Connolly 1 Since its conception, over two hundred years ago, the revulsion falsehood in its legion(predicate) various forms has been a intro of British and American literature and is of great importance to literary history. The abuse story is a fictional narrative whose principal(prenominal) purpose is to frighten or shock the reader and perchance induce a feeling of repulsion or condemnation (Cuddon 416). Originally horror stories were concerned with ghosts, vampires and an array of foul creatures, to a greater extent recently they have been concerned with murder, superstition, suicide, torture, fear and madness.
        The horror story has evolved since its creation. Early writers such as Irving were more interested in people and their superstitions, relieving the story of much of its shock value (Magill 262). Today, horror stories have made a effected 180 class turn, making a point of leading the reader bingle way and then twisting the story so greatly that the reader is often left at a complete loss or state of shock. The more modern stories atomic number 18 often inventive and slick but rarely blade any attempt to explain or come to legal injury with the complex nature of human personality; which, in many cases, adds to the shock value of the story. Edgar Allan Poe played a central constituent in this evolution.
He was the first author to introduce the mental aspect of horror, bringing the reader into the mind of the protagonist. Poe also introduced the mind of the domestic demon, giving his stories a realistic scariness. His submit was so great that most subsequent authors, including modern authors such as King, show the influence of Poes work; Indick has change surface gone so far as to say he was the Newton of the horror story (Indick 24).
        Every author uses his feature methods to create horror but ever since Poe,
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