Loss of Breath

Welcome to Celebrate Poe - Episode 292 - Loss of Breath

Today, Mr. Poe and I will look at his short story “Loss of Breath.” 

Certainly, "Loss of Breath" is what one might call a lesser-known Poe short story,first published in 1832 in The Philadelphia Saturday Courier. I doubt that you would consider the story one of my more famous works of horror and mystery,

Such as The Tell Tale Heart or The Fall of the House of Usher or The Pit and the Pendulum …

Yes, Mr. Bartley - this story is primarily humorous and satirical in nature.
The story revolves around a man who literally loses his breath and goes through a series of absurd and increasingly outlandish situations as a result.

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Transcript

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Welcome to Celebrate Poe - Episode 292 - Loss of Breath

Today, Mr. Poe and I will look at his short story “Loss of Breath.”  Mr. Poe - could you bring us up to date in a sentence or two?

Certainly, "Loss of Breath" is what one might call a lesser-known short story of mine, first published in 1832 in The Philadelphia Saturday Courier. I doubt that you would consider the story one of my more famous works of horror and mystery,

Such as The Tell Tale Heart or The Fall of the House of Usher or The Pit and the Pendulum …

Yes, Mr. Bartley - this story is primarily humorous and satirical in nature.
The story revolves around a man who literally loses his breath and goes through a series of absurd and increasingly outlandish situations as a result.

One might say that you employ a darkly comedic tone throughout the narrative, which is quite different from your more well-known gothic works.

Yes, but one might also encounter possible symbolic interpretations of the loss of breath in the story.

Such as …

Such as … loss of life force, creative inspiration, or even social standing?

Ah, Mr. Bartley - that is not as simple as it might seem. The story may have been inspired by contemporary medical theories and practices of the early 19th century, serving as a satire of these ideas.  And my interest in the relationship between the body and soul, a theme I explored in many works, is evident in this story.

Mr. Poe, where would you place the story in your overall catalog of work.

"Loss of Breath" was published relatively early in my career -  predating many of his more famous works. And the story's humorous and satirical tone contrasts sharply with the gothic horror and mystery for which I am said to be best known.

Mr. Poe - I find it most interesting that several of the themes in “Loss of Breath” would resonate with contemporary readers.

I will consider that a compliment, Mr. Bartley.  I do believe that some of the themes in  "Loss of Breath" resonate with contemporary readers.
The story explores the concept of bodily autonomy and the fear of losing control over one's physical self. The absurdist humor and critique of societal norms can be appreciated by any audiences who enjoys dark comedy and social satire. And I believe the story's exploration of the relationship between the physical and the metaphysical continues to be a topic of interest in philosophy and literature.

Mr. Poe - could you tell us a little bit about the story’s publication history?

Thank you for asking, Mr. Bartley. ”Loss of Breath" was first published in 1832 in The Philadelphia Saturday Courier under the title "A Decided Loss."
I then revised and expanded the story, republishing it in 1835 in the Southern Literary Messenger as "Loss of Breath."The story was included in my collection "Tales of the Grotesque and Arabesque" in 1840, further cementing its place in my body of work.

Well, how would you compare Loss of Breath to other humorous stories that you penned?

Ah, Mr. Bartley, while I certainly am not primarily known for my humor, "Loss of Breath" can be compared to other satirical works in my repertoire:
Like "The System of Doctor Tarr and Professor Fether," it employs absurdist situations and dark humor to critique societal norms.
The story shares elements of the grotesque with "The Man That Was Used Up," another early tale that blends humor and horror.
While not as overtly comedic, "The Spectacles" is another story I penned that uses humor to explore themes of perception and deception.
A reader might view "Loss of Breath" as a departure from my more famous works while still incorporating elements that would become central to my style. I believe that its blend of humor, satire, and the macabre offers a different perspective on my versatility as a writer.

Mr. Poe - what elements of "Loss of Breath" make it stand out among your other works?

Ah,, Mr. Bartley - I am convinced that "Loss of Breath" stands out among my works in several ways. Unlike my more famous horror stories, "Loss of Breath" employs a darkly comedic and satirical approach. The story represents my experimentation with different literary styles and genres.
And the plot revolves around a man literally losing his breath, leading to increasingly absurd situations.

