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On this post, we make available a link containing some informations about the Gothic Literature and its characteristcs.

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gothic literature versus dark romanticism

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best gothic fiction for high school students

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compare dark romanticism to gothic literature

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poe inventor of the murder detective story

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nathaniel hawthorne the prophetic pictures

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Teach the genre of Gothic Literature, with ideas from this resource guide, including an overview of the concept, exemplary works, authors, etymology and historical context, useful links, and teacher notes. Our goal is to help you help your students to better understand AND ENJOY classic literature!

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On this post, you can visit a link and read about Poe's life, but don't read only about his life, on this website you can also find things such as: The history about a museum totally dedicated to him; A store where you can buy mugs, paintings and even earrings; A study program,  studies about his personal life, his family's tree etc.; Researches and more links with more researches and informations about him.
Enjoy and browse the site.

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Poe in Richmond | Edgar Allan Poe Museum

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Poe's natural parents, David and Elizabeth Arnold Poe, both actors, were employed by Mr. Placide's Theatre Company in Boston. They were married in Richmond while on tour in 1806 and had three children. On December 8, 1811, while again in Richmond, Elizabeth Arnold Poe died of tuberculosis.

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Information is never enough, so in here there are more facts about Poe which are a bit reduced, but  very clear about his literary style.

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Edger Allan Poe was an American poet, writer, literary critic, and editor. Poe is famous for his short-short stories, particularly his mysterious and ghastly stories, and poetry. In the United States and American Literature, he is one of the essential members of Romanticism.

He is one of the early earliest writers who started writing short stories. Edger Allan Poe is regarded as the initiator of the genre of detective fiction. He also contributed with his writing in the newly developing science fiction genre. He is the first American writer whose sole source of earning was writing. Due to this, he suffers a financial crisis in both life and career.

The life and works of Edger Allan Poe have greatly influenced the literary world. He specialized in the fields of cryptography and cosmology. Poe and his works both appear all the way through the popular culture in music, literature, television, and films. It was his distinguishing works in the genre of mystery that the annual award known as Edgar Award is given by Mystery Writers of America.

A Short Biography of Edgar Allan Poe

Edger Allan Poe was born on 19 th January 1809 to Elizabeth Poe and David Poe. Elizabeth was an English born actress, whereas David Poe was an actor and belonged to Baltimore. In1811, his mother died in Virginia. He was then taken to the home of a rich merchant, John Allan. The wife was the merchant who had not any child.

From 1815 to 1820, he was taken to England and Scotland. Over there, he received a classical education that continued even in Richmond. In 1826, he attended the University of Virginia for eleven months. He was involved in gambling in university, and after intense losses, his guardians did not permit him to continue and took him back to Richmond. In Richmond, he met Elmira Royster and engaged.

In 1827, he went to Boston and published a pamphlet of Tamerlane, Byronic poem, and Other Poems. Forced by poverty, he joined the army under the name of Edger A. Perry. However, his foster mother died which causes him to leave the army eventually, and his foster father gets him an appointment to the U.S. Military Academy.

Before leaving for the academy, Poe published a new volume containing Tamerlane, Al Aaraaf, and Minor Poems in Baltimore in 1829. Being absent for a week from a drill and classes, he was expelled from the academy. He went to New York City and bought volumes of poems, including masterpieces. The volumes contain the poems of P.B. Shelley, John Keats, and S.T. Coleridge. These poets influenced his writing greatly.

When he went back to Baltimore, he started writing his short stories. He published "MS. Found in a Bottle" in 1833 that won $50 from the weekly magazine of Baltimore. In 1835, he started working as an editor for Southern Literary Messenger in Richmond. He made his reputation as a critical reviewer. He married his cousin Virginia Clemm who was only 13 years old at that time.

Because of his drinking, Poe was temporarily expelled from his job. He then went to New York City. He became a drinking addict, in order to stand in a group of people and talk well, he needs to drink slightly. Even though he would not intake intoxication, he would only appear in the public when he had taken some. From this, people started assuming that Poe was a drug addict. However, according to the mental tests, he had cut in his brain.

In 1838, he published The Narrative of Arthur Gordon Pym, long narrative prose. In this work, he combined facts with the wildest fantasies. This work is considered to be inspired by Herman Melville's Moby Dick. In 1839, he moved to Philadelphia and started working as a co-editor at Burton's Gentleman's Magazine. He signed a contract for a monthly article. This contact made him write "The Fall of the House of Usher" and "William Wilson." These are the stories that have supernatural horror.

In 1839, the tales of Poe the Grotesque and Arabesque also appeared In June 1840, he resigned from his job at the magazine. In 1841, he returned and edited Lady's and Gentleman's Magazine by his successor Graham. In this magazine, he published his first detective story, "The Murders in the Rue Morgue."

His short story "The Golden Bud" won a $100 prize in 1843 from the Philadelphia Dollar Newspaper. This award gave him immense publicity. He returned to New York in 1844 and wrote the short story "The Balloon Hoax" for the magazine Sun. He started working as the sub-editor of the New York Mirror and worked under N.P. Willis. Willis became his lifelong friend.

He published his most celebrated poem "The Raven" on 28th January 1845, which made him nationwide famous. He changed his jobs several times in the following years and published different volumes of his poems and short stories.

In January 1847, his wife, Virginia Clemn, died. He went to Providence, Rhode Island, in 1848 to marry his beloved and poet Sarah Helen Whitman. Their commitment was brief. Poe had a very close but friendly relationship with both Sarah Anna Lewis and Annie Richmond. They both helped him financially. Poe presented a poetic tribute to both.

He published a lecture, "Eureka," in 1848. It is a transcendental illustration of the universe. Some critics claim it to a masterpiece, whereas for some it is complete nonsense. In 1849, Poe went to the South and engaged to Elmira Royster. They spent a summer together happily, and Poe suffered only one or two lapses. Another great source of his happiness was his friendship with a young poet Susan Archer Talley. She was his childhood friend.

In September 1849, he left Richmond and went to Baltimore. He had a feeling of death. He died on 7 th October 1849, for an unknown reason. It is assumed that he either died of drinking or from a heart attack. He was buried in Baltimore in Westminster Presbyterian Churchyard.

Edgar Allan Poe's Writing style

Genres

Apart from horror fiction, Edger Allan Poe also wrote hoaxes, humour tales, and satires. To add comic effect in his works, he used absurd indulgence and irony. He uses the comic effect to free the readers from the conventionality of culture. The first-ever story that Poe published was "Metzengerstein." This story is also his first horror story; however, it was initially intended as comedy ridiculing the popular genre.

He also reestablishes the genre of science fiction through his writing that responds to the newly emerging technologies. For example, the story "The Balloon-Hoax" is about the hot air balloon that emerged in his time.

Edger Allan Poe's works are based on themes that were according to the tastes of the mass-market. To satisfy the taste of the masses, he also included the elements of pseudo-sciences like physiognomy and phrenology in his works.

Literary theory

The critical literary theories presented by Poe in his criticism are reflected in his writings. One of the best critical essays he wrote is "The Poetic Principle." Though Poe believed that the meaning of the literary work should not be on the surface, it must be deep and undercurrent, he does not like allegory and didacticism.

For him, the works which have their meaning on the surface do not belong to art. Moreover, qualitative work must be brief and focused on one exact effect. Lastly, he also held that the writers should sensibly analyze every idea and sentiment. Poe's essay "The Philosophy of Composition" deals with the method of writing in his masterpiece poem "The Raven." In the essay, Poe claims that he had strictly adhered to this method.

