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The Raven
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This article is about the narrative poem by American writer Edgar Allan Poe. For other uses, see The Raven (disambiguation).
"The Raven" depicts a mysterious raven's midnight visit to a mourning narrator, as illustrated by John Tenniel (1858).
"The Raven"
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"The Raven" is a narrative poem by American writer Edgar Allan Poe. First published in January 1845, the poem is often noted for its musicality, stylized language, and supernatural atmosphere. It tells of a talking raven's mysterious visit to a distraught lover, tracing the man's slow fall into madness. The lover, often identified as being a student,[1][2] is lamenting the loss of his love, Lenore. Sitting on a bust of Pallas, the raven seems to further instigate his distress with its constant repetition of the word "Nevermore". The poem makes use of folk, mythological, religious, and classical references.
Poe claimed to have written the poem logically and methodically, intending to create a poem that would appeal to both critical and popular tastes, as he explained in his 1846 follow-up essay, "The Philosophy of Composition". The poem was inspired in part by a talking raven in the novel Barnaby Rudge: A Tale of the Riots of 'Eighty by Charles Dickens.[3] Poe borrows the complex rhythm and meter of Elizabeth Barrett's poem "Lady Geraldine's Courtship", and makes use of internal rhyme as well as alliteration throughout.
"The Raven" was first attributed to Poe in print in the New York Evening Mirror on January 29, 1845. Its publication made Poe popular in his lifetime, although it did not bring him much financial success. The poem was soon reprinted, parodied, and illustrated. Critical opinion is divided as to the poem's literary status, but it nevertheless remains one of the most famous poems ever written.[4]
Contents
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1 Synopsis
2 Analysis
2.1 Allusions
2.2 Poetic structure
3 Publication history
3.1 Illustrators
4 Composition
5 Critical reception
6 See also
7 Notes
8 References
9 External links
Synopsis[edit]
The Raven [5]

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visiter," I muttered, "tapping at my chamber door—
Only this and nothing more."
[show]
Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;—vainly I had sought to borrow
From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visiter entreating entrance at my chamber door—
Some late visiter entreating entrance at my chamber door;—
This it is and nothing more."

Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"—here I opened wide the door;—
Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!"—
Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
'Tis the wind and nothing more!"

Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
Not the least obeisance made he; not a minute stopped or stayed he;
But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven "Nevermore."

Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."

But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
Nothing farther then he uttered—not a feather then he fluttered—
Till I scarcely more than muttered "Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before."
Then the bird said "Nevermore."

Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
Of 'Never—nevermore'."

But the Raven still beguiling my sad fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore."

This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet-violet lining with the lamp-light gloating o'er,
She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer
Swung by seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee—by these angels he hath sent thee
Respite—respite and nepenthe, from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven "Nevermore."

"Prophet!" said I, "thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate yet all undaunted, on this desert land enchanted—
On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!"
Quoth the Raven "Nevermore."

"Prophet!" said I, "thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven "Nevermore."

"Be that word our sign of parting, bird or fiend!" I shrieked, upstarting—
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul hath spoken!
Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven "Nevermore."

And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming,
And the lamp-light o'er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted—nevermore!
—Edgar Allan Poe
"Not the least obeisance made he", as illustrated by Gustave Doré (1884)
"The Raven" follows an unnamed narrator on a dreary night in December who sits reading "forgotten lore" by a dying fire [6] as a way to forget the death of his beloved Lenore. A "tapping at [his] chamber door"[6] reveals nothing, but excites his soul to "burning".[7] The tapping is repeated, slightly louder, and he realizes it is coming from his window. When he goes to investigate, a raven flutters into his chamber. Paying no attention to the man, the raven perches on a bust of Pallas above the door.
Amused by the raven's comically serious disposition, the man asks that the bird tell him its name. The raven's only answer is "Nevermore".[7] The narrator is surprised that the raven can talk, though at this point it has said nothing further. The narrator remarks to himself that his "friend" the raven will soon fly out of his life, just as "other friends have flown before"[7] along with his previous hopes. As if answering, the raven responds again with "Nevermore".[7] The narrator reasons that the bird learned the word "Nevermore" from some "unhappy master" and that it is the only word it knows.[7]
Even so, the narrator pulls his chair directly in front of the raven, determined to learn more about it. He thinks for a moment in silence, and his mind wanders back to his lost Lenore. He thinks the air grows denser and feels the presence of angels, and wonders if God is sending him a sign that he is to forget Lenore. The bird again replies in the negative, suggesting that he can never be free of his memories. The narrator becomes angry, calling the raven a "thing of evil" and a "prophet".[8] Finally, he asks the raven whether he will be reunited with Lenore in Heaven. When the raven responds with its typical "Nevermore", he is enraged, and, calling it a liar, commands the bird to return to the "Plutonian shore"[8]—but it does not move. Presumably at the time of the poem's recitation by the narrator, the raven "still is sitting"[8] on the bust of Pallas. The narrator's final admission is that his soul is trapped beneath the raven's shadow and shall be lifted "Nevermore".[8]
Analysis[edit]
Poe wrote the poem as a narrative, without intentional allegory or didacticism.[2] The main theme of the poem is one of undying devotion.[9] The narrator experiences a perverse conflict between desire to forget and desire to remember. He seems to get some pleasure from focusing on loss.[10] The narrator assumes that the word "Nevermore" is the raven's "only stock and store", and, yet, he continues to ask it questions, knowing what the answer will be. His questions, then, are purposely self-deprecating and further incite his feelings of loss.[11] Poe leaves it unclear if the raven actually knows what it is saying or if it really intends to cause a reaction in the poem's narrator.[12] The narrator begins as "weak and weary," becomes regretful and grief-stricken, before passing into a frenzy and, finally, madness.[13] Christopher F. S. Maligec suggests the poem is a type of elegiac paraclausithyron, an ancient Greek and Roman poetic form consisting of the lament of an excluded, locked-out lover at the sealed door of his beloved.[14]
Allusions[edit]
The raven perches on a bust of Pallas Athena, a symbol of wisdom meant to imply the narrator is a scholar. Illustration by Édouard Manet for Stéphane Mallarmé's translation, Le Corbeau (1875).
