The nine essays gathered here pursue the provocative implications of Toni Morrison's claim that no early American writer was more important than Poe in shaping a concept of "American Africanism," an image of racialized blackness destined to haunt the Euro-American imagination. As contributors to this volume reveal, Poe's response to the "shadow" of blackness--like his participation in the cultural construction of whiteness--was both problematic and revealing. Born in Boston but raised mostly in Richmond, surrounded by the practices of slaveholding culture, Poe seems to have shared notions of racial hierarchy and Anglo-Saxon supremacy pervasive on both sides of the Mason-Dixon line. That he promulgated racist stereotypes in depicting black servants--his Jupiters and Pompeys--cannot be denied; that he complicated these stereotypes with veiled, subversive implications, however, gives his fiction peculiar relevance to the task of historicizing racial attitudes in antebellum culture. Was Poe an unabashed proslavery apologist, a careerist who avoided racial politics, a "gradualist" who hoped slavery would just disappear, or an ideological chameleon? Were Poe's views on race extreme or unusual? Overtly, in tales such as "The Gold-Bug," "The Journal of Julius Rodman," and The Narrative of Arthur Gordon Pym, and covertly in such works as "The Black Cat" and "Hop-Frog," Poe alternately caricatured and demonized the racial Other, yet he often endowed such figures with shrewdness and resourcefulness, at times portraying their defiance as inevitable and even understandable. In Romancing the Shadow, leading interpreters of nineteenth-century American literature and culture debate Poe's role in inventing the African of the white imagination. Their readings represent an array of positions, and while they reflect some consensus about Poe's investment in racialized types and tropes, they also testify to the surprising ways that race embedded itself in his work--and the diverse conclusions that can be drawn therefrom.

This volume explores the dynamics of cultural memory in a variety of contexts. How do we remember persons, objects, events? Memory seems so personal, but, at the same time, it is shaped by collective experience and public representations. Newspapers, television, and even celebrations and festivities mark for us not only who we are, but also who we were and how we lived. Cultural Memory and the Construction of Identity brings together scholars of folklore, literature, history, and communication to explore the dynamics of cultural memory in a variety of contexts. The authors show how memory is shaped and how it operates in uniting society and creating images that attain the value of truth even if they deviate from fact. They point to the relationship between this memory and our notion of "culture." They also discuss this cultural memory on the level of everyday life. Building on research in the field, their contributions clearly show that cultural memory has become the creative invention of the past in service of both the present and an imagined future.