Legacy

Along with the satanic and occult, the works of Edger Allan Poe is concerned with Romanticism. His works are also inspired by his intense dreams. He shaped his dreams with his distinctive imagery and use of language. His works have unique imaginations, elaborated techniques, objectivity, and spontaneity. He was appreciated even in his life for his clear and comprehensive criticism as an evaluator of the literature of his time, his poetic idealism and melodic gift, and his dramatic storytelling art. With his distinguished writing style; he secured an imminent position among the well-known men of letters.

He dodges the readers from the world's common experiences with unnerving thoughts, fears, and impulses. Such familiar mode is present in his poetry, such as "Lenore," "The Valley on Unrest," "The Raven," "Ulalume," and "For Annie" and also in his famous short stories. He portrayed the astonishing effect of death in his tale by using a dark mood, fear, and impulses.

In the short story "The Pit and the Pendulum," he does not allow his character to become a victim of mysterious forces, he uses the suffering of forthcoming death to make his stories nerve-racking. Moreover, he also employs grotesque elements in his works that deal with the aftermath of death: corpses and decay.

Poe was proud of his logic, and he handled his logic very carefully to impress the public with his stories. He was highly praised for his problem disentanglement, thought-reading, and cryptography that he credited to characters C. Auguste Dupin and William Legard. It was these characters that made him write detective stories and science fiction.

The duality in his personality is also reflected in his art. He wrote weird and angelic poetry. His poetry has the utmost rhythm and appealing words. Similarly, his prose has suggestiveness and extravagant beauty with the superficial recklessness of persuasive motivation. However, he also wrote about the dark psychology or the plans of inexorable plots in dry and hardstyle. The duality of his mind, temper, and art are blended into a unity of structure, tone, and movement in his masterpieces. These masterpieces are the most effective and overwhelmed with various elements.

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Edgar Allan Poe's Writing Style & Short Biography | LitPriest

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Edger Allan Poe was an American poet, writer, literary critic, and editor. Poe is famous for his short-short stories, particularly his mysterious and ghastly stories, and poetry. In the United States and American Literature, he is one of the essential members of Romanticism. He is one of the early earliest writers who started writing short stories.

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1.1.2 How Edgar Allan Poe contributed to Gothic Movement

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1.1.2 How Edgar Allan Poe contributed to Gothic Movement

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As you could read on the title of this post, this link will take you to a comprehension about the importance of Edgar Allan Poe's writing and how he consolidated himself as one of the most importante writer of that movement and the reason was the manner which he described feelings, sensations, and the stream of consciousness on his texts.

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At the same time that writers were bringing depth of character to the gothic setting in the 19th century, Edgar Allan Poe revitalized the genre in mid-century America. Suddenly Tales of Horror had a distinctly American flair and a surprising psychological depth. This nuance captivated readers then and still does today.

Two hundred and fifty years ago, Horace Walpole was credited with creating quite a stir with the first gothic novel, The Castle of Otranto. It wasn't a long story, but it was replete with stock elements such as a haunted medieval castle, damsels in distress, ghosts, dungeons, sound effects, and a taste for cheesy melodrama. Though he first published the tale anonymously on his own printing press, Walpole surprised himself by developing a quick following of readers and authors alike. Imitations sprung up like weeds, and he was soon part of pop culture in 1765. I'm not sure if he spurred or spawned it, but Walpole hit on something. It was not a new idea, but it was a new way to tell a story. This was gothic style.

Before the vampire and zombie novels of our past decade, the gothic tale trumped stories of entertainment, appealing to our darkest ponderings-at base, crossing the line from light to dark, perhaps experiencing the consequence of evil and sin. Consider Frankenstein and Victor's ethical dilemma of creating life from death. Should man create life from nothing or leave it to his Creator? Consider Dracula. What role does science play with piety or superstition? We could examine The Monk, Castle of Wolfenbach, The Mysteries of Udolpho, or The Turn of the Screw. What of satirical jabs at the gothic novel like Northanger Abbey? Or those stories like Jane Eyre that lend such reality that gothic cliché fades away?

At the same time that Brontë brought depth of character to the gothic setting in the 19th century, Edgar Allan Poe revitalized the genre in mid-century America. Suddenly Tales of Horror had a distinctly American flair and a surprising psychological depth. This nuance captivated readers then and still does today.

In his introduction to Gothic Horror, Clive Bloom writes, "For Poe it is perversity that marks horror just as peculiarity is the mark of art, and both confront common sense, decency and normal moral codes. No longer does the external world threaten as much as the internal. The demands of the will become of paramount importance."[1] This is most evident in his short story "The Fall of the House of Usher," where Poe clearly combined physical horror like entombment with horror of the mind such as hysteria and catatonia.

I am certain Poe was quite conscious of morality even as he wrote of hatred, murder, and revenge. The vices, the perversity, could not exist without a moral standard to rub against. In his essay and lecture titled "The Poetic Principle," Poe explains, "Just as the Intellect concerns itself with Truth, so Taste informs us of the Beautiful, while the Moral Sense is regardful of Duty. Of this latter, while Conscience teaches the obligation, and Reason the expediency, Taste contents herself with displaying the charms: -waging war upon Vice solely on the ground of her deformity-her disproportion-her animosity to the fitting, to the appropriate, to the harmonious-in a word, to Beauty." In other words, because of his strong moral sense, Poe did mean to shock and startle. He designed his short fiction to run against taste and beauty. Intentionally.

As my youngest son, age 17, and I read through Poe's short works this past month, I found our discussions connecting these thoughts in a fascinating way. Yes, we discussed the dominant theory that Poe's often grief-filled life lent much to his insane characters and plot ideas. We also explored alternate theories that some of Poe's works might indeed be parody in disguise. Are you familiar with the theory connecting St. Expedite with "The Raven"? Depicted as a Roman centurion crushing a crow beneath his foot, Expedite is known to favor today over tomorrow. The dying crow says "cras," Latin for "tomorrow," in most every illustration. "Cras" apparently was a Roman pun, as it also stood for the "caw" of crows and ravens. It is a unique idea when applied to the poem as a whole.

What became more apparent, though, was that my son was most troubled by Poe's imagination. He wondered, as we all do, how Poe created the murdering narrator of "The Cask of Amontillado" and "The Tell-Tale Heart." These characters disturbed him more than Macbeth and his descent. And my son put it bluntly: "These guys don't go insane. They're mad from the start." Up to this point gothic stories had often included the process of madness, the descent into darkness if you will. Poe's conception in media res or cum eo was more bothersome, and what's more, it persists in villainous characters in modern times.

Bloom cites H.P. Lovecraft, Stephen King, and others for maintaining this troublesome insanity that spurs evil. I would go so far as to apply it to the zombie craze of the past decade. The antagonist Negan in The Walking Dead, for instance, is more frightening than hordes of the undead because of his psychological state. He is not just an evil tyrant. He is evil. Empathy and mercy have been bred out in this post-apocalyptic, survivalist world, and we are somehow drawn in gross fascination to this alter-mind. He is a villain you hate, and not because we empathize with some understandable trauma. We are horrified at how the human mind and heart have inexplicably devolved.

Yet the presence of villains isn't unique, regardless of genre. Poe would argue the most unusual parallel in the last one hundred and fifty years is that these stories are all about the effect of these villains in the story and on the readers. In "The Philosophy of Composition" Poe explores both the ideals of the "unity of impression" and the unity of effect. Impression is the experience of reading something in one sitting, perhaps the length of a graphic novel, short story, or TV episode today. It adds to the effect of the story, and Poe argues that an author such as himself chooses the final effect of the piece first. The piece should only be written after the author decides how it will end and how to properly infuse the story with his desired emotional response. Poe calls this the unity effect, and it is aided by passion and truth.

