The Triumph of Lovecraft

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The deeper you peer into the mouth of nature, the more Lovecraftian the world becomes. Just days after I had posted a little meditation on Cthulhu, the great old god of H. P. Lovecraft’s unholy pantheon broke into the mainstream news. No less a source than NBC ran the headline “Tiny Cthulhu ‘monsters’ discovered in termite guts” only a few days ago. The microbe with the scientific name Cthulhu macrofasciculumque lives in the digestive system of termites, helping them in their destructive work. True, Lovecraft described Cthulhu as a bit bigger than that, but the first appearance of the microbes, according to Megan Gannon, reminded the discoverers of the eponymous terror of the Cthulhu mythos.

From microbes to the major football leagues such as the Baltimore Ravens, writers of the macabre have left their mark on our culture. The darkness they describe so richly is something we all feel at some level, but that we sublimate most of the time so that we can get on with our lives. Cthulhu macrofasciculumque may be very, very small, but the super-viruses and bacteria that we are encountering have the ability to destroy us just as surely as the chimerical colossus of Lovecraft’s nightmares. When we look for a way to describe these terrors, we have brave literary heroes from whom we might draw. We would be lost without them. They make it safe for us to venture into that darkened room, for they have been there before us. Lovecraft gave the world its first scientific description of Cthulhu, and although that description defies adequate reconstruction, we recognize it when we see it.

As Lovecraft saw him.

As Lovecraft saw him.

Science has brought us so very far. We can now see to almost the brink of an infinite universe and delve into the guts of termites. We have the ability to prolong life and increase physical comfort for those who can afford it, and we can annihilate entire nations at the press of a button. Drones can fly overhead and do the dirty work, and we don’t even have to step outdoors. Yet when we meet something that shivers our scientific spines, we turn back to the old gods to name it. Yes, religion may be the bête noire of science, but the dark night of the soul is not illuminated by LED’s or lasers. To see in this dark you need to have the night vision of literary perception. And those lenses, according to Lovecraft, reveal that the old gods are dead but still dreaming.

Poe

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PoeSilvermanOn his birthday I began reading a biography of Edgar Allan Poe. The last biography of Poe I read, I’m embarrassed to admit, was in high school. To me Poe is like music: deeply appreciated and therefore taken in rare doses. The biography this time was Kenneth Silverman’s Edgar A. Poe, A Biography: Mournful and Never-Ending Remembrance. I picked this book up last time I was on the University of Virginia campus, just after I stopped by to gaze wonderingly into Poe’s room. Like most biographies these days, Silverman’s account is hardly a hagiography. Poe was a perfect man only in his embodiment as a man of sorrows. In the days when “writer” was not really a profession, Poe nevertheless recognized what his strengths were and persisted to try to make a living following those assets. A poverty-stricken living much of the time, but an honest one. It is not pleasant to have a hero’s foibles exposed, but Poe was all the more admirable for having been fully human. We have all experienced arrogance and humility in turns. Poe was a man who knew sorrow from his youngest years, and that cloud stayed with him until his death just forty years later. A personal tempest.

Poe, not a conventionally religious man, nevertheless recognized and drew upon religious imagery. In his poem “Ulalume—A Ballad” Astarte’s ghost appears. Astarte remains a goddess poorly understood, but Poe was likely drawing on her association with Venus. She fails, however, to lead to Heaven. Silverman points out how “Ulalume” was followed closely by Eureka, Poe’s only sustained attempt at metaphysics. Poe came to the conclusion that upon death we become part of the all-encompassing God. This daring deduction cost him friends and supporters, but it also led to a rebuttal by a seminary student. Poe’s reply to his criticisms remains apt, as Silverman quotes him, “‘God knows what’—he cared very little what he was called ‘so it be not a “Student of Theology.”’” Amen, Mr. Poe.

