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Purchase one of 1st World Library's Classic Books and help support our free internet library of downloadable eBooks. Visit us online at www.1stWorldLibrary.ORG - - THERE are certain themes of which the interest is all-absorbing, but which are too entirely horrible for the purposes of legitimate fiction. These the mere romanticist must eschew, if he do not wish to offend or to disgust. They are with propriety handled only when the severity and majesty of Truth sanctify and sustain them. We thrill, for example, with the most intense of "pleasurable pain" over the accounts of the Passage of the Beresina, of the Earthquake at Lisbon, of the Plague at London, of the Massacre of St. Bartholomew, or of the stifling of the hundred and twenty-three prisoners in the Black Hole at Calcutta. But in these accounts it is the fact - it is the reality - it is the history which excites. As inventions, we should regard them with simple abhorrence. I have mentioned some few of the more prominent and august calamities on record; but in these it is the extent, not less than the character of the calamity, which so vividly impresses the fancy. I need not remind the reader that, from the long and weird catalogue of human miseries, I might have selected many individual instances more replete with essential suffering than any of these vast generalities of disaster.
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Edgar Allan Poe (1809-1849) is one of the most significant and singular writers in the history of American letters. He was a poet, a pioneer of science fiction, the father of the detective story, and a master of the macabre whom Nobel-prize winner Toni Morrison identified as a key to America's conflicted literary conscience. He died mysteriously in Baltimore at the age of forty, leaving behind a body of work that has influenced writers and artists such as Stéphane Mallarmé, Sir Arthur Conan Doyle, Fyodor Dostoevsky, Jules Verne, H. G. Wells, Franz Kafka, Paul Klee, H. P. Lovecraft, Jorge Luis Borges, Stephen King, Tim Burton, Guillermo del Toro, and every crime writer to this day.