I'm not sure those intentions are present in gothic fiction or all of its subgenres today, but I do believe those stories that twist and rub against the moral standard might just follow some of Poe's charges. Clive Bloom refines the idea by adding, "The gothic frisson has not yet been exhausted, its critics as yet unable to explain it away in a language that often suggests indifference to the art at best or contempt at worst. To explain fear is not to deny its power, and that power still grips us, even as it eludes and fascinates us-a genre half in the real world and half in a landscape of dreams."[2]

The Imaginative Conservative applies the principle of appreciation to the discussion of culture and politics-we approach dialogue with magnanimity rather than with mere civility. Will you help us remain a refreshing oasis in the increasingly contentious arena of modern discourse? Please consider donating now.
Notes:
Edgar Allan Poe's essays "The Poetic Principle" and "The Philosophy of Composition" can be found at The Poetry Foundation website or Project Gutenberg.

[1] Clive Bloom, ed. Gothic Horror: A Guide for Students and Readers, 2nd ed. (New York: Palgrave Macmillan, 2007), 3.

[2] Bloom, "Preface," xxii.
Editor's Note: The featured image is a photograph of Edgar Allan Poe, circa 1849, courtesy of Wikimedia Commons.

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How Edgar Allan Poe Ensured That Gothic Stories Will Never Die

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At the same time that writers were bringing depth of character to the gothic setting in the 19th century, Edgar Allan Poe revitalized the genre in mid-century America. Suddenly Tales of Horror had a distinctly American flair and a surprising psychological depth. This nuance captivated readers then and still does today.

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Edgar Allan Por was an American writer, but he was also a literary critic who believed that writers should focus on having high standards in their writing styles. Read the article provided in the link above to learn about that other side of him.

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Edgar Allan Poe first came to the attention of the literary world as a magazine editor and critic. He wrote nearly one thousand essays, reviews, articles, columns, and critical notices that appeared in magazines, newspapers, and annuals. Poe was among the first to propose setting standards by which to judge literary works, and created his own vision of what constituted good literature by studying writers that ranged from Plato and Aristotle to Milton and Coleridge. His influential theory of "unity of effect" states that the author of a short story should construct a tale to fit one overall purpose or effect.

Poe believed his role as a critic included exposing poor writing and demanding that American writers meet higher standards. His critical reviews often included a detailed technical examination of the work at hand, and his observations ranged from pointing out grammatical errors to exposing illogical reasoning.

The witty fashion in which Poe delivered his critiques helped increase the circulation of the magazines for which he worked, while his harsher reviews created enemies and earned him the nickname "the man with the tomahawk." The following is a sample from the opening paragraph of Poe's review of a book by George B. Cheever:

"He is much better known, however, as the editor of 'The Commonplace Book of American Poetry,' a work which has at least the merit of not belying its title, and is exceedingly commonplace."

Among Poe's ideas of literary criticism was the belief that a work should be reviewed for its own worth, and that non-literary criteria like a writer's background or social status should be irrelevant. Over a century later, literary critics such as Allen Tate, John Crowe Ransom, and R.P. Blackmur adopted the same approach.

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Edgar Allan Poe and Literary Criticism (U.S. National Park Service)

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Edgar Allan Poe first came to the attention of the literary world as a magazine editor and critic. He wrote nearly one thousand essays, reviews, articles, columns, and critical notices that appeared in magazines, newspapers, and annuals.

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Poe was a man with many talents, besides a writer and a literary critic, Poe was also an editor known as The Tomahawk Man. Click on the link above and learning more about him.

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During Poe's lifetime, he was just as well known for curation and criticism as he was for his short stories. From 1835 to 1846 alone, Poe worked as an editor for four different magazines. This kept him financially afloat-just barely. It also provided him a platform from which to gut his inferiors (Poe was popularly known as "The Tomahawk Man") and applaud those he admired. And it was through his fiction and criticism both that Poe intended to change American publishing; as he wrote in a letter to his older brother, "If I fully succeed in my purposes I will not fail to produce some lasting effect upon the growing literature of the country."

William Burton, an English actor living in Philadelphia, founded Burton's Gentleman's Magazine in 1837. The magazine targeted a general audience and included fiction and poetry as well as commentary on theater and sporting life. In July 1839, overwhelmed with his work on the stage, Burton hired Poe to help with the magazine.

Poe was paid $10 a week for dedicating his attention to the editorial duties of Burton's. He agreed to contribute 11 pages of original material a month, and he had his name added next to William Burton's on the cover. In September of that same year, Poe's contributor pages included "The Fall of the House of Usher," his now infamous haunted story of familial sickness and incest in a crumbling mansion. But what else was in that issue? What was Poe like as an editor? And how did he choose to contextualize one of his most famous stories?

In addition to "Usher," the September 1839 issue of Burton's contains a lot of maritime stories and pirates. There are anxious dandy men and vulnerable waifish women. Some contributions serve as tributes to perceived heroes, others as takedowns of rude morons. The issue opens with a four-page biography of one Richard Penn Smith, an American playwright and contemporary of Poe and Burton's. The passage seems like more of a strategic entry than anything else; writers and editors of the time commonly traded compliments and barbs within the pages of their respective publications. And this particular biography is overly personal and specific, invested heavily in the minutiae of Smith's professional life, concluding with the information that Smith is also Secretary of Comptrollers of Public Schools, "a situation that yields him a handsome income."

Fortunately, the content improves from there, with two chapters from a serialized novel called "The Privateer: A Tale of the Late American War." Chapters IV and V contain a lifeboat drama, a sensational rescue, and several pirate attacks. The storytelling is lush and action-packed, providing a slice of mid-19th-century romanticism in the spirit of a writer like Herman Melville. "It was daybreak on the sea," the chapter opens, "and a solitary yaw with two men was drifting many leagues from land, away to the eastward of Cape St. Roque."

Later in the issue comes an un-credited portion of another serialized story called "The Infernal Box." In it, a rich, powerful man notices from his opera box a new girl in the audience; he makes a bet with his wealthy buddies that he can seduce her. "In Paris exists a class of men who have made the art of seduction a perfect science. They attack a woman as a fortified palace," the narrator says. "If pitiless, it is because they have not been pitied. They retaliate upon others the mortal blows which they have received. They not only seduce. They avenge themselves."

The extent of Poe's involvement in acquiring "The Infernal Box" is unclear, but it's difficult not to see his hand in this story. Its twisted suspense reflects some of Poe's well-known virtues as a writer. He's been credited with inventing the genre of the detective story, and "The Infernal Box" moves like a procedural as the narrator patiently analyzes various possibilities and avenues towards his ultimate goal. Less charitably, Poe also had a dark obsession with women as victims. He once wrote that "the death of a beautiful woman is, unquestionably, the most poetical topic in the world." Poe's mother died of tuberculosis when he was three, his step-mother died when he was 20, and he married his 13-year-old cousin, who died of tuberculosis herself 11 years later, when he was 27. The chapters of "The Infernal Box" contained in Burton's September issue focus on a self-escalating pattern of male aggression, embarrassment, and fear.

Hopping across a few poems-including one titled, unsurprisingly, "The Dying Wife"-and another, duller maritime narrative, we finally arrive at "The Fall of the House of Usher." "During the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country," Poe writes. From the opening plunge, it's clear that we're in the hands of a master, a writer who can quickly and powerfully render a scene and place the reader in it. The story is both manic in its approach and obsessively focused. Darker, more interesting, and more complex than "The Infernal Box," the woman in this story is a victim-her brother accidentally buries her alive-but she's also a threat. She comes back from the dead and, in bloodied robes, attacks her brother-frightening him to death and bringing the mansion crumbling down.

Poe's now-iconic story is followed by an essay entitled "A Rummage in My Old Bureau," in which a 90-year-old man goes through one of his old dressers, stopping at letters from old acquaintances, a boat whistle, and the "skull of a New Zealand warrior" given to him by his son. In its slow reminiscence over the mundanities of the past, the piece shares a lot in common with the contemporary autofiction of a writer like Karl Ove Knausgaard. Yet it, too, has strange register regarding women: the narrator spends just as much time reflecting on a silver chain given to him by a sailor as he does on the time he was out on a boat with his new wife and a spar hit her in the head, killing her.

