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"The Raven" by Edmund Dulac (1912) |
Today, January 19, marks the birthdate of
Edgar Allan Poe (1809-1849), a journalist and foundational architect of
American Literature, whose macabre stories and poems display the highest
artistry of construction and effectiveness. It is upon these works that Poe’s substantial
reputation rests. Poe refined the short story as a form, invented the detective
story (and in the process established the model for a literary archetype which
continues to this day), and wrote tales of fantasy and horror which expertly
bridged the excess of the Gothic tale with the high literary standards of the
emerging English ghost story. His tales of scientific romance still serve as
models for much science fiction of today. Poe preferred to be considered a poet
first and foremost. To us he left a relatively small but striking sheaf of
melodic and melancholy verse. So seminal is Poe to American literature, and so
integral to the establishment and direction of the imaginative fields of
horror, suspense, mystery, fantasy, and science fiction, that, although he was
never directly adapted on the series, one could safely say that without Edgar
Allan Poe there would be no Twilight
Zone.
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"Ligeia" by Byam Shaw (1909) |
Born in Boston on January 19, 1809 to traveling
actors, orphaned before the age of three by a father’s abandonment and a mother
succumbing to the effects of Tuberculosis, Poe was adopted by Virginia merchant
John Allan, with whom Poe battled until Allan’s death in 1834. Such was Poe's relationship with his foster father that Allan made no mention of Poe in his will. Poe was one of
the earliest writers to attempt to support himself solely through the use of
his pen. For the remainder of his short, unhappy life, Poe worked a variety of jobs, the most satisfying of which was as a
journalist, toiling on the staffs of various periodicals, including an
unfortunate attempt to produce his own magazine,
while providing literary reviews, short stories, and the occasional volume of
verse, the most successful of which, The
Raven and Other Poems, appeared in 1845. Poe’s combative nature and occasional drunkenness cost him
employment and opportunity. Unhappiness followed Poe to the grave. He unwisely (and unknowningly) appointed a bitter enemy as his literary executor. Rufus Griswold, whose work Poe
had savaged in a review years earlier, committed such extensive, deliberate damage to Poe’s
reputation that the negative effects can still be viewed today in the largely embellished
depictions of Poe which proliferate in the culture.
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"The Black Cat" by F.S. Coburn (1901) |
Poe’s works have inspired interpretation
across virtually every medium of creative expression in the 169 years since he died under mysterious circumstances in Baltimore on October 7, 1849. In no
medium has Poe been so well represented outside of his native literary province
than in motion pictures. Cinematic adaptations of Poe arrived at the very dawn of the medium and
his life and work has been the subject of more than a hundred films,
documentaries, and television series. Widely considered among the finest
adaptations of Poe’s works are a series of films from American International
Pictures and director Roger Corman, films which were scripted almost entirely
by the same writers who contributed to The
Twilight Zone.
The first film in the series was House of Usher (1960), an adaptation of
Poe’s 1839 short story, “The Fall of the House of Usher,” by Twilight Zone writer Richard Matheson.
The film featured a towering performance from Vincent Price, who appeared in
nearly every AIP Poe film. The Pit and
the Pendulum (1961), again with a script by Matheson and based on Poe’s
tale of 1842, appeared a year later, followed in succession by The Premature Burial (1962), featuring
Ray Milland in an adaptation of Poe’s tale of 1844 by Twilight Zone writer Charles Beaumont and Playboy fiction editor Ray Russell, Tales of Terror (1962), an anthology film featuring Vincent Price,
Peter Lorre, and Basil Rathbone, based on a script by Richard Matheson adapting
Poe’s “Morella” (1835), “The Black Cat” (1843)/”The Cask of Amontillado”
(1846), and “The Facts in the Case of M. Valdemar” (1845), The Raven (1963), a comedy scripted by Matheson which, though
enjoyable, bears little resemblance to Poe's poem, The Masque of the Red Death (1964), based on Poe’s 1842 fable, with a script by Charles Beaumont and R.
Wright Campbell, and The Tomb of Ligeia, from the 1838 tale “Ligeia” and a script by Robert Towne and Peter Mayersberg. Another film, The Haunted Palace (1963), though ostensibly
based on Poe’s 1839 poem, is actually an adaptation of H.P.
Lovecraft’s short novel, The Case of
Charles Dexter Ward. The script for that film was provided by Charles
Beaumont.
