Bøger af Edgar Allen Poe

This anthology gathers over 20 of Poe's groundbreaking tales of the macabre and also includes his trilogy of stories featuring detective C. Auguste Dupin.

In Volume Two of Poe's masterpieces, journey deeper into the enigmatic realms of his mind. Unearth the psychological complexity of The Fall ofthe House of Usher and the eerie allure of The Masque of the Red Death. Each story and poem unveils Poe's unparalleled talent for captivating storytelling and haunting imagery.

Dive into the chilling depths of Poe's imagination with Volume One of his collected works. From the macabre tales of The Tell-Tale Heart to thehaunting verses of The Raven, this collection showcases Poe's mastery of Gothic fiction, inviting readers into a world of darkness and intrigue.

The Bookworms Library is a new edition of the Oxford Bookworms Black and Green series. It builds on the success of the original Bookworms, while extending the range of activities and teaching support. Each title has been chosen for its enjoyment value, skilful story-telling and quality of writing. Six graded stages provide more than 130 stories at different levels of ability. The lower levels feature a wide choice of original stories, while the higher levels feature adaptations of well-known works originally published for native speakers. There are titles to suit all tastes, ranging from fantasy and horror, thriller and adventure, classics, true stories, crime and mystery, and human interest.

The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult, I vowed revenge. You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat.At length I would be avenged; this was a point definitely settled-but the very definitiveness with which it was resolved, precluded the idea of risk. I must not only punish, but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong. It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued, as was my wont, to smile in his face, and he did not perceive that my smile now was at the thought of his immolation. He had a weak point-this Fortunato-although in other regards he was a man to be respected and even feared. He prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthusiasm is adopted to suit the time and opportunity-to practise imposture upon the British and Austrian millionaires. In painting and gemmary, Fortunato, like his countrymen, was a quack-but in the matter of old wines he was sincere. In this respect I did not differ from him materially: I was skillful in the Italian vintages myself, and bought largely whenever I could.

In the internal decoration, if not in the external architecture of their residences, the English are supreme. The Italians have but little sentiment beyond marbles and colours. In France, meliora probant, deteriora sequuntur-the people are too much a race of gadabouts to maintain those household proprieties of which, indeed, they have a delicate appreciation, or at least the elements of a proper sense. The Chinese and most of the eastern races have a warm but inappropriate fancy. The Scotch are poor decorists. The Dutch have, perhaps, an indeterminate idea that a curtain is not a cabbage. In Spain they are all curtains-a nation of hangmen. The Russians do not furnish. The Hottentots and Kickapoos are very well in their way. The Yankees alone are preposterous.

EVERYBODY knows, in a general way, that the finest place in the world is-or, alas, was-the Dutch borough of Vondervotteimittiss. Yet as it lies some distance from any of the main roads, being in a somewhat out-of-the-way situation, there are perhaps very few of my readers who have ever paid it a visit. For the benefit of those who have not, therefore, it will be only proper that I should enter into some account of it. And this is indeed the more necessary, as with the hope of enlisting public sympathy in behalf of the inhabitants, I design here to give a history of the calamitous events which have so lately occurred within its limits. No one who knows me will doubt that the duty thus self-imposed will be executed to the best of my ability, with all that rigid impartiality, all that cautious examination into facts, and diligent collation of authorities, which should ever distinguish him who aspires to the title of historian.

In the meantime, Henderson had again put off from the ship, although the wind was now blowing almost a hurricane. He had not been gone many minutes when he fell in with some fragments of our boat, and shortly afterward one of the men with him asserted that he could distinguish a cry for help at intervals amid the roaring of the tempest. This induced the hardy seamen to persevere in their search for more than half an hour, although repeated signals to return were made them by Captain Block, and although every moment on the water in so frail a boat was fraught to them with the most imminent and deadly peril. Indeed, it is nearly impossible to conceive how the small jolly they were in could have escaped destruction for a single instant. She was built, however, for the whaling service, and was fitted, as I have since had reason to believe, with air-boxes, in the manner of some life-boats used on the coast of Wales.