Burton's September issue concludes with a series of book reviews on ephemeral texts by publishers who have all since long-disappeared. Upon hiring Poe, Burton had disarmed him of his hatchet, the effect of which is on display in these largely uncritical reviews. He once warned Poe in a letter, "You must get rid of your avowed ill-feelings towards your brother authors-you see that I speak plainly-indeed, I cannot speak otherwise. Several of my friends, hearing of our connexion, have warned me of your uncalled-for severity in criticism."

Not far into their partnership, disagreements over literary approach and business led to some nasty exchanges between Burton and Poe. "When you address me again, preserve, if you can, the dignity of a gentleman," Poe wrote in a May 1840 letter. "If by accident you have taken it into your head that I am to be insulted with impunity I can only assume you are an ass." There were editorial disputes, and Poe defensively perceived Burton to be accusing him of alcoholism, and bitterness over money once borrowed.

Poe left Burton's in June 1840. The magazine was struggling, and Burton soon after started suspending payments to writers. A theater manager once wrote of Burton, "As an actor, Mr. W.E. Burton has no superior on the American Stage-but as a manager, his faults are, first, want of nerve to fight a losing battle; in success he is a great general, but in any sudden reverse, his first thought is not to maintain his position, but to retreat." By the end of that year, Burton's had ceased to exist.

We see in the saga of Burton's Gentleman's Magazine two bullheaded creators with immense intelligence and talent participating in the minutiae of their cultural and economic moment. They built something that pretty quickly failed, but not before providing a platform for some moments of remarkable, if occasionally troubling, writing.

Poe's influence-as an editor, and a popular writer in his own right-manages to bleed across this September issue, highlighting the brilliant parts of his work as well as the offensive or humdrum. He used Burton's as a stage for himself-for his own tastes and sensibilities, and his own poems and stories-and the magazine lives on in memory primarily due to the fact that Poe once worked there.

William Burton would probably hate that.

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Edgar Allan Poe, Editor and Original Hatchet Man

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During Poe's lifetime, he was just as well known for curation and criticism as he was for his short stories. From 1835 to 1846 alone, Poe worked as an editor for four different magazines. This kept him financially afloat-just barely.

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Poe's legacy in Literary Field is very extensive, but He also reached another art domains such as Rock and Metal Music. Poe was a great influence for some musicians who put rythm on his writings and turned his stories into beats.

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The influence of Edgar Allan Poe on the art of music has been considerable and long-standing, with the works, life and image of the horror fiction writer and poet inspiring composers and musicians from diverse genres for more than a century. Edgar Allan Poe 's works have been inspiration for many rock and metal songs.

"The Raven" is a narrative poem by American writer Edgar Allan Poe (1809-1849). 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.

Edgar Allan Poe > Quotes

"I became insane, with long intervals of horrible sanity."

"Those who dream by day are cognizant of many things which escape those who dream only by night."

"I have great faith in fools - self-confidence my friends will call it."

"Believe only half of what you see and nothing that you hear."

"All religion, my friend, is simply evolved out of fraud, fear, greed, imagination, and poetry."

"I have no faith in human perfectibility. I think that human exertion will have no appreciable effect upon humanity. Man is now only more active - not more happy - nor more wise, than he was 6000 years ago."

"Beauty of whatever kind, in its supreme development, invariably excites the sensitive soul to tears."

"Invisible things are the only realities."

"The Dark Side of Romanticism"

"Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definitiveness."

― Edgar Allan Poe

In 1974, English rock band Queen recorded the song "Nevermore" based on "The Raven" for their second album "Queen 2".

The psychedelic band The Glass Prism released an album in 1969 entitled "Poe Through the Glass Prism," with the lyrics coming entirely from various poems by Poe. "The Raven" was the single from the album.

The band Kennelmus released the song "The Raven" on their 1971 album "Folkstone Prism" with lyrics derived from the poem.

The Alan Parsons Project album Tales of Mystery and Imagination (1976) includes a song based on "The Raven" and entitled the same, but with only two verses.

A musical variation of "The Raven" was performed by the Grateful Dead during Space on April 19, 1982.

The black metal band Carpathian Forest used the first two verses of the poem for "The Eclipse / The Raven" on their EP Through Chasm, Caves and Titan Woods (1995).

The gothic metal band Tristania released a track titled "My Lost Lenore" on Widow's Weeds (1998). It is clearly inspired by this poem, but does not incorporate the poem as part of the lyrics. The entire album is in fact reminiscent of The Raven."The Ravens" is another song inspired by the poem, although its main theme is terrorism.

The German black metal band Agathodaimon quotes "The Raven" in the song "Les Posédes" on their 1999 album Higher Art of Rebellion.

A song based on "The Raven" appears on the Grave Digger album The Grave Digger (2003), alongside other songs based on the work of Edgar Allan Poe.

Lou Reed's 2003 album The Raven is based on Poe's work, including his own version of The Raven in a song by the same name.

The song Kremlin Dusk, from Japanese pop star Utada Hikaru's English-language album Exodus (2004), begins "All along, I was searching for my Lenore/In the words of Mr. Edgar Allan Poe/Now I'm sober and "Nevermore"/Will the Raven come to bother me at home." It also refers to the "dying ember" line in the poem.

Seattle, Washington metal band Nevermore got its name from the repeated refrain in "The Raven". The band also referenced it in the title track from their 2005 album This Godless Endeavor.

The Dutch neoceltic pagan folk band Omnia put a slightly edited version of the poem to music as the second track on their 2007 album Alive!.

The American gothic horror band Nox Arcana released a CD entitled Shadow of the Raven in 2007. Three songs-"Midnight Dreary", "The Raven" and "Nevermore"-as well as the album's title, are direct references to the poem.

The German symphonic metal band Xandria included the quote "Thus spoke the raven, 'Nevermore'" in their song Ravenheart, which is inspired by the poem as well.

The Christian third-wave ska band Five Iron Frenzy quotes many of Poe's lines in "That's How The Story Ends", from The End Is Near, and alludes ironically to the mysterious and somber mood of "The Raven".

The song "Campanas en la Noche" ("Bells in the Night") by the Argentine rock band Los Tipitos, the tale of a man wishing for the return of his lover, is loosely based on the poem. This relationship is even more evident in the song's video, which features the bust of Pallas and the titular raven itself.

Rapper MC Lars released the track "Mr. Raven" on The Laptop EP, quoting some lines directly from the poem and modifying others (e.g. "Once upon a midnight dreary, while I kicked it weak and weary").

The Canadian artist Nash the Slash included an instrumental track called "Lost Lenore" on his vinyl album The Million Year Picnic.

The Devil Wears Prada used a track of a man reading a part of "The Raven" as a part of an introduction to concerts during a 2008 tour with Underoath. The piece led into the ending breakdown in the song "Goats on a Boat".

Swiss folk metal band Eluveitie released a track titled "Quoth the Raven" on their 2010 release Everything Remains As It Never Was portraying the Raven as the harbinger of death.

The Band known as "Circus Contraption" had the lyric "Nevermore the raven said and then he fell upon his head the poor bird lost his balance in flight" in their song "We Are All Mad".

Spoken at the end video for the Thirty Seconds to Mars song 'Hurricane' are the lines "Deep into that darkness peering, long I stood there wondering, fearing, doubting, dreaming dreams no mortal ever dared to dream before".

In 2013, English musician Steven Wilson released The Raven That Refused to Sing (And Other Stories), featuring songs based on Edgar Allan Poe's works, with the title track "The Raven That Refused to Sing" based directly off the poem.