Poe says that the narrator is a young scholar.[15] Though this is not explicitly stated in the poem, it is mentioned in "The Philosophy of Composition". It is also suggested by the narrator reading books of "lore" as well as by the bust of Pallas Athena, Greek goddess of wisdom.[1]
He is reading in the late night hours from "many a quaint and curious volume of forgotten lore".[6] Similar to the studies suggested in Poe's short story "Ligeia", this lore may be about the occult or black magic. This is also emphasized in the author's choice to set the poem in December, a month which is traditionally associated with the forces of darkness. The use of the raven—the "devil bird"—also suggests this.[16] This devil image is emphasized by the narrator's belief that the raven is "from the Night's Plutonian shore", or a messenger from the afterlife, referring to Pluto, the Roman god of the underworld[10] (also known as Dis Pater in Roman mythology). A direct allusion to Satan also appears: "Whether Tempter sent, or whether tempest tossed thee here ashore..."
Poe chose a raven as the central symbol in the story because he wanted a "non-reasoning" creature capable of speech. He decided on a raven, which he considered "equally capable of speech" as a parrot, because it matched the intended tone of the poem.[17] Poe said the raven is meant to symbolize "Mournful and Never-ending Remembrance".[18] He was also inspired by Grip, the raven in Barnaby Rudge: A Tale of the Riots of 'Eighty by Charles Dickens.[19] One scene in particular bears a resemblance to "The Raven": at the end of the fifth chapter of Dickens's novel, Grip makes a noise and someone says, "What was that – him tapping at the door?" The response is, "'Tis someone knocking softly at the shutter."[20] Dickens's raven could speak many words and had many comic turns, including the popping of a champagne cork, but Poe emphasized the bird's more dramatic qualities. Poe had written a review of Barnaby Rudge for Graham's Magazine saying, among other things, that the raven should have served a more symbolic, prophetic purpose.[20] The similarity did not go unnoticed: James Russell Lowell in his A Fable for Critics wrote the verse, "Here comes Poe with his raven, like Barnaby Rudge / Three-fifths of him genius and two-fifths sheer fudge."[21] The Free Library of Philadelphia has on display a taxidermied raven that is reputed to be the very one that Dickens owned and that helped inspire Poe's poem.[22]
Poe may also have been drawing upon various references to ravens in mythology and folklore. In Norse mythology, Odin possessed two ravens named Huginn and Muninn, representing thought and memory.[23] According to Hebrew folklore, Noah sends a white raven to check conditions while on the ark.[17] It learns that the floodwaters are beginning to dissipate, but it does not immediately return with the news. It is punished by being turned black and being forced to feed on carrion forever.[23] In Ovid's Metamorphoses, a raven also begins as white before Apollo punishes it by turning it black for delivering a message of a lover's unfaithfulness. The raven's role as a messenger in Poe's poem may draw from those stories.[23]
Nepenthe, a drug mentioned in Homer's Odyssey, erases memories; the narrator wonders aloud whether he could receive "respite" this way: "Quaff, oh quaff this kind nepenthe and forget this lost Lenore!" Poe also mentions the Balm of Gilead, a reference to the Book of Jeremiah (8:22) in the Bible: "Is there no balm in Gilead; is there no physician there? why then is not the health of the daughter of my people recovered?"[24] In that context, the Balm of Gilead is a resin used for medicinal purposes (suggesting, perhaps, that the narrator needs to be healed after the loss of Lenore). He also refers to "Aidenn", another word for the Garden of Eden, though Poe uses it to ask if Lenore has been accepted into Heaven.
Poetic structure[edit]
The poem is made up of 18 stanzas of six lines each. Generally, the meter is trochaic octameter – eight trochaic feet per line, each foot having one stressed syllable followed by one unstressed syllable.[3] The first line, for example (with / representing stressed syllables and x representing unstressed):
Syllabic structure of a verse[6]
Stress
/ x / x / x / x / x / x / x / x
Syllable
Once up- on a mid- night drear- y, while I pon- dered weak and wear- y
Poe, however, claimed the poem was a combination of octameter acatalectic, heptameter catalectic, and tetrameter catalectic.[15] The rhyme scheme is ABCBBB, or AA,B,CC,CB,B,B when accounting for internal rhyme. In every stanza, the 'B' lines rhyme with the word 'nevermore' and are catalectic, placing extra emphasis on the final syllable. The poem also makes heavy use of alliteration ("Doubting, dreaming dreams ...").[25] 20th-century American poet Daniel Hoffman suggested that the poem's structure and meter is so formulaic that it is artificial, though its mesmeric quality overrides that.[26]
Poe based the structure of "The Raven" on the complicated rhyme and rhythm of Elizabeth Barrett's poem "Lady Geraldine's Courtship".[15] Poe had reviewed Barrett's work in the January 1845 issue of the Broadway Journal[27] and said that "her poetic inspiration is the highest – we can conceive of nothing more august. Her sense of Art is pure in itself."[28] As is typical with Poe, his review also criticizes her lack of originality and what he considers the repetitive nature of some of her poetry.[29] About "Lady Geraldine's Courtship", he said "I have never read a poem combining so much of the fiercest passion with so much of the most delicate imagination."[28]
Publication history[edit]
The Raven and Other Poems, Wiley and Putnam, New York, 1845.
Poe first brought "The Raven" to his friend and former employer George Rex Graham of Graham's Magazine in Philadelphia. Graham declined the poem, which may not have been in its final version, though he gave Poe $15 as charity.[30] Poe then sold the poem to The American Review, which paid him $9 for it,[31] and printed "The Raven" in its February 1845 issue under the pseudonym "Quarles", a reference to the English poet Francis Quarles.[32] The poem's first publication with Poe's name was in the Evening Mirror on January 29, 1845, as an "advance copy".[15] Nathaniel Parker Willis, editor of the Mirror, introduced it as "unsurpassed in English poetry for subtle conception, masterly ingenuity of versification, and consistent, sustaining of imaginative lift ... It will stick to the memory of everybody who reads it."[4] Following this publication the poem appeared in periodicals across the United States, including the New York Tribune (February 4, 1845), Broadway Journal (vol. 1, February 8, 1845), Southern Literary Messenger (vol. 11, March 1845), Literary Emporium (vol. 2, December 1845), Saturday Courier, 16 (July 25, 1846), and the Richmond Examiner (September 25, 1849).[33] It has also appeared in numerous anthologies, starting with Poets and Poetry of America edited by Rufus Wilmot Griswold in 1847.
