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Legacy and lore

Poe's works have had a broad influence on American and world literature (sometimes even despite those who tried to resist it), and even on the art world beyond literature. The scope of Poe's influence on art is evident when one sees the many and diverse artists who were directly and profoundly influenced by him.

American literature

Poe's literary reputation was greater abroad than in the United States, perhaps as a result of America's general revulsion towards the macabre. Rufus Griswold's defamatory reminiscences did little to commend Poe to U.S. literary society. However, American authors as diverse as Walt Whitman, H. P. Lovecraft, William Faulkner, and Herman Melville were influenced by Poe's works. Nathanael West used the concept and remarkable black humor of Poe's "The Man That Was Used Up" in his third novel, A Cool Million.

Flannery O'Connor, however, who grew up reading Poe's satirical works, claimed the influence of Poe on her works was "something I'd rather not think about". T. S. Eliot, who was often quite hostile to Poe, describing him as having "the intellect of a highly gifted person before puberty," professed that he was impressed, however, by Poe's abilities as a literary critic, calling him "the directest, the least pedantic, the least pedagogical of the critics writing in his time in either America or England."

Mark Twain was also a sharp critic of Poe. "To me his prose is unreadable-like Jane Austen's," he wrote in a January 18, 1909 letter to William Dean Howells.

Influence on French literature

In France, where he is commonly known as "Edgar Poe," Poe's works first arrived when two French papers published separate (and uncredited) translations of Poe's detective story "The Murders in the Rue Morgue". A third newspaper, La Presse, accused the editor of the second paper, E. D. Forgues, of plagiarizing the first paper. Forgues explained that the story was original to neither paper, but was a translation of "les Contes d'E. Poe, littérateur américain." ("the stories of E. Poe, American author.") When La Presse did not acknowledge Forgues' explanation of the events, Forgues responded with a libel lawsuit, during which he repeatedly proclaimed, "Avez-vous lu Edgar Poe? Lisez Edgar Poe." ("Have you read Edgar Poe? Read Edgar Poe!") The notoriety of this trial spread Poe's name throughout Paris, gaining the interest of many poets and writers.

Among these was Charles Baudelaire, who translated almost all of Poe's stories and several of the poems into French. His excellent translations meant that Poe enjoyed a vogue among avant-garde writers in France while being ignored in his native land. Poe also exerted a powerful influence over Baudelaire's own poetry, as can be seen from Baudelaire's obsession with macabre imagery, morbid themes, musical verse and aesthetic pleasure. In a draft preface to his most famous work, Les Fleurs du mal, Baudelaire lists Poe as one of the authors whom he plagiarized. Baudelaire also found in Poe an example of what he saw as the destructive elements of bourgeois society. Poe himself was critical of democracy and capitalism (in his story "Mellonta Tauta," Poe proclaims that "democracy is a very admirable form of government-for dogs" ), and the tragic poverty and misery of Poe's biography seemed, to Baudelaire, to be the ultimate example of how the bourgeoisie destroys genius and originality. Raymond Foye, editor of the book The Unknown Poe, put Baudelaire's and Poe's shared political sympathies this way:

Poe's anti-democratic views persuaded Baudelaire to abandon his socialism, and if these two men shared a single political preference it was monarchy. But each was a country unto himself, a majority of one, an aristocrat of the mind. There is arrogance here: the arrogance of loneliness.

Poe was much admired, also, by the school of Symbolism. Stéphane Mallarmé dedicated several poems to him and translated some of Poe's works into French, accompanied by illustrations by Manet