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A Summary and Analysis of Edgar Allan Poe’s ‘The Tell-Tale Heart’

By Dr Oliver Tearle (Loughborough University)

‘The Tell-Tale Heart’ is a Gothic novel in miniature. All of the elements of the Gothic novel are here: the subterranean secret, the Gothic space (scaled down from a full-blown castle to a single room), the gruesome crime – even the hovering between the supernatural and the psychological.

In just five pages, it’s as if Edgar Allan Poe has scaled down the eighteenth-century Gothic novel into a story of just a few thousand words. But what makes this story so unsettling?

Closer analysis reveals that ‘The Tell-Tale Heart’ centres on that most troubling of things: the motiveless murder.

First, a brief summary of ‘The Tell-Tale Heart’. An unnamed narrator confesses that he has murdered an old man, apparently because of the old man’s ‘Evil Eye’ which drove the narrator to kill him. He then describes how he crept into the old man’s bedroom while he slept and stabbed him, dragging the corpse away and dismembering it, so as to conceal his crime.

He goes to some lengths to cover up all trace of the murder – he even caught his victim’s blood in a tub, so that none was spilt anywhere – and then he takes up three of the floorboards of the chamber, and conceals his victim’s body underneath. But no sooner has he concealed the body than there’s a knock at the door: it’s the police, having been called out by a neighbour who heard a shriek during the night.

The narrator lets the police officers in to search the premises, and tells them a lie about the old man being away in the country. He keeps his calm while showing them around, until they go and sit down in the room below which the victim’s body is concealed.

The narrator and the police officers talk, but gradually the narrator begins to hear a ringing in his ears, a noise that becomes louder and more insistent. He believes that it is the beating of the dead man’s heart, taunting him from beyond the grave. Eventually, he can’t stand it any more, and tells the police to tear up the floorboards, the sound of the old man’s beating heart driving him to confess his crime.

The narrator of ‘The Tell-Tale Heart’ is clearly unstable, as the end of the story reveals, but his mental state is questionable right from the start, as the jerky syntax of his narrative suggests:

True! – nervous – very, very dreadfully nervous I had been and am; but why will you say that I am mad? The disease had sharpened my senses – not destroyed – not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily – how calmly I can tell you the whole story.

The multiple dashes, the unusual syntactical arrangement, the exclamation and question marks: all suggest someone who is, at the very least, excitable. His repeated protestations that he is sane and merely subject to ‘over acuteness of the senses’ don’t fully convince: there is too much in his manner (to say nothing of his baseless murder of the old man) to suggest otherwise.

A motiveless crime?

And indeed, what makes ‘The Tell-Tale Heart’ especially chilling – and here we might draw a parallel with another of Poe’s best-known tales, ‘The Black Cat’ – is that the killer freely confesses that his murder of the old man was a motiveless crime:

I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye of a vulture – a pale blue eye, with a film over it. Whenever it fell upon me, my blood ran cold; and so by degrees –  very gradually – I made up my mind to take the life of the old man, and thus rid myself of the eye forever.

Murder is never justified, but it is sometimes understandable when a person has been driven to extremes and isn’t thinking clearly. But Poe’s narrator didn’t even kill the old man for something as cynical as financial gain. Even his proffered motive – the old man’s ‘Evil Eye’ – is weak. He has to convince himself that that was why he did it, after the fact : ‘I think it was his eye! yes, it was this!’ (our emphasis).

One can imagine a police detective doing a double-take in the interview room. ‘You think it was his eye?’ This alone makes it clear that we are dealing with an unhinged mind, somebody who, to borrow from Bob Dylan, ‘killed for no reason’. Motiveless murderers are often the most unsettling.

Consider the ‘motiveless malignity’ of Iago , perhaps Shakespeare’s finest villain, who offers a number of potential motives for wanting to destroy the lives of Othello and Desdemona, and in doing so reveals that he very probably doesn’t have a real motive – other than wishing to cause trouble for the hell of it.

Poe and  Macbeth

But Othello is not Poe’s main Shakespearean intertext for ‘The Tell-Tale Heart’. Closer analysis of the story reveals that an important precursor-text to ‘The Tell-Tale Heart’, and probable influence on Poe, is William Shakespeare’s Macbeth .

