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Send us Fan Mail Welcome to Celebrate Creativity- Poe’s Words of Hope Hello, my name is George Bartley, and I am here with the wax figure of Edgar Allan Poe. Since Poe has arrived at the museum, I admit that I have become immersed in his works– And many of them are obviously horrifying in tone. But today I'd like to talk about some of his words of terror versus some of his words of hope. Now when you hear the name Edgar Allan Poe, what comes to mind?  Perhaps you picture a somber, extremely unhappy man scribbling tales of madness and murder in a dimly lit room. You might think of The Casque of Amontillado where Montressor burys Fortunato alive - note the following passage from the The Casque of Amontillado Mr. Edgar Allan Poe, would you read your words for us? Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Night Watchmen - Mr. Bartley - plain text Edgar Allan Poe – bold text Welcome to Celebrate Creativity and the Hall of Wonder. Glad you're there Mr. Poe.  You know in the previous episode we discussed the Raven. I would like to take a similar look at what I personally feel is one of your Best stories - the pit and the pendulum - although the black cat, the mask of the red death, the fall of the house of usher, and especially the telltale heart have to be up there with it in terms of popularity today    I found that most interesting, Mr. Bartley Well let's start out by simply asking what kind of literature would you call the pit and the pendulum? My work The Pit and the Pendulum is a quintessential example of a tale of terror, employing several key elements of the genre to evoke fear, suspense, and psychological torment. The story takes place in a dark, oppressive dungeon during the Spanish Inquisition. a setting that is emblematic of Gothic literature. The dungeon is described as mysterious, claustrophobic, and perilous, with features like the yawning pit and the descending pendulum designed to instill dread. This setting creates an atmosphere of gloom and doom, heightening the reader's sense of unease. You know, we might call that Gothic literature today. But please continue Mr. Poe. Mr. Bartley, The narrative revolves around the protagonist's imminent death, with each torture device symbolizing different aspects of mortality. The pit represents an abyss of unknown horrors, while the pendulum symbolizes time's inexorable march toward death. These elements underscore a preoccupation with mortality, decay, and constant dread.    Should I continue Mr. Bartley   Please do Mr. Poe. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to Celebrate Creativity and the Hall of Imagination- Poe Explains the Raven. Hello Mr. Poe Greetings Mr. Bartley Very welcome to see you today Mr. Poe.  I would like to deal with your most famous work in today's podcast episode. And, of course, that would have to be The Raven.Maybe a good place to start, Mr. Poe, would be just for you to explain the importance of the raven Ah Mr. Bartley, The Raven can best be described as a profound meditation on human suffering and mortality. The poem explores how grief can consume an individual’s rationality and sense of self. The poem’s haunting refrain, "Nevermore," encapsulates not just the narrator’s despair but also the universal finality of loss that all must confront. Through vivid imagery and psychological depth, I attempted to create an enduring work that resonates with readers' own experiences of sorrow and longing. And Mr. Bartley, do not forget that the raven in my poem serves as a powerful symbol of the narrator's obsession, embodying his grief, despair, and inner turmoil. Its role goes beyond that of a mere bird, functioning instead as a reflection of the narrator's struggle with loss.The raven can be interpreted as a physical embodiment of the narrator's mind, particularly his grief over Lenore. Its repeated refrain of "Nevermore" mirrors the narrator's internal despair and hopelessness, reinforcing his inability to escape his sorrow. The bird's presence and its ominous responses reflect the narrator's deepest fears and anxieties, such as the finality of death. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to Celebrate Creativity and the Hall of Imagination.  My name Is George Bartley, Here comes the wax figure of Mr. Poe - always making a grand entrance. Greetings, Mr. Bartley Mr. Poe, I would like to start off by saying a few words about black cats in history and society. Well Mr. Bartley, that is about as logical as what you usually say– In other words not much at all. Mr. Poe, I will ignore that remark. Now like your other stories, you never specifically use the word Halloween in The Black Cat, but the image of a black cat does have a connection to Halloween. Somewhat, Mr. Bartley. There are stories of black cats being sacrificed into fires during pagan celebrations on October 31 as far back as 2,000 years in Druid societies. And in the Middle Ages, it was a commonly held belief that witches could disguise themselves as black cats and these animals sadly became associated with witchcraft. In fact, many witches in Europe were burned at the stake alongside their black cats. Even today the myth that black cats have demonic qualities is said to still exist.  