{"product_id":"the-portable-edgar-allan-poe-isbn-9780143039914","title":"The Portable Edgar Allan Poe","description":"\u003ci\u003eThe Portable Edgar Allan Poe\u003c\/i\u003e compiles Poe's greatest writings: tales of fantasy, terror, death, revenge, murder, and mystery, including \"The Pit and the Pendulum,\" \"The Fall of the House of Usher,\" \"The Cask of Amontillado,\" \"The Masque of the Red Death,\" and \"The Murders in the Rue Morgue,\" the world's first detective story. In addition, this volume offers letters, articles, criticism, visionary poetry, and a selection of random \"opinions\" on fancy and the imagination, music and poetry, intuition and sundry other topics.\u003cbr\u003e\u003cbr\u003eFor more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.The Portable Edgar Allan PoeIntroduction by J. Gerald Kennedy\u003cbr\u003eChronology\u003cbr\u003eA Note on Texts\u003cbr\u003e\u003cp\u003e\u003cb\u003eTales\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003ePredicaments\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eMS. Found in a Bottle (1832)\u003cbr\u003eA Descent into the Maelstrom (1841)\u003cbr\u003eThe Masque of the Red Death (1842)\u003cbr\u003eThe Pit and the Pendulum (1842)\u003cbr\u003eThe Premature Burial (1844)\u003cbr\u003eThe Facts in the Case of M. Valdemar (1845)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eBereavements\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eThe Assignation (1834)\u003cbr\u003eBerenice (1835)\u003cbr\u003eMorella (1835)\u003cbr\u003eLigeia (1838)\u003cbr\u003eThe Fall of the House of Usher (1839)\u003cbr\u003eEleonora (1841)\u003cbr\u003eThe Oval Portrait (1842)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eAntagonisms\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eMetzengerstein (1832)\u003cbr\u003eWilliam Wilson (1839)\u003cbr\u003eThe Tell-Tale Heart (1843)\u003cbr\u003eThe Black Cat (1843)\u003cbr\u003eThe Imp of the Perverse (1845)\u003cbr\u003eThe Cask of Amontillado (1846)\u003cbr\u003eHop-Frog (1849)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eMysteries\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eThe Man of the Crowd (1840)\u003cbr\u003eThe Murders in the Rue Morgue (1841)\u003cbr\u003eThe Gold-Bug (1843)\u003cbr\u003eThe Oblong Box (1844)\u003cbr\u003eA Tale of the Ragged Mountains (1844)\u003cbr\u003eThe Purloined Letter (1844)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003ci\u003eGrotesqueries\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eThe Man That Was Used Up (1839)\u003cbr\u003eThe System of Doctor Tarr and Professor Fether (1845)\u003cbr\u003eSome Words with a Mummy (1845)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePoems\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThe Lake—To—(1827)\u003cbr\u003eSonnet—To Science (1829)\u003cbr\u003eFairy-Land (1829)\u003cbr\u003eIntroduction (1831)\u003cbr\u003e\"Alone\" (1875)\u003cbr\u003eTo Helen (1831)\u003cbr\u003eThe Sleeper (1831)\u003cbr\u003eIsrafel (1831)\u003cbr\u003eThe Valley of Unrest (1831)\u003cbr\u003eThe City in the Sea (1831)\u003cbr\u003eLenore (1843)\u003cbr\u003eSonnet—Silence (1840)\u003cbr\u003eDream-Land (1844)\u003cbr\u003eThe Raven (1845)\u003cbr\u003eUlalume—A Ballad (1847)\u003cbr\u003eThe Bells (1849)\u003cbr\u003eA Dream within a Dream (1849)\u003cbr\u003eFor Annie (1849)\u003cbr\u003eEldorado (1849)\u003cbr\u003eTo My Mother (1849)\u003cbr\u003eAnnabel Lee (1849)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLetters\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eTo John Allan, March 19, 1827\u003cbr\u003eTo John Allan, December 22, 1828\u003cbr\u003eTo John Allan, January 3, 1831\u003cbr\u003eTo John Allan, April 12, 1833\u003cbr\u003eTo Thomas W. White, April 30, 1835\u003cbr\u003eTo Maria and Virginia Clemm, August 29, 1835\u003cbr\u003eTo Philip P. Cooke, September 21, 1839\u003cbr\u003eTo William E. Burton, June 1, 1840\u003cbr\u003eTo Joseph Evans Snodgrass, April 1, 1841\u003cbr\u003eTo Frederick W. Thomas, June 26, 1841\u003cbr\u003eTo Frederick W. Thomas, February 3, 1842\u003cbr\u003eTo T. H. Chivers, September 27, 1842\u003cbr\u003eTo Frederick W. Thomas and Jesse E. Dow, March 16, 1843\u003cbr\u003eTo