The Complete Fiction of H.P. Lovecraft and Edgar Allan Poe
1435 pages
English

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1435 pages
English

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WHATS INCLUDED:

THE COMPLETE FICTION OF H. P. LOVECRAFT

The Nameless City
The Festival
The Colour Out of Space
The Call of Cthulhu
The Dunwich Horror
The Whisperer in Darkness
The Dreams in the Witch House
The Haunter of the Dark
The Shadow Over Innsmouth
The Shadow Out of Time
At the Mountains of Madness
The Case of Charles Dexter Ward
Azathoth
Beyond the Wall of Sleep
Celephais
Cool Air
Dagon
Ex Oblivione
Facts Concerning the Late Arthur Jermyn and His Family
From Beyond
He
Herbert West-Reanimator
Hypnos
In the Vault
Memory
Nyarlathotep
Pickmana-s Model
The Book
The Cats of Ulthar
The Descendant
The Doom That Came to Sarnath
The Dream-Quest of Unknown Kadath
The Evil Clergyman
The Horror at Red Hook
The Hound
The Lurking Fear
The Moon-Bog
The Music of Erich Zann
The Other Gods
The Outsider
The Picture in the House
The Quest of Iranon
The Rats in the Walls
The Shunned House
The Silver Key
The Statement of Randolph Carter
The Strange High House in the Mist
The Street
The Temple
The Terrible Old Man
The Thing on the Doorstep
The Tomb
The Transition of Juan Romero
The Tree
The Unnamable
The White Ship
What' the Moon Brings
Polaris
The Very Old Folk
Ibid
Old Bugs
Sweet Ermengarde, or, The Heart of a Country Girl
A Reminiscence of Dr. Samuel Johnson
The History of the Necronomicon



THE COMPLETE FICTION OF EDGAR ALLAN POE

THE TALES

Metzengerstein
The Duc De L'omelette
A Tale of Jerusalem
Loss of Breath
Bon-Bon
Ms. Found in a Bottle
The Assignation
Berenice
Morella
Lionizing
The Unparalleled Adventures of One Hans Pfaal
King Pest
Shadow: A Parable
Four Beasts In One: The Homo-cameleopard
Mystification
Silence - A Fable
Ligeia
How to Write a Blackwood Article
A Predicament
The Devil in the Belfry
The Man That Was Used Up
The Fall of the House of Usher
William Wilson
The Conversation of Eiros and Charmion
Why the Little Frenchman Wears His Hand in a Sling
The Business Man
The Man of the Crowd
The Murders in the Rue Morgue
A Descent into the Maelström
The Island of the Fay
The Colloquy of Monos and Una
Never Bet the Devil Your Head
Eleonora
Three Sundays in a Week
The Oval Portrait
The Masque of the Red Death
The Landscape Garden
The Mystery of Marie Rogêt
The Pit and The Pendulum
The Tell-Tale Heart
The Gold-Bug
The Black Cat
Diddling
The Spectacles
A Tale of the Ragged Mountains
The Premature Burial
Mesmeric Revelation
The Oblong Box
The Angel of the Odd
Thou Art the Man
The Literary Life of Thingum Bob, Esq
The Purloined Letter
The Thousand-and-Second Tale of Scheherazade
Some Words with a Mummy
The Power of Words
The Imp of the Perverse
The System of Doctor Tarr and Professor Fether
The Facts in the Case of M. Valdemar
The Sphinx
The Cask of Amontillado
The Domain of Arnheim
Mellonta Tauta
Hop - Frog
Von Kempelen and his Discovery
X-ing a Paragraph
Landor's Cottage

THE NOVELS

Narrative of A. Gordon Pym
The Journal of Julius Rodman


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Informations

Publié par
Date de parution 04 octobre 2019
Nombre de lectures 4
EAN13 9781456633837
Langue English
Poids de l'ouvrage 1 Mo

Informations légales : prix de location à la page 0,0100€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Extrait

