This chapter discusses the reception and use of Edgar Allan Poe at manifold spatial intersections related to broad transatlantic modernism(s), inter-American cultural exchanges, and the poetic practices of the concretista movement in Brazil in the mid-1950s, with the aim of transcending frontiers that were both political and aesthetic (North/South divide, notions of readability and poeticity, the poem per se, and what lies beyond). The reenactment of language through iconicity was the mainstay of the Brazilian concrete poets, namely, Haroldo de Campos, his brother Augusto, and their friend Décio Pignateri. The latter, whose work prefigured what is now called media studies, would grant Poe the honor of “the first homo semioticus,” exalting his understanding of language as a code whose (im)mediacy and feedback could be tuned, (de)composed, manipulated. Through the analysis of key texts relating to Poe by the Brazilian concretistas—including Pignateri’s reading of “Berenice,” Haroldo’s “Edgar Allan Poe: uma Engenheria de Avessos,” and Augusto’s “transcreation” of “The Raven” into a visual poem of one single stanza—this chapter demonstrates how Poe’s writings were instrumental for a decolonial Latin American project that advocated cannibalizing the agency of language and opening new channels for its reception and transfusion.