Work's Poe

Poe practiced several genres throughout his literary career, treating in an almost obsessive way subjects such as death, burial in life or mourning. In this sense are well-known stories like The well and the pendulum, the mask of the red death, The heart delator or Berenice, among many others.

There is a psycological intensiti that is characteristic of Poe's writings, especially the tales of horror that comprise his best and best-known works. These stories —which include “The Black Cat,” “The Cask of Amontillado,” and “The Tell-Tale Heart”—are often told by a first-person narrator, and through this voice Poe probes the workings of a character’s psyche. This technique foreshadows the psychological explorations of Fyodor Dostoyevsky and the school of psychological realism. 

Poe´s theory of literaty creation is noted for two central points: first, a work must create a unity of effect on the reader to be considered sucessful; second, the production of this single effect should not be left to the hazards of accident or inspiration, but should to the minutest of style and subject be the result of rational deliberation on the part of the autor. In poetry, this single effect must arouse the reader's sense of beauty, an ideal that Poe closely associated with sadness, atrangenes, and loss; in prose, the effect should be one revelatory of some truth, as in "tales of ratiocination" or works evoking "terror, or passion, or horror".

The influence of Poe's tales may be seen in the work of later writers, including Ambrose Bierce and H.P Lovecraft, who belong to a distinct tradition of horror literature initiated by Poe. 

Marshall McLuhan:   he explored the heart of darkness.

Charles Baudelaire:  noted in his introduction to the French edition of “The Raven”: “It is indeed the poem of the sleeplessness of despair