James Russell Lowell, March 30, 1844\u003cbr\u003eTo Maria Clemm, April 7, 1844\u003cbr\u003eTo James Russell Lowell, July 2, 1844\u003cbr\u003eTo Evert A. Duyckinck, November 13, 1845\u003cbr\u003eTo Virginia Poe, June 12, 1846\u003cbr\u003eTo Philip P. Cooke, August 9, 1846\u003cbr\u003eTo N. P. Willis, December 30, 1846\u003cbr\u003eTo Marie L. Shew, January 29, 1847\u003cbr\u003eTo George W. Eveleth, January 4, 1848\u003cbr\u003eTo George W. Eveleth, February 29, 1848\u003cbr\u003eTo Sarah Helen Whitman, October 1, 1848\u003cbr\u003eTo Annie L. Richmond, November 16, 1848\u003cbr\u003eTo Frederick W. Thomas, February 14, 1849\u003cbr\u003eTo Maria Clemm, July 7, 1849\u003cbr\u003eTo Maria Clemm, September 18, 1849\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCritical Principles\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOn Unity of Effect\u003cbr\u003eOn Plot in Narrative\u003cbr\u003eOn the Prose Tale\u003cbr\u003eOn the Design of Fiction\u003cbr\u003eThe Object of Poetry (from \"Letter to B—\")\u003cbr\u003e\"The Philosophy of Composition\"\u003cbr\u003eThe Effect of Rhyme\u003cbr\u003e\"The Poetic Principle\" (excerpts)\u003cbr\u003eAmerican Criticism\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eObservations\u003c\/b\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eLiterary Nationalism\u003cbr\u003e\"Some Secrets of the Magazine Prison-House\"\u003cbr\u003eAmerican Literary Independence\u003cbr\u003eThe Soul and the Self\u003cbr\u003eImagination and Insight\u003cbr\u003ePoetical Irritability\u003cbr\u003eGenius and Proportionate Intellect\u003cbr\u003eReason and Government\u003cbr\u003eAdaptation and the Plots of God\u003cbr\u003eWorks of Genius\u003cbr\u003eNational Literature and Imitation\u003cbr\u003eLanguage and Thought\u003cbr\u003eMagazine Literature in America\u003cbr\u003eThe Name of the Nation\u003cbr\u003eThe Unwritable Book\u003cbr\u003eImagination\u003cbr\u003eArt and the Soul\u003cbr\u003eSuperiority and Suffering\u003cbr\u003eMatter, Spirit, and Divine Will\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNotes\u003cbr\u003eSelected Bibliography\u003c\/p\u003e\u003cb\u003eEdgar Allan Poe \u003c\/b\u003ewas born in Boston, USA, in 1809. Poe, short story writer, editor and critic, he is best known for his macabre tales and as the progenitor of the detective story. He died in 1849, in mysterious circumstances, at the age of forty.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eJ. Gerald Kennedy\u003c\/b\u003e is Boyd Professor of English Emeritus at Louisiana State University and a past president of the Poe Studies Association. His books on Poe include \u003ci\u003ePoe, Death, and the Life of Writing\u003c\/i\u003e (1987), \u003ci\u003e“The Narrative of Arthur Gordon Pym” and the Abyss of Interpretation\u003c\/i\u003e (1995), and several edited volumes including \u003ci\u003eA Historical Guide to Edgar Allan Poe\u003c\/i\u003e (2001), \u003ci\u003eRomancing the Shadow: Poe and Race \u003c\/i\u003e(2001; with Liliane Weissberg), and \u003ci\u003ePoe and the Remapping of Antebellum Print Culture\u003c\/i\u003e (2012; with Jerome McGann). His major contribution to American literary studies is \u003ci\u003eStrange Nation: Literary Nationalism and Cultural Conflict in the Age of Poe\u003c\/i\u003e (2016), written with the support of fellowships by the John Simon Guggenheim Memorial Foundation and the National Endowment for the Humanities. He has also published \u003ci\u003eImagining Paris: Exile, Writing, and American Identity\u003c\/i\u003e (1993), and he edited the Penguin Classics edition of \u003ci\u003eThe Life of Black Hawk\u003c\/i\u003e (2008). He has appeared in many Poe documentary films, including \u003ci\u003eThe Mystery of Edgar Allan Poe\u003c\/i\u003e (1994) for the A\u0026amp;E Biography series and Eric Stange’s film for the PBS American Masterpiece series, \u003ci\u003eEdgar A. Poe: Buried Alive\u003c\/i\u003e (2017).Once upon a midnight dreary, while I pondered, weak and weary,\u003cbr\u003eOver many a quaint and curious volume of forgotten lore,\u003cbr\u003eWhile I nodded, nearly napping, suddenly there came a tapping,\u003cbr\u003eAs of some one gently rapping, rapping at my chamber door.