Table of Contents
THE COMPLETE FICTION OF H. P. LOVECRAFT

Preface
Introduction

The Nameless City
The Festival
The Colour Out of Space
The Call of Cthulhu
Chapter I - The Horror In Clay
Chapter II - The Tale of Inspector Legrasse
Chapter III - The Madness from the Sea
The Dunwich Horror
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
Chapter IX
Chapter X
The Whisperer in Darkness
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
The Dreams in the Witch House
The Haunter of the Dark
The Shadow Over Innsmouth
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Discarded Draft of “The Shadow Over Innsmouth”
The Shadow Out of Time
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
At the Mountains of Madness
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
Chapter IX
Chapter X
Chapter XI
Chapter XII
The Case of Charles Dexter Ward
I. A Result and a Prologue
Chapter I
Chapter II
II. An Antecedent and a Horror
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
III. A Search and an Evocation
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
IV. A Mutation and a Madness
Chapter I
Chapter II
Chapter III
Chapter IV
V. A Nightmare and a Cataclysm
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Azathoth
Beyond the Wall of Sleep
Celephaïs
Cool Air
Dagon
Ex Oblivione
Facts Concerning the Late Arthur Jermyn and His Family
Chapter I
Chapter II
From Beyond
He
Herbert West—Reanimator
Chapter I - From the Dark
Chapter II - The Plague-Daemon
Chapter III - Six Shots by Moonlight
Chapter IV - The Scream of the Dead
Chapter V - The Horror From the Shadows
Chapter VI - The Tomb-Legions
Hypnos
In The Vault
Memory
Nyarlathotep
Pickman’s Model
The Book
The Cats of Ulthar
The Descendant
The Doom That Came to Sarnath
The Dream-Quest of Unknown Kadath
The Evil Clergyman
The Horror at Red Hook
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
The Hound
Chapter I
Chapter II
The Lurking Fear
Chapter I - The Shadow On The Chimney
Chapter II - A Passer In The Storm
Chapter III - What The Red Glare Meant
Chapter IV - The Horror In The Eyes
The Moon-Bog
The Music of Erich Zann
The Other Gods
The Outsider
The Picture in the House
The Quest of Iranon
The Rats in the Walls
The Shunned House
Chapter I
Chapter II
Chapter III
Chapter IV
The Silver Key
The Statement of Randolph Carter
The Strange High House in the Mist
The Street
The Temple
The Terrible Old Man
The Thing on the Doorstep
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
The Tomb
The Transition of Juan Romero
The Tree
The Unnamable
The White Ship
What the Moon Brings
Polaris
The Very Old Folk
Ibid
Old Bugs
Sweet Ermengarde
Chapter I - A Simple Rustic Maid
Chapter II - And the Villain Still Pursued Her
Chapter III - A Dastardly Act
Chapter IV - Subtle Villainy
Chapter V - The City Chap
Chapter VI - Alone in the Great City
Chapter VII - Happy Ever Afterward
A Reminiscence of Dr. Samuel Johnson
The History of the Necronomicon

THE COMPLETE FICTION OF EDGAR ALLAN POE

Preface
Introduction

THE TALES

Metzengerstein
The Duc De L’omelette
A Tale of Jerusalem
Loss of Breath
Bon-Bon
Ms. Found in a Bottle
The Assignation
Berenice
Morella
Lionizing
The Unparalleled Adventures of One Hans Pfaal
King Pest
Shadow: A Parable
Four Beasts In One: The Homo-cameleopard
Mystification
Silence - A Fable
Ligeia
How to Write a Blackwood Article
A Predicament
The Devil in the Belfry
The Man That Was Used Up
The Fall of the House of Usher
William Wilson
The Conversation of Eiros and Charmion
Why the Little Frenchman Wears His Hand in a Sling
The Business Man
The Man of the Crowd
The Murders in the Rue Morgue
A Descent into the Maelström
The Island of the Fay
The Colloquy of Monos and Una
Never Bet the Devil Your Head
Eleonora
Three Sundays in a Week
The Oval Portrait
The Masque of the Red Death
The Landscape Garden
The Mystery of Marie Rogêt
The Pit and The Pendulum
The Tell-Tale Heart
The Gold-Bug
The Black Cat
Diddling
The Spectacles
A Tale of the Ragged Mountains
The Premature Burial
Mesmeric Revelation
The Oblong Box
The Angel of the Odd
Thou Art the Man
The Literary Life of Thingum Bob, Esq
The Purloined Letter
The Thousand-and-Second Tale of Scheherazade
Some Words with a Mummy
The Power of Words
The Imp of the Perverse
The System of Doctor Tarr and Professor Fether
The Facts in the Case of M. Valdemar
The Sphinx
The Cask of Amontillado
The Domain of Arnheim
Mellonta Tauta
Hop - Frog
Von Kempelen and his Discovery
X-ing a Paragraph
Landor’s Cottage

