At the age of three, Edgar Allan Poe (1809–1849) became orphaned and was adopted by a rich Virginia family, albeit his connection with them was tumultuous. At school, he excelled in language and literary studies. In 1827, he self-published his first book, Tamerlane and Other Poems.
Poe started a writing career in 1830 and submitted reviews and essays to well-known publications. Along with short stories and sketches, he also released one finished novel, The Story of Arthur Gordon Pym of Nantucket, in 1833. The release of “The Fall of the House of Usher,” “The Masque of the Red Death,” “The Tell-Tale Heart,” and other short stories over the ensuing five years helped him establish himself as a master of the short story form.
The Usher House’s Decline
One of the most excellent final lines ever written is in “The Masque of the Red Death,” and one of the most beautiful starting lines ever written appears in “The Fall of the House of Usher.” Poe proves his “unity of effect” idea in one long paragraph of 417 words. The summoning of fear is almost the focus of every image, action, and phrase, and the suspense careens towards a denouement that is utterly catastrophic (in several senses of the word).
The Black Cat
Self-pity? The Black Cat Poe at times resembles an ecstasy-addled rave compared to the Grunge and Goth movements. His unrecoverable spiritual desolation was caused by fear of poverty, hunger, and the unremarkable diseases that preyed on humanity for so many years before adequate medical advancements, not by anything like the information overload pressure of having too many options that we face today, or by trying to find the ideal partner or job. He lived in a time when you might not even have been able to find the information you needed in a library, so you had to write it down, go to sea, or go nuts out of principle.
Also read: The Law According To Lidia Poet: A Period Piece With Too Many Contemporary Concerns
What a Tell-Tale Heart
An unreliable narrator or a narrator who is so trustworthy—and sincere—that he indicts himself to be understood and pitied—are two more that it’s simple to envision Dostoyevsky researching as he built his underground guy (Notes from Underground). “The Tell-Tale Heart,” arguably Poe’s most ()famous story, seems bland to modern audiences as a study of horror. But, as a study of fixation and psychosis?
The Pendulum and the Pit
Darkness. Torture. Rats. Any inquiries? How about a foot-long razor falling ever-so-slowly from the sky, allowing you plenty of time to imagine how it would eventually slice open down the middle? And that’s just a little overview.
Here is one of Poe’s attempts at “totality” which is the most thoroughly developed. The suspense is difficult to bear because Poe creates a complete atmosphere of fear, letting the narrator and reader realize that his captors are not acting at random and are well aware of the circumstances they have put themselves in.
“The Rue Morgue Murders”
Poe’s C. Auguste Dupin, who is credited with writing the first modern detective story, also appears in the two succeeding stories “The Mystery of Marie Roget” and “The Purloined Letter,” but “Rue Morgue” is the most well-known and compelling of the three. It works best on paper, but it was one of several Poe compositions that turned into a terrible, outmoded picture. 
Dupin is an undeniable inspiration for Doyle’s Sherlock Holmes due to his ability to reason. Through the use of the investigative and discovery processes, deftly placed comedy and fear, and a figure who knows more than everyone else, Poe displays complete mastery of his tremendous skills in this work.
The Raven
In “The Raven” Edgar Allan Poe wrote a story poem. The poem, which was first published in January 1845, has a musical tone, stylized language, and a spooky mood. It describes a mysterious talking raven visiting a distressed lover and telling the man’s gradual descent into lunacy. The lover is mourning the absence of Lenore, whom he loved. The raven appears to be sitting on a bust of “Pallas” to escalate his misery through its repeated use of the word “Nevermore.” This poem effectively incorporates several folk and classical allusions.
