Chapter 1 Chapter 6 Chapter 7

Notes

Chapter 1 1. For critical overviews of Poe’s work, we examined J. Lasley Dameron and Irby B. Cauthen’s Bibliography of Criticism and Eric Carlson’s chapter on “Tales of Psychal Conﬂ ict” in his edited Companion to Poe Studies. A more recent effort to bring Poe Studies up to date may be found in Scott Peeples’s The Afterlife of Edgar Allan Poe. We also relied on the annual updates compiled in American Literary Scholarship. 2. In this section on “The Fall of the House of Usher” and its sources, we rely heavily on Thomas O. Mabbott’s discussion in his notes to the story found in Tales and Sketches, Vol. 1. 3. Burton Pollin suggests William Godwin’s Imogen, A Pastoral Romance (1784) as another source text that may have inﬂ uenced “Usher,” though Thomas O. Mabbott doubts Poe ever saw this rare text.

Chapter 6 1. Although we draw on Jung broadly in this chapter, we are very well aware that there is an ongoing, and useful, critical revision of his theories (often called post-Jungian studies). We do not trace out the implications of these revisions in this chapter, largely because we want our claims to stay fairly close to the Jungian ideas Bloch drew on. Not only did Bloch refer to Jungian ideas in Psycho, he also collected Jungian texts. In the Robert Bloch papers at the American Heritage Center at the University of Wyoming, one can readily browse books by and about Jung that Bloch owned.

Chapter 7 1. It is probably fair to suggest that the critical evaluation of Rosemary’s Baby is still in an early phase. Nevertheless, our chapter draws on several readings of the text that we found helpful. For representative 176 Notes

work that treats feminist themes, please consult the articles by Rhona Berenstein, Lucy Fischer, Sharon Marcus, and Karyn Vale- rius listed in the bibliography. For work that situates the novel within broader religious and textual concerns, see the work by Ronald Ambrosetti, Douglas Fowler, Robert Lima, and Maisie Pearson. For theological accounts of the “death of god” movement, please see the work of Thomas Alitzer and William Hamilton. Our approach to Rosemary’s Baby differs from these latter works in that we draw on Poe’s infl uence on Levin and on Levin’s interest in popular culture. 2. Levin’s description of the incarnate devil may well have been inspired by the demon depicted in Curse of the Demon, Jacques Tourneur’s 1958 horror fi lm about the investigation of devil wor- shippers in England. Tourneur’s demon is a large, leathery creature with wings, large claws, horns, and big, evil eyes shown a couple of times in extreme close-up. Another dimension of the fi lm that may have infl uenced Levin is the diffi culty characters have in believing in the genuine power of these devil cults in light of modern scientifi c attitudes until it is too late. Bibliography

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Abbot, George and Douglass, Claurens, Heinrich, 7, 9 Wallop, 132 Robber’s Tower, The, 7, 9 Ambrosetti, Ronald, 146 Cohen, Larry, 132 Anderson, Quentin, 41 Collins, Wilkie, 4 Austen, Jane, 27, 44 Craven, Wayne, 144 Curse of the Demon, The Bad Seed, The (LeRoy), 132 (Tourneur), 132 Bailey, Dale, 6, 12, 50 Baudelaire, Charles, 4 Damn Yankees (Abbott and Belphegor (Machiavelli), 139 Wallop), 132 Bloch, Robert, 113, 126 Danse Macabre (King), 105 Lovecraft, H. P., inﬂ uence of, Davison, Carol Margaret, 24 112, 114, 116 Debussy, Claude, 4 Bloom, Clive, 6–7, 11–12 Dickens, Charles, 8 Body Snatchers, The (Finney), Dickinson, Emily, 18 78–79 Dock, Julia Bates, 21–23 Booth, Wayne, 39 Donner, Richard, 132 Bradbury, Ray, 4 Dostoyevsky, Fyodor, 4 Briggs, Julia, 50, 97–98 Douglas, Mary, 124–25 Brontë, Charlotte, 8, 44, 47 Dunsany, Lord, 69 Brontë, Emily, 8 Brown, Charles Brockden, 7 Edgeworth, Maria, 25 Edgar Huntly, 10–11 Edmundson, Mark, 6, 13, 132, 149 Burleson, Donald R., 71 Edward Scissorhands (Burton), 136 Burton, Tim, 136 Eliot, George, 5, 20 Eliot, T. S., 139 Campbell, James, 10 Emerson, Ralph Waldo, 6, 76, 131 Cancalon, Elaine D., 5 Exorcist, The (Friedkin), 132 Carlson, Eric W., 14 Carrie (King), 17 Fantastic, The (Todorov), 7, Carroll, Noël, 11, 147 14–15 Castle of Otranto, The (Walpole), 8 Faulkner, William, 8, 168–70 Cavallaro, Dani, 7, 12 Female Gothic, 24–26 186 Index