Necrophagia entitled one of its songs "Rue morgue disciples" which is obvious refer to "The Murders in the Rue Morgue"

The song "From Childhood's Hour" from Norwegian progressive metal band Circus Maximus is based on Poe's poem "Alone".

Green Carnation a progressive metal band from Norway - Alone

The White Stripes, a Garage Rock duo from Detroit, references Poe's short story, "The Masque of the Red Death", with their single titled "Red Death at 6:14".

Songs inspired by other works Bob Dylan's 1965 song "Just Like Tom Thumb's Blues" makes reference to "Rue Morgue Avenue".

.........

Album Songs of Terror - A Gothic Tribute to Edgar Allan Poe (Various Artist):

I do not own the songs that are on the website. the use of any copyrighted material is used the of "FAIR USE". such material the copyright of the original holder and is used here for the purposes of education, comparison and criticism only. no infringement of copyright is intended.

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The dark side of romanticism - Edgar Allan Poe in rock and metal music

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The influence of Edgar Allan Poe on the art of music has been considerable and long-standing, with the works, life and image of the horror fiction writer and poet inspiring composers and musicians from diverse genres for more than a century. Edgar Allan Poe 's works have been inspiration for many rock and metal songs.

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On the essay above we can read about the influence that Poe exercised on the modern movies, read it and after see some films on the following link: http://www.tasteofcinema.com/2015/the-10-best-horror-movies-based-on-the-works-of-edgar-allan-poe/.

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Do you like watching scary movies?
If you do, here is a list with some movies based and adapted from Poe's works. We can also read the synopsis of them so you may be interest or not.
Go check it out!!

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É meia-noite. As asas de um corvo se misturam à escuridão. A velha casa em ruínas observa com janelas que pareciam olhos. Você jura ouvir a voz de alguém que já partiu para o outro lado, bem na hora em que um gato preto cruza seu caminho.

Tudo o que hoje conhecemos como terror começou a ganhar forma na obra de Edgar Allan Poe. Genial e maldito, Poe é considerado o mestre dos mestres da literatura fantástica. Stephen King, Clive Barker ou H.P. Lovecraft são apenas alguns de seus discípulos mais sombrios.

Nascido em 19 de janeiro de 1809, o autor, poeta, crítico e editor continua atual, mesmo depois de tanto tempo. Do mundo acadêmico para a cultura pop, de tempos em tempos as histórias fantásticas do autor ganham novas adaptações no cinema, na TV, na literatura. De Iron Maiden a Green Day e Os Simpsons; de Vincent Price a Tim Burton; nos quadrinhos de Neil Gaiman ou nos episódios de The Following. Onde você procurar, existe o toque do gênio.

A obra do autor vem sendo publicada pela DarkSide Books com um tato pra lá de sobrenatural. O darksider original já teve o volume 1 e volume 2 - muitos ainda por vir - que compilam sua obra fazendo recortes temáticos em sua construção editorial. A tradução cuidadosa da estudiosa Marcia Heloisa contribui para passar ao leitor de hoje a linguagem mais próxima da idealizada por Poe, e a porção de extras presentes nos dois volumes é espetacular. De fã para fã, do começo ao fim.

Os trabalhos de Poe se tornaram inspirações e serviram de fonte para diversos filmes, em sua maioria de baixo orçamento, e muitas obras incríveis saíram desses esforços. A lista de filmes inspirados em Edgar Allan Poe apresenta algumas dessas adaptações, algumas mais livres e outras mais diretas, mas todas feitas a partir da grande admiração que todos sentem pelo escritor.

OBRAS MACABRAS
INSPIRADAS EM POE

The Avenging Conscience

A Queda da Casa de Usher

La chute de la maison Usher, 1928 // Dirigido por Jean Epstein e co-escrito por Luis Buñuel ( O Cão Andaluz), o filme adapta o conto de mesmo nome. Roderick Usher e sua esposa, Madeline, estão doentes e convidam Allan, um velho amigo, para passar uns dias com ele. No meio de uma crise, Allan descobre um terrível segredo sobre os Usher. O filme é mudo e utiliza de várias técnicas para criar seu clima assustador.

O Gato Preto

O Corvo

O Solar Maldito

O Poço e o Pêndulo
LEIA+: REFERÊNCIAS MACABRAS DA SÉRIE DARK
Muralhas do Pavor

Dança Macabra

A Orgia da Morte

Sangue das Virgens

The Blood Demon ou Die Schlangengrube und das Pendel, 1967 // O filme de terror da Alemanha Ocidental é dirigido por Harald Reinl e apresenta Christopher Lee, Karin Dor e Lex Barker. O roteiro de Manfred R. Köhler se baseia na história O Poço e o Pêndulo e fala sobre Conde Regula (Lee) que, depois de ser atraído e esquartejado por assassinar 12 donzelas, volta à vida em busca de vingança. Na época do lançamento, o filme era noticiado em Rhode Island como "Crimson Demon" por conta de uma prática de remover a palavra "sangue" do título dos filmes.

Histórias Extraordinárias

No Quarto Escuro de Satã

Your Vice is a Locked Room and Only I Have the Key, 1972 // Dirigido por Sergio Martino, o filme adapta o conto "O Gato Preto", famoso conto em que um gato acaba por denunciar onde o cadáver da mulher assassinada de um homem cruel foi escondido. No filme, diversos outros assassinatos são cometidos. O filme giallo, onde sangue e sexo são elementos comuns da narrativa, se distancia do conto de Poe, mas é uma experiência válida para aqueles que admiram o subgênero.
LEIA+: THE DARK MAN E AS CONEXÕES DO HOMEM DE PRETO
Vincent

Os Assassinos da Rua Morgue

Dois Olhos Satânicos

O Corvo

The Raven, 2012 // Um homem começa a cometer uma série de assassinatos baseados na obra de Edgar Allan Poe. Assim como em O Corvo de 1935, esse filme não adapta diretamente o poema do autor, sendo mais um filme inspirado em suas obras. Foi dirigido por James McTeigue e tem John Cusack no papel do próprio Poe.

Bônus: Minissérie Contos do Edgar

Contos do Edgar, 2013 // A minissérie brasileira se inspira em Edgar Allan Poe para contar a história de Edgar (Marcos de Andrade), um homem de São Paulo que busca vingança pelo desaparecimento de sua esposa. Cada um dos episódios que compõem a minissérie é baseado em famosos contos do autor, e adapta detalhes dos acontecimentos para a realidade brasileira - por exemplo, aqui, o corvo é um pombo. Muito divertida, a obra criada por Gabriel Hirschhorn e Pedro Morelli apresentou apenas 5 episódios.

*

Olhando todas essas datas e produções, é seguro dizer: precisamos de mais filmes adaptando Edgar Allan Poe nos cinemas. A sua vasta obra tem um potencial ainda não totalmente explorado para fazer arrepiar os pelos do mais corajoso dos espectadores.

Gostou da lista de para maratonar e homenagear Edgar Allan Poe? Comente a lista com a Macabra no Twitter ou Instagram.

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15 Filmes Adaptados da Obra Macabra de Edgar Allan Poe

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É meia-noite. As asas de um corvo se misturam à escuridão. A velha casa em ruínas observa com janelas que pareciam olhos. Você jura ouvir a voz de alguém que já partiu para o outro lado, bem na hora em que um gato preto cruza seu caminho.

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Here we present some short stories of Poe, also known as short stories, which are very famous, in some previous posts we learned about Poe's writing, but now we can prove his work. Enjoy!!!

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This site requires JavaScript to be enabled to work properly. Please check your settings and try again.

Edgar Allan Poe was an American writer, editor, and literary critic. Poe is best known for his poetry and short stories, particularly his tales of mystery and the macabre.