Some lives, like those of Job, seem fated to loss and suffering. Yes, there have been those who lost more than Poe, or even Job, but this is no contest to see who might bear the most weight before being driven to his or her knees. Poe felt it deeply and expressed it eloquently. He recognized, as most writers do today, that business models resent an honest voice. Those who sell are often those who pretend. I’m sure that Poe would nevertheless give a wry smile of irony if he knew how multiple editions of his works, long in the public domain, flow from the presses of publishers hoping to make a dollar or two on his now stellar reputation as a writer and, in full recognition of the paradox, a prophet. Like his raven, Poe could see beyond the confines of this world and paid the price for his vision. Obviously he was no student of theology.

Year of Poe

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Apart from sharing a “middle” name, I would never dare compare myself to Edgar Allan Poe. Yes, I dabble in the literary arts, but every acolyte recognizes a true priest when he sees one. So as my train pulled into Boston, a city that has deep emotional resonances for me, I decided to stop and see where Edgar Allan Poe was born. The actual site is now a parking structure, an unexpected parallel between our emerging universes. All of my childhood homes, with one exception, are now parking lots. Standing at the foot of the memorial plaque near Emerson College, I reflected on my Poe year. I visited his college room at the University of Virginia in February, his one-time apartment in Philadelphia in March, his burial site in Baltimore in August, and now his birthplace. Not in any chronological order, but a voyage of discovery nevertheless.

This is the essence of pilgrimage. It is not rational and not really practical, but it is something people do. With religious intensity. I am in Boston as part of my secular job, but the city has sacred associations for me. I met my wife here, and that single event has changed my entire life. Boston will always be the place where something extraordinary happened to me. Poe did not like Boston, but for me it is the eternal city. Even the places with negative associations stake claims upon us. Over the weekend a friend posted a picture online taken before combat forced his evacuation from Vietnam many years ago. I kept coming back to that picture throughout the day. Lingering. Staring. Even though I’d never been there, it was like place had the ability to haunt those who’d even dared to look.

Poe and my friend are both writers who’ve drawn me into their worlds. What better way is there to learn that the universe is indeed infinite? Looking out my window at a Kenmore Square I recognize only by the giant Citgo sign that shed its garish light on many an evocative student night, I realize even eternal cities change. The last time I was in South Station I was saying goodbye to the woman I hoped, but did not know, would become my wife. Almost as if on cue, ” Lola” by the Kinks spills out of a local store as the Citgo sign flickers to life over the scene of my coming of age. In Boston I will always be twenty-three, wars will be long over, and Poe will remain alive forever.

Traces in Between

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I first discovered Edgar Allan Poe as an adolescent who believed monster movies actually represented physical malefactors. By the time I was writing high school term papers, Poe had become my favorite author, and I delved a bit into his sad life story. It has taken a few decades for me to realize that no lives really fit into the prepackaged paradigms that we’re sold. We think of Poe as a writer, but he was also a man who wandered from place to place, dying in Baltimore and nobody really knows why he was even there at the time. Sure, he had lived in Baltimore fourteen years earlier, but his fractured career had taken him many places in between. Having nothing but his published writings and gut feelings to go on, it seems to me that Poe was a man who felt unconnected to any single place. His view of the world made others uncomfortable, as even a cursory reading of his obituary demonstrates. He may have been attempting to find a place to belong. Maybe that’s why I’m standing here in Baltimore next to his burial place.

In a world characterized by xenophobia, having a sense of place can be a matter of life and death. I often wondered, as a child, at the fact that I was born in a different state than either of my parents, and that my mother was born in a different state than either of hers. Where was my place? I really didn’t start to travel until attending seminary, and since then I’ve lived in many places. At times I think of Poe and his peregrinations—not that I would dare compare myself to him; Poe was a genius in a world that couldn’t understand him. I am merely a disciple.

