made a great noise."[27] He would later compare the public success of "The Gold-Bug" with "The Raven," though he admitted "the bird beat the bug."[28]

The Public Ledger in Philadelphia called it "a capital story."[22] George Lippard wrote in the Citizen Soldier that the story was "characterised by thrilling interest and a graphic though sketchy power of description. It is one of the best stories that Poe ever wrote."[29] Graham's Magazine printed a review in 1845 which called the story "quite remarkable as an instance of intellectual acuteness and subtlety of reasoning."[30] Thomas Dunn English wrote in the Aristidean in October 1845 that "The Gold-Bug" probably had a greater circulation than any other American story and "perhaps it is the most ingenious story Mr. POE has written; but... it is not at all comparable to the 'Tell-tale Heart'—and more especially to 'Ligeia.'.[31] Poe's friend Thomas Holley Chivers said that "The Gold-Bug" ushered in "the Golden Age of Poe's Literary Life."[32]

The popularity of the story also brought controversy. Within a month of its publication, Poe was accused of conspiring with the prize committee by Philadelphia's Daily Forum.[24] The publication called "The Gold-Bug" an "abortion" and "unmitigated trash" worth no more than $15.[33] Poe filed for a libel lawsuit against editor Francis Duffee. It was later dropped[34] and Duffee apologized for suggesting Poe did not earn the $100 prize.[35] Editor John Du Solle accused Poe of stealing the idea for "The Gold-Bug" from "Imogine; or the Pirate's Treasure", a story written by a schoolgirl named Miss Sherburne.[36]

"The Gold-Bug" was republished as the first story in the Wiley and Putnam collection of Poe's Tales in June 1845, followed by "The Black Cat" and ten other stories.[37] The success of this collection inspired[38] the first French translation of "The Gold-Bug" published in November 1845 by Alphonse Borghers in the Revue Britannique[39] under the title, "Le Scarabée d'or," becoming the first literal translation of a Poe story into a foreign language.[40] It was translated into Russian from that version two years later, marking Poe's literary debut in that country.[41] In 1856, Charles Baudelaire published his translation of the tale in the first volume of Histoires extraordinaires.[42] Baudelaire was very influential in introducing Poe's work to Europe and his translations became the definitive renditions throughout the continent.[43]

Influence

"The Gold-Bug" inspired Robert Louis Stevenson in his novel about treasure-hunting, Treasure Island (1883). Stevenson acknowledged this influence: "I broke into the gallery of Mr. Poe... No doubt the skeleton [in my novel] is conveyed from Poe."[44]

Poe played a major role in popularizing cryptograms in newspapers and magazines in his time period[3] and beyond. William F. Friedman, America's foremost cryptologist, initially became interested in cryptography after reading "The Gold-Bug" as a child - interest he later put to use in deciphering Japan's PURPLE code during World War II.[45] "The Gold-Bug" also includes the first use of the term "cryptograph" (as opposed to "cryptogram").[46]

Poe had been stationed at Fort Moultrie from November 1827 through December 1828 and utilized his personal experience at Sullivan's Island in recreating the setting for "The Gold-Bug."[47] It was also here that Poe first heard the stories of pirates like Captain Kidd.[48] The residents of Sullivan's Island embrace this connection to Poe and have named their public library after him.[49] Local legend in Charleston says that the poem "Annabel Lee" was also inspired by Poe's time in South Carolina.[50] Poe also set part of "The Balloon-Hoax" and "The Oblong Box" in this vicinity.[48]

Adaptations

The story proved popular enough in its day that a stage version opened on August 8, 1843.[51] The production was put together by Silas S. Steele and was performed at the American Theatre in Philadelphia.[52] The editor of the Philadelphia newspaper The Spirit of the Times said the performance "dragged, and was rather tedious. The frame work was well enough, but wanted filling up."[53]

In film and television, an adaptation of the work appeared on Your Favorite Story on February 1, 1953 (Season 1, Episode 4). It was directed by Robert Florey with the teleplay written by Robert Libott. A later adaptation of the work appeared on ABC Weekend Special on February 2, 1980 (Season 3, Episode 7). This version was directed by Robert Fuest with the teleplay written by Edward Pomerantz.[54] A Spanish feature film adaptation of the work appeared in 1983 under the title En busca del dragón dorado. It was written and directed by Jesús Franco, using the alias "James P. Johnson."[55]

"The Gold Bug" episode on the 1980 ABC Weekend Special series, which starred Roberts Blossom as Mr. LeGrand, Geoffrey Holder as Jupiter, and Anthony Michael Hall, won three Daytime Emmy Awards: 1) Outstanding Children's Anthology/Dramatic Programming, Linda Gottlieb (executive producer), Doro Bachrach (producer), For episode "The Gold Bug"; 2) Outstanding Individual Achievement in Children's Programming, Steve Atha (makeup and hair designer), For episode "The Gold Bug"; and, 3) Outstanding Individual Achievement in Children's Programming, Alex Thomson (cinematographer), For episode "The Gold Bug."