The immediate success of "The Raven" prompted Wiley and Putnam to publish a collection of Poe's prose called Tales in June 1845; it was his first book in five years.[34] They also published a collection of his poetry called The Raven and Other Poems on November 19 by Wiley and Putnam which included a dedication to Barrett as "the Noblest of her Sex".[35] The small volume, his first book of poetry in 14 years,[36] was 100 pages and sold for 31 cents.[37] In addition to the title poem, it included "The Valley of Unrest", "Bridal Ballad", "The City in the Sea", "Eulalie", "The Conqueror Worm", "The Haunted Palace" and eleven others.[38] In the preface, Poe referred to them as "trifles" which had been altered without his permission as they made "the rounds of the press".[35]
Illustrators[edit]
An illustration by Édouard Manet, from Mallarmé's translation, depicting the first two lines of the poem.
Later publications of "The Raven" included artwork by well-known illustrators. Notably, in 1858 "The Raven" appeared in a British Poe anthology with illustrations by John Tenniel, the Alice in Wonderland illustrator (The Poetical Works of Edgar Allan Poe: With Original Memoir, London: Sampson Low). "The Raven" was published independently with lavish woodcuts by Gustave Doré in 1884 (New York: Harper & Brothers). Doré died before its publication.[39] In 1875, a French edition with English and French text, Le Corbeau, was published with lithographs by Édouard Manet and translation by the Symbolist Stéphane Mallarmé.[40] Many 20th-century artists and contemporary illustrators created artworks and illustrations based on "The Raven", including Edmund Dulac, István Orosz,[41][42] and Ryan Price.[43]
Composition[edit]
Main article: The Philosophy of Composition
Poe capitalized on the success of "The Raven" by following it up with his essay "The Philosophy of Composition" (1846), in which he detailed the poem's creation. His description of its writing is probably exaggerated, though the essay serves as an important overview of Poe's literary theory.[44] He explains that every component of the poem is based on logic: the raven enters the chamber to avoid a storm (the "midnight dreary" in the "bleak December"), and its perch on a pallid white bust was to create visual contrast against the dark black bird. No aspect of the poem was an accident, he claims, but is based on total control by the author.[45] Even the term "Nevermore", he says, is used because of the effect created by the long vowel sounds (though Poe may have been inspired to use the word by the works of Lord Byron or Henry Wadsworth Longfellow).[46] Poe had experimented with the long o sound throughout many other poems: "no more" in "Silence", "evermore" in "The Conqueror Worm".[1] The topic itself, Poe says, was chosen because "the death... of a beautiful woman is unquestionably the most poetical topic in the world." Told from "the lips ... of a bereaved lover" is best suited to achieve the desired effect.[2] Beyond the poetics of it, the lost Lenore may have been inspired by events in Poe's own life as well, either to the early loss of his mother, Eliza Poe, or the long illness endured by his wife, Virginia.[10] Ultimately, Poe considered "The Raven" an experiment to "suit at once the popular and critical taste", accessible to both the mainstream and high literary worlds.[2] It is unknown how long Poe worked on "The Raven"; speculation ranges from a single day to ten years. Poe recited a poem believed to be an early version with an alternate ending of "The Raven" in 1843 in Saratoga, New York.[3] An early draft may have featured an owl.[47]
In the summer of 1844, when the poem was likely written, Poe, his wife, and mother-in-law were boarding at the farmhouse of Patrick Brennan. The location of the house, which was demolished in 1888,[48][49] has been a disputed point and, while there are two different plaques marking its supposed location on West 84th Street, it most likely stood where 206 West 84th Street is now.[49][50][51]
Critical reception[edit]
Gustave Doré's illustration of the final lines of the poem accompanies the phrase "And my soul from out that shadow that lies floating on the floor/Shall be lifted--nevermore!"
In part due to its dual printing, "The Raven" made Edgar Allan Poe a household name almost immediately,[52] and turned Poe into a national celebrity.[53] Readers began to identify poem with poet, earning Poe the nickname "The Raven".[54] The poem was soon widely reprinted, imitated, and parodied.[52] Though it made Poe popular in his day, it did not bring him significant financial success.[55] As he later lamented, "I have made no money. I am as poor now as ever I was in my life—except in hope, which is by no means bankable".[36]
The New World said, "Everyone reads the Poem and praises it ... justly, we think, for it seems to us full of originality and power."[4] The Pennsylvania Inquirer reprinted it with the heading "A Beautiful Poem".[4] Elizabeth Barrett wrote to Poe, "Your 'Raven' has produced a sensation, a fit o' horror, here in England. Some of my friends are taken by the fear of it and some by the music. I hear of persons haunted by 'Nevermore'."[56] Poe's popularity resulted in invitations to recite "The Raven" and to lecture – in public and at private social gatherings. At one literary salon, a guest noted, "to hear [Poe] repeat the Raven ... is an event in one's life."[57] It was recalled by someone who experienced it, "He would turn down the lamps till the room was almost dark, then standing in the center of the apartment he would recite ... in the most melodious of voices ... So marvelous was his power as a reader that the auditors would be afraid to draw breath lest the enchanted spell be broken."[58]
Parodies sprung up especially in Boston, New York, and Philadelphia and included "The Craven" by "Poh!", "The Gazelle", "The Whippoorwill", and "The Turkey".[54] One parody, "The Pole-Cat", caught the attention of Andrew Johnston, a lawyer who sent it on to Abraham Lincoln. Though Lincoln admitted he had "several hearty laughs", he had not, at that point read "The Raven".[59] However, Lincoln eventually read and memorized the poem.[60]
"The Raven" was praised by fellow writers William Gilmore Simms and Margaret Fuller,[61] though it was denounced by William Butler Yeats, who called it "insincere and vulgar ... its execution a rhythmical trick".[2] Transcendentalist Ralph Waldo Emerson said, "I see nothing in it."[62] A critic for the Southern Quarterly Review wrote in July 1848 that the poem was ruined by "a wild and unbridled extravagance" and that minor things like a tapping at the door and a fluttering curtain would only affect "a child who had been frightened to the verge of idiocy by terrible ghost stories".[63] An anonymous writer going by the pseudonym "Outis" suggested in the Evening Mirror that "The Raven" was plagiarized from a poem called "The Bird of the Dream" by an unnamed author. The writer showed 18 similarities between the poems and was made as a response to Poe's accusations of plagiarism against Henry Wadsworth Longfellow. It has been suggested Outis was really Cornelius Conway Felton, if not Poe himself.[64] After Poe's death, his friend Thomas Holley Chivers said "The Raven" was plagiarized from one of his poems.[65] In particular, he claimed to have been the inspiration for the meter of the poem as well as the refrain "nevermore".[66]
"The Raven" has influenced many modern works, including Vladimir Nabokov's Lolita in 1955, Bernard Malamud's "The Jewbird" in 1963 and Ray Bradbury's "The Parrot Who Knew Papa" in 1976.[67] The process by which Poe composed "The Raven" influenced a number of French authors and composers, such as Charles Baudelaire and Maurice Ravel, and it has been suggested that Ravel's Boléro may have been deeply influenced by "The Philosophy of Composition."[68] The poem is additionally referenced throughout popular culture in films, television, music, and video games.