On a recent college-visiting trip, I found myself in Charlottesville, Virginia, where Poe spent a few weeks as a student before being forced out by his debts. Later that day I was in Baltimore, and I could not neglect a stop to pay my profound respects. Throughout my life I have felt a connection with writers whose work I admire. Perhaps as an erstwhile dabbler in the literary arts I feel as though I might somehow connect to the guild. The sense of knowing, I realize rationally, is entirely one-sided. Standing here in Westminster Cemetery, however, feels like being in the presence of a friend. Even had I lived in the nineteenth century I would unlikely have ever met Poe, just as I am unlikely to meet most of the authors I read who still walk among us. Maybe I just feel no fear of rejection—call it a sense of place—among the deceased, unquiet spirit who is Edgar Allan Poe.

Gothic Religion

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Every great once in a while, you run across a book that seems to have been written just for you. I’m cheap enough to wait for most books to be issued in paperback (and storage is getting to be an issue in our cozy apartment), but sometimes the urgency is too great and I can’t resist. In Providence a few weeks ago, I visited the university bookstore—one of my favorite places in town. On the new arrival table was Victoria Nelson’s Gothicka. For what seemed inexplicable reasons, I always found Gothic tales among my favorite growing up. Poe was a standard, but he was accompanied by other stories that elicited the same cocktail of sensations, accompanying a dark and mysterious atmosphere with a suggestion of menace. Transfixed by even the mere presence of this book, I knew I was in the power of a force to which I would eventually succumb. And, unexpectedly, the book helped to explain part of my childhood.

Not every book I read has to do with religion. Far from it. I expected Nelson to discuss literature and movies and culture—all of which she does—but not necessarily religion. The first three chapters proved a revelation in that regard. Nelson deftly explains how Gothic largely overlaps with the characteristics of religion, bringing the supernatural into human lives and insisting that we tremble before it. Perhaps best explained by pastor Rudolf Otto in The Idea of the Holy; the transcendent is something that terrifies as well as compels. In a culture where organized religion appears to be losing ground, Gothic offer the opportunity to tremble before the supernatural, and many people find it almost a religious experience. As becomes clear, the “almost” may appropriately be dropped.

Tracing the trajectory of my own reading interests, Nelson next provides an insightful chapter on H. P. Lovecraft. In many ways the initiator of worship of the dark divine, Lovecraft’s Cthulhu and kith and kin represent an undisguised secularization of deity. At the same time, the trembling is still very much present—indeed, it is a native part of the experience. Lovecraft, who was an atheist, understood the literary utility of gods. They frightened and haunted him with their very non-existence. That is power. Gothic acknowledges and embraces that power while never relinquishing its darkness. Nelson’s Gothicka holds the potential of a journey of self-discovery. As she ranges deeper and deeper into that world, the reader discovers just how much it is part of being human in a world tormented by fallen gods.

The Illustrative Man

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To a young boy growing up in an economically depressed small town without money to buy fancy things, escapist reading is a natural hobby. As with many boys, science fiction held my undying attention. My favorite writer was Ray Bradbury. His stories were short enough to consume in a single sitting, and they were full of wonder, and imagination, and possibility. I had nearly all of his books. So today, when I learned that Ray Bradbury had died, it felt as if another author’s works had been burned and the great man himself simply disappeared. Along with Edgar Allan Poe—whom I discovered early—and H. P. Lovecraft—whom I discovered late—Ray Bradbury represented what I believed a short story should be. I began writing short stories when I was in grade school. I still have a few of them, and the influence of Bradbury is most profound. At times it feels like the world is running out of dreamers.

Instead of churning out young people eager to explore the possibilities—and even the impossibilities—of the world, our educational system has become much more prosaic. We teach our young how to find jobs. Walking across Manhattan in a weary mood one morning it occurred to me: we go to college and we receive specialized training to make us fit for more cerebral jobs. We work those jobs in order to make corporate executives wealthier. Work benefits the one-percenters most. All the way to the office I dream of a life where I might have pursued creativity and exploration. I still awake before 4 a.m. every day to scrape together a few fragments of a moment to write before heading off to work in the big city. The characters I invent live in my head and die a subtle death as email and book proposals force their bossy way into my consciousness.

