I had no particular knowledge of Poe beyond The Raven when I started this collection, but it contains a whole hell of a lot of his classics - The Pit And The Pendulum is here, The Tell-Tale Heart is here, The Fall Of The House Of Usher's here, The Raven's obviously here, Annabel Lee is here, Ligeia's here, The Masque of the Red Death, The Gold Bug and quite a lot more besides - all read by either Vincent Price or Basil Rathbone.
He's quite the shock-goth, is Poe. Lots of his stories build and build to a sharp pencil-point and then leave you flailing, gasping for breath at the end, as he moves on to something new, like being driven on and on towards a horrorgasm and then being allowed no comedown from the pitch of utmost sweaty, shivering, what-the-hell-just-happened fear. There's absolutely no cuddling with Poe, it's all just wham, bam aaaaaaaaaaaaaaaaargh, there's a RAT ON MY FACE!
He also has recurring themes which undoubtedly spoke more to his age than to ours - people put pre-emptively in their tombs and finding their way back out is a big thing for Poe, and of course now we know this did happen - people were assumed to be dead, and occasionally found themselves with no alternative but to scratch and thump and scream in their coffins in the hope that somebody would hear them before their oxygen ran out or they died of thirst.
He's also big on the punishing power of the soul - what else is the Tell-Tale Heart but the impact of guilt on a murderer, while sitting blagging his way through an interview with the police? Believe it or not, it's only while listening to this collection that I really GOT how weird The Raven is, as a story-poem. Mourning man, hiding from the world, wailing inwardly in his grief...in walks a talking bird, refuses to leave, ever. It's a depression metaphor, I assume - long before Churchill's black dog or Susan Calman's crab of hate, there's Poe and his oppressive, lowering bird of accusation, hate and soul-sapping accusation.
Of them all, I'd have to declare a particular...well, liking is probably the wrong word, but a particular appreciation for The Pit And The Pendulum, which is horrifyingly dark more or less all along the way - imprisonment by the Inquisition, stuck at the bottom of a pit, given salty food and no water, just so people can imagine you thirsting to madness, a slowly lowering axe-bladed pendulum coming closer, and closer, and closer, and...the way in which salvation comes, which is almost as bad as being slowly sliced in two - there's hardly a moment's respite in the whole story, which makes for a very shivery, sweaty read. I also really enjoyed The Tell-Tale Heart - not so much for the moral or the growing guilt-reaction, but for the confidential, almost winking way the murderer co-opts you into their crimes at the beginning of the story. You really quite grow to like them, and more or less go along with their hideous crime by virtue of the cleverness with which they accomplish it. Orrrr...maybe that's just me and I need psychotherapy.
Check out The Gold Bug too - it's less a horror story, more a positively deranged Sherlock Holmes-style piece of deduction, resulting in fortune for all concerned. Fairly screamingly racist - a major plot twist hangs on a man of colour not being able to tell his left from his right - but in its essence a good story.
If I'm honest, it's when Poe gets more openly romantic that he grows quickly tiresome. Ligeia, for instance, I can be happy having heard only the one in my life. Nevertheless, as a collection, this felt like a thorough introduction to the man, his themes, his style and some of the reasons why his work is as well regarded as it is. Like several bestselling authors, he did that thing where he had a solid handful of instances where he bottled lightning and blew the doors off the place, and certainly that handful still stand up today.
Oh also, did I mention - Vincent Price and Basil Rathbone. Price of course was not the overpronouncing stereotype people thing of him as being, his diction was clear and rich and juicy, and he brings it to bear here, delivering a narration that engages and carries you with it. Of the two though, Rathbone's the revelation - he acts his heart out in these stories, and some of them need it to fully hit you with the power of the writing. Certainly it's Rathbone who reads the stories that have made most of the positive impact on me, and hearing him speak and act makes me want to seek out his work on screen, which is an additional bonus of experiencing this collection of stories in the audio format.