Macabre Short-Stories by Edgar Allan Poe and Roald Dahl
Texte intégral
W hen Roald Dahl died in 1990, he was one of the most popular au- thors in the world. Although his oeuvre was dominated by children’s classics such as James and the Giant Peach (1961) or Charlie and the Chocolate Factory (1984), he also was a prolific author of short fic- tion for adults. Even though his oeuvre has generally been praised, it has not aroused academic interest and has not been stud- ied extensively. When reading Dahl’s short stories, one can be bewildered by the many similarities they share with Edgar Allan Poe, an extensively-studied author. In his analysis of Dahl’s story “The Landlady”, Jacques Sohier effectively attributes the adjective “Poesque”1
I n The Cambridge Introduction to Edgar Allan Poe (2008) Benjamin F. Fisher draws attention to the fact that Poe is gen- erally known and remembered for being a writer who used the Gothic genre to show that he was very much concerned about psychology: “Poe’s creative writings are consequently peopled by characters whose emotions are fragile. (...) Poe undeniably created terror that was rooted in the soul, employing strategies adapted from the Gothic tradition to convey that terror”47
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1 Then, we will tackle Roald Dahl’s short-story by analyzing the ways the writer sets in motion his uncanny story of the landlady of a Bed and Breakfast of a very special kind..