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Edgar Allan Poe was one of the first major critics to develop and refine his critical theories through magazine articles and book reviews. Edgar Allan Poe as Literary Critic focuses on his interest in establishing an aesthetic for magazine literature, and Parks has examined Poe's criticism at length. Poe's efforts in the field of literary criticism have often been condemned as a rationalization of his own personal limitations as a writer, but this study contends that his critical theories far surpass such a narrow interpretation. Rather, Poe was “essentially a magazinist,” and therefore emphasized brevity, unity, and totality of effect and placed the highest value on literary types best suited to periodical literature.
Essential anthology of Poe's critical works reviews works by Dickens, Hawthorne, many others. Includes Theory of Poetry ("The Philosophy of Composition," "The Rationale of Verse," "The Poetic Principle"). Introduction.
Gathers Poe's essays on the theory of poetry, the art of fiction, the role of the critic, leading nineteenth-century writers, and the New York literary world.
Scott Peeples here examines the many controversies surrounding the work and life of Poe, shedding light on such issues as the relevance of literary criticism to teaching, the role of biography in literary study, and the importance of integrating various interpretations into one's own reading of literature.
Spend the holidays with the Master of the Macabre
Rife with textual analysis, historical context, and insights about the power of fiction, Peck hacks away literature's deadwood to discover the vital heart of the contemporary novel.
A variety of critical approaches illuminate different facets of Poe's complex imagination by concentrating on such famous tales as The Cask of Amontillado, The Fall of the House of Usher, The Black Cat and The Murders in the Rue Morgue.
Each volume in this series provides an introduction tracing the subject author's critical reputation, trends in interpretation, developments in textual and biographical scholarship, and reprints of selected essays and reviews, beginning with the author's contemporaries and continuing through to current scholarship. Many volumes also feature new essays by leading scholars and critics, specially commissioned for the series.
The poetry of Edgar Allan Poe has had a rough ride in America, as Emerson’s sneering quip about “The Jingle Man” testifies. That these poems have never lacked a popular audience has been a persistent annoyance in academic and literary circles; that they attracted the admiration of innovative poetic masters in Europe and especially France—notably Baudelaire, Mallarmé, and Valéry—has been further cause for embarrassment. Jerome McGann offers a bold reassessment of Poe’s achievement, arguing that he belongs with Whitman and Dickinson as a foundational American poet and cultural presence. Not all American commentators have agreed with Emerson’s dim view of Poe’s verse. For McGann, a notable exception is William Carlos Williams, who said that the American poetic imagination made its first appearance in Poe’s work. The Poet Edgar Allan Poe explains what Williams and European admirers saw in Poe, how they understood his poetics, and why his poetry had such a decisive influence on Modern and Post-Modern art and writing. McGann contends that Poe was the first poet to demonstrate how the creative imagination could escape its inheritance of Romantic attitudes and conventions, and why an escape was desirable. The ethical and political significance of Poe’s work follows from what the poet takes as his great subject: the reader. The Poet Edgar Allan Poe takes its own readers on a spirited tour through a wide range of Poe’s verse as well as the critical and theoretical writings in which he laid out his arresting ideas about poetry and poetics.