Books in Edgar Allan Poe series

The Pit and the Pendulum Edgar Allan Poe "The Pit and the Pendulum" is a short story written by Edgar Allan Poe and first published in 1842 in the literary annual The Gift: A Christmas and New Year's Present for 1843. The story is about the torments endured by a prisoner of the Spanish Inquisition, though Poe skews historical facts. The narrator of the story describes his experience of being tortured. The story is especially effective at inspiring fear in the reader because of its heavy focus on the senses, such as sound, emphasizing its reality, unlike many of Poe's stories which are aided by the supernatural. The traditional elements established in popular horror tales at the time are followed, but critical reception has been mixed. The tale has been adapted to film several times.

The Purloined Letter Edgar Allan Poe The Purloined Letter" is a short story by American author Edgar Allan Poe. It is the third of his three detective stories featuring the fictional C. Auguste Dupin, the other two being "The Murders in the Rue Morgue" and "The Mystery of Marie Rogêt". The unnamed narrator is discussing with the famous Parisian amateur detective C. Auguste Dupin some of his most celebrated cases when they are joined by the Prefect of the Police, a man known as G—. The Prefect has a case he would like to discuss with Dupin. A letter has been stolen from the boudoir of an unnamed woman by the unscrupulous Minister D—. It is said to contain compromising information. D— was in the room, saw the letter, and switched it for a letter of no importance. He has been blackmailing his victim.

The Complete Poems of Edgar Allan PoeIllustrated and Decorated by W. Heath RobinsonAbout this Edition71 Poems including;Silence (1839)The Haunted Palace (1839)Eulalie (1843)Lenore (1843)The Conqueror Worm (1843)Lines on Joe Locke (1843)Dream-Land (1844)Epigram for Wall Street (1845)Impromptu. To Kate Carol (1845)The Divine Right of Kings (1845)The Raven (1845)This work is a completely new edition of Poe's poems. Unlike previous editions, the poems are presented in chronological order.A short note, derived from Wikipedia, has been added to each poem.Following the poems are three essays written by Poe on the subject of Poetry and composition.This edition also incorporates the illustrations and ornaments by W. Heath Robinson from "The Poems of Edgar Allan Poe", published by George Bell in 1900. This is not, however, intended as a facsimile of that edition. This is a completely new edition.Believing only a portion of my former volume to be worthy a second edition — that small portion I thought it as well to include in the present book as to republish by itself. I have, therefore, herein combined Al Aaraaf and Tamerlane with other Poems hitherto unprinted. Nor have I hesitated to insert from the "Minor Poems," now omitted, whole lines, and even passages, to the end that being placed in a fairer light, and the trash shaken from them in which they were imbedded, they may have some chance of being seen by posterity.It has been said, that a good critique on a poem may be written by one who is no poet himself. This, according to your idea and mine of poetry, I feel to be false — the less poetical the critic, the less just the critique, and the converse. On this account, and because there are but few B——s in the world, I would be as much ashamed of the world's good opinion as proud of your own. Another than yourself might here observe "Shakspeare is in possession of the world's good opinion, and yet Shakspeare is the greatest of poets.

The Raven FULLY ILLUSTRATED Edgar Allan Poe Illustrated by Gustave Doré "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, 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 a number of folk, mythological, religious, and classical references. Poe claimed to have written the poem very 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. 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 unnamed narrator is discussing with the famous Parisian amateur detective C. Auguste Dupin some of his most celebrated cases when they are joined by the Prefect of the Police, a man known as G—. The Prefect has a case he would like to discuss with Dupin. A letter has been stolen from the boudoir of an unnamed female by the unscrupulous Minister D—. It is said to contain compromising information. D— was in the room, saw the letter, and switched it for a letter of no importance. He has been blackmailing his victim. The Prefect makes two deductions with which Dupin does not disagree: The contents of the letter have not been revealed, as this would have led to certain circumstances that have not arisen. Therefore, Minister D— still has the letter in his possession. The ability to produce the letter at a moment's notice is almost as important as actual possession of the letter. Therefore, he must have the letter close at hand.

