By the same editors from Translated Poe (2014) and part of the Perspectives on Poe series from with Lehigh University Press, this book offers itself as a groundbreaking, innovative work, shedding light on an aspect of Poe studies which, otherwise, has received little attention. Emron Esplin, a scholar particularly interested in Poe's reception by Argentinian writers and critics such as Jorge Luis Borges and Julio Cortázar, and Margarida Vale de Gato, a reputable translator of Poe's works into Portuguese and a specialist in translation studies, contend in their essay-length introduction to the volume that “anthologies and the concepts of anthologizing, organizing, collecting, and/or editing an author's work receive relatively little coverage in the literary market or in the scholarly tradition” (2). In relation to Edgar Allan Poe, this certainly seems to be the case. Although one of the most anthologized authors, not only in the United States but also in many countries in the world, Poe lacks studies regarding his place in the canon of anthologizers, which he himself tried to be, as well as studies addressing up to what extent anthologies have fostered the reading of Poe's tales in different literary systems.Contributors to the collection of essays come from an interesting and diverse range of countries, such as the United States, Russia, England, Portugal, Spain, and Japan, and offer readers interested in Poe's works as well as in anthology and translation studies a rich opportunity to learn about Poe's relation to the topic. Organized into four parts and covering seventeen chapters, the volume opens in Part 1 with three essays dedicated to Poe's role as anthologizer and his place in what Esplin and Vale de Gato call “(proto) anthologies of the 1840s” (v).In Chapter 1, Jana L. Argersinger addresses Poe's interest and role in placing himself as an anthologizer, having published The Literati of New York City, “his 1846 anthology of forty-one such profiles serialized in Godey's Lady's Book” (21). Argersinger contends for what she calls a relational aesthetics pursued by Poe as he portrayed different contemporary writers and evaluated their works, thus coming up with an intense and rather complex intertextual and interpersonal network, sometimes projecting himself in the life and works of contemporaries such as Margaret Fuller. Argersinger claims Poe's anthology may be read as an attempt toward searching for belonging to a canon and, at the same time, trying to build it up. The Poe scholar also remembers the notorious literary battle between Poe and Rufus Griswold, who also organized, published, and republished anthologies and helped forge and perpetuate a dark image of his rival which would last for a long time.In Chapter 2, Harry Lee Poe gives readers an in-depth and detailed account of Poe's literary project and how he planned his publications to form a whole, abiding by his famous “unity of effect” formula. His distant cousin claims that instead of writing and publishing stories and poems around genres and topics, Edgar Allan Poe wanted his works to form “a collective whole” (40), and he carefully planned every step toward reaching such an objective. Harry Lee Poe argues this was no easy task, however, as “Poe had no control over the order of publication of his earliest stories, and he did not necessarily have a plan for the order in which he wrote different kinds of tales” (41). This scenario, according to Harry Lee Poe, started changing as more stories would come out in periodicals and newspapers, especially after Poe managed to publish his first collections of stories and thus gain more control over his works. Overall, Harry Lee Poe offers readers details of negotiations between Poe and his editors and publishers throughout his career, detailing how Poe managed to fulfill his literary project only partially. After Tales of the Grotesque and Arabesque (1840) came out, followed by Tales (1845)—which Harry Lee Poe considers “a supplement of sorts to the earlier collection” (55)—and perhaps given the circumstances of the author's hectic life, no other collection was published, not even Poe's long dreamed of complete works. However, the chapter closes with an interesting idea: Poe was an anthologist and ended up publishing a series of stories in the Broadway Journal, having to constantly deal with choosing what to select or not, which arrangements to make, a careful plan which, according to Harry Lee Poe, relates to the arguments present in Poe's “Philosophy of Composition.”Part 1 of the volume closes with a chapter by Russian Poe scholar Alexandra Urakova, who addresses the connections between the tradition of gift books in the nineteenth-century United States and how poems and prose works would be selected to appear in those books. As Urakova puts it, gift books were not anthologies, but rather “collections of poetry and prose bound together as holiday gifts, usually sold during the Christmas season” (59). Poe's poem “Eleonora” is, according to Urakova, an example of a poem published in the 1842's The Gift: A Christmas and New Year Present. The chapter opens with theoretical considerations aiming at telling gift books and anthologies apart, the former considered random compilations of publications without a unique line of arguments or themes, while the latter imply a careful and planned selection based on a certain purpose. For Urakova, the fact that Poe engaged with a popular tradition and at the same time published a poem many scholars have long considered to be of minor interest to the canon of Poe's works should be reconsidered. On the one hand, Urakova claims “Eleonora” shares aspects with other works by the author, such as “Berenice” and “Island of the Fay,” as far as theme, the topos of the death of a beautiful woman and a romantic take on plot. On the other hand, “Eleonora” seems to bear a dialogue with works by women writers and with the flower tradition portrayed in the gift book: as Urakova argues, the same ornaments present in the poem appear in the flower