THE NOVELS

Narrative of A. Gordon Pym
Introductory Note
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
Chapter VII
Chapter VIII
Chapter IX
Chapter X
Chapter XI
Chapter XII
Chapter XIII
Chapter XIV
Chapter XV
Chapter XVI
Chapter XVII
Chapter XVIII
Chapter XIX
Chapter XX
Chapter XXI
Chapter XXII
Chapter XXIII
Chapter XXIV
Chapter XXV
The Journal of Julius Rodman
Chapter I
Chapter II
Chapter III
Chapter IV
Chapter V
Chapter VI
AGELESS READS NOTE:

This book contains complete fiction of H. P. Lovecraft and Edgar Allan Poe. It does not include their juvenilia, collaborative works, poems, letters or nonfiction.
All the stories included in this book are in the Public Domain.
If additional works of fiction are discovered or pointed out, they will be added whenever they happen to become available.
For support or feedback, please drop an email to support@agelessreads.com .
THE COMPLETE FICTION OF H. P. LOVECRAFT
Preface
-Ageless Reads

H. P. Lovecraft was a master at the genre of horror but unfortunately was only recognised for his writing posthumously. He was virtually unknown during his lifetime and died in poverty but he is now regarded as one of the most significant horror authors in the 20th century.
Lovecraft became a member of the United Amateur Press Association, which encouraged him to contribute many poems and essays. In 1916 he published his first story, The Alchemist and it appeared in the United Amateur. He did not publish any of his work commercially until 1922, by which time he was 31. During his adult life he maintained lots of friendship with other writers such as Robert Bloch, who write Psycho, Clark Ashton Smith and Robert E Howard, who wrote Conan the Barbarian. Many aspiring authors at the time later paid tribute to Lovecraft’s mentoring and encouragement during their first years.
There has been a lot of discussion as to what Lovecraft was inspired by but critics have narrowed it down to four main areas: an early Edgar Allan Poe stage, an Edward Plunkett phase, 18th Baron of Dunsany inspired Dream Cycle; and finally the Cthulhu Mythos stories. All of these stages are overlapping and have qualities of one another but these seem to be the areas that Lovecraft took his inspiration. Critics have also suggested that Lovecraft took inspiration from The Arabian Nights and Lovecraft himself has expressed how much he loved the books as a child.
One particular area of his personal life which may have had a great affect on his writing is the death of Lovecraft’s mother. In 1919, after suffering from hysteria and depression for a number of years, Lovecraft’s mother was committed to a mental institution – Butler Hospital – where her husband had died a little while previously. Lovecraft and his mother exchanged frequent letters whilst she remained in the institution and they remained close as mother and son until her death on May 24th, 1921. As we know from many other writers and artists such as poets Sylvia Plath and Robert Lowell, personal matters can easily influenced a writer’s writing, and these personal matters are often the death of someone close or a breaking down of one’s marriage.
Horror as a genre dates back to the mid 18th century with books such as The Castle of Otranto. It is a genre meant to scare, frighten or startle the readers by inducing feelings of horror or terror. Literary historian JA Cuddon has defined the genre of horror literature as ‘a piece of fiction in prose of variable length…which shocks or even frightens the reader, or perhaps induces a feeling of repulsion or loathing.’ In most, a chilling and frightening atmosphere is created and suspense scenes make the reader feel on edge. Sometimes the supernatural is incorporated such as the use of ghosts and spirits but some factors depend on your own beliefs, such as the possibility of exorcisms. It is not unusual for the central menace of a work of horror fiction to be interpreted as a metaphor for the larger fears of a society.
Introduction
-Ageless Reads

The basis of horror as a genre is grounded both in folklore and religious traditions. Horror novels focus mainly on death, evil, the demonic, the afterlife and the principle of possession, but it is not uncommon for witches, vampires, ghosts and werewolves to be incorporated as the medium for creating fear. One of the defining traits of the genre is that it forces some kind of emotional, psychological or physical response from the reader, causing them to react with fear. Really it is a combination of lots of different genres and has stemmed from genres such as the gothic. There are many parallels between gothic texts and horror texts. Dracula, for example,

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