The worlds Ray Bradbury imagined were places where the familiar and the strange easily mixed. Many of his tales would be categorized as fantasy rather than science fiction today, but they manage to instill an almost religious reverence among those who believe paradise might be just over on that next unexplored planet. Or perhaps it will never stop raining there and the universe will drive us mad. When I “grew up” and needed to liquidate my juvenile assets, I sold most of my Ray Bradbury books to a used book dealer. Rarely a day passes when I don’t regret that impetuous move. And some days, such as today, I feel it especially deeply. One commodity that our fumbling world simply can’t afford to lose is its dreamers. On an unexplored planet somewhere out there, I know Ray Bradbury agrees with me.

From Wiki Commons

Haunted Pilgrim

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No visit to Providence is complete without a tip of the hat to H. P. Lovecraft. As someone who dabbles in the noble art of writing, I have great appreciation for those who somehow made an impact (often only after they’ve died) on the literary world. I discovered Lovecraft only after I left Nashotah House, which was probably a good thing. Nevertheless, I have come to appreciate his breadth of vision, populating the earth with ancient gods who emphasize the powerful and heartless side of divinity. His vivid images of Cthulhu pervade popular culture to a level that few of the uninitiated would ever expect. And yet, deep in the depths he lurks. So when I was in Providence over the weekend for my niece’s graduation, I spent an afternoon seeking out some time with H. P.

Place inherently partakes of that we term holiness. Where something happened matters. There is no science to explain it, but it is something people know. It is for this reason that I try to visit the homes and resting places of classic writers. Over the years we’ve visited the haunts of Mark Twain, Laura Ingalls Wilder, Edna St Vincent Millay, Washington Irving, Edgar Allan Poe, and others, as well as H. P. Lovecraft. Simply standing in or near the places they once frequented provides a form of inspiration unavailable in any other way. So it was that I found myself at 598 Angell Street in Providence. It is a house still occupied, with no indication of who once called this building home. Lovecraft lived here from 1904 to 1924. If it weren’t for the Lovecraft walking tour I found on the Internet, I would have never known.

In many ways a provincial man, Lovecraft was born and also died in Providence. Apart from a stint in New York City, he spent his time in his hometown. I walked to 454 Angell Street, the address at which he was born. I knew the building had been razed in the 1960s, but I wanted to see what society deems more important than preserving those places that sequester the holy for haunted pilgrims. Although I couldn’t tell for sure, since house numbers change, I believe his birthplace is now the Starbucks that sits pleasantly in a small commercial district. I wonder how many of the thirsty realize where they’re sitting. Have they read any of Lovecraft’s stories? If so, are they uncomfortable sipping coffee in such a spot? Or perhaps it has become a kind of secular sacrament—a toast to all artists whose pasts have been obliterated.

Sacred Philadelphia

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What makes a space sacred? There is no agreement on that issue, but it is clear that considering a specific location numinous, holy, or just special is something that even the most secular do. We trek to the places where something happened, maybe hoping for a personal epiphany or enlightenment. So yesterday I found myself in Philadelphia on the trail of Edgar Allan Poe. Like some other famous figures of the past, Poe was essentially homeless—no place claimed him (though now many do). Several years of his short life were spent in Philadelphia, and only one of his residences still survives there. On a pleasant Saturday it was clear that many others were drawn to this sacred space on pilgrimages motivated by diverse needs and curiosities. My family has gone on literary trips for many years, visiting the places of writers—for, at the end of the day, every piece of sacred writ has a writer.

Poe's house on Spring Garden

I can’t recall a time, after I began to read, when I did not favor Poe. Like some other inspirational figures he lived a short life, frequently rejected by his peers. Sad circumstances haunted him and he expressed them so well. His was a rare gift. Standing in his Philadelphia house, I guess I might have been hoping that, on some level, he might know that his life had touched mine. We all seem to leave an intangible part of ourselves in places we have been. Even the hardest skeptic of the “paranormal” will travel countless miles to come to some location of significance. There is no logical reason to do so. It is perhaps the most human of religious impulses. I saw no specters, heard no ghostly voices. But I saw and listened and wondered.

