Poe’s intergrown house and family of Usher are artworks of morbidity and malaise worthy of the spectacular climax he devised for them. He has preferred to make mood everything, saving almost all dialogue and explicit action for the closing scene. There is no moral, no tragic flaw, no explanation. Poe rather gives us the logic of the nightmare, and on this plane his logic is airtight. Probably the safest course in dramatizing this gothic masterpiece would have been to save both letter and spirit as intact as possible. In fact, I found myself taking liberties.
To start, I
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