The name of the Baltimore Ravens, a professional American football team, was inspired by the poem.[69][70] Chosen in a fan contest that drew 33,288 voters, the allusion honors Poe, who spent the early part of his career in Baltimore and is buried there.[71]
See also[edit]
Cultural depictions of ravens
The Raven: The Love Story of Edgar Allan Poe by George Cochrane Hazelton
"The Raven" in popular culture
"Lenore" – an earlier poem by Poe
"Outis" as a pseudonym
Notes[edit]
^ Jump up to: a b c Meyers, 163
^ Jump up to: a b c d e Silverman, 239
^ Jump up to: a b c Kopley & Hayes, 192
^ Jump up to: a b c d Silverman, 237
Jump up ^ "Edgar Allan Poe Society of Baltimore – Works – Poems – The Raven". Edgar Allan Poe Society of Baltimore. December 28, 2007.
^ Jump up to: a b c d Poe, 773
^ Jump up to: a b c d e Poe, 774
^ Jump up to: a b c d Poe, 775
Jump up ^ Cornelius, Kay. "Biography of Edgar Allan Poe" in Bloom's BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadelphia: Chelsea House Publishers, 2002. p. 21 ISBN 0-7910-6173-6
^ Jump up to: a b c Kopley & Hayes, 194
Jump up ^ Hoffman, 74
Jump up ^ Hirsch, 195-6
Jump up ^ Hoffman, 73–74
Jump up ^ Maligec, Christopher F. S. (2009). "'The Raven' as an Elegiac Paraclausithyron". Poe Studies. 42: 87–97. doi:10.1111/j.1947-4697.2009.00015.x.
^ Jump up to: a b c d Sova, 208
Jump up ^ Granger, 53–54
^ Jump up to: a b Hirsch, 195
Jump up ^ Silverman, 240
Jump up ^ Meyers, 162
^ Jump up to: a b "Cremains / Ravens". palimpsest.stanford.edu. Archived from the original on February 23, 2008. Retrieved April 1, 2007.
Jump up ^ Cornelius, Kay. "Biography of Edgar Allan Poe" in Bloom's BioCritiques: Edgar Allan Poe, Harold Bloom, ed. Philadelphia: Chelsea House Publishers, 2002. p. 20 ISBN 0-7910-6173-6
Jump up ^ "Poe's Raven Stuffed at Free Library". Philadelphia Magazine. October 31, 2011. Retrieved January 30, 2014.
^ Jump up to: a b c Adams, 53
Jump up ^ Jeremiah 8:22
Jump up ^ Kopley & Hayes, 192–193
Jump up ^ Hoffman, 76
Jump up ^ Thomas & Jackson, 485
^ Jump up to: a b Meyers, 160
Jump up ^ Peeples, 142
Jump up ^ Hoffman, 79
Jump up ^ Ostrom, 5
Jump up ^ Silverman, 530
Jump up ^ "The Poems of Edgar Allan Poe". Edgar Allan Poe Society of Baltimore. April 27, 2007. Retrieved September 20, 2007.
Jump up ^ Meyers, 177
^ Jump up to: a b Thomas & Jackson, 591
^ Jump up to: a b Peeples, 136
Jump up ^ Silverman, 299
Jump up ^ Sova, 209
Jump up ^ Scholnick, Robert J. "In Defense of Beauty: Stedman and the Recognition of Poe in America, 1880–1910", collected in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, 1990. p. 262. ISBN 0-9616449-2-3
Jump up ^ "Digital Gallery for Édouard Manet illustrations — Le corbeau". New York Public Library Digital Gallery. Retrieved September 20, 2007.
Jump up ^ Orosz, István. "The poet in the mirror". Gallery Diabolus. Archived from the original on September 27, 2007. Retrieved September 20, 2007. —Anamorphic illustration for "The Raven"
Jump up ^ Orosz, István. "The poet in the mirror". Gallery Diabolus. Archived from the original on September 27, 2007. Retrieved September 20, 2007. —the same illustration with a chrome-plated brass cylinder
Jump up ^ Price, Ryan. "Illustrations by Ryan Price". Ingram Gallery. Archived from the original on September 28, 2007. Retrieved September 20, 2007.
Jump up ^ Krutch, 98
Jump up ^ Silverman, 295–296
Jump up ^ Forsythe, 439–452
Jump up ^ Weiss, 185
Jump up ^ Hemstreet, William (December 21, 1907). ""Raven" Mantel is in Brooklyn". The New York Times. New York. Retrieved June 15, 2017.
^ Jump up to: a b Wolfe, Theodore F. (January 4, 1908). "Poe's Life at the Brennan House". The New York Times. New York. Retrieved June 15, 2017.
Jump up ^ "Edgar Allan Poe Street". Manhattan Past. Retrieved June 15, 2017.
Jump up ^ White, Norval; Willensky, Elliot; Leadon, Fran (2010). AIA Guide to New York City. Oxford University Press. p. 383. ISBN 0195383869.
^ Jump up to: a b Hoffman, 80
Jump up ^ Peeples, 133
^ Jump up to: a b Silverman, 238
Jump up ^ Krutch, 155
Jump up ^ Krutch, 153
Jump up ^ Silverman, 279
Jump up ^ Krutch, 154
Jump up ^ Thomas & Jackson, 635
Jump up ^ Basler, Roy P. and Carl Sandberg. Abraham Lincoln: his speeches and writings. New York: De Capo Press, 2001: 185. ISBN 0-306-81075-1.