Writing is among the canon of sacred activities. It is taking what is hidden safely inside the confines of our minds and offering the opportunity to others to read it. Frequently it is ignored, lost in the noise. Life is too busy to sit down and read unless some teacher or professor assigns a task with grade consequences. We miss, however, so many opportunities to explore the legacy bequeathed to us by great minds. Our lives are driven by economics, not enlightenment. Poe died poor and largely unmourned in Baltimore after having called many locations home. Those locations are now shrines. I suspect he may have been very surprised to learn that over a century and a half later some people would attempt to follow in his footsteps for what can only be described as religious reasons.

Nevermore

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Once in a while an uncanny clarity penetrates this fog of an asphyxiating miasma that passes for a life in higher education. It was a rainy, gray day in February when I stood outside 13 West Range at the University of Virginia, looking into Edgar Allan Poe’s restored room. Poe, who is right up there with Melville and Moses among the greatest writers of all time, lived a life that was short, sad, and silenced. Or so it seemed. Dead by 40, with a career that never really got a foothold, Poe would seem to be the ideal model of a failure. His currency, however, has preserved the voice of unrest that pulses like the very life-blood through American culture. Even as a teenager, I identified with Poe. Knowing that I could never attain his level of polish and perfection, even listening to the cadences of “The Raven” can still reduce me to tears. So, standing outside his room in the gloomy rain was a private epiphany.

13 West Range

Undefined was the sense of loose ends and hopelessly tangled threads of a life I tried to weave without the blessing of Athena. I ended up at a small seminary where my influence was limited to the few students with open minds. It was truly a gothic experience, living at Nashotah House with its medieval mindset and matching physical setting. Daily watching my learning being shredded by the staunch dictates of undying dogma, I never forgot Poe. When my own career was jettisoned by a bloated theology that had no room for questions, I spent many months in a depression so deep that life had almost lost that spark of hope that makes it worth continuing. Again and again the waves crashed over me—this was the doing of the church. Those who putatively followed the teaching of a man who said, “Do unto others—” Fill in the blank.

Poe was forced out of school by an unloving foster parent who valued money more than his adoptive son. Traveling up and down the east coast looking for a place to fit his writings into a slot for a little money, he died from causes that will never be identified. Today we know he was a meteor—a brief, brilliant light in a darkened sky. He is the patron saint of all those whose voices have been silenced by an unfeeling establishment. Even in my wildest dreams, I never hope to approach the depth and grandeur of his pen, but I can stand here in the rain and commune with him. The emblem of the Raven Society stands perched in that room, and its single word is the dying word of hope in the face of an uncaring world. And that one word will be the epitaph of society that refuses, even now, to listen.

Zombies of Harare

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In a tale that would have Edgar Allan Poe turning in his grave, a news article from Zimbabwe narrates the darker side of resurrection. In a July 26 story entitled “Schoolgirl ‘rises from the dead’” News Day online reports that a sixth form girl, after falling into a coma (the article says she had “fallen into a comma”-embarrassing enough under any circumstances) was pronounced dead and taken to the morgue. Her coughing, possibly from the cold, caught the attention of an attendant and she was rescued. Her schoolmates feared her until school authorities “assured them it (the mishap) was normal.” Even more disturbing is the sentence, “Cases of people gaining consciousness in the morgue after being certified dead are quite common and in most cases doctors would have erred.” The story serves a grim reminder of how in many parts of the world what is taken for granted in developed nations is still a desideratum.