\u003cbr\u003e\"'Tis some visitor,\" I muttered, \"tapping at my chamber door —\u003cbr\u003e Only this, and nothing more.\"\u003cbr\u003e\u003cp\u003eAh, distinctly I remember it was in the bleak December,\u003cbr\u003eAnd each separate dying ember wrought its ghost upon the floor.\u003cbr\u003eEagerly I wished the morrow; — vainly I had sought to borrow\u003cbr\u003eFrom my books surcease of sorrow — sorrow for the lost Lenore —\u003cbr\u003eFor the rare and radiant maiden whom the angels name Lenore —\u003cbr\u003e Nameless here for evermore.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAnd the silken sad uncertain rustling of each purple curtain\u003cbr\u003eThrilled me — filled me with fantastic terrors never felt before;\u003cbr\u003eSo that now, to still the beating of my heart, I stood repeating,\u003cbr\u003e\"'Tis some visitor entreating entrance at my chamber door —\u003cbr\u003eSome late visitor entreating entrance at my chamber door; —\u003cbr\u003e This it is, and nothing more.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003ePresently my soul grew stronger; hesitating then no longer,\u003cbr\u003e\"Sir,\" said I, \"or Madam, truly your forgiveness I implore;\u003cbr\u003eBut the fact is I was napping, and so gently you came rapping,\u003cbr\u003eAnd so faintly you came tapping, tapping at my chamber door,\u003cbr\u003eThat I scarce was sure I heard you\"— here I opened wide the door; —\u003cbr\u003e Darkness there, and nothing more.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eDeep into that darkness peering, long I stood there wondering, fearing,\u003cbr\u003eDoubting, dreaming dreams no mortal ever dared to dream before;\u003cbr\u003eBut the silence was unbroken, and the stillness gave no token,\u003cbr\u003eAnd the only word there spoken was the whispered word, \"Lenore?\"\u003cbr\u003eThis I whispered, and an echo murmured back the word, \"Lenore!\" —\u003cbr\u003e Merely this, and nothing more.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBack into the chamber turning, all my soul within me burning,\u003cbr\u003eSoon again I heard a tapping somewhat louder than before.\u003cbr\u003e\"Surely,\" said I, \"surely that is something at my window lattice:\u003cbr\u003eLet me see, then, what thereat is, and this mystery explore —\u003cbr\u003eLet my heart be still a moment and this mystery explore; —\u003cbr\u003e 'Tis the wind and nothing more.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eOpen here I flung the shutter, when, with many a flirt and flutter,\u003cbr\u003eIn there stepped a stately raven of the saintly days of yore;\u003cbr\u003eNot the least obeisance made he; not a minute stopped or stayed he;\u003cbr\u003eBut, with mien of lord or lady, perched above my chamber door —\u003cbr\u003ePerched upon a bust of Pallas just above my chamber door —\u003cbr\u003e Perched, and sat, and nothing more.\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThen this ebony bird beguiling my sad fancy into smiling,\u003cbr\u003eBy the grave and stern decorum of the countenance it wore.\u003cbr\u003e\"Though thy crest be shorn and shaven, thou,\" I said, \"art sure no craven,\u003cbr\u003eGhastly grim and ancient raven wandering from the Nightly shore —\u003cbr\u003eTell me what thy lordly name is on the Night's Plutonian shore!\"\u003cbr\u003e Quoth the Raven, \"Nevermore.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eMuch I marveled this ungainly fowl to hear discourse so plainly,\u003cbr\u003eThough its answer little meaning— little relevancy bore;\u003cbr\u003eFor we cannot help agreeing that no living human being\u003cbr\u003eEver yet was blest with seeing bird above his chamber door —\u003cbr\u003eBird or beast upon the sculptured bust above his chamber door,\u003cbr\u003e With such name as \"Nevermore.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBut the raven, sitting lonely on the placid bust, spoke only\u003cbr\u003eThat one word, as if his soul in that one word he did outpour.\u003cbr\u003eNothing further then he uttered— not a feather then he fluttered —\u003cbr\u003eTill I scarcely more than muttered, \"other friends have flown before —\u003cbr\u003eOn the morrow he will leave me, as my hopes have flown before.