Fetterley, Judith, 22 Heaven and Hell (Swedenborg), Fiedler, Leslie, 6 139 Finney, Jack, 78–79 Hedges, Elaine, 23 Foucault, Michel, 5, 58 Hell House (Matheson), 17 on confession, 58–60 Heller, Terry, 7, 11 Fowler, Douglas, 134, 143 Hitchcock, Alfred, 129 Frankenstein (Shelley), 13 Hochman, Barbara, 26 Frazer, Sir James, 76 Hoeveler, Diane Long, 31 Freud, Sigmund, 2, 14, 16–17 Hoffman, Daniel, 2 Oedipal complex, 83, 126 Hoffmann, E. T. A., 7–9 omnipotence of thought, 17, 98 “Das Majorat,” 7–9 uncanny, 14, 16, 143 Hooper, Tobe, 78 unconscious, 2 Howells, William Dean, 20, 43 Friedkin, William, 132 Hume, Beverly, 22 Hyman, Stanley Edgar, 91 Gein, Ed, 126–27 Ghost Story (Straub), 17 Ingebretsen, Edward J., 127–28, ghosts, 51–52, 54, 120, 154, 168 169 Gide, André, 43 Irving, Washington, 10 Gilbert, Susan and Linda Gubar, 28 Italian, The (Radcliffe), 8 Gilman, Charlotte Perkins It’s Alive (Cohen), 132 health of, 22–23 Poe, interest in, 19–26 Jackson, Shirley works Kellman, Taissa, 92 “Giant Wisteria, The,” 23 Poe, inﬂ uence of, 85 “Rocking Chair, The,” 23 voodoo, 100 “Studies in Style,” 19 witchcraft, 100 “Unwatched Door, The,” 23 works “Yellow Wallpaper, The” “Experience and Fiction,” 85 (discussed), 19, 26–37 Haunting of Hill House, “Great God Pan, The” (Machen), The (discussed), 83–100; 133 absolute reality, themes Gross, Louis, 11 in, 84, 88–89, 91; Alice’s Gresset, Jean-Baptiste-Louis, 139 Adventures in Wonderland/ Grusser, John, 3 Through the Looking-Glass (Carroll), themes in, 96–98; Hall, Joan Wylie, 85 dreams, themes in, 84, 86, Hall-Stevenson, John, 10 91, 93, 101, 103; ghosts, Hamilton, Agnes, 26 themes in, 90, 97, 99; Haney-Peritz, Janice, 20, 26, 30 Glanvill, Joseph, inﬂ uence Harris, Thomas, 17, 105 of, 85; haunting, themes in, Hartley, Lodwick, 10 85–91; realism, themes in, Hattenhauer, Darryl, 84 87–88, 90, 93, 102–3 Index 187