Both texts centre on the murder of an ‘old man’; in both cases, the murderer is driven to feel guilt over his crime by being ‘haunted’ by his victim from beyond the grave (Banquo’s ghost in Macbeth , the old man’s beating heart in Poe’s story); both Macbeth and Poe’s narrator show signs of being at least a little mentally unstable; in both texts, the murder of the victim is followed by a knocking at the door.

But what makes Poe’s tale especially effective is the way he employs doubling to suggest that it is perfectly natural that the narrator should be paranoid about the sound coming from the floorboards. For before he had murdered the old man, the narrator had imagined his victim ‘trying to comfort himself’ when he heard a noise outside his bedroom:

All in vain; because Death, in approaching him had stalked with his black shadow before him, and enveloped the victim.

But of course this is really the narrator projecting his own unease around sounds; and it thus foreshadows his later paranoia over the supposed sound coming from under the floorboards – the sound that will drive him to confess to his crime.

But along with the ‘motiveless’ nature of the narrator’s crime, the other aspect of ‘The Tell-Tale Heart’ which makes it such a powerful analysis of the nature of crime and guilt is the slight ambiguity hovering over that sound which taunts the narrator at the end of the story.

An ambiguous tale

It seems most likely that the sound exists only in his head, since the policemen are apparently oblivious to it as they continue to chat away calmly to the narrator. (This is the one real weak point in Poe’s story: once they’ve searched the premises they appear to hang around to make small talk with the narrator. Haven’t they got more important things to do? Unless the narrator isn’t as calm at this point as he believes, and they suspect foul play and are trying to get him to reveal something incriminating…)

But we cannot be entirely sure. Even if the sound is supernatural in origin – and Poe was obviously a master of the supernatural, as several of his other best stories attest – it may be that his victim is making his ghostly heartbeat heard only to the narrator, burrowing away deep within his mind.

But on balance we’re tempted to think that Poe, along with Dickens around the same time (compare the studied analysis of the murderer Jonas Chuzzlewit’s mind as he flees the scene), is pioneering a new kind of approach to the ‘ghost story’ here – one in which the ‘ghost’ is no more than a hallucination or phantom of the character’s mind.

Although such ambiguity had been used to good effect by Shakespeare, in the ghost story it is Poe, in such stories as ‘The Tell-Tale Heart’, who used this ambiguous plot detail to offer a deeper, more unsettling analysis of the nature of conscience.

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6 thoughts on “A Summary and Analysis of Edgar Allan Poe’s ‘The Tell-Tale Heart’”

Wonderful article! When I studied Poe in college my premise for one of my best papers centered on whether or not the murderer was sane or insane and even used “Methinks he protests too much” at the end. I believe I could’ve written several papers on this short story alone with several different topics. Again, wonderful article.

Thank you! Good Hamlet allusion too – one of the triumphs of Poe’s story, I think, is the instability of his narrator. Glad you enjoyed our analysis :)

Ahhhhh…and now here you have brought forth one of my most beloved tale tellers. Poe has influenced not only my own tales but my early life as well. Terrific analysis! The ambiguous nature of the conscience brought to fever pitch. :)

Thank you! It’s one of the real gems among Poe’s tales – and as you say, he’s a great tale-teller so there are quite a few to choose from :)

I’ve wondered if the heartbeat was the narrator’s own, since he was in a state of agitation and excitement while talking to the policemen. In any case, it’s a great story, and this is an interesting analysis.

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• Annotated Full Text
• Literary Period: Gothic
• Publication Date: 1843
• Flesch-Kincaid Level: 5
• Approx. Reading Time: 10 minutes
• The Tell-Tale Heart

First published in 1843 in The Pioneer, “The Tell-Tale Heart” features many of the signature elements of an Edgar Allan Poe short story: a dark gothic setting, an unhinged narrator, and a tense plot. The unity of these elements creates an emotional response in readers that is further elicited through tone, word choice, conflict, etc. The tale begins in the middle of the narrative as Poe’s unnamed narrator begins explaining himself to an undisclosed audience, creating a conspiratorial, confessional tone that pulls readers in. Poe’s narrator describes the steps he took to murder a helpless old man, driven only by his hatred of the old man’s eye. The sentences are choppy, the frequent repetition and self-interruption indicative of the narrator’s unhinged mental condition. As the methods of the crime are revealed, readers enter into a study in madness, witnessing the narrator’s hallucinations and ultimately encountering his delusions firsthand when he reveals the body beneath the floorboards.