Notes

1.^ Hutchisson, 112
2.^ Rosenheim, 13
3.^ Friedman, William F. "Edgar Allan Poe, Cryptographer" in On Poe: The Best from "American Literature". Durham, NC: Duke University Press, 1993: 40–41. ISBN 0822313111
4.^ Silverman, 152
5.^ Sova, 61
6.^ Rosenheim, 2
7.^ Rosenheim, 6
8.^ Quinn, 130–131
9.^ Silverman, 206
10.^ Bittner, 184
11.^ Weissberg, Liliane. "Black, White, and Gold", Romancing the Shadow: Poe and Race, J. Gerald Kennedy and Liliane Weissberg, eds. New York: Oxford University Press, 2001: 140–141. ISBN 0-19-5137116
12.^ Haycraft, Howard. Murder for Pleasure: The Life and Times of the Detective Story. New York: D. Appleton-Century Company, 1941: 9.
13.^ Hutchisson, 113
14.^ Sova, 130
15.^ Stashower, 295
16.^ Meyers, 135
17.^ Sova, 74
18.^ Oberholtzer, Ellis Paxson. The Literary History of Philadelphia. Philadelphia: George W. Jacobs & Co., 1906: 239.
19.^ Bittner, 185
20.^ Sova, 97
21.^ Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Louisiana State University Press, 1998: 189. ISBN 0807123218
22.^ Thomas and Jackson, 419
23.^ Quinn, 392
24.^ Meyers, 136
25.^ Hutchisson, 186
26.^ Stashower, 252
27.^ Quinn, 539
28.^ Hutchisson, 171
29.^ Thomas and Jackson, 420
30.^ Thomas and Jackson, 567
31.^ Thomas and Jackson, 586–587
32.^ Chivers, Thomas Holley. Life of Poe, Richard Beale Davis, ed. E. P. Dutton & Co., Inc., 1952: 36.
33.^ Thomas and Jackson, 419–420
34.^ Meyers, 136–137
35.^ Thomas and Jackson, 421
36.^ Thomas and Jackson, 422
37.^ Thomas and Jackson, 540
38.^ Silverman, 298
39.^ Salines, Emily. Alchemy and Amalgam: Translation in the Works of Charles Baudelaire. Amsterdam-New York: Rodopi, 2004: 81–82. ISBN 904201931X
40.^ Thomas and Jackson, 585
41.^ Silverman, 320
42.^ Salines, Emily. Alchemy and Amalgam: Translation in the Works of Charles Baudelaire. Amsterdam-New York: Rodopi, 2004: 82. ISBN 904201931X
43.^ Harner, Gary Wayne. "Edgar Allan Poe in France: Baudelaire's Labor of Love", Poe and His Times: The Artist and His Milieu, Ed. Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, 1990: 218. ISBN 0961644923
44.^ Meyers, 291
45.^ Rosenheim, 146
46.^ Rosenheim, 20
47.^ Sova, 98
48.^ Poe, Harry Lee. Edgar Allan Poe: An Illustrated Companion to His Tell-Tale Stories. New York: Metro Books, 2008: 35. ISBN 978-1-4351-0469-3
49.^ Urbina, Ian. "Baltimore Has Poe; Philadelphia Wants Him". The New York Times. September 5, 2008: A10.
50.^ Crawford, Tom. "The Ghost by the Sea". Retrieved February 1, 2009.
51.^ Bittner, 186
52.^ Sova, 268
53.^ Thomas and Jackson, 434
54.^ ""ABC Weekend Specials" The Gold Bug (1980)". http://www.imdb.com/title/tt0082458/.
55.^ IMDb: En busca del dragón dorado

References

Bittner, William. Poe: A Biography. Boston: Little, Brown and Company, 1962.
Hutchisson, James M. Poe. Jackson: University Press of Mississippi, 2005. ISBN 1-57806-721-9
Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. Cooper Square Press, 1992. ISBN 0-8154-1038-7
Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. ISBN 0801857309
Rosenheim, Shawn James. The Cryptographic Imagination: Secret Writing from Edgar Poe to the Internet. Baltimore: Johns Hopkins University Press, 1997. ISBN 9780801853326
Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991. ISBN 0060923318
Sova, Dawn B. Edgar Allan Poe: A to Z. New York: Checkmark Books, 2001. ISBN 0-8160-4161-X
Stashower, Daniel. The Beautiful Cigar Girl: Mary Rogers, Edgar Allan Poe, and the Invention of Murder. New York: Dutton, 2006. ISBN 0-525-94981-X
Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. Boston: G. K. Hall and Co., 1987. ISBN 0-7838-1401-1

Phoenix Film & Video's "The Gold Bug"

Phoenix Film and Video

Deathday: Poet & Editor William Cullen Bryant 1878

William Cullen Bryant (November 3, 1794 – June 12, 1878) was an American romantic poet, journalist, and long-time editor of the New York Evening Post.