“Lottery, The,” 91 Egyptian initiation, themes in, “Louisa, Please,” 85 151, 153–56, 158, 166, 173 James, Henry Haunting of Hill House, The Poe, discussion of, 41–44 (infl uence of), 155–56, 163 works Kolodny, Annette, 21–22 “Altar of the Dead, The,” 41 Kristeva, Julia, 5 American, The, 40 “Art of Fiction, The,” 43 Lawrence, D. H., 31, 54 Golden Bowl, The, 42 LeRoy, Mervyn, 132 “Jolly Corner, The,” 42 Levin, Ira Sacred Fount, The, 42 Poe, infl uence of, 134 “Sense of the Past, The,” 41 Rosemary’s Baby (discussed), Turn of the Screw, The 131–49 (discussed), 39–61 1960s culture, 141–46 What Maisie Knew, 41 American Dream, theme of, Jane Eyre (Brontë), 44, 47 131, 149 Jay, Gregory, 2 Pop Art, 143–44, 149; Man Jenkins, Philip, 125 at a Table (Segal), 144 Jordan, Cynthia S., 31 Satan, themes of, 132–34, Jung, Carl 143, 146–147 circle archetype, 100 Lewis, Matthew, 8 collective unconsciousness, Lloyd-Smith, Allan, 160 108 Longfellow, Henry Wadsworth, male sexuality and the mother, 90 106–7, 118, 129 Lootens, Tricia, 83 shadow, the, 52 Lost Boy, Lost Girl (Straub), 17 Symbols of Transformation, 109 Lovecraft, H. P. cosmic horror, themes of, 65–66, Kafka, Franz, 17 68, 70 Keep, The (Wilson), 17 imp of the perverse, themes of, King, Stephen 67 Poe, infl uence of, 164–166 Poe, infl uence of, 63–71 Shining, The (discussed), realism, themes of, 67–69, 73, 151–74 81 Alciphron (Moore), 164 weird fi ction, themes of, 65–66, American Dream, theme of, 73, 78 153 works “Barn Burning” (Faulkner) “At the Mountains of (discussed), 168–70 Madness,” 68 Book of Daniel, The “Call of Cthulhu, The,” 65, (discussed), 167–69 69, 71 carnivalesque, theme of, Case of Charles Dexter Ward, 165–66 The, 69 188 Index

Lovecraft— continued Midwich Cuckoos, The “Colour Out of Space, The,” (Wyndham), 133, 147 69–70 Milton, John, 5, 20 “Cool Air,” 69 Mitchell, Dr. S. Weir, 22–23, 33 “Dunwich Horror, The,” 66, Monk, The, 8 133 Moore, Thomas, 164 “Facts Concerning the Late Morgan, Jack, 76 Arthur Jermyn and His Morrison, Toni, 8 Family, The,” 69 Mulligan, Robert, 132 “Haunter of the Dark, The,” Mustazza, Leonard, 172 69–70 Mysteries of Udolpho, The “Herbert West—Reanimator,” (Radcliffe), 46 69 “Horror at Red Hook, The,” Nardo, Anna, 5, 20 69 Neumann, Erich, 107–12 “Lurking Fear, The,” 69 Newman, Judie, 83 “Pickman’s Model,” 67, 69, Northanger Abbey (Austen), 27, 44 72–73 “Picture in the House, The,” Oates, Joyce Carol, 8 69 Haunted, 17 “Rats in the Walls, The,” 69 Omen, The (Donner), 132 “Shadow Over Innsmouth, Oppenheimer, Judy, 87, 90, 92, The,” 69 (discussed), 73–81 101, 103–4 “Shunned House, The,” Origins and History of 69–70 Consciousness, The “Strange High House in the (Neumann), 107–12 Mist, The,” 69 Other, The (Mulligan), 132 “Thing on the Doorstep, Owens, E. Suzanne, 27 The,” 69 Pecora, Vincent, 39 Machen, Arthur, 133 Poe, Edgar Allan Machiavelli, Niccolò, 139 “Annabel Lee,” 41 Manning, Susan, 13 “Black Cat, The,” 19, 22–23, “Man Who Collected Poe, The” 65, 76, 79, 87, 113, 160 (Bloch), 113 “Dream-Land,” 50 Maps of Heaven, Maps of Hell Eureka, 13–14, 68, 79 (Ingebretsen), 169 “Facts in the Case of M. Markow-Totevy, Georges, 41, 43 Valdemar, The,” 9 Martindale, Colin, 52–53 “Fall of the House of Usher, Massé, Michelle, 24 The,” Matheson, Richard, 17 interpretations, 1–7 Mathiessen, F. O., 41 literary sources, 8–11 Melville, Herman, 4 “Gold Bug, The,” 41 Index 189