Mr. Poe - could you tell us about the initial reaction to Loss of Breath?

Oh, Mr. Bartley - "Loss of Breath" was initially rejected by the literary establishment along with many of my other early Poe stories inspired by Blackwood's Magazine. I later revised the story, transforming it from a near-imitation of Blackwood's style to what modern readers perceive as a parody.

While we are on the subject, could you tell us about Blackwood’s Magazine?

Would you prefer short version or a lengthy version?

Why not a comparatively short version - for now.

"Blackwood's Edinburgh Magazine” was founded in 1817 by William Blackwood in Edinburgh, Scotland. It was established as a conservative counterpoint to the liberal Whig-supporting Edinburgh Review.
Initially launched as "Edinburgh Monthly Magazine" in April 1817, it was relaunched in October 1817 as "Blackwood's Edinburgh Magazine" after a change in editorial leadership. Under William Blackwood's editorship, it focused on literary quality and presenting diverse perspectives, publishing fiction, poetry, and critical essays. It became known for its satirical and controversial content, often dealing with politics, religion, and social issues.
Blackwood's was characterized by a lively, confrontational style aimed at a broader middle-class audience compared to other reviews of the time.
It faced several lawsuits for its personal attacks on public figures.
The magazine played a significant role in shaping literary criticism and political discourse in Britain and its colonies throughout the 19th century.

I must admit that I initially admired and emulated the style of Blackwood's Magazine in my early career. Over time, my attitude changed from admiration to criticism of Blackwood's and British literary imperialism in general.  And Blackwood's was unlikely to grant favorable reviews to an American author like me, particularly after he engaged in what they called "acerbic literary jousting" with them.

Why would they say that?

Well, I did write explicit criticisms of Blackwood's horrid style, including stories like "How to Write a Blackwood Article" and "A Predicament."
Later in my career, I began openly trading barbs with Blackwood's Magazine.

Well, Mr. Poe - you are insulting your potential employers.  What do you expect?

Mr. Bartley - I firmly believe that their their rejection contributed to the development of a more distinctive and original writing style on my part.
One might refer to this as a War of Independence - except my experience with Blackwood's led me to advocate for AMERICAN LITERARY independence from British influence. I used Blackwood's as a point of reference in developing my own critical standards and theories about literature.Unfortunately, my inability to gain recognition from prestigious British magazines like Blackwood's contributed to my ongoing financial struggles.  In retrospect, I realize that my complex relationship with Blackwood's played a role in shaping my views on literary criticism and American literary identity.

Mr. Poe - how would you say this rejection affected your career in general.

Ah, Mr. Bartley - it led me to develop a more distinctive and original style, moving away from imitating the Blackwood's approach. I became more critical of the literary establishment, engaging in feuds and harsh critiques of other writers. I shifted focus to psychological terror and individual effects rather than Gothic settings and plot devices.

Did you face any criticisms from the literary establishment?

Most definitely, my work was considered too horrible or sensational by some publishers and critics. There were calls for me to write about more ordinary subjects and "homely doings.” As an American author, I faced skepticism from British publications such as Blackwood’s.

My rejection by Blackwood's influenced my relationship with other literary magazines. It led me to seek out and work with American publications like the Southern Literary Messenger and Graham's Magazine. I became even MORE critical of British literary influence in American magazines.

Mr. Poe - how would describe the complex dynamics of your relationship with Blackwood’s Magazine.

Ah, Bartley, I initially admired and emulated the style of Blackwood's Magazine in my early career. But over time, my attitude changed from admiration to criticism of Blackwood's and British literary imperialism in general. I came to the conclusion that Blackwood's was unlikely to grant favorable reviews to an American author like me, particularly after I wrote explicit criticisms of Blackwood's style, including stories like "How to Write a Blackwood Article" and "A Predicament.” Later in my career, I  began openly trading barbs with Blackwood's Magazine. My ultimate rejection by Blackwood's contributed to my development of a more distinctive and original writing style. And my experience with Blackwood's led me to advocate for American literary independence from British influence.

Mr. Poe - that is admirable.

Ah, Mr. Bartley. One might say that I used Blackwood's as a point of reference in developing my own critical standards and theories about literature.

Could you elaborate, Mr. Poe.