Animal shelters have noted that there is a slight danger of black cats being used for sacrifices and satanic rituals at Halloween so they will not allow a black cat to be adopted around Halloween. In fact there is a phenomenon called Black Dog Syndrome.  This means that adopting black dogs and cats into new homes, no matter the time of year, can be very difficult. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to Celebrate Creativity and the Hall of Imagination -` My name is George Bartley, and in this podcast episode I want tof into a house that might not make it into Better Homes and Gardens - but is often classified as Edgar Allan Poe’s greatest work.  The story is definitely complicated from a psychological standpoint, and a great example of how Mr. Poe dealt with vampiric characters and themes. Yes, Mr. Bartley, Madeline and Roderick Usher in the story are both vampiric-like characters that seem to take the life out of each other.  And even the house in which they live - with its eye-like windows - can be seen as a vampiric character. Yes Mr. Poe, during your lifetime, there was not a genre such as a vampire story, but many people believe that your The Fall of the House of Usher has definite vampiric connections, though the story does not contain literal bloodsucking. Ah, Mr. Bartley - I believe that the Fall of the House of Usher expresses a parasitic relationship with the Usher family, mirroring themes of decay, psychological consumption, and the blurring of life and death. Mr. Poe - it is almost as though you wrote about the house as a vampiric entity - while at the same time it is chilled into stone. Ah, Mr. Bartley - a most insightful observation.  I believe that the mansion in the story drains vitality from its inhabitants, much like a vampire feeds on life force. Its "vacant eye-like windows" and "fissure" zigzagging down the walls suggest a living, consuming presence. The house’s decay parallels Roderick and Madeline’s physical and mental deterioration, implying a symbiotic yet destructive bond—the house thrives on their decline. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to Celebrate Creativity– This is the House of Imagination. My name is George Bartley, and this episode has the night watchman talking to Edgar Allan Poe about his creativity. In future episodes, Mr. Poe will talk specifically about a few of his most famous works. Hello Mr. Poe - I'm going to get directly to the point and ask you why you are considered by many to be extremely creative. In other words, I'd like to take a deep dive into your creative genius. Mr. Bartley, Many discriminating individuals would say that my creativity stems from my ability to innovate within literary forms, explore the darkest corners of the human psyche, and masterfully craft an atmosphere that lingers long after the story ends. I sincerely believe that I was a pioneer in many ways, essentially inventing the detective fiction genre and pushing the boundaries of what was considered "gothic" literature. So Mr. Poe, I assume that you basically had developed a talent for writing engaging stories. Ah, Mr. Bartley - you must be aware, that I did not solely write stories; I invented new ways to tell them. My creation of detective fiction with stories such as "The Murders in the Rue Morgue" is a prime example. I introduced a brilliant, eccentric protagonist, a loyal but somewhat less intelligent narrator, and a focus on logical deduction. And Mr. Poe, you might find it interesting that your formula became the blueprint for countless detective stories that followed, from Sherlock Holmes to modern-day crime dramas. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to Celebrate Creativity– My name is George Bartley and here I'd like to talk with Mr. Poe about the most influential person in his life– And buy influential, I don't necessarily mean that in a good way. Now, many scholars have claimed that the most crucial element of Poe’s life is the fact that at a very early age his life was placed in the hands of a man who just didn’t care and had significant emotional problems.  OK - the task - and it WOULD be a task - of raising an unusual and even difficult child such as the young Edgar Poe would be a challenge for most people.  Some scholars have even admitted that the young Poe could bring out the worst in a parent or guardian.  