Jump up ^ Meyers, 184
Jump up ^ Silverman, 265
Jump up ^ Thomas & Jackson, 739
Jump up ^ Moss, 169
Jump up ^ Moss, 101
Jump up ^ Parks, Edd Winfield. Ante-Bellum Southern Literary Critics. Athens, GA: University of Georgia Press, 1962: 182.
Jump up ^ Kopley & Hayes, 196
Jump up ^ Lanford, 243–265.
Jump up ^ "Naming Baltimore's Team: Ravens". Baltimore Ravens. Retrieved June 22, 2016.
Jump up ^ "Franchise nicknames". Pro Football Hall of Fame. August 19, 2015. Retrieved August 19, 2015.
Jump up ^ "Baltimore Ravens History". Pro Football Hall of Fame. Archived from the original on September 8, 2006. Retrieved August 25, 2006.
References[edit]
Adams, John F. "Classical Raven Lore and Poe's Raven" in Poe Studies. Vol. V, no. 2, December 1972. Available online
Forsythe, Robert. "Poe's 'Nevermore': A Note", as collected in American Literature 7. January 1936.
Granger, Byrd Howell. "Marginalia — Devil Lore in 'The Raven'" from Poe Studies vol. V, no. 2, December 1972 Available online
Hirsch, David H. "The Raven and the Nightingale" as collected in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, Inc., 1990. ISBN 0-9616449-2-3
Hoffman, Daniel. Poe Poe Poe Poe Poe Poe Poe. Baton Rouge: Louisiana State University Press, 1972. ISBN 0-8071-2321-8
Kopley, Richard and Kevin J. Hayes. "Two verse masterworks: 'The Raven' and 'Ulalume'", collected in The Cambridge Companion to Edgar Allan Poe, edited by Kevin J. Hayes. New York: Cambridge University Press, 2002. ISBN 0-521-79727-6
Krutch, Joseph Wood. Edgar Allan Poe: A Study in Genius. New York: Alfred A. Knopf, 1926.
Lanford, Michael (2011). "Ravel and 'The Raven': The Realisation of an Inherited Aesthetic in Boléro." Cambridge Quarterly 40(3), 243–265.
Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992. ISBN 0-8154-1038-7
Moss, Sidney P. Poe's Literary Battles: The Critic in the Context of His Literary Milieu. Southern Illinois University Press, 1969.
Ostrom, John Ward. "Edgar A. Poe: His Income as Literary Entrepreneur", collected in Poe Studies Vol. 5, no. 1. June 1982.
Peeples, Scott. Edgar Allan Poe Revisited. New York: Twayne Publishers, 1998. ISBN 0-8057-4572-6
Poe, Edgar Allan. Edgar Allan Poe: Complete Tales & Poems. Edison, NJ: Castle Books, 2002. ISBN 0-7858-1453-1
Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York: Harper Perennial, 1991. ISBN 0-06-092331-8
Sova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001. ISBN 0-8160-4161-X
Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. New York: G. K. Hall & Co., 1987. ISBN 0-7838-1401-1
Weiss, Susan Archer. The Home Life of Poe. New York: Broadway Publishing Company, 1907.
External links[edit]
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Edgar Allan Poe at Curlie (based on DMOZ)
The Raven illustrated by Gustave Doré. From the Collections at the Library of Congress
Le Corbeau = The Raven: Poëme avec illustrations par Édouard Manet. From the Collections at the Library of Congress
Text
"The Raven" – Full text of the first printing, from the American Review, 1845
"The Raven" – Full text of the final authorized printing, from the Richmond Semi-Weekly Examiner, 1849
"Le Corbeau" – The French Translation of "The Raven" by Stéphane Mallarmé
"Le Corbeau" – The French Translation of "The Raven" by Charles Baudelaire
"Bela" - The Basque Translation by Jon Mirande, 1950.
"Ha-orev" - Hebrew translation by Vladimir Jabotinsky, 1914.
"Der Raab" - Yiddish translation by Vladimir Jabotinsky.
Commentary
The Poe Decoder – Essay on the symbols, words and composition of "The Raven"
The Raven. With Literary and Historical Commentary by John H. Ingram. London G. Redway. 1885.
Illustrated
Illustrations from The Raven, Gustave Doré illustrations from the University at Buffalo Libraries’ Rare & Special Books collection
The Raven illustrated by Édouard Manet' at Project Gutenberg
The Raven illustrated by Gustave Doré' at Project Gutenberg
Audio
Reading of 'The Raven' and text by Classic Poetry Aloud (MP3)
The Raven public domain audiobook at LibriVox
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Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Raven&oldid=827469373"
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text:
Kill a Word
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
"Kill a Word"
Single by Eric Church featuring Rhiannon Giddens
from the album Mr. Misunderstood
Released
August 29, 2016 (2016-08-29)
Format
Digital download
Genre
Country
Length
3:20
Label
EMI Nasvhille
Songwriter(s)
Eric Church
Luke Dick
Jeff Hyde
Producer(s)
Jay Joyce
Eric Church singles chronology
"Record Year"
(2016) "Kill a Word"
(2016) "Round Here Buzz"
(2017)
"Record Year"
(2016) "Kill a Word"
(2016) "Round Here Buzz"
(2017)
Rhiannon Giddens singles chronology
"Lay Your Money Down"
(2012) Lay Your Money Down2012 "Kill a Word"
(2016) Kill a Word2016 "Come Sunday"
(2016) Come Sunday2016
"Kill a Word" is a song co-written and recorded by American country music artist Eric Church as a duet with American musician Rhiannon Giddens. It was released in August 2016 as the third single from Church's 2015 album Mr. Misunderstood. Church wrote this song with Luke Dick and Jeff Hyde.
Contents
1 Content
2 Music video
3 Critical reception
4 Commercial performance
5 Covers
6 Chart performance
6.1 Weekly charts
6.2 Year-end charts
7 References
Content[edit]
The song is about the power and importance of words, and wanting to "kill" words with negative meanings, such as "hate."[1][2] The album version features Andrea Davidson and Rhiannon Giddens, the latter a member of the Carolina Chocolate Drops, on backing vocals. For the single edit, Giddens sings some lines of the song by herself.
Church told Rolling Stone that the 2016 presidential election was influential in picking "Kill a Word" as a single: "I would have regretted not putting out 'Kill a Word,' and let this season pass, not knowing if I would get a chance again where it was this relevant, this timely."[3]
Music video[edit]
The music video was directed by Shaun Silva and premiered on CMT, GAC, and Vevo in 2016.