The fate of the dead is a major preoccupation of religion. Certainly among the most famous African outlooks on the subject, the Egyptians possessed a highly refined view of the life beyond. Having just covered Egyptian funerary beliefs in Ancient Near Eastern Religions class, the connection between this chilling story and an ancient optimism among the Egyptians is worth noting. Initially life after death was limited to the king in ancient Egypt. Over the centuries, a kind of democratization of the afterlife took hold and the chance for renewed life was open to us regular sorts as well. In a snapshot of how religions work, this transformation holds the keys for further religious developments. The benefits trickle down from the elite to the peasant. Those who awake in the morgue may count themselves lucky since Osiris demands their presence only at a later date.

When Anubis comes knocking, don't answer.

Modern ideas of resurrection are great motivators for religious belief. The fact that Paleolithic burials sometimes include grave goods demonstrates that some kind of afterlife hope predates civilization itself. It is one of the formative elements of religion. In a world where death may not be the worst possible fate, however, such an afterlife may eventually lose its drawing power. For Egyptian peasants, the afterlife was pretty much a continuation of peasant life. I suspect that those who wake up in a morgue have a new perspective on life after death that most of us, thankfully, never have to face.

Religious Raven

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Having seldom achieved any sort of public recognition in my youth, I have been gratified to observe the approbation my daughter frequently earns. One such instance occurred yesterday as she won an Outstanding Presenter award at the state level of 4-H. For her presentation she introduced and recited Edgar Allan Poe’s “The Raven” from memory. As much as I like to take credit for some of her taste in literature, her remarkable memorizing ability that has impressed several judges and parents along the way is the result of her own determination. “The Raven” has always been among my favorite poems. As I listened to my daughter’s recitation yesterday, once again the wealth of religious and biblical images stood out.

Starting subtly with the perching of the raven on a bust of Pallas, Athena, the protective goddess of Athens itself, Poe adds the supernatural to his lamentation on the death of his wife. The bird’s origins on “the night’s Plutonian shore” also point the reader to the classical underworld toward which the poem inevitably points. The last five stanzas, where Poe’s verse turns directly toward his black thoughts at the decline of his wife, introduce the presence of seraphim—the turning point in the poem—angelic beings mentioned as attendants to God’s throne in Isaiah. The divine presence, however, offers Poe no comfort as the raven refuses to relinquish his memories of his love. Asking with Jeremiah (and citing the bird as prophet) if there is balm in Gilead, the poet is informed no such comfort exists. Calling God in Heaven as witness the bereaved asks if in Eden (Aidenn) he will be reunited with his bride, only to be informed such will not be the case. The raven, compared to devil, thing of evil, and a demon, represents for Poe the ultimate reality.

“The Raven” is a dark poem, tinged with religious imagery that was freely drawn upon in the nineteenth century. Having heard it recited many times over the past few months, I have come to believe that Poe would have been in accord with my belief that religion and fear are close siblings. When the climax of the author’s pain and sorrow is reached, the religious imagery predominates. This is a paradigm of many human lives. How many non-religious folk seek to make their peace with the supernatural when death is imminent? “Eleventh hour conversion” may be a trite trope, but it does point to something that Edgar Allan Poe recognized long before me—when we find ourselves most afraid religious impulses are frequently at hand.

The Bells

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No matter how naïve I find myself, reading student papers always rings bells. They may be alarm bells of my own obsolescence or the tintinnabulation of a new era dawning. Either way, they scare me. Having spent many, many days concentrating on reading papers to the detriment of daily life, I have been submerged into a world that is foreign to me. Yes, I am used to students texting in class, and I know when their laptops are open for “taking notes” that university wi-fi networks are freely available for surfing the net. I know they are only paying half-attention. I may be old, but I’m not completely stupid. Well, not all students do this, but the practice is ubiquitous enough to be considered normative. Their world is a realm of electronic information. The old ways are passing.

I recently learned that footnoting is dead. Already-in-the-tomb-four-days dead. An art that my mediocre high school drilled into every student in English class is no longer even remembered. I even had good students report to me that the campus writing center housed no one who even ever used the Chicago Manual of Style, although some of them had heard of it. In mythology class, any book is referred to as a “novel” or “story” with no regard paid to its actual genre. For those weaned on electronic reading, the old distinctions no longer apply. The Internet is full of information, and many young people can’t discern the wheat from the chaff. Raise your hand if you know what “chaff” is. I didn’t think so.