An unnamed narrator marries Morella, a woman with great scholarly knowledge who delves into studies of the German philosophers Fichte and Schelling, dealing with the question of identity. Morella spends her time in bed reading and teaching her husband. Realizing her physical deterioration, her husband, the narrator, becomes frightened and wishes for his wife's death and eternal peace. Eventually, Morella dies in childbirth proclaiming: "I am dying. But within me is a pledge of that affection... which thou didst feel for me, Morella. And when my spirit departs shall the child live." As the daughter gets older the narrator notices she bears an uncanny resemblance to her mother, but he refuses to give the child a name. By her tenth birthday the resemblance to Morella is frightening. Her father decides to have her baptized to release any evil from her, but this event brings the mother's soul back into her daughter. At the ceremony, the priest asks the daughter's name, to which the narrator replies "Morella". Immediately, the daughter calls out, "I am here!" and dies. The narrator himself bears her body to the tomb and finds no trace of the first Morella where he lays the second.

The story begins with the unnamed narrator arriving at the house of his friend, Roderick Usher, having received a letter from him in a distant part of the country complaining of an illness and asking for his help. As he arrives, the narrator notes a thin crack extending from the roof, down the front of the building and into the adjacent lake. Although Poe wrote this short story before the invention of modern psychological science, Roderick's condition can be described according to its terminology. It includes a form of sensory overload known as hyperesthesia (hypersensitivity to textures, light, sounds, smells and tastes), hypochondria (an excessive preoccupation or worry about having a serious illness) and acute anxiety. It is revealed that Roderick's twin sister, Madeline, is also ill and falls into cataleptic, deathlike trances. The narrator is impressed with Roderick's paintings, and attempts to cheer him by reading with him and listening to his improvised musical compositions on the guitar. Roderick sings "The Haunted Palace", then tells the narrator that he believes the house he lives in to be alive, and that this sentience arises from the arrangement of the masonry and vegetation surrounding it.

The story is set in an unnamed Italian city at carnival time in an unspecified year, and is about a man taking fatal revenge on a friend who, he believes, has insulted him. Like several of Poe's stories, and in keeping with the 19th-century fascination with the subject, the narrative revolves around a person being buried alive—in this case, by immurement. As in "The Black Cat" and "The Tell-Tale Heart", Poe conveys the story from the murderer's perspective.

The Pit and the Pendulum Edgar Allan Poe "The Pit and the Pendulum" is a short story written by Edgar Allan Poe and first published in 1842 in the literary annual The Gift: A Christmas and New Year's Present for 1843. The unnamed narrator is brought to trial before sinister judges of the Spanish Inquisition. Poe provides no explanation of why he is there or of the charges on which he is being tried. Before him are seven tall white candles on a table, and, as they burn down, his hopes of survival also diminish. He is condemned to death, whereupon he faints and later awakens to find himself in a totally dark room. At first the prisoner thinks that he is locked in a tomb, but then he discovers that he is in a cell. He decides to explore the cell by placing a scrap of his robe against the wall so that he can count the paces around the room, but he faints before he can measure the whole perimeter. When he reawakens, he discovers food and water nearby. He tries to measure the cell again, and finds that the perimeter measures one hundred steps. While crossing the room, he trips on the hem of his robe and falls, his chin landing at the edge of a deep pit. He realizes that had he not tripped, he would have fallen into this pit.

The Gold-Bug, Edgar Allan Poe. William Legrand has relocated from New Orleans to Sullivan's Island in South Carolina after losing his family fortune, and has brought his African-American servant Jupiter with him. The story's narrator, a friend of Legrand, visits him one evening to see an unusual scarab-like bug he has found. The bug's weight and lustrous appearance convince Jupiter that it is made of pure gold. Legrand has lent it to an officer stationed at a nearby fort, but he draws a sketch of it for the narrator, with markings on the carapace that resemble a skull. As they discuss the bug, Legrand becomes particularly focused on the sketch and carefully locks it in his desk for safekeeping. Confused, the narrator takes his leave for the night.