Poetry

Although "Thanatopsis," his most famous poem, has been said to date from 1811, it is much more probable that Bryant began its composition in 1813, or even later. What is known about its publication is that his father took some pages of verse from his son's desk and submitted them, along with his own work, to the North American Review in 1817. The Review was edited by Edward Tyrrel Channing at the time and, upon receiving it, read the poem to his assistant, who immediately exclaimed, "That was never written on this side of the water!" Someone at the North American joined two of the son's discrete fragments, gave the result the Greek-derived title Thanatopsis ("meditation on death"), mistakenly attributed it to the father, and published it. With all the errors, it was well-received, and soon Bryant was publishing poems with some regularity, including "To a Waterfowl" in 1821.

Bryant spent months working on "The Ages," a panorama in verse of the history of civilization, culminating in the establishment of the United States. That poem led a collection, entitled Poems, which he arranged to publish on the same trip to Cambridge. For that book, he added sets of lines at the beginning and end of "Thanatopsis." His career as a poet was launched. Even so, it was not until 1832, when an expanded Poems was published in the U.S. and, with the assistance of Washington Irving, in Britain, that he won recognition as America's leading poet.

His poetry has been described as being "of a thoughtful, meditative character, and makes but slight appeal to the mass of readers."

Editorial career

Writing poetry could not financially sustain a family. From 1816 to 1825, he practiced law in Great Barrington, Massachusetts, and supplemented his income with such work as service as the town's hog reeve. Distaste for pettifoggery and the sometimes absurd judgments pronounced by the courts gradually drove him to break with the legal profession.

With the help of a distinguished and well-connected literary family, the Sedgwicks, he gained a foothold in New York City, where, in 1825, he was hired as editor, first of the New-York Review, then of the United States Review and Literary Gazette. But the magazines of that day usually enjoyed only an ephemeral life-span. After two years of fatiguing effort to breathe life into periodicals, he became Assistant Editor of the New-York Evening Post under William Coleman, a newspaper founded by Alexander Hamilton that was surviving precariously. Within two years, he was Editor-in-Chief and a part owner. He remained the Editor-in-Chief for half a century (1828–78). Eventually, the Evening-Post became not only the foundation of his fortune but also the means by which he exercised considerable political power in his city, state, and nation.

Ironically, the boy who first tasted fame for his diatribe against Thomas Jefferson and his party became one of the key supporters in the Northeast of that same party under Jackson. Bryant's views, always progressive though not quite populist, in course led him to join the Free Soilers, and when the Free Soil Party became a core of the new Republican Party in 1856, Bryant vigorously campaigned for John Frémont. That exertion enhanced his standing in party councils, and in 1860, he was one of the prime Eastern exponents of Abraham Lincoln, whom he introduced at Cooper Union. (That "Cooper Union speech" lifted Lincoln to the nomination, and then the presidency.)

Bryant edited the very successful Picturesque America which was published between 1872 and 1874. This two-volume set was lavishly illustrated and described scenic places in the United States and Canada.

Later years

In his last decade, Bryant shifted from writing his own poetry to translating Homer. He assiduously worked on the Iliad and The Odyssey from 1871 to 1874. He is also remembered as one of the principal authorities on homeopathy and as a hymnist for the Unitarian Church—both legacies of his father's enormous influence on him.

Bryant died in 1878 of complications from an accidental fall suffered after participating in a Central Park ceremony honoring Italian patriot Giuseppe Mazzini.

Critical response

Poet and literary critic Thomas Holley Chivers said that the "only thing [Bryant] ever wrote that may be called Poetry is 'Thanatopsis,' which he stole line for line from the Spanish. The fact is, that he never did anything but steal—as nothing he ever wrote is original."

Contemporary critic Edgar Allan Poe, on the other hand, praised Bryant and specifically the poem "June" in his essay "The Poetic Principle":

"The rhythmical flow, here, is even voluptuous—nothing could be more melodious. The intense melancholy which seems to well up, perforce, to the surface of all the poet's cheerful sayings about his grave, we find thrilling us to the soul—while there is the truest poetic elevation in the thrill... the impression left is one of a pleasurable sadness."

Although he is now thought of as a New Englander, Bryant, for most of his lifetime, was thoroughly a New Yorker—and a very dedicated one at that. He was a major force behind the idea that became Central Park, as well as a leading proponent of creating the Metropolitan Museum of Art. He was one of a group of founders of New York Medical College. He had close affinities with the Hudson River School of art and was an intimate friend of Thomas Cole. He defended immigrants and, at some financial risk to himself, championed the rights of workers to form labor unions.

