Edgar Allan Poe Philadelphia Travel Guide

              Morning on the Wissahiccon

                                                 by Edgar Allan Poe

The natural scenery of America has often been contrasted, in its general features as well as in detail, with the landscape of the Old World—more especially of Europe—and not deeper has been the enthusiasm, than wide the dissension, of the supporters of each region. The discussion is one not likely to be soon closed, for, although much has been said on both sides, a word more yet remains to be said.

The most conspicuous of the British tourists who have attempted a comparison, seem to regard our northern and eastern seaboard, comparatively speaking, as all of America, at least, as all of the United States, worthy consideration. They say little, because they have seen less, of the gorgeous interior scenery of some of our western and southern districts—of the vast valley of Louisiana, for example,—a realization of the wildest dreams of paradise. For the most part, these travellers content themselves with a hasty inspection of the natural lions of the land—the Hudson, Niagara, the Catskills, Harper’s Ferry, the lakes of New York, the Ohio, the prairies, and the Mississippi. These, indeed, are objects well worthy the contemplation even of him who has just clambered by the castellated Rhine, or roamed

By the blue rushing of the arrowy Rhone;

but these are not all of which we can boast; and, indeed, I will be so hardy as to assert that there are innumerable quiet, obscure, and scarcely explored nooks, within the limits of the United States, that, by the true artist, or cultivated lover of the grand and beautiful amid the works of God, will be preferred to each and to all of the chronicled and better accredited scenes to which I have referred.

In fact, the real Edens of the land lie far away from the track of our own most deliberate tourists—how very far, then, beyond the reach of the foreigner, who, having made with his publisher at home arrangements for a certain amount of comment upon America, to be furnished in a stipulated period, can hope to fulfil his agreement in no other manner than by steaming it, memorandum—book in hand, through only the most beaten thoroughfares of the country!

I mentioned, just above, the valley of Louisiana. Of all extensive areas of natural loveliness, this is perhaps the most lovely. No fiction has approached it. The most gorgeous imagination might derive suggestions from its exuberant beauty. And beauty is, indeed, its sole character. It has little, or rather nothing, of the sublime. Gentle undulations of soil, interwreathed with fantastic crystallic streams, banked by flowery slopes, and backed by a forest vegetation, gigantic, glossy, multicoloured, sparkling with gay birds and burthened with perfume—these features make up, in the vale of Louisiana, the most voluptuous natural scenery upon earth.

But, even of this delicious region, the sweeter portions are reached only by the bypaths. Indeed, in America generally, the traveller who would behold the finest landscapes, must seek them not by the railroad, nor by the steamboat, not by the stage-coach, nor in his private carriage, not yet even on horseback—but on foot. He must walk, he must leap ravines, he must risk his neck among precipices, or he must leave unseen the truest, the richest, and most unspeakable glories of the land.

Now in the greater portion of Europe no such necessity exists. In England it exists not at all. The merest dandy of a tourist may there visit every nook worth visiting without detriment to his silk stockings; so thoroughly known are all points of interest, and so well-arranged are the means of attaining them. This consideration has never been allowed its due weight, in comparisons of the natural scenery of the Old and New Worlds. The entire loveliness of the former is collated with only the most noted, and with by no means the most eminent items in the general loveliness of the latter.

River scenery has, unquestionably, within itself, all the main elements of beauty, and, time out of mind, has been the favourite theme of the poet. But much of this fame is attributable to the predominance of travel in fluvial over that in mountainous districts. In the same way, large rivers, because usually highways, have, in all countries, absorbed an undue share of admiration. They are more observed, and, consequently, made more the subject of discourse, than less important, but often more interesting streams.

A singular exemplification of my remarks upon this head may be found in the Wissahiccon, a brook, (for more it can scarcely be called,) which empties itself into the Schuylkill, about six miles westward of Philadelphia. Now the Wissahiccon is of so remarkable a loveliness that, were it flowing in England, it would be the theme of every bard, and the common topic of every tongue, if, indeed, its banks were not parcelled off in lots, at an exorbitant price, as building-sites for the villas of the opulent. Yet it is only within a very few years that any one has more than heard of the Wissahiccon, while the broader and more navigable water into which it flows, has been long celebrated as one of the finest specimens of American river scenery. The Schuylkill, whose beauties have been much exaggerated, and whose banks, at least in the neighborhood of Philadelphia, are marshy like those of the Delaware, is not at all comparable, as an object of picturesque interest, with the more humble and less notorious rivulet of which we speak.