Seeing all of this in the context of a mythology course is fascinating. Many students refer to the days when gods and monsters actually existed. It is as if the Creationists have won without a struggle. The concept of religion, as reflected in the fiction of mythology, no longer fits the paradigm. Reality is electronic, and paper is fiction. Bells, bells, bells, bells, bells, bells, bells! At least as I get shelved with dusty books, I will be in a familiar environment with gods, monsters, and dinosaurs. This is the world I was born into and which will not long survive the passing of my generation.

Fearsome Fish

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It must be October. As I was looking up a word on Dictionary.com, I noted one of their “the hot word” features entitled, “Scientists discover a fish they name ‘dracula.’” The fish, which is native to the eastern part of Asia, was discovered in 2009 but is just now starting to draw attention. The name apparently derives from its fangs. Vampires, however, have their ancient origins in creatures that draw the life force from humans. In the ancient world the “life force” could take different forms: blood, breath, and even semen. Soon a whole array of life snatchers populated the ancient mind – incubi, succubae, Lilith, demons, and any of a number of other contenders for the human essence. The fear of being drained is a very ancient one indeed.

While in my adjunct office at Montclair yesterday I met a colleague. We discussed the visit of the exorcist to campus that I missed but he attended, and while discussing the mythology class we both teach he mentioned how vampire movies make use of mythic themes. I have been using this information from the beginning for my class, but I was fascinated that another part-time instructor would latch onto the same film motif as I did to illustrate modern myth. The vampire is such a part of our culture that people often forget its religious origins.

I attended a public performance of a two-man play at a local library this week. The play was a conversation between Edgar Allan Poe and Bram Stoker. Naturally, vampirism played a strong element in the single-act show. While Poe and Stoker were not contemporaries, they did both share an awareness of how religion tied in with the macabre. The Frank Ford Coppola movie Bram Stoker’s Dracula makes this connection explicit as an enraged Vlad Tepes stabs a cross in his chapel with his sword, starting a flow of blood that he greedily drinks.

Vlad Tepes on a good day

We’ve just crossed into mid-October and I already find myself surrounded with vampires. It is characteristic of religion to deal with our deepest anxieties, and the more we reflect on vampires the deeper we find they reside in the religious sensibilities of both fish and phantom.

Portrait of Poe as a Young Man

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An obscure portrait of Edgar Allan Poe has come to light and is scheduled to be auctioned off. Reports indicate that the watercolor painting reveals a young man without the world-weariness of the more familiar images of Poe. He may even be smiling.

Poe has long been one of my personal muses. His writing captivated my imagination as a young man, and his sense of tragedy encased a golden nobility. Although many consider his works to be juvenile, like the slightly later stories of Sherlock Holmes by Arthur Conan Doyle, Poe grew to a mature sensibility concerning life that rivals that of Job. Intrigued, years ago I wrote a high school term paper about the writer and discovered a spiritual compatriot who couldn’t outstrip the “unmerciful Disaster [that] Followed fast and followed faster.” Now on the side of years beyond the lifespan of my muse, I begin to understand how a happy young man becomes a Qohelet in his time. In his personal difficulties, Poe was able to speak for many of us.

To me this young portrait is cast in the tint of Dorian Gray. The real image of Poe is that of a man given few breaks in life. A man of keen sight and keener insight. There have been thinkers like Poe from ancient times, but they are generally resigned to the depths rather than to be found basking in sublime sunlight. When Ludlul bel Nemeqi or Khun-Anup pour out their souls to an unhearing sky, they create a fellowship for latter day Poes and Melvilles and Lovecrafts. I hope the portrait of a young Poe finds a good home and the message of its subject rings as loudly as the bells.

Poe-ever Young