Tales Illustrated edition by Edgar Allan Poe Arthur Rackham Literature Fiction eBooks
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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.
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. A number of his homes are dedicated museums today. The Mystery Writers of America present an annual award known as the Edgar Award for distinguished work in the mystery genre.
Beyond horror, Poe also wrote satires, humor tales, and hoaxes. For comic effect, he used irony and ludicrous extravagance, often in an attempt to liberate the reader from cultural conformity."Metzengerstein", the first story that Poe is known to have published,and his first foray into horror, was originally intended as a burlesque satirizing the popular genre. Poe also reinvented science fiction, responding in his writing to emerging technologies such as hot air balloons in "The Balloon-Hoax".
The Baltimore Saturday Visiter awarded Poe a prize in October 1833 for his short story "MS. Found in a Bottle".
The Narrative of Arthur Gordon Pym of Nantucket was published and widely reviewed in 1838. In the summer of 1839, Poe became assistant editor of Burton's Gentleman's Magazine.
Poe's work also influenced science fiction, notably Jules Verne, who wrote a sequel to Poe's novel The Narrative of Arthur Gordon Pym of Nantucket called An Antarctic Mystery, also known as The Sphinx of the Ice Fields. Capitalizing on public interest in the topic, he wrote "The Gold-Bug" incorporating ciphers as an essential part of the story.
Tales Illustrated edition by Edgar Allan Poe Arthur Rackham Literature Fiction eBooks
This is a beautiful presentation of Poe's stories. The book contains "Berenice," "The Black Cat," "The Island of the Fay," "The Tell-Tale Heart," "The Fall of the House of Usher," "The Oval Portrait," "Morella," and "Ligeia"; also, an essay, "Edgar Poe, his life and works" by Charles Baudelaire, and notes. So, you get the usual Poe fare mixed with some of his less-well-known stories.It is sumptuously illustrated, with many pictures in color, some of them double-page, as well as many black-and-white (and red) smaller drawings. The book measures 8" x 11", so it's large enough to provide a good view of the illustrations. There is no dust jacket, but the cover is thick and embossed, and the binding is canvas, so the book should hold up well. Many of the stories are printed in white text on black background, but I had no trouble reading them, even without my glasses.
I purchased this book because I like the work of Illustrator Benjamin Lacombe, and I was afraid I'd be disappointed, but I'm delighted with the illustrations, the stories, and their presentation. I was also afraid that the illustrations would be of unhappy, big-eyed Goth girls in unlikely poses, but be assured that the illustrations are a good fit for the content of the book; it's obvious that the illustrations were created for their stories. This book will be kept next to my copy of Poe's tales illustrated by Harry Clarke.
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Tales Illustrated edition by Edgar Allan Poe Arthur Rackham Literature Fiction eBooks Reviews
Love the size of this collection. Can pack and carry along anywhere. Wish they would bring back this collection and expand it.
Great Book !!!
Have read these all before in one Lit Class or another, wanted this for my library
This book is not simply spectacular because of Edgar Allen Poe, but more so because of illustrator Benjamin Lacombe -- it is imperative that the rest of his works be translated from French to English in order to showcase his unique talent and breathtaking art.
If you are a Benjamin LaCombe fan like I am, this book will not disappoint! Well over 50 illustrations, all beautifully rendered in LaCombe's unique style! It's worth buying the book just for the art work, and since I am also a Poe fan, It's double the reward for me!!
This was a gift from me to my sister, she has been in love with Benjamin Lacombe's illustrations for quite awhile now and she was thrilled to find that this translation into english is available. Since I tried to find Lacombe's work that is not actually written in French. This book is full of darker tone of illustrations, since it is after all, Edgar Allan Poe's writing. It can be seen in every picture with minimum colors (mostly the illustration are sephia toned to give it more profound effect).
As for the book condition, this book is quite fragile on the binding, and so when it travels far away, the glue was coming off a bit, but the book is still intact. I really think this was the publisher's part, though. Since the printing was not quite so neat as the other Benjamin's book Les herbier des Fees... But still I am quite satisfied.
'Horror,' as it is broadly understood, is defined by two essential elements the active presence of decay, some 'abnormal' manifestation of nature, or a combination of both.
One hundred and fifty-seven years after his early death, Edgar Allan Poe (1809-1849), who made horror the dominant theme of his creative work, remains the American master of the weird tale. Poe's work has had enormous worldwide influence French poet Charles Baudelaire was an early champion and translator, Poe's 'William Wilson' (1839) haunts the pages of Oscar Wilde's 'The Picture of Dorian Gray' (1890), and several stories look presciently ahead to work of Sigmund Freud and Carl Jung.