And it turned out that John Allan was a largely unsympathetic human being - and possibly one of the worse choices imaginable to take charge of Poe’s upbringing. Excuse me, here is the wax figure of Mr. Poe himself. Could you tell us a little bit about John ALLAN? Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to Celebrate Creativity and the Hall of Imagination. Today I would like to talk about a man who played a crucial role in the family fortune surrounding Edgar Allan Poe.  This wealthy individual was known as William Galt, and he was a wealthy businessman in Richmond, Virginia. Galt was known as "Uncle" William to the Allans, though he wasn't actually John Allan's uncle. At the time of his death in 1825, Galt was considered the wealthiest man in Virginia.  His assets included extensive real estate in Richmond and Lynchburg, plantations throughout Virginia, sawmills, bank stocks, and hundreds of slaves. I have here a copy of his  will, and I'm asking you, Mr. Poe, to read from the document. Certainly, Mr BartleyI, WILLIAM GALT, of the City of Richmond, State of Virginia, bearing always in mind, and admonished by the circumstances of my present state, as well as by the word of truth, recorded in Sacred Scripture, which I cherish as the foundation of my firm faith and the anchor of my hope for happiness in an eternal state, how uncertain is the tenure of human life, as it now exists, and being desirous, while it is permitted me, to dispose of my temporal means and estate, the result, under Divine Providence, of my own, I trust, honest exertions, as it becometh my duty and my relations to God  and man, do make this my last will and testament, which it is my desire should bear witness to my firm faith in the Gospel of our Lord and Savior Jesus Christ, the source of all my existing hope and consolation. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to celebrate creativity and the Hall of imagination– This episode is called Mommy Issues. It begins with a conversation between Mr. Poe, and myself, the night watchman. Now Mr. Poe, we want you to be comfortable here, and I spoke with the museum supervisor and we agree that it might be best to start with a conversation about someone who you probably loved very much, your mother– There are those who say that you might have had. “Mommy issues” Mr. Bartley—“Sir, my mother died when I was scarcely three. Your modern terminology leaves something to be desired.” Mr. Poe, be there as it may, take back to the year of 1810. In Europe, Napoleon reached the zenith of his power.   And you were only one year of age. Yes Mr. Bartley, I remember that during 1810,my mother’s fame as an actress increased - and I feel that her creative passion - in this case the theatre - was passed on to me. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to Celebrate Creativity and the Hall of Imagination. You know, I have been thinking a great deal about the wax figure of Edgar Allan Poe education was one of Jefferson's constant preoccupations and this is where Edgar Allan Poe comes in. And the supervisor of the museum suggested that I talk with the writer about a period in his life when he did not experience the struggles of poverty. First I'd like to take a pre-look at some of the complexities of the early University of Virginia. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail In a few nights, the clock would strike midnight. The museum would become still. Those dark eyes would open. And I would have to find a gentle way to tell Edgar Allan Poe that death had not silenced him. It had only kept him from hearing the applause. Mr. Poe, you famously wrote this poem about the fact that you always felt alone– From childhood’s hour I have not been As others were—I have not seen As others saw—I could not bring My passions from a common spring— From the same source I have not taken My sorrow—I could not awaken My heart to joy at the same tone— And all I lov’d—I lov’d alone— Then—in my childhood—in the dawn Of a most stormy life—was drawn From ev’ry depth of good and ill The mystery which binds me still— From the torrent, or the fountain— From the red cliff of the mountain— From the sun that ’round me roll’d In its autumn tint of gold— From the lightning in the sky As it pass’d me flying by— From the thunder, and the storm— And the cloud that took the form (When the rest of Heaven was blue) Of a demon in my view— Mr. Poe, I would like you to think that you are not alone anymore. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to celebrate creativity and the hall of imagination– This is the second episode regarding Edgar Allan Poe for the month of October. And the proceeding episode, the night watchmen had been called to the office of the supervisor for the wax museum. We begin with the night watchmen speaking– Sir, are you calling me in here because I did something wrong? No. In fact, I called you here because I need your help. He stood and walked toward the tall wooden crate. We are about to open our October exhibition. He brushed a little packing dust from the lid. Edgar Allan Poe will be its central figure Edgar Allan Poe. Poet. Critic. Editor. Author of tales of terror, mystery, guilt, madness, premature burial, and several other subjects the gift shop believes will look attractive on coffee mugs. I know who he is. The question is whether he knows who he is. I do not understand. You know the museum’s rule. A figure awakens with the knowledge and memories available during that person’s earthly life. Nothing more. Yes. They know what happened to them. They do not automatically know what happened after them. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to *Celebrate Creativity*. I am the Night Watchman here at the Hall of Imagination—the finest wax museum in the whole world, at least during the hours when respectable people are awake. After midnight, it may still be the finest wax museum in the world. But it is not always respectable. I had just reported for work when the little red light began blinking on the telephone in the security office. I picked up the receiver. Security office. Night Watchman speaking. Could you come to my office, please? Right now? That is generally what people mean when they say, “Could you come to my office?” Yes, sir. Of course, sir. Be right there. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to the  what should be the second of two episodes looking at Fallingwater from a musical perspective– and this episode is Fallingwater Dreams. Part two This podcast episode begins with the night watchmen– Roughly pattern after yours truly–talking to the wax figure of Frank Lloyd Wright, about a CD of music that I wrote when I was a guide at Fallingwater. And yes, this the recording is an actual thing, with the obvious exception of the talking wax figure of Mr. Wright. Now Mr. Wright, let us use music to go to the second floor. And to represent the guest bedroom to your, I used by PASPIED VIEJO– A traditional Mexican song. You see, this room and to represent the guest bedroom to you I used past period Viejo contains a drawing by the famous Mexican painter Diego Rivera. PASPIED VIEJO And then the spacious Master Bedroom-also on the second floor-has a fireplace made of stone accommodating the sculpture of a 15th century Madonna and Child. And Edgar Kaufman Senior's study shows how cantilever construction can result in a simple but powerful room. Support the show Thank you for experiencing Celebrate Creativity.

Send us Fan Mail Welcome to the  what should be the first of two episodes looking at Fallingwater and the house  from a musical perspective– and this episode is Fallingwater Dreams. Part one This podcast episode begins with Mr. George Bartley talking to the wax figure of Frank Lloyd Wright, about a CD of music that Mr. Bartley wrote when he was a guide at Fallingwater. And yes, this is based on a real record recording which you will hear during this episode. Yes, the recording is an actual thing, with the obvious exception is the talking wax figure of Mr. Wright. Before we start, I want say a little bit about how this and the following episodes were structured in my audio program.  I wanted to make it simple, so I have the spoken dialogue–me and Mr. Wright– On track one.Then I would havethe music on track t two beneath it. That way I could work with the music without messing the whole thing up. In other words,The spoken dialogue and music are not assembled like separate mechanical pieces; each musical passage grows naturally from the conversation, and then the next conversation grows from the music. You might say the process is the audio equivalent of Wright’s organic architecture: every element belongs to and depends upon the whole. And now Fallingwater Dreams –Part OneWell hello Mr. WRIGHT, this should be an especially exciting night at the wax museum because I brought the recording that I mentioned to you and something to play it on. That is wonderful Mr. Bartley– I'm glad you were able to do that because I never could find the Victrola that I thought this museum had. Oh that is not necessary, Mr. Wright. Now as you will know, Fallingwater eventually became a place visited by people from throughout the world—and years later,  I worked as a guide for the house and created an album that was sold in the Fallingwater gift shop. I would like to think that I not only guided people through through the house, but also used music to help interpret its meaning by performing the music, composing the title piece, and creating something that was actually sold there.  Support the show Thank you for experiencing Celebrate Creativity.