I’m a disgrace. A year has officially passed since I started this blog and I haven’t dedicated a single post to gorgeous lord of the goths Edgar Allan Poe yet, what is that about? What am I actually doing?
So lets amend that shit right now, and look at Poe’s explorations of death, and the range of ways death has come (or nearly come) to characters in Poe’s short stories.
I have noticed that the moral of a fair percentage of Poe’s work seems to be, Victorian mansions are creepy as fuck and you will definitely get yourself killed in one.
The Fall of the House of Usher (1839)
In this, an unnamed narrator receives a letter from an eccentric childhood acquaintance, Roderick Usher, asking for his company, as his sister, Madeline is dying of a rare illness. They are all living together is this decrepit old mansion and Madeline soon dies.
Because her illness was rare, Roderick wants her quickly buried to avoid her body being the subject of scientific examination. So they place her in the family tomb located in the basement of the house.
Over the next few days, both the narrator and Roderick keep hearing these terrible noises, and the narrator starts thinking that the house has an evil aura to it. Then one night (of course its night and of course there’s a storm) they both finally realise that they’ve accidentally encapsulated Madeline while she was still alive, and Madeline then walks in looking really pissed off, ‘blood on her white robes and the evidence of some bitter struggle upon every portion of her emaciated frame’.
She attacks and kills Roderick, because she thinks he’d done it on purpose, and the unnamed narrator runs off into the night questioning his decision to respond to that letter.
The Pit and the Pendulum (1842)
Set during the Spanish Inquisition, the narrator has been sentenced to death and is having a big ponder while he’s sitting in this dungeon. He then wakes up, tied to a rack while pendulum, ‘like a razor’, slowly descends.
The Masque of the Red Death (1842)
Look if you’re a royal, and you’re currently avoiding thinking about a plague that’s ravaging your people, maybe don’t have a big mad house party to celebrate how un-plaguey your palace is. Because if you do the red death himself will gatecrash and freak everybody out.
The Tell Tale Heart (1843)
My favourite part of this short story is the reason why the narrator wants to kills the old man in the first place. Its because he doesn’t like the old man’s glass eye – bit of an over reaction there, maybe just put some shades on him instead?
I’m sure you’re all familiar with this story: a man commits a murder with meticulous detail, then dobs on himself because his conscious can still hear the old man’s heart beating under the floor boards.
‘Dissemble no more! I admit the deed – tear up the planks here! – it’s the beating of his hideous heart’
The Premature Burial (1844)
‘The boundaries which divide Life and Death are at best shadowy and vague.’
I love this story because its the biggest anti-climax. The premise is that the narrator has a terrible phobia of being buried alive as he suffers from a condition called catalepsy – which induces day long trances that make it appear as though he is dead.
One day he wakes up confined in a wooden space, he thinks that its finally happened and he shits himself. But it turns out that he’s just fallen asleep in the wooden berth of a boat and its all fine.
The Cask of Amontillado (1846)
This one is quite an intense revenge plan.
What happens is, the narrator is once again shitty with something a friend of his called Fortunato has done, so he puts an end to this madness by luring Fortunato while he’s drunk down to his family’s catacombs in the attic, under the guise that he has a wine that could pass for Amontillado (a type of sherry).
The narrator chains Fortunato in the catacombs and walls up the entrance.