Each author saw his Surrealist garden as a 'thinking machine.' Each created a narrative that seemed to project a fictional scene but held open the possibility that gar-dens could work like texts but, more provocatively, that the text could be the garden itself. Roussel's garden (Locus Solus, 1929), like Poe's, was also presented as the work of an enlight-ened rationalist with infinite resources. Like another famous proto-Surrealist, Raymond Roussel, Poe relied on the literary tradition of the death narrative, the defective narrator, chiaroscuro, and 'impossible travel' employing optics and metony-mies. Our purpose is to consider fully the claim that Poe is a precursor of Surrealism.

it demand various short-circuits and hidden passageways? What are its sources and its intentions? The authors will study the mirror design Poe contrived for Arnheim as he did for other spaces - a ratio between sense and idea. Is Poe's text a cipher, as he suggests? Does. The story itself is a highly coded puzzle that diversifies the idea of chiaroscuro through the device of an anonymous narrator. In his short story 'The Domain of Arnheim,' Edgar Allan Poe declares landscape architecture to be the premier art, the most ambitious means of converting natural capabilities to paradisiacal realities through the artificial.

Edgar allan poe gothic literature