Edgar Allan Poe: the Complete Short Story Collection

ISBN-10: 1453643141
ISBN-13: 9781453643143
Edition: N/A
Authors: Edgar Allen Poe
List price: $24.99
30 day, 100% satisfaction guarantee

If an item you ordered from TextbookRush does not meet your expectations due to an error on our part, simply fill out a return request and then return it by mail within 30 days of ordering it for a full refund of item cost.

Learn more about our returns policy

Description: C&C brings you our complete collection of Edgar Allan Poe short stories, comprised of over 60 classic short stories, by one of the most influential writers of the romantic genre. Selections includes, but not limited to the following:"A Tale of  More...

what's this?
Rush Rewards U
Members Receive:
coins
coins
You have reached 400 XP and carrot coins. That is the daily max!
You could win $10,000

Get an entry for every item you buy, rent, or sell.

Study Briefs

Limited time offer: Get the first one free! (?)

All the information you need in one place! Each Study Brief is a summary of one specific subject; facts, figures, and explanations to help you learn faster.

Add to cart
Study Briefs
Periodic Table Online content $4.95 $1.99
Add to cart
Study Briefs
Writing a Scientific Report Online content $4.95 $1.99

Customers also bought

Loading
Loading
Loading
Loading
Loading
Loading
Loading
Loading
Loading
Loading

Book details

List price: $24.99
Publisher: CreateSpace Independent Publishing Platform
Publication date: 3/6/2009
Binding: Paperback
Pages: 692
Size: 5.75" wide x 8.75" long x 1.50" tall
Weight: 2.442
Language: English

C&C brings you our complete collection of Edgar Allan Poe short stories, comprised of over 60 classic short stories, by one of the most influential writers of the romantic genre. Selections includes, but not limited to the following:"A Tale of Jerusalem" (1832),"Bon-Bon" (1832),"Loss of Breath" (1832),"Metzengerstein" (1832),"The Duc de L'Omelette" (1832),"Four Beasts in One" (1833),"MS. Found in a Bottle" (1833),"The Assignation" (1834),,"Berenice" (1835),"King Pest" (1835),"Lionizing" (1835),"Morella" (1835),"Shadow" (1835),"Mystification" (1837),"A Predicament" (1838),"Ligeia" (1838),"Silence" (1838),"The Devil in the Belfry" (1839),"The Fall of the House of Usher" (1839),"The Man That Was Used Up" (1839),"William Wilson" (1839),"The Business Man" (1840),"The Man of the Crowd" (1840),"A Descent into the Maelström" (1841),"Eleonora" (1841),"Never Bet the Devil Your Head" (1841),"The Murders in the Rue Morgue" (1841),"Three Sundays in a Week" (1841),"The Gold-Bug" (1842),"The Landscape Garden" (1842),"The Masque of the Red Death" (1842),"The Mystery of Marie Rogêt" (1842),"The Oval Portrait" (1842),"The Pit and the Pendulum" (1842),"A Tale of the Ragged Mountains" (1843),"The Black Cat" (1843),"The Tell-Tale Heart" (1843),"Mesmeric Revelation" (1844),"Thou Art the Man" (1844),"The Angel of the Odd" (1844),"The Balloon-Hoax" (1844),"The Oblong Box" (1844),"The Premature Burial" (1844),"The Purloined Letter" (1844),"The Spectacles" (1844),"The System of Doctor Tarr and Professor Fether" (1844),"Some Words with a Mummy" (1845),"The Facts in the Case of M. Valdemar" (1845),"The Imp of the Perverse" (1845),"The Power of Words" (1845),"The Cask of Amontillado" (1846),"The Domain of Arnheim" (1846),"The Sphinx" (1846),"Hop-Frog" (1849),"Landor's Cottage" (1849),"Mellonta Tauta" (1849),"The Light-House" (1849),"Von Kempelen and His Discovery" (1849),

There has never been any doubt about Poe's enormous literary significance, but, with regard to his ultimate artistic merit, there has been considerable disagreement. To some he is little more than a successful charlatan, whose literary performances are only a virtuoso's display of stunning, but finally shallow, effects. Others, however, are struck by Poe's profound probing of the human psyche, his philosophical sophistication, and his revolutionary attitude toward literary language. No doubt both sides of this argument are in part true in their assessments. Poe's work is very uneven, sometimes reaching great literary heights, at other times striking the honest reader as meaningless, pathetic, or simply wrong-headed. This is not surprising, considering the personal turmoil that characterized so much of Poe's short life. Poe was extreme in his literary views and practices; balance and equilibrium were not literary values that he prized. Scorning the didactic element in poetry, Poe sought to separate beauty from morality. In his best poems, such as "The City in the Sea" (1836), he achieved an intensification of sound sufficient to threaten the common sense of the poetic line and release a buried, even a morbid, sense that would enchant the reader by the sonic pitch of the poem. Defining poetry as "the rhythmic creation of beauty," Poe not only sought the dream buried beneath the poetic vision---Coleridge had already done that---but also abandoned the moral rationale that gave the buried dream symbolic meaning. The dream, or nightmare, was itself the content of the verse. Some readers, however, such as T. S. Eliot, have found Poe's poetry extremely limited, both in its content and in its technique. While it is true that Poe was one of the few American poets to achieve international fame during the nineteenth century, critics point out that his influence on such literary movements as French symbolism and literary modernism was largely through the superb translations and criticisms of his writings by Baudelaire (see Vol. 2), Mallarme (see Vol. 2), and Valery (see Vol. 2). Poe's theory of the short story, as well as his own achievements in that genre, contributed substantially to the development of the modern short story, in Europe as well as in the United States. Poe himself regarded his talent for fiction writing as of less importance than his poetry and criticism. His public preferred his detective stories, such as "The Murders in the Rue Morgue" (1841), "The Mystery of Marie Roget" (1842--1843) and "The Gold Bug" (1843); and his analytic tales, such as "A Descent into the Maelstrom" (1841), "The Black Cat" (1843), and "The Premature Burial" (1844). His own preference, however, was for the works of the imagination, such as "Ligeia" (1838), "The Fall of the House of Usher" (1839), and "The Masque of the Red Death" (1842), tales of horror beyond that of the plausible kind found in the analytic stories. Just as with his poetry, however, readers have been strongly divided in their appreciation of the deeper worth of Poe's fiction. For many, they are at best merely an effective display in Gothicism, good horror stories, an enjoyable experience in vicarious terror, but nothing more. This was the view of Henry James, that other great nineteenth-century master of the ghost story, who claimed that "an enthusiasm for Poe is the mark of a decidedly primitive stage of reflection." But others have found in these carefully crafted pieces something far more profound, a way of seeing into our unconscious, that place where, for a while at least, terrifying conflicts coexist. As Poe so well put it himself in the preface to his Tales of the Grotesque and Arabesque (1840), "If in many of my productions terror has been the basis, I maintain that terror is not of Germany but of the soul."

×
Free shipping on orders over $35*

*A minimum purchase of $35 is required. Shipping is provided via FedEx SmartPost® and FedEx Express Saver®. Average delivery time is 1 – 5 business days, but is not guaranteed in that timeframe. Also allow 1 - 2 days for processing. Free shipping is eligible only in the continental United States and excludes Hawaii, Alaska and Puerto Rico. FedEx service marks used by permission."Marketplace" orders are not eligible for free or discounted shipping.

Learn more about the TextbookRush Marketplace.

×