illustrations inside the publication. The critic closes the chapter claiming for “Eleonora” and Poe to be reconsidered in the gift book tradition (69), since it was not the only time Poe published in gift books: as Urakova br iefly mentions, “Purloined Letter” and “William Wilson” also appeared in The Gift.Part 2 brings five chapters addressing Poe's works appearing in editions in collective or individual anthologies in the United States and England. Jeffrey Savoye, in Chapter 4, discusses Poe's early editions, those by Griswold, Ingram, Stedman, and Woodberry, as well as the one by Harrison. As Savoye puts it, “These editions represent the formative period of scholarly attempts at publishing a comprehensive collection of Poe's writings” (76). Besides bringing readers the history of those editions, of how they came about and of the choices made by their editors, with their strengths and weaknesses, Savoye argues for their historical relevance in helping future generations have contact with Poe's complete works, a project the author had in mind but could not fulfill in his lifetime.In Chapter 5, Travis Montgomery focuses on the landmark editions of Poe's works in the twentieth century, whose editors followed Harrison's groundbreaking work as a compiler of Poe's writings. Montgomery refers to “Killis Campbell, John W. Ostrom, Floyd Stovall, Thomas Olive Mabbott, Burton R. Pollin, Patrick F. Quinn, and G. R. Thompson” (99); for the critic, “their editions contained generally reliable texts of Poe's writings, texts based on careful study of available sources” (99). Although differing from popular anthologies, according to Montgomery, those editions “bear similarities to compilations of that order” (99). In this chapter, the critic takes a similar path to Savoye's by comparing the different editions, underscoring their uniqueness, and exploring their history of publication.Taking a different space framework into consideration, in Chapter 6 the English Poe scholar Bonnie Shannon McMullen discusses Poe's appearance in anthologies and editions in Britain from 1852 to 1914. The critic shows how Poe's reception and consequent publication history in Britain shifted from initial admiration (given his similarities in terms to themes and topoi with English Romantics) to what McMullen considers “near contempt” as the reading public changed and, finally, to an acceptance as a versatile writer, capable of dealing with various genres and, therefore, being considered “a serious writer” (118).Chapter 7, by J. Gerald Kennedy, focuses exclusively on one anthology, or rather, a reader, published by Penguin, titled The Penguin Portable. Kennedy shares a personal account in the chapter, since he was invited in 2003 to revise the first edition of this collection, from 1947, by Philip Van Doren Stern. Kennedy approaches the history of how he was invited, of how this work relates to his personal background and publication history, as well as of how he decided to reorganize the original edition, in accordance with the publishing house editorial decisions, adding tales, poems, letters, and criticism that the 1947 version had not included. Kennedy thus addresses his personal and Penguin's editorial choices, related to the market and readership interests, and relates how the need he felt to “bring Poe back” to the United States and associate his writings with antebellum America helped frame what to include in the collection.Scott Peeples charts similar ground as Savoye and Montgomery, although the corpus differs, as he compares forty different college anthologies ranging from 1925 to 2017. As he puts it, “I discuss the historical shifts as well as the historical constants in the way Poe has been represented in college textbooks” (151). Peeples surveys those textbooks, searching for repetitions and omissions of Poe's tales and poems. Perhaps of more interest to readers, however, is the fact that the critic pinpoints how Poe is referred to by the editors in footnotes and opening essays to those textbooks: sometimes as a great writer, sometimes as a useless rascal marked by death and drunkenness, which reveals how Poe has been received by the editorial market, critics, and readers alike throughout times.Part 3 opens to a different approach in the volume: the analysis of anthologies organized by genre rather than by author or theme, as well as of audiobooks. In Chapter 9, Stephen Rachman opens with a quick, yet interesting, discussion of what anthologies are about and what they cater toward. In his own words, “What we might call the anthology-function operates by uniting the diverse works of different authors into a generic whole—pointing toward the common features of the genre, movement, or topic covered in the particular anthology, not the individual author” (167). He then moves toward discussing Poe's role as a precursor of science fiction and his presence in anthologies dedicated to the genre due to his many stories portraying scientific or pseudo-scientific events.In Chapter 10, John Gruesser takes a similar path as Rachman regarding Poe and genre, this time in relation to detective fiction. Addressing the five stories critics tend to relate to the genre—“The Murders in the Rue Morgue,” “The Mystery of Marie Rogêt,” “The Purloined Letter,” “The Gold Bug,” and “Thou Art the Man”—plus “The Man of the Crowd,” a tale perhaps less associated with the genre, Gruesser discusses the rise of detective fiction as well as Poe's place in the canon as a forebear in the United States.Chapter 11 brings in Michelle Kay Hansen following a very interesting, although different, path from the other critics in this collection. Rather than discussing literary texts in print, Hansen focuses on audiobooks, opening up for multimodality. She addresses a specific anthology of Gothic and horror literature—that is, an anthology geared toward a specific genre, but in audiobook format—Doug Bradley's Spinechillers: Classic Horror Audio Books. As Hansen claims, “Each of the thirteen volumes of this anthology features Edgar Allan Poe at least