Table of Contents

• Character Analysis
• Historical Context
• Literary Devices

Study Guide

• Edgar Allan Poe Biography

Teaching Resources

• The Tell-Tale Heart Metaphor Activity

English Studies

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“The Tell-Tale Heart” by Edgar Allan Poe: A Critical Analysis

“The Tell-Tale Heart” by Edgar Allan Poe, first published in 1843, is a haunting short story not contained within a specific collection.

Introduction: “The Tell-Tale Heart” by Edgar Allan Poe

Table of Contents

“The Tell-Tale Heart” by Edgar Allan Poe, first published in 1843, is a haunting short story not contained within a specific collection. It’s a psychological thriller narrated by an unnamed character who insists on their sanity despite describing a meticulously planned murder. The story centers on the narrator’s obsession with the victim’s pale eye and a growing fixation on a sound they believe to be the old man’s beating heart, creating a chilling atmosphere of suspense and unease. As the story progresses, the line between the narrator’s perceived sanity and their deteriorating mental state blurs, leaving the reader to question the truth and grapple with the themes of guilt and madness.

Main Events in “The Tell-Tale Heart” by Edgar Allan Poe

The Narrator’s Obsession and Murderous Plan:

• The unnamed narrator insists on his sanity despite describing a premeditated murder.
• He becomes fixated on the old man’s pale blue eye with a film over it, calling it a “vulture eye.”
• The narrator denies any motive like passion, greed, or insult, claiming it’s solely the eye that drives him to kill.
• Over several days, the narrator meticulously plans the murder, entering the old man’s room each night to find him asleep.

The Murder and Hiding the Evidence:

• On the eighth night, the narrator accidentally startles the old man awake but manages to keep him still in the dark.
• The narrator describes a growing sense of triumph as he prepares to commit the murder.
• He becomes fixated on a low beating sound, which he believes is the old man’s terrified heart growing louder.
• In a frenzy, the narrator throws open the lantern and murders the old man.
• After the murder, the narrator displays a chilling calmness as he dismembers the body with meticulous care.
• He hides the body parts under the floorboards, confident no human eye could detect anything wrong.

Police Investigation and the Narrator’s Descent:

• The police arrive to investigate a scream heard by a neighbor, arousing suspicion.
• The narrator remains confident and welcomes the officers, inviting them to search the entire house.
• He even leads them to the old man’s room and shows them his undisturbed belongings.
• The narrator’s confidence grows as the officers seem satisfied with his explanations.
• However, the narrator begins to feel increasingly anxious and believes he hears the beating of the old man’s heart growing louder.
• His attempts to appear calm and talkative fail as the sound intensifies in his own mind.
• Driven to the brink, the narrator accuses the officers of mocking him and confesses to the murder, revealing the body’s hiding place.

Literary Devices in “The Tell-Tale Heart” by Edgar Allan Poe

Characterization in “The Tell-Tale Heart” by Edgar Allan Poe

The narrator in “The Tell-Tale Heart” by Edgar Allan Poe is a complex and unreliable character. Here’s a breakdown of his characterization using examples from the story:

1. Mentally Unstable:

• Example: “TRUE!—nervous—very, very dreadfully nervous I had been and am…” (Paragraph 1). The narrator readily admits his nervousness, which hints at a larger mental issue.
• Example: “How then am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story.” (Paragraph 1). He contradicts himself by claiming sanity while exhibiting erratic behavior.

2. Obsessive:

• Example: “It was his eye! yes, it was this! One of his eyes resembled that of a vulture—a pale blue eye, with a film over it.” (Paragraph 2). He fixates on a minor physical detail, the old man’s eye, to an unhealthy degree.
• Example: “Every night, about midnight, I turned the latch of his door and opened it—oh, so gently!” (Paragraph 3). The repetition of his nightly routine highlights his obsessive planning and actions.