'The Collected Tales and Poems of Edgar Allen Poe' (1992), which also includes humorous pieces ('The Devil in the Belfry' is a hilarious tribute to the father of American literature, Washington Irving), detective fiction (Irving's 1838 story-cycle 'The Money-Diggers' stirs fluidly beneath 'The Gold Bug'), and early examples of what would come to be known as science fiction, brings together most of the author's important work.
Two general narrator (or protagonist/character) types emerge. The first is meticulously rational, calm, and 'objective'--like Dupin, the amateur sleuth who coolly solves the mystery of 'The Murders in the Rue Morgue.' The second, best represented by Roderick Usher in 'The Fall of the House of Usher,' is psychically haunted, deeply subjective, acutely sensitive in every pore, and barely able to repress the hysteria--at best--simmering just beneath the surface of his consciousness.
Both general types are isolated and obsessive in their own way--the first perhaps imagines he has found salvation by holding the world at a kind of hard cerebral remove, while the second surrenders his will in increments and sinks obliquely into emotional, spiritual, psychic, and physical fragmentation. The second type (found in 'The Fall of the House of Usher,' 'Berenice,' 'The Black Cat,' 'The Pit and the Pendulum,' and 'William Wilson,' among others) dominates and defines Poe's work.
Poe occasionally offers readers a combination of both types, as in 'The Imp of the Perverse,' in which the narrator, after a lengthy, meditative, and 'objective' discourse on the self-destructive aspects of human nature, briefly tells his own story compelled to commit a pointless murder, he then finds himself equally compelled to publicly confess it.
Fatalism and perdition are key characteristics of the author's work death may await everyone, but, in Poe, death impatiently reaches forward into men's lives, sickening, exhausting, and corrupting them, thus hastening fragile humanity's end. Poe's protagonists are once healthy, now dire, everymen surrounded on every side by hostile, malevolent, and destructive forces which dominate every plateau, division, and category of existence that man has methodically--and rather naively--mapped out. Human instinct proves to be 'red in tooth and claw'; the senses betray; the mind collapses; the borders and boundaries of civilization are violently breached; the natural world reveals a harsh, predatory, and incomprehensible face; physical laws prove unreliable; loving relationships sicken and fester; all agents of stability prove false and slip away.
Most of Poe's work suggests that there is no escape for anyone (--"dead to the World, to Heaven, and to Hope!"), and, as several of the tales underscore, including 'The Fall of the House of Usher' and 'Ms. Found in a Bottle,' even the cessation of life may bring no solace for some. However, reprieves are possible the narrator barbarically tortured by the Spanish Inquisition is freed by the arriving French army at the conclusion of 'The Pit and the Pendulum,' the sailor who experiences 'A Descent Into the Maelstrom' survives to tell of his ordeal, and the vengeful dwarves in 'Hop Frog' apparently escape at that story's conclusion.
Remarkably, because of the skill with which he illustrates his view of man's utter lack of genuine choice or ability for self-determination, Poe manages to make most of his characters likeably human, despite their illnesses, eccentricities, and perversions. Though the tales team with toxic bloodlines, incestuous relationships, premature burials, rioting lunatics, marauding plagues, 'tormenting' doppelgangers, parasitic spirits of the dead, animated corpses, "ghoul-haunted woodlands," and a fair variety of additional supernatural tableaus, Poe remains is a remarkably rational, balanced, and economic storyteller, since the ultimate horror lies not in the external threat, but in the narrator's realization that what he is experiencing is the genuine nature of life itself.
Poe's tales suggest that, if all of mankind lives within a perpetually collapsing, cannibalizing universe, the most one can hope for is that, in the present, it is collapsing on someone else.
This is a beautiful presentation of Poe's stories. The book contains "Berenice," "The Black Cat," "The Island of the Fay," "The Tell-Tale Heart," "The Fall of the House of Usher," "The Oval Portrait," "Morella," and "Ligeia"; also, an essay, "Edgar Poe, his life and works" by Charles Baudelaire, and notes. So, you get the usual Poe fare mixed with some of his less-well-known stories.
It is sumptuously illustrated, with many pictures in color, some of them double-page, as well as many black-and-white (and red) smaller drawings. The book measures 8" x 11", so it's large enough to provide a good view of the illustrations. There is no dust jacket, but the cover is thick and embossed, and the binding is canvas, so the book should hold up well. Many of the stories are printed in white text on black background, but I had no trouble reading them, even without my glasses.
I purchased this book because I like the work of Illustrator Benjamin Lacombe, and I was afraid I'd be disappointed, but I'm delighted with the illustrations, the stories, and their presentation. I was also afraid that the illustrations would be of unhappy, big-eyed Goth girls in unlikely poses, but be assured that the illustrations are a good fit for the content of the book; it's obvious that the illustrations were created for their stories. This book will be kept next to my copy of Poe's tales illustrated by Harry Clarke.
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