At Paris, just after dark one gusty evening in the autumn of 18-, I was enjoying the twofold luxury of meditation and a meerschaum, in company with my friend C. Auguste Dupin, in his little back library, or book-closet, au troisiême, No. 33, Rue Dunôt, Faubourg St. Germain. For one hour at least we had maintained a profound silence; while each, to any casual observer, might have seemed intently and exclusively occupied with the curling eddies of smoke that oppressed the atmosphere of the chamber. For myself, however, I was mentally discussing certain topics which had formed matter for conversation between us at an earlier period of the evening; I mean the affair of the Rue Morgue, and the mystery attending the murder of Marie Rogêt. I looked upon it, therefore, as something of a coincidence, when the door of our apartment was thrown open and admitted our old acquaintance, Monsieur G-, the Prefect of the Parisian police.

And this was the tribute paid by the American public to the master who had given to it such tales of conjuring charm, of witchery and mystery as "The Fall of the House of Usher" and "Ligeia"; such fascinating hoaxes as "The Unparalleled Adventure of Hans Pfaall," "MSS. Found in a Bottle," "A Descent Into a Maelstrom" and "The Balloon Hoax"; such tales of conscience as "William Wilson," "The Black Cat" and "The Tell-tale Heart," wherein the retributions of remorse are portrayed with an awful fidelity; such tales of natural beauty as "The Island of the Fay" and "The Domain of Arnheim"; such marvellous studies in ratiocination as the "Gold-bug," "The Murders in the Rue Morgue," "The Purloined Letter" and "The Mystery of Marie Roget," the latter, a recital of fact, demonstrating the author's wonderful capability of correctly analyzing the mysteries of the human mind; such tales of illusion and banter as "The Premature Burial" and "The System of Dr. Tarr and Professor Fether"; such bits of extravaganza as "The Devil in the Belfry" and "The Angel of the Odd"; such tales of adventure as "The Narrative of Arthur Gordon Pym"; such papers of keen criticism and review as won for Poe the enthusiastic admiration of Charles Dickens, although they made him many enemies among the over-puffed minor American writers so mercilessly exposed by him; such poems of beauty and melody as "The Bells," "The Haunted Palace," "Tamerlane," "The City in the Sea" and "The Raven." What delight for the jaded senses of the reader is this enchanted domain of wonder-pieces! What an atmosphere of beauty, music, color! What resources of imagination, construction, analysis and absolute art! One might almost sympathize with Sarah Helen Whitman, who, confessing to a half faith in the old superstition of the significance of anagrams, found, in the transposed letters of Edgar Poe's name, the words "a God-peer." His mind, she says, was indeed a "Haunted Palace," echoing to the footfalls of angels and demons.

