Between and , while Biddle and Jackson battled, three hundred and forty-seven state-chartered banks opened across the country.
All this paper was backed by very little coin. He could treasure up funds, he came to believe, in his own brain. He read as much as he could, borrowing books from Baltimore libraries. Poe may have thought that his mind was a mint, but when his book of poems was finally published it earned him nothing exactly what all his collections of poetry earned. A is not very often sober. That, too, was a lie. That Poe lied compulsively about his own life has proved the undoing of many a biographer. In , he finally made it to West Point, where he pulled pranks. Poe was court-martialled, and after that Allan, who had since married a woman twenty years his junior, cut him off entirely.
Poe went to New York, but, unable to support himself by writing, he left the city within three months, returning to Baltimore to live with Mrs. Clemm and little Virginia. John Allan died in , a rich man. He left his vast estate—three plantations and two hundred and thirty slaves—to his second wife and their three children. He left Edgar A. Poe not a penny. The following year, Poe was hired as the editor of a new monthly magazine, the Southern Literary Messenger , in Richmond.
He was paid sixty dollars a month, modest enough but, for him, a fortune. In , Poe married Virginia Clemm. She was thirteen; he was twenty-seven; he said she was twenty-one. The magazine had thirteen hundred subscribers when Poe started, and eighteen hundred when he left. And, plainly, he was a very troubled man. Quarrelling with the publisher of the Messenger , Poe left the magazine and, in February of , moved to New York.
The New-Yorker , a weekly magazine edited by Rufus Griswold, welcomed him, praising his work at the Messenger. Unfortunately, Poe arrived in New York just in time for the Panic of With all that paper money, speculators had gone wild; in the West, there had been a land grab and in the East a housing bubble—in New York, real-estate values had risen a hundred and fifty per cent.
When the crash came, early in the Van Buren Presidency, bankruptcies swept the nation. The blackness of darkness still hangeth over it. Failure on failure. Five hundred desperate New Yorkers turned up to answer an ad for twenty day laborers, to be paid at the truly measly wage of four dollars a month. He moved to Philadelphia and wrote more short stories. During the seven-year depression that followed the Panic, Whalen has shown, Poe wrote a tenth as many poems and twice as many tales. He insisted that this was an aesthetic choice.
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But writing a book was exactly the kind of long-term investment Poe could not afford to make, especially with so little prospect of return. In the eighteen-twenties, books cost, on average, two dollars; during the depression, that price fell to fifty cents.
Poe had started writing gothic stories before the economy collapsed. But, as a man without independent means, he was especially vulnerable to market forces, and he knew it. The genre had since gone to seed, but it still sold well. A philosophy of composition? No, what Poe developed was a philosophy of the literary marketplace.
He had little choice. Even at writing dreck! Let me see. You would have sworn that the writer had been born and brought up in a coffin. That was a nice bit of flummery, and went down the throats of the people delightfully. They would have it that Coleridge wrote the paper—but not so.
IT MAY SCARE YOU TO DEATH!
It was composed by my pet baboon, Juniper. Poe calibrated and recalibrated. Just how many ways can a writer insult his readers and get away with it? A madman with super-acuity murders an old man and entombs the corpse beneath the floor. I admit the deed! Poe knew that these were cheap tricks. A truly horrifying story establishes an eerie atmosphere right from the beginning. A tale is even scarier when readers can see, hear, touch, taste and smell things in the story.
Establishing something as mysterious builds suspense, as the reader fills in the blanks with his own imagination and desires to continue reading to find out more. A scary story needs a protagonist frightened out of her wits. Nadine Smith has been writing since Nadine holds a Master of Arts in English language and literature from McMaster University in Ontario, Canada, where she led seminars as a teaching assistant.
Need to cite a webpage? The piece tells the story of Death a violinist, naturally making the dead rise from their graves on Halloween and dance to his sinister tune. It doesn't seem logical that just two notes could cause such a sense of foreboding, but John Williams managed it. His soundtrack to Spielberg's Jaws has been keeping people out of the sea since Beginning life as a tone poem called St. John's Night on the bare Mountain, Mussorgsky's most famous work was made more famous when it was revised by Rimsky-Korsakov, and then included in the soundtrack from Disney's Fantasia.
Whatever incarnation it's in, it's a frightening masterpiece. This one is perhaps more spooky and supernatural than outright scary, but nevertheless, Maurice Jarre's score for 'Ghost' is still worth a listen. Berlioz uses a range of orchestral effects to create the scene of a gathering of witches - violins using the backs of their bows to create bubbling cauldron sounds, the sound of a funeral bell and outbursts of musical laughter. So, you stop at a motel, fancy a shower and the next thing you know a madman in a wig is trying to attack you.
What do you think that might sound like? This is one of the biggies when it comes to scary music. It's been used in classic horror films like 'The Black Cat', 'Dr.
Jekyll and Mr. Hyde', and even in 'Doctor Who'. The Twilight Zone now seems like an old-fashioned spook-fest, but when it came to scoring the film version of the popular TV show, Jerry Goldsmith stepped in to make it as scary as he could.
When it comes to pure fury, few can rival Carl Orff. The stately opening of 'O Fortuna' from 'Carmina Burana' is soon replaced by some intense, pulsing choral work, which basically erupts into a full-on orchestral blaze. Another classic thanks to the influence of a certain Walt Disney, Dukas' impish theme will forever be associated with images of Mickey Mouse attempting to chop up an army of possessed mops.
Verdi's Requiem is an epic achievement in every sense, but this depiction of the day of judgement is pretty unsettling stuff.