10 min read

So you think he's mad? Nervous? True! - but you should see how wisely he carries out his plan.

27 min read

* Story contains bad language

A short history of and a personal tale concerning the phenomenon of being buried alive.

20 min read

While on a voyage to a remote archipelago, the narrator is overcome by a premonition of evil. But the ship's captain pays no attention.

11 min read

A man takes his enemy to taste a rare wine - which he happens to keep at the far end of a vast, damp cellar.

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This site requires JavaScript to be enabled to work properly. Please check your settings and try again. Edgar Allan Poe was an American writer, editor, and literary critic. Poe is best known for his poetry and short stories, particularly his tales of mystery and the macabre. 10 min read So you think he's mad?

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In here we introduce one of the most famous short stories of Poe, The Raven, but in video and on the next post there is another one.

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The Raven  | Animation |  Edgar Allan Poe

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Here is the other Poe's short story in a video.
Enjoy it!!!

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From that point we present curiosities about Poe.

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1. He was the first person to use the term 'short story'. At least, Poe's use of the term is the earliest that has yet been uncovered, from 1840 - nearly 40 years earlier than the current OED citation from 1877. This is fitting, given that Poe was a pioneer of the short story form. (We've offered our pick of Poe's best stories here.) Poe wrote 'I have written five-and-twenty short stories whose general character may be so briefly defined' in his preface to Tales of the Grotesque and Arabesque. This fact was discovered by Martin Greenup - see his 'Poe and the First Use of the Term "Short Story"', Notes and Queries, 60.2 (2013), 251-254.

2. Poe carried on writing even after he'd died. At least, if you believe the rather outlandish claim of Lizzie Doten, the psychic medium whose 1863 book, Poems from the Inner Life, included poems which Doten claimed to have received from the ghost of Edgar Allan Poe. (We must confess to being, er, sceptical here at Interesting Literature...) Perhaps Doten spied a chance to increase the popularity of her own rather mediocre verses by attaching Poe's name to the project!

3. The American football team the Baltimore Ravens are named in honour of Edgar Allan Poe's classic poem 'The Raven'. This is the only example of a big sports team being named after a work of literature. Poe's celebrated poem 'The Raven' was inspired by the works of two Victorian writers: by the talking raven Grip in Dickens's Barnaby Rudge (1841), and (for its metre) by Elizabeth Barrett Browning's poem 'Lady Geraldine's Courtship'. It is perhaps his single best-known work. There is reason to believe that Poe originally planned to have a parrot, rather than a raven, utter the refrain 'Nevermore' in the poem: in his ' Philosophy of Composition ', he wrote that in his mind there 'arose the idea of a non-reasoning creature capable of speech; and very naturally, a parrot, in the first instance, suggested itself, but was superseded forthwith by a Raven, as equally capable of speech.' Whether Poe was merely retrospectively having us on, or whether he was being genuine here, cannot be known for sure; but we have no greater authority in this instance than Poe's own words, and, as he says, the parrot seems the natural choice for a bird capable of mimicking human speech.

4. Poe often wrote with his Siamese cat on his shoulder. Poe would place the cat on his shoulder before he commenced writing a poem.

5. Poe coined the word 'tintinnabulation' to describe the sound made by the ringing of bells. This word was invented by Poe in his poem 'The Bells', where he writes, 'Keeping time, time, time, In a sort of Runic rhyme, To the tintinnabulation that so musically wells ... From the jingling and the tinkling of the bells.' You can read the whole poem here. (We also recommend Poe's poem 'To Helen', which we've analysed here.)

If you enjoyed this post, check out our previous post on Edgar Allan Poe and some of the things which he correctly predicted. You might also enjoy our interesting Stephen King facts. If you're eager to dip into some of Poe's writings, we'd recommend this collection of some of his finest short stories: The Portable Edgar Allan Poe (Penguin Classics) .
Image: Cropped image from the famous E.A. Poe daguerreotype, W.S. Hartshorn (1848 daguerreotype), C.T. Tatman (1904 photo of a c. 1848-1860 photo of daguerreotype missing since 1860) public domain.

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Five Fascinating Facts about Edgar Allan Poe

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1. He was the first person to use the term 'short story'. At least, Poe's use of the term is the earliest that has yet been uncovered, from 1840 - nearly 40 years earlier than the current OED citation from 1877. This is fitting, given that Poe was a pioneer of the short story form.

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3.1 The influence that Poe applied in Brazilian writers

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3.1 The influence that Poe applied in Brazilian writers

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On this post, it is available a link to you browse and read some information about how Poe's work has influenced brazilian writers.
Enjoy it!

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A popularidade do escritor norte-americano Edgar Allan Poe vem crescendo significativamente nas últimas décadas, principalmente aqui no Brasil. No mundo afora, Poe já era bastante popular, pois tornara-se um ícone do horror quando o cineasta George Corman, junto ao lendário ator Vincent Price fizeram uma série de filmes sombrios baseados nas obras do autor. Aqui no Brasil, no entanto, de uns anos para cá temos cada vez mais produções inspiradas na eterna obra de Poe. Nas telas, tivemos em 2013 a série Contos do Edgar, na Fox Brasil, produzida por Fernando Meirelles. No entanto, já antes da chegada da série, Poe já influenciava a literatura nacional há um bom tempo. Desde Machado de Assis, cujo conto A Causa Secreta, que trata do sadismo, pode ser analisado por um viés um tanto, digamos, Edgariano (tomando como princípio aquele dissertado por Poe no conto O Demônio da Perversidade - The Imp of the Perverse), até Lygia Fagundes Telles, cujo conto Venha ver o pôr-do-sol constrói uma atmosfera sombria e reproduz a ideia de uma fria vingança, lembrando aquela articulada por Montresor em O Barril de Amontillado - The Cask of Amontillado.

Além destes exemplos mencionados acima, nos últimos anos muitas obras mais diretamente inspiradas em Poe vem sendo produzidas e tomando conta do cenário literário nacional. Confira na lista abaixo sete livros e quatro contos produzidos por autores nacionais, todos inspirados na obra ou na biografia de Poe. E aí, prontos para adentrar as sombras do universo de Poe, de onde talvez não será possível sair nunca mais?

Neste romance, Pascale desenvolve uma narrativa sobre um senhor chamado Clay e seis jovens que se reúnem aos sábados para discutir a obra de Edgar Allan Poe. No entanto, um mistério pende sobre eles quando uma jovem o grupo desaparece e eventos estranhos começam a ocorrer com todos, sempre incluindo referências à obra de Poe, como corvos aparecendo repentinamente ou um gato preto surgindo no meio da noite. Confira a resenha completa da obra aqui.

Esta obra consiste de uma ficcionalização da biografia de Poe em um roteiro escrito pelo autor R.F. Lucchetti, e ilustrado por Eduardo Schloesser. O enredo conta desde a morte da mãe biológica de Poe, sua adoção pelos Allans, seus amores de juventude, suas dificuldades financeiras e emocionais enquanto lutava para publicar suas obras literárias. A arte é bastante detalhada, e o roteiro tem como foco o lado emocional da vida do autor, inspirando-se livremente em seus escritos para, a partir destes, retratar um Poe romântico e melancólico.

Nesta obra, há oito histórias em quadrinhos baseadas em escritos de Poe, cada uma com roteiro e arte por diferentes autores e ilustradores. Os estilos de arte e roteiro combinam bastante e recriam o terror com base no universo de Poe. Confira esta resenha em vídeo desta e da obra em quadrinhos roteirizada por Lucchetti, do canal LerVicia, de Rubens Jr.