As a writer, Bryant was an early advocate of American literary nationalism, and his own poetry focusing on nature as a metaphor for truth established a central pattern in the American literary tradition.

Deathday: New York Herald Editor & Publisher James Gordon Bennett, Sr. 1872

James Gordon Bennett, Sr. (1 September 1795 – 1 June 1872) was the founder, editor and publisher of the New York Herald and a major figure in the history of American newspapers.

Biography

Born to a prosperous Catholic family in Newmill, Banffshire, Scotland, at 15 Bennett entered the Catholic seminary in Aberdeen, where he remained for four years.[1]

After leaving the seminary he read voraciously on his own and traveled throughout Scotland. In 1819 he joined a friend who was sailing to North America. After four weeks they landed in Halifax, Nova Scotia, where Bennett briefly worked as a schoolmaster till he had enough money to sail to Portland, Maine, where he again taught school in the village of Addison, moving on to Boston by New Year's 1820.[1] He worked as a proofreader and bookseller before the Charleston Courier hired him to translate Spanish news reports. He moved to New York City in 1823 where he worked as a freelance paper writer and editorial assistant.

In May 1835, Bennett began the Herald after years of failing to start a paper. In April 1836, it shocked readers with front–page coverage of the murder of prostitute Helen Jewett; Bennett conducted the first-ever newspaper interview for it. The Herald initiated a cash–in–advance policy for advertisers, which became the industry standard. Bennett was also at the forefront of using the latest technology to gather and report the news, and added illustrations produced from woodcuts. In 1839, Bennett was granted the first ever exclusive interview to a United States President, Martin Van Buren.[2]

The Herald was officially independent in its politics, but endorsed William Henry Harrison, Zachary Taylor, James K. Polk, Franklin Pierce, and John C. Frémont. Bennett supported James Buchanan as tensions rose over slavery. He endorsed John C. Breckinridge for the 1860 presidential campaign, then shifted to John Bell. He promoted George B. McClellan in 1864, but endorsed no candidate. Although he opposed Abraham Lincoln, Bennett backed the Union, then took the lead to turn the president into a martyr after his assassination. He favored most of Andrew Johnson's Reconstruction proposals.

By the time Bennett turned control of the Herald over to his son James Gordon Bennett Jr. in 1866, it had the highest circulation in America. However, under the younger Bennett's stewardship, the paper declined, and, after his death, it was merged with its arch-rival, the New York Tribune.

On 6 June 1840 he had married Henrietta Agnes Crean in New York. They had three children incuding James Gordon Bennett and Jeanette Gordon Bennett, who married Isaac Bell, Jr.

The phrase "Gordon Bennett" which denotes exasperation or shock derives from the son, or amongst the FDNY where it is highest medal a New York City Firefighter can earn (compared to the Medal of Honor for the US Military), "That meal was so good, it should win the Gordon Bennett!"

He also has a street named for him from West 181st to Hillside Ave in Northern Manhattan a.k.a. Washington Heights, a park named in his honor is also along Fort Washington Ave.

Bennett's account of the Helen Jewett murder in the Herald was selected by The Library of America for inclusion in the 2008 anthology True Crime.

References

1.^ James L. Crouthamel (1989). Bennett's New York Herald and the Rise of the Popular Press. Syracuse University Press.
2.^ Paletta, Lu Ann and Worth, Fred L. (1988). "The World Almanac of Presidential Facts."

Edgar Allan Poe Classic Compilation (2008)

The Loves of Edgar Allan Poe (1942)

The Loves of Edgar Allan Poe (1942)

Poe is played by John Shepherd (later known as Shepperd Strudwick). Stunning Linda Darnell plays Virginia Clemm. A quite young Henry Morgan (billed as Henry Morgan) aka MASH's "Colonel Potter" shows up as Ebenezer Burling

IMDB Plot Summary:

"Edgar Allan Poe led an unhappy childhood, broken only by the unceasing devotion of his foster mother, Mrs. Frances Allan, whose loving ministrations gave him courage to carry out his desire to write. His first love was Elmira Royster, and though she married another while he was at the University of Virginia, he could never purge his thoughts of her and, under the influence of her spell, he poured out the deepest passions of his heart. After a discouraging period during which he was disowned by his foster father and lost his appointment to West Point, he found the love that tamed his restless heart with Virginia Clemm. After he and Virginia married, Poe did his greatest creative work, writing for the Southern Literary Messenger and Graham's Magazine."

Plot summary written by Les Adams on IMDB.