It was not until Fanny Kemble, in her droll book about the United States, pointed out to the Philadelphians the rare loveliness of a stream which lay at their own doors, that this loveliness was more than suspected by a few adventurous pedestrians of the vicinity. But, the “Journal” having opened all eyes, the Wissahiccon, to a certain extent, rolled at once into notoriety. I say “to a certain extent,” for, in fact, the true beauty of the stream lies far above the route of the Philadelphian picturesque-hunters, who rarely proceed farther than a mile or two above the mouth of the rivulet—for the very excellent reason that here the carriage-road stops. I would advise the adventurer who would behold its finest points to take the Ridge Road, running westwardly from the city, and, having reached the second lane beyond the sixth mile-stone, to follow this lane to its termination. He will thus strike the Wissahiccon, at one of its best reaches, and, in a skiff, or by clambering along its banks, he can go up or down the stream, as best suits his fancy, and in either direction will meet his reward.

I have already said, or should have said, that the brook is narrow. Its banks are generally, indeed almost universally, precipitous, and consist of high hills, clothed with noble shrubbery near the water, and crowned at a greater elevation, with some of the most magnificent forest trees of America, among which stands conspicuous the liriodendron tulipiferum. The immediate shores, however, are of granite, sharply defined or moss-covered, against which the pellucid water lolls in its gentle flow, as the blue waves of the Mediterranean upon the steps of her palaces of marble. Occasionally in front of the cliffs, extends a small definite plateau of richly herbaged land, affording the most picturesque position for a cottage and garden which the richest imagination could conceive. The windings of the stream are many and abrupt, as is usually the case where banks are precipitous, and thus the impression conveyed to the voyager’s eye, as he proceeds, is that of an endless succession of infinitely varied small lakes, or, more properly speaking, tarns. The Wissahiccon, however, should be visited, not like “fair Melrose,” by moonlight, or even in cloudy weather, but amid the brightest glare of a noonday sun; for the narrowness of the gorge through which it flows, the height of the hills on either hand, and the density of the foliage, conspire to produce a gloominess, if not an absolute dreariness of effect, which, unless relieved by a bright general light, detracts from the mere beauty of the scene.

Not long ago I visited the stream by the route described, and spent the better part of a sultry day in floating in a skiff upon its bosom. The heat gradually overcame me, and, resigning myself to the influence of the scenes and of the weather, and of the gentle moving current, I sank into a half slumber, during which my imagination revelled in visions of the Wissahiccon of ancient days—of the “good old days” when the Demon of the Engine was not, when picnics were undreamed of, when “water privileges” were neither bought nor sold, and when the red man trod alone, with the elk, upon the ridges that now towered above. And, while gradually these conceits took possession of my mind, the lazy brook had borne me, inch by inch, around one promontory and within full view of another that bounded the prospect at the distance of forty or fifty yards. It was a steep rocky cliff, abutting far into the stream, and presenting much more of the Salvator character than any portion of the shore hitherto passed. What I saw upon this cliff, although surely an object of very extraordinary nature, the place and season considered, at first neither startled nor amazed me—so thoroughly and appropriately did it chime in with the half-slumberous fancies that enwrapped me. I saw, or dreamed that I saw, standing upon the extreme verge of the precipice, with neck outstretched, with ears erect, and the whole attitude indicative of profound and melancholy inquisitiveness, one of the oldest and boldest of those identical elks which had been coupled with the red men of my vision.

I say that, for a few moments, this apparition neither startled nor amazed me. During this interval my whole soul was bound up in intense sympathy alone. I fancied the elk repining, not less than wondering, at the manifest alterations for the worse, wrought upon the brook and its vicinage, even within the last few years, by the stern hand of the utilitarian. But a slight movement of the animal’s head at once dispelled the dreaminess which invested me, and aroused me to a full sense of novelty of the adventure. I arose upon one knee within the skiff, and, while I hesitated whether to stop my career, or let myself float nearer to the object of my wonder, I heard the words “hist!” “hist!” ejaculated quickly but cautiously, from the shrubbery overhead. In an instant afterwards, a negro emerged from the thicket, putting aside the bushes with care, and treading stealthily. He bore in one hand a quantity of salt, and, holding it towards the elk, gently yet steadily approached. The noble animal, although a little fluttered, made no attempt at escape. The negro advanced; offered the salt; and spoke a few words of encouragement or conciliation. Presently, the elk bowed and stamped, and then lay quietly down and was secured with a halter.

Thus ended my romance of the elk. It was a pet of great age and very domestic habits, and belonged to an English family occupying a villa in the vicinity.

Essay first published in 1843.

Happy Birthday Edgar, born on this day in 1809.

