![]() In Some Words with a Mummy (1845), a group of Egyptologists reanimate a mummy, who speaks to them with an unexpected eloquence. He asks his readers to consider at what point death truly occurs if the dead can still speak or inhabit the bodies of the living. ![]() In his work, Poe continually blurs the boundary between life and death. Poe, wrote Griswold, had a “morbid sensitiveness of feeling, a shadowy and gloomy imagination”. Griswold established this image in his 1849 obituary, in which he reflected that Poe was “a dreamer – dwelling in ideal realms – in heaven or hell”. They are influenced by the image of Poe as a melancholic loner, tormented by bereavement and alcoholism, and fascinated with the otherworldly. ![]() ![]() The posthumous “Poe” poems are not very good, but they attempt to capture the content or style of Poe’s living poems: dramatic and dark lyrics about the loss of loved ones and the crossover between the living and spirit worlds. Read more: Depression and language: analysing Edgar Allan Poe's writings to solve the mystery of his death The living and the dead Spiritualists produced these celebrity ghost writings to demonstrate the authenticity of their practice and the radical possibility of the living and the dead merging consciousnesses. Magazines and collections produced “original” posthumous texts on a monthly basis. The fever for spirit writing covered several well-known deceased writers and historical figures. ![]()
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