\"\u003cbr\u003e Then the bird said, \"Nevermore.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eStartled at the stillness broken by reply so aptly spoken,\u003cbr\u003e\"Doubtless,\" said I, \"what it utters is its only stock and store,\u003cbr\u003eCaught from some unhappy master whom unmerciful Disaster\u003cbr\u003eFollowed fast and followed faster till his songs one burden bore —\u003cbr\u003eTill the dirges of his Hope that melancholy burden bore\u003cbr\u003e Of 'Never — nevermore'.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eBut the Raven still beguiling all my sad soul into smiling,\u003cbr\u003eStraight I wheeled a cushioned seat in front of bird, and bust and door;\u003cbr\u003eThen upon the velvet sinking, I betook myself to linking\u003cbr\u003eFancy unto fancy, thinking what this ominous bird of yore —\u003cbr\u003eWhat this grim, ungainly, ghastly, gaunt and ominous bird of yore\u003cbr\u003e Meant in croaking \"Nevermore.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThis I sat engaged in guessing, but no syllable expressing\u003cbr\u003eTo the fowl whose fiery eyes now burned into my bosom's core;\u003cbr\u003eThis and more I sat divining, with my head at ease reclining\u003cbr\u003eOn the cushion's velvet lining that the lamplight gloated o'er,\u003cbr\u003eBut whose velvet violet lining with the lamplight gloating o'er,\u003cbr\u003e She shall press, ah, nevermore!\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eThen methought the air grew denser, perfumed from an unseen censer\u003cbr\u003eSwung by Seraphim whose footfalls tinkled on the tufted floor.\u003cbr\u003e\"Wretch,\" I cried, \"thy God hath lent thee — by these angels he hath sent thee\u003cbr\u003eRespite — respite and nepenthe, from thy memories of Lenore\u003cbr\u003eQuaff, oh quaff this kind nepenthe and forget this lost Lenore!\"\u003cbr\u003e Quoth the Raven, \"Nevermore.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"Prophet!\" said I, \"thing of evil! — prophet still, if bird or devil! —\u003cbr\u003eWhether Tempter sent, or whether tempest tossed thee here ashore,\u003cbr\u003eDesolate yet all undaunted, on this desert land enchanted —\u003cbr\u003eOn this home by horror haunted— tell me truly, I implore —\u003cbr\u003eIs there — is there balm in Gilead? — tell me — tell me, I implore!\"\u003cbr\u003e Quoth the Raven, \"Nevermore.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"Prophet!\" said I, \"thing of evil — prophet still, if bird or devil!\u003cbr\u003eBy that Heaven that bends above us — by that God we both adore -\u003cbr\u003eTell this soul with sorrow laden if, within the distant Aidenn,\u003cbr\u003eIt shall clasp a sainted maiden whom the angels name Lenore -\u003cbr\u003eClasp a rare and radiant maiden whom the angels name Lenore.\"\u003cbr\u003e Quoth the Raven, \"Nevermore.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\"Be that word our sign in parting, bird or fiend,\" I shrieked, upstarting —\u003cbr\u003e\"Get thee back into the tempest and the Night's Plutonian shore!\u003cbr\u003eLeave no black plume as a token of that lie thy soul hath spoken!\u003cbr\u003eLeave my loneliness unbroken!— quit the bust above my door!\u003cbr\u003eTake thy beak from out my heart, and take thy form from off my door!\"\u003cbr\u003e Quoth the Raven, \"Nevermore.\"\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eAnd the Raven, never flitting, still is sitting, still is sitting\u003cbr\u003eOn the pallid bust of Pallas just above my chamber door;\u003cbr\u003eAnd his eyes have all the seeming of a demon's that is dreaming,\u003cbr\u003eAnd the lamplight o'er him streaming throws his shadow on the floor;\u003cbr\u003eAnd my soul from out that shadow that lies floating on the floor\u003cbr\u003e Shall be lifted — nevermore!\u003cbr\u003e\u003c\/p\u003e","brand":"Penguin Classics","offers":[{"title":"Default Title","offer_id":46302051729637,"sku":"NP9780143039914","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780143039914.jpg?v=1767741009","url":"https:\/\/k12savings.com\/es\/products\/the-portable-edgar-allan-poe-isbn-9780143039914","provider":"K12savings","version":"1.0","type":"link"}