Trixie Belden, Edgar Allan Poe, and the Secret of the Secret in Girl-Sleuth Literature

2008 ◽  
Vol 27 (1) ◽  
pp. 49-60
Author(s):  
Steven J. Zani
Keyword(s):  
Edgar Allan Poe

Edgar Allan Poe Matches Wits With One of the First Identified Serial Killers!

PsycCRITIQUES ◽  
2014 ◽  
Vol 59 (2) ◽  
Author(s):  
James F. Iaccino ◽  
Jennifer Dondero
Keyword(s):  
Edgar Allan Poe ◽  
Serial Killers

Case Study #2: The Mask of the Red Death by Edgar Allan Poe

Public Voices ◽  
2016 ◽  
Vol 13 (1) ◽  
pp. 165
Author(s):  
Kenneth Nichols
Keyword(s):  
Edgar Allan Poe

Every era has had its scourge, contagion, pestilence, or plague. And every age has had to deal with those problems in the best way it could at the time. Edgar Allan Poe creates for us a leader whose method of “dealing” was, at best, ill-considered.

In a Glass Darkly? Narrating Death and the Afterlife in J. Sheridan Le Fanu

2018 ◽  
Author(s):  
Alison Milbank
Keyword(s):  
Edgar Allan Poe ◽  
Feminist Theology ◽  
Female Protagonists ◽  
Female Gothic ◽  
The Demonic

Chapter 10 compares the work of J. Sheridan Le Fanu, Edgar Allan Poe, and Emmanuel Swedenborg. Le Fanu is closely connected to Maturin and copies a number of his tropes in ‘Spalatro’: mimetic contagion, blood for money, the demonic tempter, and suicide. Le Fanu, aware of the deathliness of his Anglo-Irish culture, seeks ways to engender life and movement through narrating and revealing death so that a transcendence beyond can be imagined. He is compared to Poe, whose female protagonists remain entrapped by materiality even as they seek to escape it, and shown to be more grotesque. He uses Swedenborg to render the afterlife itself material and real, especially through his spiritual creatures, and to make the transcendent the cause of the natural. A proto-feminist theology yokes female Gothic entrapment to the power of death, and the heroines of ‘Schalken the Painter’ and ‘Carmilla’ apocalyptically reveal the presence of death in its grotesque materiality, while the women of Uncle Silas act as agents of heavenly charity.

American Obscurantism

2018 ◽  
Author(s):  
Peter Lurie
Keyword(s):  
American Literature ◽  
William Faulkner ◽  
Herman Melville ◽  
Edgar Allan Poe ◽  
Hart Crane ◽  
Stanley Kubrick ◽  
Early Twenty ◽  
Racial History ◽  
Late Twentieth ◽  
Ongoing Development

American Obscurantism argues for a salutary indirection in U.S. culture. From its earliest canonical literary works through films of the late twentieth and early twenty-first centuries, the most compelling manifestations of America’s troubled history have articulated this content through a unique formal and tonal obscurity. Envisioning the formidable darkness attending racial history at nearly every stage of the republic’s founding and ongoing development, writers such as William Faulkner and Hart Crane, and directors like the Coen brothers and Stanley Kubrick, present a powerful critique of American conquest, southern plantation culture, and western frontier ideology. American Obscurantism engages the basis of these explorations in Edgar Allan Poe and Herman Melville, each of whom present notable occlusions in their characters’ racial understanding, an obtuseness or naivety that is expressed by a corresponding formal opacity. Such oblique historicity as the book describes allows a method at odds with—and implicitly critical of—the historicizing trend that marked literary studies in the wake of the theoretical turn. The book thus restores an emphasis on aesthetic and medium-specific features to argue for a formalist historicity. Working through challenges to an implicitly white, bourgeois, heteronormative polity, American Obscurantism posits an insistent, vital racial otherness at the heart of American literature and cinema. It examines this pattern across a canon that shows more self-doubt than assuredness, arguing for the value of openness and questioning in place of epistemological or critical certainty.

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