"The Raven" Published 1845

Poe first brought "The Raven" to his friend and former employer George Rex Graham of Graham's Magazine in Philadelphia. Graham declined the poem, which may not have been in its final version, though he gave Poe $15 as charity. Poe then sold the poem to The American Review, which paid him $9 for it, and printed "The Raven" in its February 1845 issue under the pseudonym "Quarles", a reference to the English poet Francis Quarles. The poem's first publication with Poe's name was in the Evening Mirror on January 29, 1845, as an "advance copy." Nathaniel Parker Willis, editor of the Mirror, introduced it as "unsurpassed in English poetry for subtle conception, masterly ingenuity of versification, and consistent, sustaining of imaginative lift... It will stick to the memory of everybody who reads it." Following this publication the poem appeared in periodicals across the United States, including the New York Tribune (February 4, 1845), Broadway Journal (vol. 1, February 8, 1845), Southern Literary Messenger (vol. 11, March 1845), Literary Emporium (vol. 2, December 1845), Saturday Courier, 16 (July 25, 1846), and the Richmond Examiner (September 25, 1849).[31] It has also appeared in numerous anthologies, starting with Poets and Poetry of America edited by Rufus Wilmot Griswold in 1847.

The immediate success of "The Raven" prompted Wiley and Putnam to publish a collection of Poe's prose called Tales in June 1845; it was his first book in five years. They also published a collection of his poetry called The Raven and Other Poems on November 19 by Wiley and Putnam which included a dedication to Barrett as "the Noblest of her Sex." The small volume, his first book of poetry in 14 years, was 100 pages and sold for 31 cents. In addition to the title poem, it included "The Valley of Unrest," "Bridal Ballad," "The City in the Sea," "Eulalie," "The Conqueror Worm," "The Haunted Palace" and eleven others. In the preface, Poe referred to them as "trifles" which had been altered without his permission as they made "the rounds of the press."

In part due to its dual printing, "The Raven" made Edgar Allan Poe a household name almost immediately and turned Poe into a national celebrity. Readers began to identify poem with poet, earning Poe the nickname "The Raven." The poem was soon widely reprinted, imitated, and parodied. Though it made Poe popular in his day, it did not bring him significant financial success. As he later lamented, "I have made no money. I am as poor now as ever I was in my life—except in hope, which is by no means bankable."

The New World said, "Everyone reads the Poem and praises it... justly, we think, for it seems to us full of originality and power." The Pennsylvania Inquirer reprinted it with the heading "A Beautiful Poem." Elizabeth Barrett wrote to Poe, "Your 'Raven' has produced a sensation, a fit o' horror, here in England. Some of my friends are taken by the fear of it and some by the music. I hear of persons haunted by 'Nevermore'." Poe's popularity resulted in invitations to recite "The Raven" and to lecture – in public and at private social gatherings. At one literary salon, a guest noted, "to hear [Poe] repeat the Raven... is an event in one's life." It was recalled by someone who experienced it, "He would turn down the lamps till the room was almost dark, then standing in the center of the apartment he would recite... in the most melodious of voices... So marvelous was his power as a reader that the auditors would be afraid to draw breath lest the enchanted spell be broken." Parodies sprung up especially in Boston, New York, and Philadelphia and included "The Craven" by "Poh!," "The Gazelle," "The Whippoorwill," and "The Turkey." One parody, "The Pole-Cat," caught the attention of Andrew Johnston, a lawyer who sent it on to Abraham Lincoln. Though Lincoln admitted he had "several hearty laughs," he had not, at that point read "The Raven." However, Lincoln eventually read and memorized the poem.

"The Raven" was praised by fellow writers William Gilmore Simms and Margaret Fuller, though it was denounced by William Butler Yeats, who called it "insincere and vulgar... its execution a rhythmical trick." Transcendentalist Ralph Waldo Emerson said, "I see nothing in it." A critic for the Southern Quarterly Review wrote in July 1848 that the poem was ruined by "a wild and unbridled extravagance" and that minor things like a rapping at the door and a fluttering curtain would only affect "a child who had been frightened to the verge of idiocy by terrible ghost stories." An anonymous writer going by the pseudonym "Outis" suggested in the Evening Mirror that "The Raven" was plagiarized from a poem called "The Bird of the Dream" by an unnamed author. The writer showed 18 similarities between the poems and was made as a response to Poe's accusations of plagiarism against Henry Wadsworth Longfellow. It has been suggested Outis was really Cornelius Conway Felton, if not Poe himself. After Poe's death, his friend Thomas Holley Chivers said "The Raven" was plagiarized from one of his poems. In particular, he claimed to have been the inspiration for the meter of the poem as well as the refrain "nevermore."

"The Raven" has influenced many modern works, including Vladimir Nabokov's Lolita in 1955, Bernard Malamud's "The Jewbird" in 1963 and Ray Bradbury's "The Parrot Who Knew Papa" in 1976. The poem is additionally referenced throughout popular culture in films, television, music and more.

THE TELL-TALE HEART (1960 film)

The Tell-Tale Heart is a 1960 British horror film directed by Ernest Morris. The screenplay by Brian Clemens and Eldon Howard is a loose adaptation of the 1843 short story of the same title by Edgar Allan Poe.