Critical reception[edit]
Billy Dukes of Taste of Country wrote that "Soulful production and the addition of Rhiannon Giddens gives [sic] a more casual listener something to enjoy if he or she chooses not to dive into Church’s statement."[2] Giving it an "A", Kevin John Coyne of Country Universe wrote that "Songs that aim for utopia usually stumble along the way because they are either too preachy or too woefully naive. Church avoids this trap by zeroing in on the obstacles rather than the goal, and personalizes the proceedings by tackling what gets in the way of individual pursuit of happiness."[4]
Church and Giddens were nominated for Musical Event of the Year at the 51st Annual Country Music Association Awards in 2017.
Commercial performance[edit]
The song debuted on the Country Airplay chart at No. 58 for the chart dated September 10, 2016, and entered the Hot Country Songs chart three weeks later at No. 41.[5][6] The song has sold 194,000 copies in the United States as of March 2017.[7]
Covers[edit]
The band No Idea released a new version of the song as the B-side to their single, "Reduced to Flames". The song featured the entire lyrics from the original song, but with heavy metal music.
Chart performance[edit]
Weekly charts[edit]
Chart (2016–17)
Peak
position
Canada (Canadian Hot 100)[8] 71
Canada Country (Billboard)[9] 5
US Billboard Hot 100[10] 71
US Country Airplay (Billboard)[11] 6
US Hot Country Songs (Billboard)[12] 9
Year-end charts[edit]
Chart (2017)
Position
Canada Country (Billboard)[13]
17
US Country Airplay (Billboard)[14]
36
US Hot Country Songs (Billboard)[15]
48
References[edit]
Jump up ^ Horton, Carrie (September 1, 2016). "Hear Eric Church's 'Relevant', 'Timely' New Single, 'Kill a Word'". The Boot. Retrieved 30 October 2016.
^ Jump up to: a b Dukes, Billy (September 1, 2016). "Eric Church (Feat. Rhiannon Giddens), 'Kill a Word' [Listen]". Taste of Country. Retrieved 30 October 2016.
Jump up ^ Hudak, Joseph (August 23, 2016). "See Eric Church's Thought-Provoking 'Kill a Word' From Amazing Solo Show". Rolling Stone. Retrieved 30 October 2016.
Jump up ^ Coyne, Kevin John (September 28, 2016). "Single Review: Eric Church featuring Rhiannon Giddens, "Kill a Word"". Country Universe. Retrieved 30 October 2016.
Jump up ^ "Hot Country Songs". Billboard. October 1, 2016.
Jump up ^ "Country Airplay". Billboard. September 10, 2016.
Jump up ^ Bjorke, Matt (March 22, 2017). "Top 30 Digital Single Sales Chart: March 22, 2017". Roughstock.
Jump up ^ "Eric Church Chart History (Canadian Hot 100)". Billboard. Retrieved January 10, 2017.
Jump up ^ "Eric Church Chart History (Canada Country)". Billboard. Retrieved December 30, 2016.
Jump up ^ "Eric Church Chart History (Hot 100)". Billboard. Retrieved January 31, 2017.
Jump up ^ "Eric Church Chart History (Country Airplay)". Billboard. Retrieved March 21, 2017.
Jump up ^ "Eric Church Chart History (Hot Country Songs)". Billboard. Retrieved February 28, 2017.
Jump up ^ "Billboard Canada Year-End Country Airplay of 2017". Billboard. Retrieved December 31, 2017.
Jump up ^ "Country Airplay Songs – Year-End 2017". Billboard. Retrieved December 18, 2017.
Jump up ^ "Hot Country Songs – Year-End 2017". Billboard. Retrieved December 18, 2017.
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Eric Church
Studio albums
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Notable singles
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Guest songs
"The Only Way I Know" (w/ Jason Aldean and Luke Bryan)
"Raise 'Em Up" (w/ Keith Urban)
"Are You Ready for the Country" (w/ Hank Williams, Jr.)
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Gun-Free School Zones Act of 1990
From Wikipedia, the free encyclopedia
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Crime Control Act of 1990
Other short titles
Anabolic Steroids Control Act of 1990
Child Protection Restoration and Penalties Enhancement Act of 1990
Comprehensive Thrift and Bank Fraud Prosecution and Taxpayer Recovery Act of 1990
Criminal Victims Protection Act of 1990
Federal Debt Collection Procedures Act of 1990
Financial Institutions Anti-Fraud Enforcement Act of 1990
Mandatory Detention for Offenders Convicted of Serious Crimes Act
National Child Search Assistance Act of 1990
National Law Enforcement Cooperation Act of 1990
Victims of Child Abuse Act of 1990
Victims' Rights and Restitution Act of 1990
Long title
An Act to control crime.
Acronyms (colloquial)
GFSZA, CCA
Nicknames
Gun-Free School Zones Act of 1990
Enacted by
the 101st United States Congress
Effective
November 29, 1990
Citations
Public law
101-647
Statutes at Large
104 Stat. 4789 aka 104 Stat. 4844
Codification
Titles amended
18 U.S.C.: Crimes and Criminal Procedure
U.S.C. sections amended
18 U.S.C. ch. 44 § 921 et seq.
18 U.S.C. ch. 44 § 922 et seq.
Legislative history
Introduced in the Senate as S.3266 by Joseph R. Biden Jr. (D-DE) on October 27, 1990
Passed the Senate on October 27, 1990 (passed voice vote)
Passed the House of Representatives on October 27, 1990 (313-1, Roll call vote 534, via Clerk.House.gov)
Signed into law by President George H.W. Bush on November 29, 1990
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Federal Firearms License
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This article is about an act of the U.S. Congress generally restricting the possession of firearms in and around schools. It is not to be confused with Gun-Free Schools Act of 1994.
Section 1702(b)(5) of Pub. L. 101-647 states: "Federal, State, and local authorities are encouraged to cause signs to be posted around school zones giving warning of prohibition of the possession of firearms in a school zone."
ATF letter detailing the agency's interpretation of the act
The Gun-Free School Zones Act (GFSZA) is an act of the U.S. Congress prohibiting any unauthorized individual from knowingly possessing a loaded or unsecured firearm at a place that the individual knows, or has reasonable cause to believe, is a school zone as defined by 18 U.S.C. § 921(a)(25). The law applies to public, private, and parochial elementary schools and high schools, and to non-private property within 1000 feet of them. It provides that the states and their political subdivisions may issue licenses that exempt the licensed individuals from the prohibition.