"The Masque of the Red Death", originally published as "The Mask of the Red Death" (1842), is a short story by Edgar Allan Poe. The story follows Prince Prospero's attempts to avoid a dangerous plague known as the Red Death by hiding in his abbey. He, along with many other wealthy nobles, has a masquerade ball within seven rooms of his abbey, each decorated with a different color. In the midst of their revelry, a mysterious figure disguised as a Red Death victim enters and makes his way through each of the rooms. Prospero dies after confronting this stranger, whose "costume" proves to have nothing tangible inside it; the guests also die in turn. The story follows many traditions of Gothic fiction and is often analyzed as an allegory about the inevitability of death, though some critics advise against an allegorical reading. Many different interpretations have been presented, as well as attempts to identify the true nature of the titular disease. The story was first published in May 1842 in Graham's Magazine. It has since been adapted in many different forms, including the 1964 film starring Vincent Price. It has been alluded to by other works in many types of media. Edgar Allan Poe (born Edgar Poe; January 19, 1809 - October 7, 1849) was an American author, poet, editor, and literary critic, considered part of the American Romantic Movement. Best known for his tales of mystery and the macabre, Poe was one of the earliest American practitioners of the short story, and is generally considered the inventor of the detective fiction genre. He is further credited with contributing to the emerging genre of science fiction. He was the first well-known American writer to try to earn a living through writing alone, resulting in a financially difficult life and career. Born in Boston, he was the second child of two actors. His father abandoned the family in 1810, and his mother died the following year. Thus orphaned, the child was taken in by John and Frances Allan, of Richmond, Virginia. Although they never formally adopted him, Poe was with them well into young adulthood. Tension developed later as John Allan and Edgar repeatedly clashed over debts, including those incurred by gambling, and the cost of secondary education for the young man. Poe attended the University of Virginia for one semester but left due to lack of money. Poe quarreled with Allan over the funds for his education and enlisted in the Army in 1827 under an assumed name. It was at this time his publishing career began, albeit humbly, with an anonymous collection of poems, Tamerlane and Other Poems (1827), credited only to "a Bostonian". With the death of Frances Allan in 1829, Poe and Allan reached a temporary rapprochement. Later failing as an officer's cadet at West Point and declaring a firm wish to be a poet and writer, Poe parted ways with John Allan. Poe switched his focus to prose and spent the next several years working for literary journals and periodicals, becoming known for his own style of literary criticism. His work forced him to move among several cities, including Baltimore, Philadelphia, and New York City. In Baltimore in 1835, he married Virginia Clemm, his 13-year-old cousin. In January 1845 Poe published his poem, "The Raven", to instant success. His wife died of tuberculosis two years after its publication. For years, he had been planning to produce his own journal, The Penn (later renamed The Stylus), though he died before it could be produced. On October 7, 1849, at age 40, Poe died in Baltimore; the cause of his death is unknown and has been variously attributed to alcohol, brain congestion, cholera, drugs, heart disease, rabies, suicide, tuberculosis, and other agents. Poe and his works influenced literature in the United States and around the world, as well as in specialized fields, such as cosmology and cryptography. Poe and his work appear throughout popular culture in literature, music, films, and television.

Tales of Mystery and Imagination by Edgar Allen Poe: Illustrated -- Collections of stories by Edgar Allen Poe illustrated in full color by both famous illustrators and original illustrations by contemporary artists. Volume 4 contains Poe's novella, The Unparalleled Adventure of One Hans Pfaall, and his classic poetic work, The Raven, both extensively illustrated and with notes.

Tales of Mystery and Imagination Volume 5 by Edgar Allen Poe; A collection of Edgar Allen Poe's stories with full color illustrations by artists such as Harry Clarke and The Mysterious Shhh. Volume 5 contains five of Poe's stories - The System of Dr. Tarr and Professor Fether, Mesmeric Revelation, The Imp of the Perverse, Four Beasts in One and A Descent into the Maelstrom. There is one Harry Clarke illustration for A Descent...included in this volume.

Five classic tales by the master short story teller, including "The Tell-Tale Heart," "The Cask of Admontillado," "The Masque of the Red Death," "William Wilson," and "The Fall of the House of Usher."

"The Fall of the House of Usher" is a short story by Edgar Allan Poe. 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. 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 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. Roderick later informs the narrator that his sister has died and insists that she be entombed for two weeks in a vault (family tomb) in the house before being permanently buried. The narrator helps Roderick put the body in the tomb, and he notes that Madeline has rosy cheeks, as some do after death. They inter her, but over the next week both Roderick and the narrator find themselves becoming increasingly agitated for no apparent reason. A storm begins. Roderick comes to the narrator's bedroom, which is situated directly above the vault, and throws open his window to the storm. He notices that the tarn surrounding the house seems to glow in the dark, as it glowed in Roderick Usher's paintings, although there is no lightning. The narrator attempts to calm Roderick by reading aloud The Mad Tryst, a novel involving a knight named Ethelred who breaks into a hermit's dwelling in an attempt to escape an approaching storm, only to find a palace of gold guarded by a dragon. He also finds hanging on the wall a shield of shining brass on which is written a legend: that the one who slays the dragon wins the shield. With a stroke of his mace, Ethelred kills the dragon, who dies with a piercing shriek, and proceeds to take the shield, which falls to the floor with an unnerving clatter. As the narrator reads of the knight's forcible entry into the dwelling, cracking and ripping sounds are heard somewhere in the house. When the dragon is described as shrieking as it dies, a shriek is heard, again within the house. As he relates the shield falling from off the wall, a reverberation, metallic and hollow, can be heard. Roderick becomes increasingly hysterical, and eventually exclaims that these sounds are being made by his sister, who was in fact alive when she was entombed and that Roderick Usher knew that she was alive. The bedroom door is then blown open to reveal Madeline standing there. She falls on her brother, and both land on the floor as corpses. The narrator then flees the house, and, as he does so, notices a flash of light causing him to look back upon the House of Usher, in time to watch it break in two, the fragments sinking into the tarn.

Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore- While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. "'Tis some visiter," I muttered, "tapping at my chamber door- Only this and nothing more." -Edgar Allan Poe

The Complete Works of Edgar Allan Poe Volume 1 collects all of Poe's poems written between 1824 through 1829.

The Purloined Letter The Thousand-And-Second Tale Of Scheherazade A Descent Into The Maelström. Von Kempelen And His Discovery Mesmeric Revelation The Facts In The Case Of M. Valdemar The Black Cat. The Fall Of The House Of Usher Silence-A Fable The Masque Of The Red Death. The Cask Of Amontillado. The Imp Of The Perverse The Island Of The Fay The Assignation The Pit And The Pendulum The Premature Burial The Domain Of Arnheim Landor's Cottage William Wilson The Tell-Tale Heart. Berenice Eleonora

"The Black Cat" is a short story by Edgar Allan Poe. It was first published in the August 19, 1843, edition of The Saturday Evening Post. It is a study of the psychology of guilt. A murderer carefully conceals his crime and believes himself unassailable, but eventually breaks down and reveals himself, impelled by a nagging reminder of his guilt. The story is presented as a first-person narrative using an unreliable narrator. He is a condemned man at the outset of the story. The narrator tells us that from an early age he has loved animals. He and his wife have many pets, including a large black cat named Pluto. This cat is especially fond of the narrator and vice versa. Their mutual friendship lasts for several years, until the narrator becomes an alcoholic. One night, after coming home intoxicated, he believes the cat is avoiding him. When he tries to seize it, the panicked cat bites the narrator, and in a fit of rage, he seizes the animal, pulls a pen-knife from his pocket, and deliberately gouges out the cat's eye. From that moment onward, the cat flees in terror at his master's approach. At first, the narrator is remorseful and regrets his cruelty. "But this feeling soon gave place to irritation. And then came, as if to my final and irrevocable overthrow, the spirit of perverseness." He takes the cat out in the garden one morning and hangs it from a tree, where it dies. That very night, his house mysteriously catches fire, forcing the narrator, his wife and their servant to flee. The next day, the narrator returns to the ruins of his home to find, imprinted on the single wall that survived the fire, the figure of a gigantic cat, hanging by its neck from a rope.

Follow a young man's journey through love, loss, and growing old. This beautifully rendered vision connects Edgar Allen Poe's last poem with one of his earliest works through illustration. Put one of America's greatest poets into young hands and hearts with words and images that draw in all lovers of beauty through pictures and prose.

Slip behind the bleak walls and vacant windows of Netflix's reimagining of the mansion of doom in this anthology of works by Edgar Allan Poe that inspired the limited series The Fall of the House of Usher. From well-loved classics like "The Raven" and "The Tell-Tale Heart"to lesser-known gems such as "Tamerlane" and "The Murders in the Rue Morgue," these collected tales have withstood the test of time, haunting readers for nearly two hundred years.--Amazon

The complete works of previously unpublished and published poetry of a pioneer of modern black writing

"The Murders in the Rue Morgue" is a short story by Edgar Allan Poe published in Graham's Magazine in 1841. It has been described as the first modern detective story; Poe referred to it as one of his "tales of ratiocination".C. Auguste Dupin is a man in Paris who solves the mystery of the brutal murder of two women. Numerous witnesses heard a suspect, though no one agrees on what language was spoken. At the murder scene, Dupin finds a hair that does not appear to be human. As the first fictional detective, Poe's Dupin displays many traits which became literary conventions in subsequent fictional detectives, including Sherlock Holmes and Hercule Poirot. Many later characters, for example, follow Poe's model of the brilliant detective, his personal friend who serves as narrator, and the final revelation being presented before the reasoning that leads up to it. Dupin himself reappears in "The Mystery of Marie Rogêt" and "The Purloined Letter".