Edgar Allan Poe wields more influence in the spheres of literature and popular culture on a world scale than any other US author. This influence, however, does not rely on the quality of Poe's texts alone nor on the compellingly tragic nature of his biography; his reputation and his ubiquitous presence owe much of their longevity to the ways Poe has been interpreted and portrayed by his advocates-other writers, translators, literary critics, literary historians, illustrators, film makers, musicians-and packaged by various mediators in the literary field, especially editors and anthologizers. As this study demonstrates, the division between Poe's advocates and the mediators who organize his work for consumption by the reading public can be very porous since many of Poe's most adamant proponents-Charles Baudelaire and Julio Cortazar, for example-also anthologized, edited, and/or translated his works. Anthologizing Poe: Editions, Translations, and (Trans)national Canons focuses on the works produced by Poe's anthologizers and editors, both the famous and the lesser-known, whose labor often takes place behind the scenes. Poe's editors and anthologizers exercise real power, and over the last 170 years, they have crafted and framed the various Poes we recognize, revere, cherish, and critique today.

This collection explores how anthologizers and editors of Edgar Allan Poe play an integral role in shaping our conceptions of Poe as the author we have come to recognize, revere, and critique today. In the spheres of literature and popular culture, Poe wields more global influence than any other U.S. author. This influence, however, cannot be attributed solely to the quality of Poe's texts or to his compellingly tragic biography. Rather, his continued prominence as a writer owes much to the ways that Poe has been interpreted, portrayed, and packaged by an extensive group of mediators ranging from anthologizers, editors, translators, and fellow writers to literary critics, filmmakers, musicians, and illustrators. In this volume, the work of presenting Poe's texts for public consumption becomes a fascinating object of study in its own right, one that highlights the powerful and often overlooked influence of those who have edited, anthologized, translated, and adapted the author's writing over the past 170 years.

Hagar's Daughter is Pauline Elizabeth Hopkins's first serial novel, published in the Boston-based Colored American Magazine (1901-1902). The novel itself features concealed and mistaken identities, dramatic revelations, and extraordinary plot twists. In Part 1, Maryland plantation heirs Hagar Sargeant and Ellis Enson fall in love, marry, and have a daughter. However, Ellis's covetous younger brother, St. Clair, claims that Hagar is of mixed-race ancestry, putting her and her infant in peril. When Ellis is presumed to be dead, St. Clair sells Hagar and her child into slavery, and they presumably die when Hagar, in despair, leaps into the Potomac River with her daughter. This is the backdrop for Part 2 (set twenty years later), which includes a high-profile murder trial, an abduction plot, and a steady succession of surprises as the young Black maid Venus Johnson assumes male clothing to solve a series of mysteries that are both current and decades-old. The appendices to this Broadview edition feature advertising for the original publication, other writing by Hopkins and her contemporaries, and reviews that situate the work within the popular literature and political culture of its time.