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Here is a succulent bit from a fable titled “Silence”:Īnd the man trembled in the solitude - but the night waned and he sat upon the rock.

“He shrieked once - once only.” (Available as a print.) “In death we both learned the propensity of man to define the undefinable.” (Available as a print.)Ĭlarke’s haunting, terrifying, yet lyrical illustrations become the perfect visual counterpart to Poe’s haunting, terrifying, lyrical prose. Peppering the striking black-and-white line drawings and several dramatic illustrated lithographs, printed on glazed paper and pasted onto the regularly printed book - the legacy of Arthur Rackham’s innovation, which had revolutionized the business and technology of book art a quarter century earlier with his epoch-making Alice in Wonderland edition. Nearly a decade after I first featured Clarke’s black-and-white illustrations from an earlier edition, I walked out of the New York Antiquarian Book Fair victorious with a rare surviving copy of the 1933 edition, featuring 33 plates. “I would call aloud upon her name.” (Available as a print.) “The boat appeared to be hanging, as if by magic,… upon the interior surface of a funnel.” (Available as a print.) “I saw them fashion the syllables of my name.” (Available as a print.) Old fine-lined illustrations and classic tales that outgrim the newspapers’ front pages, twisting the grisly into the sublime, come together in a rare 1933 edition of Edgar Allan Poe’s Tales of Mystery and Imagination ( public library), with illustrations by the Irish stained-glass and book artist Harry Clarke (March 17, 1889–January 6, 1931), whose visionary work influenced the Art Nouveau, Art Deco, and French Symbolism movements. “I prefer the old fine-lined illustrations… I prefer Grimms’ fairy tales to the newspapers’ front pages,” the Nobel-winning Polish poet Wisława Szymborska wrote in her poignant poem “Possibilities.”