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"The Pit and the Pendulum" by H. Meyer (1908) |
A personal favorite of Poe on film is
not based on a work by Poe but is rather a macabre fantasy based on the idea
that new works by Poe were being created from beyond the grave. “The Man Who
Collected Poe” is the final segment of the horror anthology film Torture Garden (1967), the second in a
series of films by Amicus Productions, who specialized in horror anthology films. The script was by Robert Bloch (Psycho, Twilight Zone: The Movie novelization)
based on his own 1951 short story. The segment features Jack Palance as a greedy
book collector and Poe enthusiast who encounters the world’s greatest Poe
collector, played by Peter Cushing, and discovers that Cushing has somehow acquired new
works by Poe through supernatural means. As a writer, Bloch was certainly
kindred to Poe and paid his respects to the master many times over the course
of his career. Perhaps the most memorable of these moments was when Bloch
completed Poe’s unfinished tale “The Light-House” for the January/February,
1953 issue of Fantastic magazine. Others
have attempted to complete “The Light-House” and a fine collection of such attempts is editor Christopher Conlon’s 2006 anthology Poe’s Lighthouse from Cemetery Dance.
That volume contains collaborations between Poe and Twilight Zone writers George Clayton Johnson and Earl Hamner, among
many others.
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"The Lighthouse" by Virgil Finlay (1953) |
Other memorable Poe film adaptations include
the gruesome pre-code Bela Lugosi vehicle Murders
in the Rue Morgue (1932), a consolation prize for Lugosi and future Twilight Zone director Robert Florey
after the pair were removed from Universal’s production of Frankenstein; Vincent Price’s one-man-show, the filmed stage
production of An Evening with Edgar Allan
Poe (1970); Two Evil Eyes (1990),
a two-segment anthology film from directors Dario Argento and George Romero; and Extraordinary Tales (2015), an animated anthology of Poe’s tales. In October, 2017, PBS produced
the exceptional documentary film Edgar
Allan Poe: Buried Alive.
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"The Raven" by Arthur E. Becher (1903) |
Poe has inspired generations of
novelists, short story writers, and editors, as well as magazines, comic books,
radio shows, musical performance, visual art, and fashion. Poe’s works are in
the public domain and various editions, scanned from American libraries, can be
accessed on the Internet Archive.
Happy birthday, Mr. Poe, and thank you
for gracing us with such exquisite tales of beauty and terror.
Poe's works have been reprinted in an endless array of editions since his death, from thrift paperbacks to lavishly illustrated limited editions. Here is a primary bibliography of books published during Poe's lifetime, taken from The Portable Edgar Allan Poe, edited by
J. Gerald Kennedy (Penguin Books, 2006):
-Tamerlane
and Other Poems by a Bostonian (Calvin F.S. Thomas, printer, Boston:
1827)
-Al
Aaraaf, Tamerlane, and Minor Poems by
Edgar A. Poe (Hatch & Dunning, Baltimore: 1829)
-The
Narrative of Arthur Gordon Pym of Nantucket (Harper & Brothers, New York: 1838)
-Tales
of the Grotesque and Arabesque, 2
volumes (Lea and Blanchard, Philadelphia: 1840)
-
The
Prose Romances of Edgar A. Poe (William
H. Graham, Philadelphia: 1843)
-Tales
(Wiley and Putnam, New York: 1845)
-The
Raven and Other Poems (Wiley and Putnam,
New York: 1845)
-Eureka:
A Prose Poem (Putnam, New York: 1848)
-JP
So many episodes have a Poe flavor -- from "The Tell-Tale Heart" - esque "Deaths-head Revisited" to "The Masks" echoing "The Masque of the Red Death." Serling and his fellow "TZ" writers certainly owe a lot to the Master of the Macabre. Another writer they owe a debt -- Kafka -- deserves a great write up like this as well. Will you be giving Kafka the same treatment you gave Poe here in the forseeable future?
ReplyDeleteI completely agree with you on the Poe-esque flavor of several episodes. You're right about "The Masks," one of my absolute favorites, in that it could almost have been written by Poe. I would even point to Poe's tales of paranoia (particularly "The Masque of the Red Death") as reflected in Serling's "The Shelter" and "The Monsters are Due on Maple Street," the idea of the "other" invading the security of an enclosed community. Poe also wrote a great doppelganger tale, "William Wilson," whose subject matter can be seen in Serling's "Mirror Image."
DeleteAs for Kafka, I'm afraid I haven't read enough of his work to reliably comment on his connection to the series. In time I may familiarize myself with his works and offer the same critical commentary as I've afforded Poe, whose work I've been actively reading since I was a child. Time will tell.
Thanks for reading!