Richards revises the prevailing portrayal of Poe as an isolated idiosyncratic genius, showing how he worked with contemporary female poets.Poe is frequently portrayed as an isolated idiosyncratic genius who was unwilling or unable to adapt himself to the cultural conditions of his time. Eliza Richards revises this portrayal through an exploration of his collaborations and rivalries with his female contemporaries. Richards introduces and interprets the work of three important and largely forgotten women poets: Frances Sargent Osgood, Sarah Helen Whitman, and Elizabeth Oakes Smith. Richards re-evaluates the work of these writers, and of nineteenth-century lyric practices more generally.Poe is frequently portrayed as an isolated idiosyncratic genius who was unwilling or unable to adapt himself to the cultural conditions of his time. Eliza Richards revises this portrayal through an exploration of his collaborations and rivalries with his female contemporaries. Richards introduces and interprets the work of three important and largely forgotten women poets: Frances Sargent Osgood, Sarah Helen Whitman, and Elizabeth Oakes Smith. Richards re-evaluates the work of these writers, and of nineteenth-century lyric practices more generally.Edgar Allan Poe is frequently portrayed as an isolated idiosyncratic genius unwilling or unable to adapt himself to the cultural conditions of his time. Eliza Richards revises this portrayal through an exploration of his collaborations and rivalries with his female contemporaries. Richards interprets and re-evaluates the work of three important and largely forgotten women poets in the context of nineteenth-century lyric practices: Frances Sargent Osgood, Sarah Helen Whitman, and Elizabeth Oakes Smith.Illustrations; Acknowledgments; Note on texts used; List of abbreviations; Introduction; 1. 'The Poetess' and Poe's performance of the feminine; 2. Frances Sargent Osgood, Salon poetry, and the erotic voice print; 3. Sarah Helen Whitman, spirituallÔ