Reunindo 22 contos curtos inspirados na obra de Poe, essa antologia foi lançada para comemorar os 200 anos do escritor. Os contos incluem referências bem diretas a elementos de diversas obras de Poe, como é o caso do incrível Delírios Extraordinários (p.42), de Luciana Fátima, em que somos guiados através de uma narrativa que parece um sonho de alguém que leu muito Poe e se encontra imerso em uma existência repleta da diversos de seus personagens e cenários, desde a casa de Usher, o gato preto, Berenice e até mesmo Fortunato. Destaque também para o conto de suspense do organizador Ademir Pascale, Louco, Eu? (p. 116), que retrata de uma forma mais atual a ideia do assassinato de O Coração Delator. Outro conto que merece bastante destaque é Relíquia (p.51), de Duda Falcão, em que somos apresentados a um lugar fantástico chamado Museu do Terror (que, aliás, também aparece em outro conto do Duda), onde objetos icônicos de obras literárias são expostos e, neste conto, vemos a chegada do Gato Preto a este museu. Enfim, há muitos outros contos incríveis nesta antologia, que foi uma bela homenagem ao Poe.

Com o sucesso de Poe 200 anos, Pascale organizou, em 2013, mais uma bela antologia com contos inspirados na obra de Poe, chamada Nevermore. Com capa dura e contos mais longos, este livro apresenta nove contos, também com a presença de obras de Luciana Fátima e Ademir Pascale, além de outros autores nacionais, como Leon Nunes, Celly Borges, Miriam Santiago, Daniel Borba, Marcelo Amado, Marcelo Bighetti, Kathia Brienza e com prefácio por Paulo Biscaia Filho.

Com a belíssima arte de Hugo Matsubayashi e Diogo Henrique Oliveira, esta obra inclui uma adaptação em quadrinhos do conto O Gato Preto, realizada por Aline Thais Napoli e Michelle Fernandes, além do conto integral, traduzido por Eliane Fittipaldi e Katia Maria Orberg, acompanhado de ilustrações, no final do livro. Outro bônus interessante neste livro, tanto para quem já conhece bem Poe quanto para quem está conhecendo, é um resumo de sua biografia (bem resumido mesmo, em uma página), e um texto sobre quem foi Poe, tudo isso sempre acompanhado de belas ilustrações.

Editada por Felipe Larêdo, este livro inclui 60 contos breves e poemas narrativos de diversos autores, desde nomes mais consagrados, como André Vianco, R.F. Lucchetti e Duda Falcão, até diversos novos autores mostrando seus talentos ao escrever inspirados em Poe. Além disso, a obra é repleta de belíssimas ilustrações, realizadas por 15 diferentes artistas, representando o Poe, corvos e outros elementos da obra do autor das mais criativas maneiras, tudo em preto e branco, mantendo sempre a atmosfera sombria das mais famosas obras de Poe.

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Poe no Brasil: 7 obras nacionais em homenagem a Edgar Allan Poe - NotaTerapia

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A popularidade do escritor norte-americano Edgar Allan Poe vem crescendo significativamente nas últimas décadas, principalmente aqui no Brasil. No mundo afora, Poe já era bastante popular, pois tornara-se um ícone do horror quando o cineasta George Corman, junto ao lendário ator Vincent Price fizeram uma série de filmes sombrios baseados nas obras do autor.

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Here, we have a post made in 2017 on a web site that pays homage to Poe's 208 years. It's super insteresting.
Go check it out!

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No dia 19 de janeiro de 2017, celebramos 208 anos desde o nascimento do escritor norte-americano Edgar Allan Poe, um dos mais influentes autores de todos os tempos. Apesar de ser mais famoso pelo gênero do horror, Poe percorreu diversos caminhos da literatura e deixou sua marca em muitos deles: os primeiros contos policiais de que temos registro na literatura ocidental a marcar o cenário internacional foram escritos por Poe, e seu detetive, Dupin, presente nos contos A Carta Roubada, O Mistério de Marie Roget e Os Crimes da Rua Morgue inspirou a criação de ícones como Sherlock Holmes de Conan Doyle e o detetive Poirot de Agatha Christie.

Além de horror e contos policiais, Poe também inovou na teoria literária, ao expor seu processo criativo no ensaio A Filosofia da Composição, em que ele explica o processo quase matemático pelo qual compôs seu mais famoso poema O Corvo. Poe também foi um prolífico crítico literário, e dentre as muitas resenhas que escreveu, uma foi de um romance de Charles Dickens chamado Barnaby Rudge, o qual, vejam só, inclui entre seus personagens um corvo falante!

Poe também escreveu contos de humor negro, um longo ensaio chamado Eureka que ele prefere que chamem de poema em prosa, no qual ele defende teorias sobre ciência, filosofia e física quântica, além de ter também escrito uma obra que pode ser considerada uma novela, ou um breve romance até, chamado A Narrativa de A Gordon Pym. Enfim, Poe produziu muito em sua breve vida nesta terra, e sua influência é imensurável. Muito do que se conhece por conto, por literatura policial e de terror nos dias de hoje se deve a Poe.

Enfim, para prestar uma homenagem a esse marcante escritor em seu aniversário de 208 anos, preparamos uma seleção de poemas e mini contos inspirados em obras do Poe, todos os textos ilustrados por talentosos artistas também admiradores de Poe.

O rapaz retirou um tanto da poeira que me cobria. Era o primeiro em muito tempo a observar as linhas que formavam o meu retrato e a minha prisão. Ele sacou um objeto do bolso e o posicionou à minha frente. Dele, saiu uma luz, sem ao menos haver um candelabro por perto, e senti minha imagem ser capturada. Desta vez, pude alongar meus braços até que saísse da moldura. Ouvi um berro e o homem saiu da sala de forma abrupta, o que me fez perceber a minha nova forma. Caminhei até a porta da casa. Agora, eu sou livre.

Foi em uma terça-feira em que sonhei com um olho. Bem redondo, pupila dilatada, uma massa olhando para mim. Era um mero olho que parecia vir de alguma parte do mundo, e no sonho eu o desenhava. No dia seguinte, concentrei-me por um tempo infinito para marcá-lo no papel. A cada risco, sentia humanidade nas minhas mãos. Circulei a pupila enegrecida na íris, dei-lhe brilho, perdi-me nos riscos, acrescentei cinzas caindo dos olhos. Ao fim, ao contemplar aquele olho, notei o brilho se intensificar. E com lentidão, mexeu-se, como piscando. Mas sem pálpebras. E deixou um rastro de cinzas negras na minha mão.

Se aos dez já podia sentir os calos estourando em agonia, aos vinte havia conquistado as dores e aos quarenta tornei-me elas. Não existem palavras capazes de acalmar o coração de quem se afoga em um mar de tristezas inexplicáveis. Os círculos giram na água, o choro ecoa para quem quiser ouvir... Nunca mais estaremos aqui e, ainda assim, nunca acabaremos as obras que começamos. A despeito dos corvos que meus olhos comerão, guardo meus dentes embaixo da cama, ao lado das lembranças daqueles que amei. Das dores que colecionei. Dos vícios que não abandonei. Despeço-me como o gato que não calcula a distância entre os muros ou distância até o túmulo. Sem entender muito sobre a morte, mas entendendo demais sobre morrer, deixo um rastro negro de poeira e poesia para minha alma procurar, mesmo sabendo que nunca, nunca mais voltaremos a nos encontrar.

Está quente. O silêncio é ensurdecedor. Pouco a pouco o ar vai se acabando. Estou sufocada! Essa certamente é a pior experiência que já tive. No começo estava desesperada, mas ao longo do tempo todo sentimento de raiva diluiu, agora só sinto melancolia .Quem poderia imaginar que a mais bela moça da cidade teria tão cruel destino. Só queria que alguém ouvisse minhas palavras antes que meus pensamentos se confundam entre si. Choro! Mas imediatamente paro, lágrimas não abrem caixões - eu penso. Agora não penso mais nada...é meu fim, meu triste fim chegou.