once. Most of the time, however, Poe appears twice in each volume, with one short story and one poem (which always concludes the volume)” (208). Hansen showcases this anthology, “its use of nostalgia,” and “its reliance on popular culture ‘horror icons’” (208). The chapter offers an intriguing analysis of a fairly recent popular culture genre in relation to Poe's relevance and contribution to it.Chapter 12 presents an essay by Philip Edward Phillips, former Poe Studies Association president, addressing the presence of Poe's poetry in anthologies. He initially mentions Poe's intense career as a poet and his presence in anthologies that readers encounter from an early age. Phillips focuses on a historical overview of poetry anthologies in the United States, from the earliest collections published toward the very end of the eighteenth century, before thoroughly discussing Griswold's anthologies as well as those of his and Poe's contemporaries, and not forgetting the many collections published in the second half of the nineteenth century. The later part of the chapter refers to anthologies from the twentieth century as well as editions by Oxford from the twenty-first. The overview provided by Phillips is enriched by two illustrations from frontispieces of Griswold's The Poets and Poetry of America (1842), given its relation to Poe, as well as the one from Stedman's An American Anthology, published in 1900 and portraying Edgar Allan Poe and Walt Whitman together with six other poets.Part 4 of the book focuses on Poe and his presence in anthologies abroad (beyond the Anglophone path addressed in Part 2). In Chapter 13, Margarida Vale de Gato addresses the French reception of Poe's poems and tales, as well as his French translators, illustrators, and editors, among them Charles Baudelaire, considered “the maker of Poe in French prose” in Vale de Gato's own words (250). She also shows how a specific aspect of Poe's works became prevalent in France—the fantastic—given the editorial choices of those involved in translating, illustrating, and anthologizing Poe in the country.Christopher Rollason, in Chapter 14, tackles France and the United Kingdom (the latter also addressed by Bonnie McMullen, as mentioned above). Rollason argues that Poe's works may be placed on “the fault line between high culture and popular culture” (277). Following this direction, the critic discusses series of popular culture anthologies such as Everyman's Library, in which Poe appeared for the first time in 1908, as well as the Collins Classics anthology of Poe's works, published in 1952. He also addresses the Penguin collection, which may be considered both a popular and academic edition, catering to both publics. As for academic editions, Rollason analyzes the French Folio anthology, largely read by French scholars and encompassing multiple authors and works in its extensive collection.Chapter 15 tackles Poe editions published in Spain. In a richly illustrated essay, Fernando González-Moreno and Margarita Rigal-Aragón show Poe's reception in Spain during the Civil War, the Francoist regime, and its aftermath. His works are discussed from this historical and political perspective, showing how they may be read against what was going on in Spain at that time.Chapter 16 also brings in the Spanish-speaking world, but this time readers encounter the Argentinian context. Emron Esplin discusses Poe's reception in Argentina by some of its most prominent writers and translators, namely Carlos Olivera, Armando Bazán, Jorge Luis Borges, and Julio Cortázar. Esplin shows how, since the first anthology, by Olivera, published in 1884, Poe was read from the point of view of his tales of terror, ratiocination, the fantastic, and the supernatural. Such aspects of Poe's work were what interested those translators, publishers, and critics, according to Esplin, thus framing Poe's reception in Argentina.Closing the volume, in Chapter 17, reputable Poe Japanese scholar Takayuki Tatsumi offers a reading that many will perhaps be less familiar with: how Poe was read in Japan, from the nineteenth century on, in a historical period called the Meiji Revolution (1853–77), which “served as an incubator for the reception of Western literature and culture” (353). As Tatsumi recalls, referring to a previous study published in Translated Poe by the same editors of this collection, the first translations of Poe's stories into Japanese were done by Shiken Morita, who lived during this Meiji Revolution period. Poe would undergo many different periods of intense publication in Japan, from the early twentieth century on, including a strong presence in juvenile anthologies and in recent publications from the twenty-first century. The chapter summarizes those anthologies, offering readers the opportunity to get acquainted with them.Anthologizing Poe: Editions, Translations and (Trans)National Canons thus provides readers with what the title points at: a rich panorama of Poe's presence, in different spaces and times, as well as a diverse picture of how his works were received, read, and reinterpreted by different publishers, editors, translators, and illustrators. The rich introduction opening the collection offers an in-depth analysis of anthology studies, the different theories regarding how anthologies are conceived, and the possible paths toward further studies. In all, the book caters toward anyone interested in Poe's works as well as anthology and translation studies. Poe scholars and undergraduate and graduate students working on Poe's works would certainly benefit from the book as well. Perhaps an anthology in itself, the volume does what its editors mention from the start: it involves choices, inclusions, and deletions. Emron Esplin and Margarida Vale de Gato close the introduction with a disclaimer: that decisions were made and that there is much more room for critics to pursue further studies on the topic. This is certainly true, as many more countries and contexts could have been included. Perhaps a second volume would solve this problem.