Plot

Edgar Marsh, a shy librarian obsessed with erotica, becomes infatuated with his neighbor Betty Clare when he sees her undressing in her bedroom. He invites her to dinner, and although she clearly is uncomfortable with the attention he pays her, he showers her with jewelry and fantasizes about their future. Complications arise when he introduces her to his friend Carl Loomis, whom Betty finds far more attractive and appealing. In order to eliminate the competition, Edgar bludgeons Carl to death with a poker and buries him beneath the floorboards in his piano room. His overwhelming guilt leads him to believe a ticking metronome and the incessant dripping of a faucet actually are the sound of his victim's heart still beating.

Cast

Laurence Payne ..... Edgar Marsh
Adrienne Corri ..... Betty Clare
Dermot Walsh ..... Carl Loomis

THE RAVEN (1963 film)

The Raven (1963) is a horror film produced and directed by Roger Corman.[1] The film stars Vincent Price, Peter Lorre, and Boris Karloff as a trio of rival sorcerers. Part of a series of Edgar Allan Poe adaptations produced by Corman through American International Pictures, the film was written by Richard Matheson based on references to Poe's poem "The Raven." Nominally in the horror genre, it is more appropriately classified as a B movie horror-comedy.

Three decades earlier, Karloff had appeared in another film with the same title, Lew Landers' 1935 horror film The Raven with Béla Lugosi. Aside from the title, the two films bear no resemblance to one another.

A novelization of the film was written by Eunice Sudak adapted from Richard Matheson's screenplay and published by Lancer Books in paperback.

Plot

The sorcerer Dr. Erasmus Craven has been mourning the death of his wife Lenore for over two years, much to the chagrin of his daughter Estelle. One night he is visited by a raven, who happens to be a transformed wizard, Dr. Bedlo. Together they brew a potion that restores Bedlo to his old self. Bedlo explains he had been transformed by the evil Dr. Scarabus in an unfair duel, and both decide to see Scarabus, Bedlo to exact revenge and Craven to look for his wife's ghost, which Bedlo reportedly saw at Scarabus' castle. After fighting off the attack of Craven's coachman, who apparently acted under the influence of Scarabus, they set out to the castle, joined by Craven's daughter Estelle and Bedlo's son Rexford.

At the castle, Scarabus greets his guests with false friendship, and Bedlo is apparently killed as he conjures a storm in a last act of defiance against his nemesis. At night, Rexford finds him alive and well, hiding in the castle. Craven, meanwhile, is visited and tormented by Lenore, who is revealed to be alive and well too, having faked her death two years before to move away with Scarabus. As Craven, Estelle, Rexford and Bedlo try to escape the castle, Scarabus stops them, and they are tied and locked up. Bedlo panics and flees away in raven form, having convinced Scarabus to turn him back into bird form rather than face torture. As Craven is confronted with the choice of Estelle's torture or of him giving away the secrets of his "hand magic," Bedlo flies back in, frees Rexford, and together aid Craven.

Craven and Scarabus then seat facing each other and engage in a magic duel. After a lengthy performance of narrow escapes and derision, Craven defeats Scarabus, and escapes with his friends after rejecting Lenore, who tries to reconcile with him after alleging she had been "under a spell". The castle then tumbles down on Scarabus and his mistress, but they are shown to survive, though Scarabus has been stripped of his magic.

Rexford and Estelle retreat alone, while Bedlo tries to convince Craven to turn him back to human form once more. Craven tells him to shut his beak and recites the famous lines from Edgar Allan Poe's poem: "Quoth the raven - nevermore."

Cast

Vincent Price as Dr. Esramus Craven
Peter Lorre as Dr. Adolphus Bedlo
Boris Karloff as Dr. Scarabus
Jack Nicholson as Rexford Bedlo
Hazel Court as Lenore Craven
Olive Sturgess as Estelle Craven

References

1.^ "The Raven (1963)". Internet Movie Database. http://www.imdb.com/title/tt0057449/. Retrieved 17 June 2010.

THE RAVEN (1935 film)

The Raven (1935) is a horror film starring Boris Karloff and Béla Lugosi, and directed by Lew Landers. It revolves around Edgar Allan Poe's famous poem, featuring Lugosi as a Poe-obsessed mad surgeon with a torture chamber in his basement and Karloff as a fugitive murderer desperately on the run from the police. Lugosi had the larger role, but Karloff received top billing, using only his last name.

Almost three decades later, Karloff also appeared in another film with the same title, Roger Corman's 1963 comedy The Raven with Vincent Price, Peter Lorre and Jack Nicholson. Aside from the title, the two films bear no resemblance to one another.