Arte por Marina Franconeti, edição de Denis Pinheiro

Pelo fúnebre âmago e mortiço, exalo pela língua bifurcada de um enfermo, resmungos amargos de um moribundo idiota... Apenas flagelos de uma mente turva de angústia e um olhar agourento, desprovido do alento que se diluiu em desalento, gotas mornas transbordam os umbrais de minhas janelas... deixando minha pálpebras orvalhadas, apenas um momento, mórbido e melancólico... o que foi embora... e o olhar nefasto do corvo, tão sagaz e lúgubre, já me espreita sem demora, na ânsia de me libertar e no pesar me devora.

Minha mente é como a Casa de Usher,

repleta de fantasmas e sombras sepulcrais,

incompleta, a depedaçar-se

em lagos inundados de Nunca Mais,

a afogar-se em reflexos de quem fui,

reflexos desconexos, sem olhos nem sorrisos,

Doentemente, minha mente persegue

aves agourentas que bebem o céu soturno

a atravessar noites ébrias,

mas ébrias apenas de melancolia

onde vinho nem poesia já não se bebia nunca, Nunca Mais.

Para a coerção de que em um único ato

Cujo feito tornar-se-ia venerado por deuses e mortais.

Avinharam-me a acuidade passional e aspirações pela glória.

Ébrio, andejei pelas sonatas tenebrosas de outrora.

Ressurgi com uma figura venusta e eremítica.

Minha aparência é sombria,

Todavia, minha alegria resplandece como o fulgor

E enobrece o meu adejo aos astros,

Em vívidos dilúvios de condolência e poesia.

E, pousarei nos vales do amanhã,

De conservar o status quo não estarrece ou incita.

Estou partido, meu velho amigo

E partindo, para sempre, estou

O chão que range neste hostil abrigo

As horas esvoaçam como meus cabelos

Fissuras abrem sem nelas tocar

Ah! Se de mim tirassem estes desmazelos!

Juraria pelos céus nunca mais chorar

Murmuram, funestas, paredes e portas

A poeira engole nossos corações

Se Ele escreve certo por linhas tortas

Aguardo, enfermo, vossas orações

Amada minha, sangue de meu sangue

Foi-se embora sem se despedir

Se de loucura ouço teu compasso exangue,

Penso: de teu ataúde ainda irás sair

E logo vens, cambaleante e vil

Irmã de prosas e desesperos mil!

Desmoronamos no viés da memória

O rio traga nosso peito em glória:

Paira no ar o silêncio senil.

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Oito homenagens aos 208 anos de Edgar Allan Poe

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No dia 19 de janeiro de 2017, celebramos 208 anos desde o nascimento do escritor norte-americano Edgar Allan Poe, um dos mais influentes autores de todos os tempos.

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3.3 Edgar Allan Poe and the contemporary Brazil

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3.3 Edgar Allan Poe and the contemporary Brazil

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On this post, there is an article that brings an intertextual discussion of a work produced in Brazil by Fernando Meirelles that it is based on a Poe's work.

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On this web site you can find 25 illustrations inspired by Poe's works.

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A obra de Edgar Allan Poe, com suas imagens fascinantemente mórbidas e melancólicas, inspira as mais diferentes áreas da arte, desde o cinema, como já vimos por aqui que já em 1909 foi produzido um curta sobre a produção do poema O Corvo; desde então, a produção de arte inspirada em Poe não parou mais: na década de 60, Corman e Price produziram diversos filmes sombrios com um belo de humor adaptando diversos dos contos de Poe, e até os dias de hoje vemos a presença de Poe no cinema e nas séries, como foi o caso do filme O Corvo, de James McTeigue, de 2012, da série The Following, da nacional Contos de Edgar, isso além de aparições inesperadas de Poe em diversos locais, como na série Altered Carbon ou no filme Twixt. Porém, antes mesmo de ser adaptado tantas vezes no cinema e em séries, a obra de Poe já ganhava artes visuais pelas mãos dos mais diversos e talentosos artistas plásticos: pintores e ilustradores. Nos dias de hoje continuamos a ver a obra de Poe ganhar vida nas artes plásticas, como já vimos aqui no Nota com a mansão macabra de Carden, o alfabeto de David Garcia, os POErtraits de Marco Rocchi e também as ilustrações feitas por artistas nacionais para a homenagem aos 208 anos de Poe publicada aqui no Nota no ano passado.

Porém, muito antes disso tudo, grandes nomes consagrados da arte, como Gustave Doré, Manet, Harry Clarke, entre outros, já criavam inesquecíveis artes inspiradas na obra de Poe, as quais, inclusive, foram publicadas em edições dos contos e poemas do autor. Confira na lista abaixo 25 das mais marcantes ilustrações da obra de Edgar Allan Poe.
25. Harry Clarke, "Morella," Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1919) 24. Gustave Doré, "The Raven" (O Corvo) (1883) 23. .Edouard Manet, "The Raven / Le Corbeau," (O Corvo) (1875) 22. Arthur Rackham, "Ligeia," Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1935) 21. Harry Clarke, "The Fall of the House of Usher," (A Queda da Casa de Usher) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1919) 20. Gustave Doré, "The Raven" (O Corvo) (1883) 19. Gustave Doré, "The Raven" (O Corvo) (1883) 18. Harry Clarke, "William Wilson," Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1919) 17. Aubrey Beardsley, "The Masque of the Red Death," (A Máscara da Morte Vermelha) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1894) 16. Arthur Rackham, Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1935) (capa e contra-capa) 15. Gustave Doré, "The Raven" (O Corvo) (1883) 14. Arthur Rackham, "The Oval Portrait," (O Retrato Oval) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1935) 13. Harry Clarke, "The Mystery of Marie Rogêt" (O Mistério de Marie Rogêt) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1919) 12. Aubrey Beardsley, "The Black Cat," (O Gato Preto) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1894) 11. Edouard Manet, "The Raven / Le Corbeau," (O Corvo) (1875) (capa) 10. Gustave Doré, "The Raven" (O Corvo) (1883) 9. Arthur Rackham, "The Tell-Tale Heart," (O Coração Denunciador) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1935) 8. Harry Clarke, "The Pit and the Pendulum," (O Poço e o Pêndulo) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1919) 7. Harry Clarke, "The Premature Burial," (O Enterro Prematuro) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1919) 6. Harry Clarke, "Bon-Bon," Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1923) 5. Harry Clarke, "Silence," (Silêncio) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1919) 4. Arthur Rackham, "The Fall of the House of Usher," (A Queda da Casa de Usher) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1935) 3. Aubrey Beardsley, "The Murders in the Rue Morgue," (Os Assassinatos na Rua Morgue) Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1894) 2. Gustave Doré, "The Raven" (O Corvo) (1883) 1. Harry Clarke, "Berenice," Tales of Mystery and Imagination (Contos de Mistério e Imaginação) (1923)
Fonte: CrimeReads

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Veja 25 ilustrações da obra de Edgar Allan Poe - NotaTerapia

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A obra de Edgar Allan Poe, com suas imagens fascinantemente mórbidas e melancólicas, inspira as mais diferentes áreas da arte, desde o cinema, como já vimos por aqui que já em 1909 foi produzido um curta sobre a produção do poema O Corvo; desde então, a produção de arte inspirada

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5.0 Is it necessary read Edgar Allan Poe? 

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5.0 Is it necessary read Edgar Allan Poe? 

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You may be asking yourselves:  "Is there some necessity or benefit in reading Poe's works?"
On this post, there is a video explaing us why we should read Poe.
Then, even after all these posts you are not interested in Poe's work, perhaps this video will convince you otherwise. ;)

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Why should you read Edgar Allan Poe? - Scott Peeples