It was first introduced in the U.S. Senate in February 1990 as S. 2070[1] by Senator Herb Kohl of Wisconsin and then was incorporated into the Crime Control Act of 1990 that was signed into law by President George H. W. Bush.
Contents
[hide]
1 History
2 Challenges
3 Provisions
3.1 Exceptions
3.2 Definitions
3.3 Penalty
4 Legal effects
4.1 Places affected
4.2 Carrying
4.3 Discharge
5 Reactions
5.1 Amendments introduced
5.1.1 Opposing the law
6 See also
7 References
8 External links
History[edit]
The Gun-Free School Zones Act of 1990 was originally passed as section 1702 of the Crime Control Act of 1990. It added 18 U.S.C. § 922(q); 18 U.S.C. § 922 itself was added by the Omnibus Crime Control and Safe Streets Act of 1968.
The Supreme Court of the United States subsequently held that the Act was an unconstitutional exercise of Congressional authority under the Commerce Clause of the United States Constitution in United States v. Lopez, 514 U.S. 549 (1995). This was the first time in over half a century that the Supreme Court limited Congressional authority to legislate under the Commerce Clause.
Following the Lopez decision, U.S. Attorney General Janet Reno proposed changes to 18 U.S.C. § 922(q) that were adopted in section 657 of the Omnibus Consolidated Appropriations Act of 1997, Pub.L. 104–208, 110 Stat. 3009, enacted September 30, 1996.[2] These changes required that the firearm in question "has moved in or otherwise affects interstate commerce."[3] As nearly all firearms have moved in interstate commerce at some point in their existence, critics assert this was merely a legislative tactic to circumvent the Supreme Court's ruling.[2]
Challenges[edit]
The Supreme Court of the United States held that the original Act was an unconstitutional exercise of Congressional authority under the Commerce Clause of the United States Constitution in United States v. Lopez, 514 U.S. 549 (1995). This was the first time in over half a century that the Supreme Court limited Congressional authority to legislate under the Commerce Clause.[citation needed]
Although the amended GFSZA has yet to be challenged in the U.S. Supreme Court, it has been reviewed and upheld by several federal Circuit Courts. In a 2005 Appellate case, United States v. Dorsey,[4] the minor changes of the revised law were specifically challenged. In Dorsey, the U.S. Court of Appeals for the Ninth Circuit ruled that the minor changes were indeed sufficient to correct the issues that had caused the original 1990 law to be struck down in Lopez, and they upheld Dorsey's conviction under the revised version of the law. A 2000 ruling made by the Eleventh Circuit in United States v. Tait overturned a conviction for firearm possession in a school zone because the defendant was licensed to do so by the state in which the school zone is located.
Convictions upheld post-Lopez under the revised Gun Free School Zones Act include:
United States v. Danks (Eighth Circuit 1999)
United States v. Smith (Sixth Circuit 2005)
United States v. Dorsey (Ninth Circuit 2005)
United States v. Nieves-Castaño (First Circuit 2007)
United States v. Weekes (Third Circuit 2007)
United States v. Benally (Tenth Circuit 2007)
United States v. Cruz-Rodriguez (First Circuit 2008)
Convictions overturned post-Lopez under the revised Gun Free School Zones Act include:
United States v. Tait (Eleventh Circuit 2000)
United States v. Haywood (Third Circuit 2002)
United States v. Guzman-Montanez (First Circuit 2014)
Provisions[edit]
18 U.S.C. § 922(q)(2)(A) states:
It shall be unlawful for any individual knowingly to possess a firearm that has moved in or that otherwise affects interstate or foreign commerce at a place that the individual knows, or has reasonable cause to believe, is a school zone.
18 U.S.C. § 922(q)(3)(A) states:
Except as provided in subparagraph (B), it shall be unlawful for any person, knowingly or with reckless disregard for the safety of another, to discharge or attempt to discharge a firearm that has moved in or that otherwise affects interstate or foreign commerce at a place that the person knows is a school zone.
Exceptions[edit]
Pursuant to 18 U.S.C. § 922(q)(2)(B):
[18 U.S.C. § 922(q)(2)(A)] does not apply to the possession of a firearm—
(i) on private property not part of school grounds;
(ii) if the individual possessing the firearm is licensed to do so by the State in which the school zone is located or a political subdivision of the State, and the law of the State or political subdivision requires that, before an individual obtains such a license, the law enforcement authorities of the State or political subdivision verify that the individual is qualified under law to receive the license;
(iii) that is—
(I) not loaded; and
(II) in a locked container, or a locked firearms rack that is on a motor vehicle;
(iv) by an individual for use in a program approved by a school in the school zone;
(v) by an individual in accordance with a contract entered into between a school in the school zone and the individual or an employer of the individual;
(vi) by a law enforcement officer acting in his or her official capacity; or
(vii) that is unloaded and is possessed by an individual while traversing school premises for the purpose of gaining access to public or private lands open to hunting, if the entry on school premises is authorized by school authorities.
Pursuant to 18 U.S.C. § 922(q)(3)(B):
[18 U.S.C. § 922(q)(3)(A)] does not apply to the discharge of a firearm—
(i) on private property not part of school grounds;
(ii) as part of a program approved by a school in the school zone, by an individual who is participating in the program;
(iii) by an individual in accordance with a contract entered into between a school in a school zone and the individual or an employer of the individual; or
(iv) by a law enforcement officer acting in his or her official capacity.
Definitions[edit]
Pursuant to 18 U.S.C. § 921(a)(25):
The term "school zone" means—
(A) in, or on the grounds of, a public, parochial or private school; or
(B) within a distance of 1,000 feet from the grounds of a public, parochial or private school.
Pursuant to 18 U.S.C. § 921(a)(26) the term "school" means a school which provides elementary or secondary education, as determined under state law.
Penalty[edit]
18 U.S.C. § 924(a)(4) establishes the penalty for violating GFSZA:
Whoever violates the Act shall be fined not more than $5,000, imprisoned for not more than 5 years, or both. Notwithstanding any other provision of law, the term of imprisonment imposed under this paragraph shall not run concurrently with any other term of imprisonment imposed under any other provision of law.