Plot summary

After pretty Jean Thatcher (Ware) has been injured in a car accident, her father, Judge Thatcher (Hinds) and beau Jerry (Matthews) implore retired surgeon Dr. Richard Vollin (Lugosi) to perform a delicate operation to restore her to health. Vollin agrees and is successful; he befriends the spirited and grateful Jean, in the process revealing his passion for all things related to Edgar Allan Poe, including his collection of torture devices inspired by Poe's works (such as a pit, pendulum with scythe, shrinking room, etc).

After Vollin reveals his growing love for Jean to her father, the Judge quickly discourages him from the affair. Angered, Vollin hatches a plan when Edmund Bateman (Karloff), a murderer on the run, comes to his home asking for a new face so he may live in anonymity. Vollin admits to not being a plastic surgeon, but says he can help Bateman, and asks him to help in exacting revenge on the Thatchers, which he refuses. Vollin performs the surgery, but instead turns Bateman into a disfigured monster, promising only to operate again on Bateman when Vollin's revenge is exacted. Bateman finally reluctantly agrees.

Vollin hosts a dinner party, among which Jean, Jerry, and the Judge are guests. One by one, the guests are caught in the Poe-inspired traps. Ultimately, Bateman is shot by Vollin as he rescues Jean and Jerry, but throws Vollin in to the shrinking room where he perishes, and the guests escape.

Marketing

Universal's pressbook heavily focused on Karloff, calling him "the uncanny master of make-up," as well as the connection to Poe. "Was Edgar Allan Poe a mental derelict?" it asks. The pressbook suggests that Poe's characters were "but a reflection of himself." Universal also suggested that cinema owners write letters to local high schools and colleges, urging their teachers to suggest the film to students.[1]

Reception and reputation

Too strong for 1935 tastes, with its themes of torture, disfigurement and grisly revenge, the film did not do particularly well at the box office during its initial release (much like another 1935 horror movie, MGM's Mad Love, starring Peter Lorre), and indirectly led to a temporary ban on horror films in England. With the genre no longer economically viable, horror went out of vogue. This proved a devastating development at the time for Lugosi, who found himself losing work and struggling to support his family. Universal Pictures changed hands in 1936, and the new management was less interested for the moment in the box office novelty of the macabre.

Outside of being rivals in horror films of the time, with Lugosi resenting Karloff's spectacular success in the wake of playing the role of Frankenstein's monster, both men were united in getting the fledgling Screen Actors Guild off the ground in the mid-1930s. During the production of The Raven Lugosi encouraged four additional members of the supporting cast to sign with the guild.

Cast

Boris Karloff as Edmund Bateman
Béla Lugosi as Richard Vollin
Lester Matthews as Jerry Halden
Irene Ware as Jean Thatcher
Samuel S. Hinds as Judge Thatcher
Spencer Charters as Bertram Grant
Inez Courtney as Mary Burns
Ian Wolfe as Geoffrey
Maidel Turner as Mrs. Harriet Grant

References

1.^ Smith, Don G. The Poe Cinema: A Critical Filmography. McFarland & Company, 1999. p. 57-8 ISBN 0-7864-1703-X

Deathday: LE CORBEAU Director Henri-Georges Clouzot 1977

Henri-Georges Clouzot (August 18, 1907 – January 12, 1977) was a French film director, screenwriter and producer. He is best remembered for his work in the thriller film genre, having directed The Wages of Fear and Les Diaboliques, which are critically recognized to be among the greatest films from the 1950s. Clouzot also directed documentary films, including The Mystery of Picasso, which was declared a national treasure by the government of France.

Clouzot was an early fan of the cinema and, desiring a career as a writer, moved to Paris. He was later hired by producer Adolphe Osso to work in Berlin, writing French-language versions of German films. After being fired from German studios due to his friendship with Jewish producers, Clouzot returned to France, where he spent years bedridden after contracting tuberculosis. Upon recovering, Clouzot found work in Nazi occupied France as a screenwriter for the German-owned company Continental Films. At Continental, Clouzot wrote and directed films that were very popular in France. His second film Le Corbeau drew controversy over its harsh look at provincial France and Clouzot was fired from Continental before its release. As a result of his association with Continental, Clouzot was barred by the French government from filmmaking until 1947.

After the ban was lifted, Clouzot reestablished his reputation and popularity in France during the late 1940s with successful films including Quai des Orfèvres. After the release of his comedy film Miquette et sa mère, Clouzot married Véra Gibson-Amado, who would star in his next three feature films. In the early and mid-1950s, Clouzot drew acclaim from international critics and audiences for The Wages of Fear and Diabolique. Both films would serve as source material for remakes decades later. After the release of La Vérité, Clouzot's wife Véra died of a heart attack and Clouzot's career suffered due to depression, illness and new critical views of films from the French New Wave. Clouzot's career became less active in later years, limited to a few television documentaries and two feature films in the 1960s. Clouzot wrote several unused scripts in the 1970s and died in Paris in 1977.