Certainly, Mr. Bartley I believe that I developed a more combative stance towards literary establishments in general. I would go so far as to say that my criticism of British literary imperialism contributed to the development of a distinct American literary voice and identity.

Mr. Poe - The fact that you were not having financial success with Blackwoods certainly seemed to affect your basic attitude towards writing.

Yes, and I hoped my stance influenced later American writers to assert their literary independence from British models.  I would like to think that I helped establish more rigorous and independent critical standards in American literature.

It is true that early in my career, I emulated British styles, particularly those found in Blackwood's Magazine. Over time, I became increasingly critical of American subservience to British literary tastes. By 1842, I was openly criticizing American dependence on British literary opinions. I advocated for a more global audience for American writers, rather than just seeking British approval.

Mr. Bartley, I firmly believe that my rejection by Blackwood's appears to have played a significant role in shaping my views on American literary independence and my criticism of British literary influence in America. That rejection contributed to the development of a more distinctive writing style on my part and my efforts to establish higher standards for American literature.

Mr. Poe - that certainly required a great deal of courage.

Ah, Mr. Bartley, in 1842, I wrote about Americans enacting a "perfect farce of subserviency to the dicta of Great Britain.”  I even began openly trading barbs with Blackwood's later in my career.
And after my rejection by the English magazine, I moved away from imitating the Gothic settings and horrid plot devices popular in Blackwood's.
I began focusing more on psychological terror and individual effects in my stories. And I developed a more satirical approach to popular literary trends.

Mr. Poe, getting back to Loss of Breath, what techniques or elements did you use to explore fear in the story - I mean - to loose one’s breath has elements of humor as well as terror.

Yes, Mr. Bartley, the story taps into fears of losing control over one's physical self.  And the protagonist's attempts to navigate society without breath reflect fears of social ostracism and abnormality. I believe the story even indirectly addresses fears of death and bodily dysfunction.

Thank you, Mr. Poe - what literary techniques do you use in Loss of Breath?

First and foremost - I used first-person narration to enhance the story's humor and even surreal quality.  I also utilized satire regarding contemporary literary styles and medical practices.  And of course, I used
vivid, often grotesque and disturbing physical descriptions to create a sense of the absurd. And I exaggerated the extreme situations and bodily contortions of the protagonist for comedic effect.  One might deduce that
the loss of breath can be interpreted symbolically as a loss of life force, creative inspiration, or even social standing.

Mr. Poe - I must return to the fact that your rejection by Blackwood's affected your reputation while it made you stronger.

Yes, Mr. Bartley - the rejection initially hindered my acceptance by the literary establishment, because Blackwood's was highly influential.
However, as I may have mentioned before, it ultimately led me to develop a more distinctive and original style that set me apart. My rejection and subsequent criticism of Blackwood's made me a more controversial figure in literary circles.

Did this reaction to your rejection affect the main themes of your works

Ah yes, Mr. Bartley - there was a shift from Gothic settings to psychological terror and individual effects.  There was more focus on the relationship between body and soul, and explorations of consciousness.  There was the Increased use of satire and parody, often critiquing popular literary trends. Themes of isolation, paranoia, and loss became more prominent.

And how was this accepted by your American audience?

Ah, Mr. Bartley - I believe my works resonated with growing sentiments of American literary nationalism.  And my stance helped establish more rigorous and independent critical standards in American literature.
I believe my critiques encouraged American writers to assert their literary independence from British models. My attitude spurred me to develop a distinctly American literary voice.  I definitely became more vocal in criticizing American subservience to British literary tastes. And perhaps most importantly, I advocated for American writers to seek a global audience rather than just British approval.

That in itself is a laudable aim.

Thank you, Mr. Bartley, but I must say farewell for today.

Farewell, Mr. Bartley

Goodbye, Mr. Poe

Join Celebrate Poe for episode 293 - The Last Will of William Galt

Sources include: perplexity.ai, Edgar Allan Poe: A Critical Biography by Arthur Hobson Quinn, The Poe Log: A Documentary Life of Edgar Allan Poe by Dwight R. Thomas and David K. Jackson, the Complete Works of Edgar Allan Poe by Edgar Poe and the Baltimore Edgar Allan Poe website.

Thank you for listening to Celebrate Poe.