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Finalist for the Los Angeles Times Book Prize | Finalist for the 2022 Edgar Award Winner of the 2021 Quinn Award An innovative biography of Edgar Allan Poe—highlighting his fascination and feuds with science. Decade after decade, Edgar Allan Poe remains one of the most popular American writers. He is beloved around the world for his pioneering detective fiction, tales of horror, and haunting, atmospheric verse. But what if there was another side to the man who wrote “The Raven” and “The Fall of the House of Usher”? In The Reason for the Darkness of the Night, John Tresch offers a bold new biography of a writer whose short, tortured life continues to fascinate. Shining a spotlight on an era when the lines separating entertainment, speculation, and scientific inquiry were blurred, Tresch reveals Poe’s obsession with science and lifelong ambition to advance and question human knowledge. Even as he composed dazzling works of fiction, he remained an avid and often combative commentator on new discoveries, publishing and hustling in literary scenes that also hosted the era’s most prominent scientists, semi-scientists, and pseudo-intellectual rogues. As one newspaper put it, “Mr. Poe is not merely a man of science—not merely a poet—not merely a man of letters. He is all combined; and perhaps he is something more.” Taking us through his early training in mathematics and engineering at West Point and the tumultuous years that followed, Tresch shows that Poe lived, thought, and suffered surrounded by science—and that many of his most renowned and imaginative works can best be understood in its company. He cast doubt on perceived certainties even as he hungered for knowledge, and at the end of his life delivered a mind-bending lecture on the origins of the universe that would win the admiration of twentieth-century physicists. Pursuing extraordinary conjectures and a unique aesthetic vision, he remained a figure of explosive contradiction: he gleefully exposed the hoaxes of the era’s scientific fraudsters even as he perpetrated hoaxes himself. Tracing Poe’s hard and brilliant journey, The Reason for the Darkness of the Night is an essential new portrait of a writer whose life is synonymous with mystery and imagination—and an entertaining, erudite tour of the world of American science just as it was beginning to come into its own.
It was once my good fortune to assist in a discovery of some importance to lovers of literature, and to searchers after the new and wonderful. As nearly a quarter of a century has since elapsed, and as two others shared in the discovery, it may seem to the reader strange that the general public has been kept in ignorance of an event apparently so full of interest. Yet this silence is quite explicable; for of the three participants none has heretofore written for publication; and of my two associates, one is a quiet, retiring man, the other is erratic and forgetful. It is also possible that the discovery did not at the time impress either my companions or myself as having that importance and widespread interest which I have at last come to believe it really possesses. In any view of the case, there are reasons, personal to myself, why it was less my duty than that of either of the others to place on record the facts of the discovery. Had either of them, in all these years, in ever so brief a manner, done so, I should have remained forever silent.
Reflecting today's growing emphasis on multiculturalism, the second edition of this remarkably successful anthology offers twelve additional contributions from the new generation of writers currently revitalizing the short story form, including Amy Tan, Bharati Mukherjee, R.K. Narayan, Stephen Milhauser, Ellen Gilchrist, and Patrick McGrath. Organized around the successive stages of humanity's most durable myth, the hero's quest narrative pattern delineated by renowned mythologist Joseph Campbell, this edition offers a summary and explication of Campbell's analysis of the quest motif, a new biographical introduction to Campbell's life and work, and a section of concise biographical entries on each of the fifty authors.As in the earlier edition, the quality and quantity of the selections give instructors the freedom to present the stories in whatever order and structure they choose. For those who wish to take advantage of the anthology's thematic organization, the editors provide questions for discussion and possible writing assignments that do not sacrifice the comprehensive diversity of the selections or their identity as distinctive works of literature open to various interpretations. A highly accessible introduction to the technical aspects of the close analysis of fiction, this text also offers a number of special features: two supplementary tables of contents, one organized by alternate themes, and one by the traditional elements of fiction; an introductory essay defining those technical elements and including a sample analysis of one the stories in the anthology; and a glossary of critical terms.
Eureka (1848) is a lengthy non-fiction work by American author Edgar Allan Poe (1809–1849) which he subtitled "A Prose Poem", though it has also been subtitled as "An Essay on the Material and Spiritual Universe". Adapted from a lecture he had presented, Eureka describes Poe's intuitive conception of the nature of the universe with no antecedent scientific work done to reach his conclusions. He also discusses man's relationship with God, whom he compares to an author. It is dedicated to the German naturalist and explorer Alexander von Humboldt (1769–1859). Though it is generally considered a literary work, some of Poe's ideas anticipate 20th century scientific discoveries and theories. Indeed a critical analysis of the scientific content of Eureka reveals a non-causal correspondence with modern cosmology due to the assumption of an evolving Universe, but excludes the anachronistic anticipation of relativistic concepts such as black holes. Eureka was received poorly in Poe's day and generally described as absurd, even by friends. Modern critics continue to debate the significance of Eureka and some doubt its seriousness, in part because of Poe's many incorrect assumptions and his comedic descriptions of well-known historical minds. It is presented as a poem, and many compare it with his fiction work, especially science fiction stories such as "The Facts in the Case of M. Valdemar". His attempts at discovering the truth also follow his own tradition of "ratiocination", a term used in his detective fiction tales. Poe's suggestion that the soul continues to thrive even after death also parallels with works in which characters reappear from beyond the grave such as "Ligeia". The essay is oddly transcendental, considering Poe's disdain for that movement. He considered it his greatest work and claimed it was more important than the discovery of gravity. Eureka is Poe's last major work and his longest non-fiction work at nearly 40,000 words in length.
Edgar Allan Poe's "Von Kempelen and his Discovery" tells of the fictional discovery of a way to turn lead into gold. The protagonist, a scientist, deceives the public and challenges concepts of credibility and greed, until his secret is tragically revealed.
Through close analysis of Eureka and The Purloined Letter, Swirski evaluates Poe's epistemological theses in the light of contemporary philosophy of science and presents literary interpretation as a cooperative game played by the author and reader, thereby illuminating how we read fiction. The analysis of Poe's little-studied Eureka provides the basis for his discussion of Lem's critique of scientific reductionism and futurological forecasts. Drawing on his own interviews with Lem as well as analysis of his works, Swirski considers the author's scenarios involving computers capable of creative acts and discusses their socio-cultural implications. His analysis leads to bold arguments about the nature of literature and its relation to a broad range of other disciplines.