A conviction under the GFSZA will cause an individual to become a "prohibited person" under the Gun Control Act of 1968. It is unlawful for a "prohibited person" to own, purchase, or possess "firearms" as defined by US federal law. A US presidential pardon may remove this civil disability.[5][6]
Legal effects[edit]
Places affected[edit]
Individuals traveling on public sidewalks, roads, and highways within 1000 feet of defined schools are subject to the law's legal restrictions.[5][7][8] The First Circuit Court of Appeals sustained a GFSZA conviction in the 2007 case of United States v Nieves-Castaño for a firearm kept in a woman's apartment, which was part of a public housing project within 1000 feet of a school.[9] In 2012, ATF informed the town of Stratham, New Hampshire, that hunters would be violating GFSZA by hunting on locally approved public hunting land, a town forest, which fell within 1000 feet of a local school.[5][10]
Carrying[edit]
Most states allow some form of unlicensed carry by persons who are not prohibited by statute from owning or possessing firearms.[11] This may be open-carry,[11] vehicle-carry,[12] or concealed carry without the need for a permit.[13] The Federal GFSZA prohibits unlicensed carry by making it a federal crime for an unlicensed individual to travel into a "Gun Free School Zone unless they meet one of the other criteria defined in Section 'B'."[5][6][7][8][14][15][16] The large number of K-12 schools in developed areas makes it difficult for an individual to travel any distance without entering a Gun Free School Zone.[5][7][8][14][15]
Although the federal GFSZA does provide an exception for an individual licensed to carry a firearm, this exception only applies in the state that physically issued the permit.[5][6][7][8][14][17] Nearly all 50 states have provisions to issue concealed carry permits to citizens.[18] Most of these states also enter into reciprocity agreements with other states where each state agrees to recognize the other's concealed carry permits.[18] Because the Federal GFSZA requires the permit be issued by the state which the school zone is in,[5][6][7] it is difficult for a permit holder to travel outside their state of issuance to a reciprocating state without violating the Federal GFSZA.[5][7][8][14][17]
The Law Enforcement Officers Safety Act (LEOSA), intended to allow qualified law enforcement officers the ability to carry guns nationwide, does not provide any exceptions to Federal Law per 18 U.S.C. § 926B. GFSZA does not make any exception for an off-duty qualified officer.[8][14][16][16]
Discharge[edit]
GFSZA generally prohibits anyone from discharging a firearm on public property within a school zone. Legal exceptions are made for on-duty law enforcement and contracted school security.[5][6][7][8][8]
Reactions[edit]
Amendments introduced[edit]
Opposing the law[edit]
On May 22, 2007, June 24, 2009, and July 21, 2011, US Representative Ron Paul introduced similar bills H.R. 2424, H.R. 3021, and H.R. 2613 that would repeal the Federal Gun Free School Zones Act. No form of those bills has ever passed committee.[19]
In February 2018, US Representative Thomas Massie introduced a similar bill, H.R. 34 titled the "Safe Students Act", that would repeal the Federal Gun Free School Zones Act.
See also[edit]
Gun law in the United States
Gun politics in the United States
References[edit]
Jump up ^ Herb, Kohl, (1990-02-12). "Text - S.2070 - 101st Congress (1989-1990): Gun-Free School Zones Act of 1990". www.congress.gov. Retrieved 2018-02-24.
^ Jump up to: a b Safra, Seth J. (November 2000). "The Amended Gun-Free School Zones Act: Doubt as to Its Constitutionality Remains". Duke Law Journal. 50 (2): 637–662. JSTOR 1373099.
Jump up ^ Message to the Congress Transmitting Proposed Legislation to Amend the Gun-Free School Zones Act of 1990, The American Presidency Project
Jump up ^ UNITED STATES of America v. Nikos Delano DORSEY
^ Jump up to: a b c d e f g h i Oklahoma Second Amendment Association (2013). "Federal Gun Free School Zones Act". Oklahoma Second Amendment Association. Archived from the original on 1 March 2014. Retrieved 22 February 2014.
^ Jump up to: a b c d e Benedict, Ashan (July 2013). "Letter from ATF to Oklahoma Second Amendment Association" (PDF). handgunlaw.us. Retrieved 22 February 2014.
^ Jump up to: a b c d e f g Wolf, Bonzer (January 21, 2014). "ATF Says that Millions of Americans are Violating the Gun Free School Zone Act". Bonzer Wolf. Retrieved 22 February 2014.
^ Jump up to: a b c d e f g h Sensiba, Dusty. "Fix the Gun Free School Zones Act". Practical Tactical LLC. Retrieved 9 July 2011.
Jump up ^ United States v Nieves-Castaño, 480 F.3d 597 (1st Cir. 2007)
Jump up ^ "Stratham Hill Park ban on hunting heads to voters". SeaCoast Online. Retrieved 11 July 2014.
^ Jump up to: a b "Open Carry of a Loaded Gun". OpenCarry.org. Archived from the original on 12 July 2011. Retrieved 9 July 2011.
Jump up ^ "Travel". OpenCarry.org. Archived from the original on 19 July 2011. Retrieved 9 July 2011.
Jump up ^ "Constitutional Carry". OpenCarry.org. Archived from the original on 19 July 2011. Retrieved 9 July 2011.
^ Jump up to: a b c d e Barron, Joan (11 July 2011). "Wyoming gun owners could violate federal law". Casper Star-Tribune. Retrieved 11 July 2011.
^ Jump up to: a b "Tusesday,May 24, 2011 Wisconsin Carry Urges Support of SB-93 as amended". Wisconsin Carry. Retrieved 9 July 2011.
^ Jump up to: a b c "Gun Free Zones Act: Myth vs. Reality". Gun Owners of America.
^ Jump up to: a b "Constitutional Carry & Gun Free School Zones - Wisconsin's Dirty Little Secret". Ammoland. Retrieved 9 July 2011.
^ Jump up to: a b "Concealed Carry Reciprocity Maps". USACarry. Retrieved 9 July 2011.
Jump up ^ "H.R. 2613: To repeal the Gun-Free School Zones Act of 1990 and amendments to that Act". GovTrack.us. Retrieved 24 July 2011.
External links[edit]
Bill Summary & Status 101st Congress (1989–1990) S.3266
Retrieved from "https://en.wikipedia.org/w/index.php?title=Gun-Free_School_Zones_Act_of_1990&oldid=842110439"
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