 

 

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Winter mornings are made of steel

Winter mornings are made of steel; they have a metallic taste and sharp edges. On a Wednesday in January, at seven in the morning, it’s plain to see that the world was not made for Man, and definitely not for his comfort or pleasure.

– Olga TokarczukDrive Your Plow Over the Bones of the Dead

“Small delights – a clear winter sunset through the natural iron grillwork of black trees, a street lamp shining through ice-encased branches, blue sky glittering, and sun on ice-crusted snow. Loveliness, loveliness.”

— Sylvia Plath, from a journal entry featured in “The Unabridged Journals”

“In winter all the singing is in the tops of the trees”

— Mary Oliver, from “White-Eyes”

“What good is the warmth of summer, without the cold of winter to give it sweetness.”
― John Steinbeck, Travels with Charley: In Search of America

“The heart can get really cold if all you’ve known is winter.”
― Benjamin Alire Sáenz, Last Night I Sang to the Monster

“I love to watch the fine mist of the night come on,
The windows and the stars illumined, one by one,
The rivers of dark smoke pour upward lazily,
And the moon rise and turn them silver. I shall see
The springs, the summers, and the autumns slowly pass;
And when old Winter puts his blank face to the glass,
I shall close all my shutters, pull the curtains tight,
And build me stately palaces by candlelight.”
― Charles Baudelaire, Les Fleurs du Mal

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Archives of the Planet

Selimiye Camii (Mosquée du Sultan-Selim-II ou Grande Mosquée) au soleil couchant , Edirne, Turquie, 7 novembre 1922, (Autochrome, 12 x 9 cm),
Frédéric Gadmer, Département des Hauts-de-Seine, musée Albert-Kahn, Archives de la Planète, A 36 543

In 1908, French financier Albert Kahn created a project that aimed to photograph the diversity of humanity across the planet. He hired 12 photographers to capture images of everyday life and culture around the globe. His staff traveled to 50 nations to document humanity. Sadly, his project, Archives of the Planet, ended in 1931 after he went bankrupt due to the stock market crash.

Over the course of the project, the photographers took more more than 72,000 photos of people and cultural sites, and also chronicled major events such as the First World War and the Turkish War of Independence.

TheArchives of the Planet project still survives and is currently managed by the Albert-Kahn Museum, which has now made about 69,000 high-resolution color photos free for download or perusal. Almost 25,000 of them are in the public domain, giving anyone free license to use and build upon them as they wish, no strings attached. The other 34,000 images, also high-res, come with varying guidelines for usage.

Une rue pavoisée aux couleurs arméniennes (rouge, bleu, orange) et françaises, Adana, Cilicie, Syrie (actuellement en Turquie), 11 décembre 1919,

Although the photographs have long been viewable on the site, they were previously low in quality and displayed on a janky interface that was difficult to use. The museum now has launched a digital revamp for its Image Portal, and is now allowing users to download the photos in full resolution.

Fontaine del Potro, Cordoue, Espagne, 19 juin-22 juin 1914, (Autochrome, ),
Auguste Léon, Département des Hauts-de-Seine, musée Albert-Kahn, Archives de la Planète, A 4 599

 

 

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The Promised Land

 

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Lost At Sea

On its maiden voyage en route from Southampton to New York, the RMS Titanic sank after colliding with an iceberg. Among those who died at sea were American book collector and Grolier Club member Harry Elkins Widener who at 27 had already amassed an impressive personal library of 2,500 rare books. In a letter from March 10 to a friend, he said he was about to embark on the Titanic and had recently bought the complete set of original drawings for The Mystery of Edwin Drood from book dealer Bernard Quaritch in London. Another of his purchases, this one from J Pearson and Co, which went down with the ship was Heavy News of a Horrible Earthquake which was in the city of Scarbaria in this present year, a small pamphlet about a terrible disaster from 1542…

Books lost to the waters included the fabled The Great Omar, a sumptuous 1911 Rubaiyat of Omar Khayyam in a gold leaf and multi-jewelled binding by Sangorski & Sutcliffe, and a 1598 2nd edition of Sir Francis Bacon’s ‘Essays’ which Widener had just bought in London. Seven parcels of parchment of the Torah owned by Hersh L. Siebald were also among the Titanic cargo claimed as lost.

 

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History is made of maps

History Maps uses a combination of interactive maps, videos, illustrations and Wikipedia content to explain and guide the user through an impressive collection of historical events. Beware, it’s easy to fall down this rabbit hole and spend an unplanned hour or two exploring this fascinating website.

