Poes Pervasive Influence (Perspectives on Edgar Allan Poe)
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One of the many Poe efforts made into an inferior, and terribly dated, film, it works best on the page. Using his powers of deliberation, Dupin is an undeniable model for Doyle's Sherlock Holmes. Poe is in full command of his considerable powers here, employing the process of investigation and discovery, cleverly employed humor and terror, and a character who proves he's smarter than everyone else. In only a handful of other stories was Poe so deftly able to balance shock and humor, albeit of a very dark variety.
Cognizant that the narrator is a scoundrel, it's difficult to pity his plight even as we shudder at the humiliation he suffers. Although not often described as such, "William Wilson" is a tour de force psychological case study of an unreliable narrator tortured by a deservedly conflicted sense of self. How about a slowly descending, foot-long razor ever-so-slowly descending from the ceiling, giving you plenty of time to think about how it will eventually and ever-so-slowly slice open down the middle? And that's just a basic summary. Here is a one of Poe's most fully realized attempts at "totality".
Poe creates a complete atmosphere of terror, where the narrator and reader understands it's not random, his captors are very aware of the conditions they've created, making the tension difficult to endure.
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Where other stories describe, in often excruciating detail, the anguish inflicted on an overly sensitive individual, in this one Poe makes the reader acutely aware of their own senses: Another one that's easy to imagine Dostoyevsky studying, this time in the construction of his underground man Notes from Underground: As a study of horror, "The Tell-Tale Heart", perhaps Poe's most in famous story, seems tame to contemporary audiences.
But as an examination of obsession and psychosis? The real fear an adult can derive from this story is not the narrator's brutality or even innocence, but his insistence that he's sane. With understated irony, Poe decodes the self-deceived stratagem of our most dangerous sociopaths. Although if only considered an unrivaled allegory of death and its inevitability , that somewhat superficial analysis still sells this one short as a blistering critique of social stratification.
Here Poe uses a rampant disease to illustrate not only the behaviors but attitudes of the haves toward the have-nots: A masterful clinic of the Gothic aesthetic ensues as different-colored rooms are described, the air of revelry undercut with hourly reminders of mortality, courtesy of the ebony clock. Finally, there's the spectacle of a silent intruder who mockingly moves from room to room, until finally confronted by the unfortunate prince.
And then, comeuppance courtesy of one of the great closing lines in literary history: Poe, at times, makes the Grunge and Goth movements look like an ecstasy-addled rave. His irredeemable spiritual desolation was rooted not in anything like the info-overload pressure of too many choices we confront today, or finding the perfect partner or job, but fear of poverty, hunger and the unremarkable ailments that preyed upon humanity for so many centuries before sufficient medical advancements were made.
He lived in a time when even libraries might not have the information you needed, so you wrote it down or took to sea or went insane as a matter of principle. In "The Black Cat", when the narrator's abuse of the bottle becomes unmanageable, it seems not autobiographical so much as an expression of the author's greatest fear: Once more, it's tantalizing to contemplate the ways Dostoyevsky may well have been developing the possibilities of an irresistible perversity driving one to self-defeat which Poe himself expanded upon in "The Imp of the Perverse" in both The Double and Crime and Punishment.
Poe's Pervasive Influence.
If "The Masque of the Red Death" features one of the all-time great closing lines, "The Fall of the House of Usher" contains one of the most sublime opening passages: Practically every image, every action, every word is dedicated toward the invocation of dread, and the suspense careens toward a conclusion that is literally shattering in several senses of the word.
The tale concerns itself with the narrator and his childhood friend, Roderick Usher, as well as his twin sister Madeline. And yet the main character is the house itself. The narrator feels a palpable sense of dreariness and decay as he approaches the family mansion, a foreboding that comes full circle as the house collapses into itself in the final scene.
It's the effect the house has on its tenants, however, where Poe couples supernatural suspense with a human frailty to devastating effect. Sensitive to the point of intolerance to sound, Roderick has become an imploding specter of nervous energy and despair. As he confesses to his friend, "I feel that the period will sooner or later arrive when I must abandon life and reason together, in some struggle with the grim phantasm, FEAR.
With astonishing economy this story could -- and likely would, by a lesser writer -- have easily been stretched into a novel, albeit with lesser impact and effect , Poe manages to invoke his enduring preoccupation of live burial, split personalities, ruminate on the sentience of inanimate objects, and complicate the notions of art imitating life and vice versa, all while steadily orchestrating the ultimate confrontation twin vs.
Tragic and absurd as the events become, the narrator is content to leave it as a family matter, hastily escaping as the history of the house and its occupants sink into nothingness. We've discussed a perfect opening section and a perfect closing sentence; "The Cask of Amontillado" is just perfection, period.
Never Say Nevermore: Edgar Allan Poe's 10 Best Stories
It represents the consummation of so many of Poe's aesthetic innovations, crafted so each sentence builds upon the next like an expertly tiered stone wall… , amping up the humor, irony and, finally, horror. Not a word wasted, an image unnecessary, a line of dialogue inessential and yet, despite the formal symmetry at its heart, a mystery.
What is the insult that drives Montresor's homicidal rage? It's never clear, and that only adds an element of menace. Is Montresor, like many of Poe's most inscrutable murderers, more or less insane? Put another way, it's difficult to fathom, since he and Fortunato are still at least superficially cordial, any offense that would warrant live entombment.
When Montresor insists that he is, in fact, a mason one of the delightful ironies, as he pulls out his trowel , it's easy to overlook Fortunato's offensive disbelief "You? There's also the not inconsiderable matter of Montresor's family crest, wherein "the foot crushes a serpent rampant whose fangs are imbedded in the heel. The motto "Nemo Me Impune Lacessit" You will not harm me with impunity" is at once appropriate for his character, yet repugnant.
A writer has succeeded if, in creating a story, a single unforgettable image is imprinted within the reader's mind. How many such scenes exist in this one short tale?
Poe's Pervasive Influence | Lehigh University Press
The image of a drunken Fortunato that name! And finally, the most cold-blooded line in Poe's collected works: Or is it one last twist of the trowel, one final act of impunity to repay the insult made more than 50 years before? Like the insult itself, we'll never know. Nate Chinen's treatise on the subject of jazz in the 21 st century, Playing Changes , is erudite, passionate, and downright inspiring.
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The year in song reflected the state of the world around us. Here are the 60 songs that spoke to us this year. The specific requirements or preferences of your reviewing publisher, classroom teacher, institution or organization should be applied. The E-mail Address es field is required. Please enter recipient e-mail address es. The E-mail Address es you entered is are not in a valid format. Please re-enter recipient e-mail address es. You may send this item to up to five recipients.
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