“Haunted Palace, The,” 119, unconsciousness symbols, 137, 140–41 114–15 “Hop-Frog,” 76 Punter, David, 122–23, 125 “How to Write a Blackwoods Pye, Agnes, 10 Article,” 9, 79 “Lack of Breath,” 79 Radcliffe, Ann, 8, 25, 46, 66 “Lake, The,” 51 Radway, Janice, 25 “Lenore,” 42 Reesman, Jeanne Campbell, 173 “Ligeia,” 27, 33, 77 Riddel, Joseph, 2 “Man of the Crowd, The,” 36, Ring, The (Suzuki), 149 68, 79 Robber’s Tower, The (Claurens), “Masque of the Red Death, 7, 9 The,” 42, 113, 164–66 “Metzengerstein,” 67, 113 Salem’s Lot (King), 78 “Morella,” 27, 33, 67 Savoy, Eric, 2 “MS. Found in a Bottle,” 67, 79 Scarf, The (Bloch), 126 “Murders in the Rue Morgue, Scharnhorst, Gary, 20, 22–23 The,” 19, 22–23, 79 Scott, Sir Walter, 9 “Mystiﬁ cation,” 42 Scudder, Horace, 20–21 Narrative of Arthur Gordon See, Fred, 41 Pym, The, 42, 68 Segal, George, 144 “Oval Portrait, The,” 73, 79 “Self-Reliance” (Emerson), 6 “Philosophy of Composition, “Shambles of Ed Gein, The” The,” 148 (Bloch), 126 “Pit and the Pendulum, The,” Shelley, Mary, 13 19, 41, 79 Silence of the Lambs (Harris), 17, “Premature Burial, The,” 9 105 “Purloined Letter, The,” 79 Silverman, Kenneth, 50 “Raven, The,” 42, 65, 80 Spacagna, Antoine, 5 “Tell-Tale Heart, The,” 19, St. Armand, Barton Levi, 30, 55–57, 60, 76, 79–80, 151–52 87, 127 Steiner, George, 4 “William Wilson,” 42, 66, 79, 87 Straub, Peter, 8, 17 Polanski, Roman, 132 Suzuki, Koji, 149 Pollin, Burton, 41 Swedenborg, Emanuel, 139 Poltergeist (Hooper), 78 Psycho (Bloch), 105–29 Thompson, G. R., 3, 35 Gein, Ed (discussed), 126–27 Todorov, Tzvetan, 7, 14–15 Hitchcock, Alfred (discussed), Tourneur, Jacques, 132 129 Twain, Mark, 43 Terrible Mother archetype (Neumann), 106, 108–10, uncanny, 7, 14–16, 45, 87, 114, 117–20 143, 145, 150, 153 190 Index

“Vert-vert, the Parrot” (Gresset), “Wasteland, The” (Eliot), 139 139 “Westminster Abbey” (Irving), 10 Vigiliae Mortuorum secundum Whitman, Walt, 76 Chorum Ecclesiae Wilbur, Richard, 2, 28, 48, 53, Maguntinae, 140 89 Williams, Anne, 25 Walpole, Horace, 8. Wilson, F. Paul, 17 Warren, Samuel, 7, 9, 12 Wolfreys, Julian, 15 “Thunder-Struck,” 7 Wyndham, John, 133, 147