Deathday: Mystery Author Agatha Christie 1976

Dame Agatha Christie, DBE, (15 September 1890 – 12 January 1976), was a British crime writer of novels, short stories and plays. She also wrote romances under the name Mary Westmacott, but she is best remembered for her 80 detective novels—especially those featuring Hercule Poirot and Miss Jane Marple—and her successful West End theatre plays.

According to the Guinness Book of World Records, Christie is the best-selling writer of books of all time and, with William Shakespeare, the best-selling author of any kind. Only the Bible has sold more than her roughly four billion copies of novels. According to UNESCO, Christie is the most translated individual author, with only the collective corporate works of Walt Disney Productions surpassing her. Her books have been translated into at least 103 languages.

Christie's stage play The Mousetrap holds the record for the longest initial run: it opened at the Ambassadors Theatre in London on 25 November 1952 and as of 2010 is still running after more than 23,000 performances. In 1955, Christie was the first recipient of the Mystery Writers of America's highest honour, the Grand Master Award, and in the same year Witness for the Prosecution was given an Edgar Award by the MWA for Best Play. Most of her books and short stories have been filmed, some many times over (Murder on the Orient Express, Death on the Nile and 4.50 From Paddington for instance), and many have been adapted for television, radio, video games and comics.

In 1968, Booker Books, a subsidiary of the agri-industrial conglomerate Booker-McConnell, bought a 51 percent stake in Agatha Christie Limited, the private company that Christie had set up for tax purposes. Booker later increased its stake to 64 percent. In 1998, Booker sold its shares to Chorion, a company whose portfolio also includes the literary estates of Enid Blyton and Dennis Wheatley.

In 2004, a 5,000-word story entitled The Incident of the Dog's Ball was found in the attic of the author's daughter. This story was the original version of the novel Dumb Witness. It was published in Britain in September 2009 in John Curran's Agatha Christie's Secret Notebooks: Fifty Years Of Mysteries, alongside another newly discovered Poirot story called The Capture of Cerberus (a story with the same title, but a different plot, to that published in The Labours Of Hercules). On November 10, 2009, Reuters announced that The Incident of the Dog's Ball will be published by The Strand Magazine.

Disappearance

In late 1926, Agatha's husband, Archie, revealed that he was in love with another woman, Nancy Neele, and wanted a divorce. On December 8, 1926, the couple quarreled, and Archie Christie left their house Styles in Sunningdale, Berkshire, to spend the weekend with his mistress at Godalming, Surrey. That same evening Agatha disappeared from her home, leaving behind a letter for her secretary saying that she was going to Yorkshire. Her disappearance caused an outcry from the public, many of whom were admirers of her novels. Despite a massive manhunt, she was not found for eleven days.

On December 19, 1926, Agatha was identified as a guest at the Swan Hydropathic Hotel (now the Old Swan Hotel) in Harrogate, Yorkshire, where she was registered as 'Mrs Teresa Neele' from Cape Town. Agatha gave no account of her disappearance. Although two doctors had diagnosed her as suffering from psychogenic fugue, opinion remains divided as to the reasons for her disappearance. One suggestion is that she had suffered a nervous breakdown brought about by a natural propensity for depression, exacerbated by her mother's death earlier that year and the discovery of her husband's infidelity. Public reaction at the time was largely negative, with many believing it a publicity stunt while others speculated she was trying to make the police believe her husband had killed her.

To honour her many literary works, she was appointed Commander of the Order of the British Empire in the 1956 New Year Honours. The next year, she became the President of the Detection Club. In the 1971 New Year Honours she was promoted Dame Commander of the Order of the British Empire, three years after her husband had been knighted for his archeological work in 1968. They were one of the few married couples where both partners were honoured in their own right. From 1968, due to her husband's knighthood, Christie could also be styled as Lady Agatha Mallowan, or simply Lady Mallowan.

From 1971 to 1974, Christie's health began to fail, although she continued to write. Recently, using experimental, computerised, textual tools of analysis, Canadian researchers have suggested that Christie may have begun to suffer from Alzheimer's disease or other dementia. In 1975, sensing her increasing weakness, Christie signed over the rights of her most successful play, The Mousetrap, to her grandson.

Agatha Christie died on January 12, 1976 at age 85 from natural causes at her Winterbrook House in the north of Cholsey parish, adjoining Wallingford in Oxfordshire (formerly part of Berkshire). She is buried in the nearby churchyard of St Mary's, Cholsey.

Christie's only child, Rosalind Margaret Hicks, died, also aged 85, on October 28, 2004 from natural causes in Torbay, Devon. Christie's grandson, Mathew Prichard, was heir to the copyright to some of his grandmother's literary work (including The Mousetrap) and is still associated with Agatha Christie Limited.