 

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In The Stacks (Maisie’s Tune)

In the Stacks (Maisie’s Tune) by Robin Sloan is both a synthesizer with knobs you can fiddle with and a short story you can read. Here’s a sample, but you can read the entire story by the author of the novels Sourdough and Mr. Penumbra’s 24-Hour Bookstore right here.

I’M A LIBRARIAN, so of course I was picking melted plastic out of the 3D printer when I heard the news that Maisie Martin had died. I wandered out of the maker space, past the robotics lab, around the VR cave, into the music studio. We do have books in this library, lots of them. But these days, we have more than books.

Maisie was dead, so it was time, at last, to break down the synthesizer.

3D printers, LEGO robots, VR goggles: these offerings are not, among well-funded public libraries, uncommon. The Big Red Synthesizer is, by contrast, unique. Before it was Maisie’s instrument, it was my headache.

The music studio, I could handle. Generally, it was reserved by various squads of scruffy teens. They howled and tittered behind the glass and left the production computer’s keyboard greasy with Cheeto dust.

Every so often, one of them would spy the Big Red Synthesizer, enormous, as long as a Fiat, parked against the back wall of the studio control room. It was a fugitive from the 1970s, ancestor to the tools inside the production computer. Packed with knurled knobs set beside pulsing LEDs, it might have been ripped from the cockpit of the Millennium Falcon. Every so often, one of the teens would creep out of the studio to ask: Hey, uh… how do you use that thing?

I would confess: I didn’t know. The synthesizer’s markings, “VCO” and “VCF” and “LFO,” were as inscrutable as an ancient tablet. Jacks yawned open, ready to receive the cables draped over hooks on the wall. According to what logic would those cables be inserted? I had barely weathered the transition to USB-C. I had no idea.

The teens would fiddle. Generally, their efforts produced only silence, and they retreated back into the computer. Once, a girl with stringy hair and long fingers summoned a yowling square wave, so banshee-pure that it punched through the soundproofing and filled the library. I jogged to quiet the noise, but she pulled the plug before I arrived, frightened by her own sound.

There was, as far as I knew, just one patron who understood the use of the Big Red Synthesizer, and her expertise made up for all our ignorance.

Maisie Martin, 83 years old, was a virtuoso.

Her career had bloomed and faded before the internet, so there wasn’t much to find about her, except the stub of a page on the university website naming her a Professor, Emeritus in classics. She had written a book about the muses, far too obscure to be included in our collection. Her hair was cut short, her expression set serious, but she was never unkind. She simply had things to do…

 

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Help for struggling writers

 

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United For Ukraine

One of the largest creative agencies in the UK has launched an advertising campaign supporting the rebuilding of Ukraine through  #united24  The Pablo Agency, has created retro-style tourist posters that invite you to Ukraine. They show historical buildings and tourist spots that have been damaged by russian missiles. Using a QR code, you can donate to Ukraine’s rebuilding efforts. 

 

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The Master of Mysteries

In the newest addition to the Library of Congress Crime Classics series, Gelett Burgess’ Astro the Seer proves that he is “The Master of Mysteries.”  This collection of short stories, originally published in 1912, features victims of crimes who bring their cases to Astro, who, they believe, finds solutions by consulting their auras and psychic vibrations. In reality, as soon as they leave his office, Astro sheds his turban and robe and assumes the role of a private detective. He interviews witnesses, follows suspects, stakes out hideouts and uses scientific methods of the day. However, Astro’s most effective weapon is his hyper-focused attention to minute details of his clients’ appearance and behavior.

Astro’s methods bring to mind another fictional sleuth: Sherlock Holmes, the creation of Arthur Conan Doyle. The appearance of Doyle’s genre-defining detective launched what Crime Classics editor Leslie S. Klinger calls “a tsunami of Holmes imitators,” of which Astro is a notable representative. Like Holmes, Astro demonstrates a wealth of expertise in many fields, employs a specific meditating method to organize his thoughts and heavily relies on his companion, Valeska Wynne. Unlike Holmes, however, Astro trusts his sidekick with serious tasks and occasionally gives Valeska credit, though he never misses a chance to tease her.

With “The Master of Mysteries,” the Library’s Crime Classics series continues its mission of bringing back to light some of the finest, albeit lesser-known, American crime writing from the 1860s to the 1960s. Drawn from the Library’s collections, each volume includes the original text, an introduction, author biography, notes, recommendations for further reading and suggested discussion questions from mystery expert Leslie S. Klinger.

Crime Classics are published by Poisoned Pen Press, an imprint of Sourcebooks, in association with the Library of Congress. “The Master of Mysteries,” published on January 3, 2023.

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