3. Deceptive:

• Example: “I was never kinder to the old man than during the whole week before I killed him.” (Paragraph 3). He hides his true intentions by feigning kindness towards the victim.
• Example: “The officers were satisfied. My manner had convinced them.” (Paragraph 18). He deceives the police with a confident demeanor despite his inner turmoil.

4. Unreliable Narrator:

• Example: “I loved the old man. He had never wronged me.” (Paragraph 2). This statement is contradicted by his plan to murder the old man.
• Example: “…every night just at midnight, I looked in upon him while he slept.” (Paragraph 3). He claims the eye bothers him, yet sneaks in nightly even when the eye is closed.

5. Deteriorating Mental State:

• Example: “Ha!—would a madman have been so wise as this?” (Paragraph 3). He questions his own sanity while trying to convince the reader otherwise.
• Example: “Villains! I shrieked, “dissemble no more! I admit the deed!—tear up the planks!—here, here!—it is the beating of his hideous heart!” (Paragraph 19). His mental state crumbles as he confesses the crime due to heightened auditory hallucinations.

Major Themes in “The Tell-Tale Heart” by Edgar Allan Poe

• Unreliable Narration and the Descent into Madness: The story unfolds through the eyes of an unnamed narrator who insists on his sanity despite exhibiting clear signs of mental instability. His justifications for the murder and his obsession with the old man’s eye reveal a distorted perception of reality. We see this in his opening claim, “TRUE!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad?” (Paragraph 1). Here, he acknowledges his nervousness but denies madness, setting the stage for his unreliable narration. As the story progresses, his actions become increasingly erratic, culminating in his delusional belief that he hears the dead man’s heart beating. This auditory hallucination, a physical manifestation of his guilt, exposes the narrator’s complete descent into madness. (“Villains! I shrieked, “dissemble no more! I admit the deed!—tear up the planks!—here, here!—it is the beating of his hideous heart!” Paragraph 19).
• The Power of Guilt and the Inevitability of Confession: The narrator meticulously plans and commits the murder, believing he can escape punishment. However, guilt gnaws at him, intensifying his anxieties and distorting his senses. His seemingly flawless plan crumbles under the weight of his conscience. The repetition of the phrase “beating of the old man’s heart” (various paragraphs) emphasizes the growing obsession with this imagined sound, a constant reminder of his crime. Despite his attempts to maintain composure during the police visit, his guilt manifests as a heightened sense of hearing, ultimately leading him to confess. (“…every night just at midnight, I looked in upon him while he slept.” Paragraph 3). This unexpected confession highlights the power of guilt and the human psyche’s inability to suppress the truth for long.
• The Duality of Human Nature: The narrator wrestles with a conflict between good and evil. He claims to love the old man yet meticulously plans his murder. This internal struggle reflects the potential for darkness that exists within everyone. We see this duality in his statement, “I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this!” (Paragraph 2). Here, he attempts to justify his actions by blaming the old man’s eye, but the reader is left to question the true motives behind the murder. The story explores the idea that even the most seemingly ordinary person can harbor violent impulses.
• The Thin Line Between Sanity and Madness: The narrator’s deteriorating mental state blurs the line between sanity and madness. His meticulous planning suggests a calculated mind, yet his obsession and hallucinations point towards a fractured psyche. The story raises questions about the nature of madness and how easily it can take hold. We see this blurring in his self-reflection, “Ha!—would a madman have been so wise as this?” (Paragraph 3). He questions his own sanity while trying to convince the reader otherwise, leaving the reader to wonder if he was ever truly sane to begin with. “The Tell-Tale Heart” explores the terrifying possibility that madness can creep in subtly, distorting reality and leading to horrific acts.

Writing Style in “The Tell-Tale Heart” by Edgar Allan Poe

• Vivid and Haunting Imagery (Paragraph 3) * “I turned the latch of his door and opened it—oh, so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern, all closed, closed, so that no light shone out…”
• Repetition (various paragraphs) * “beating of the old man’s heart” – This phrase is repeated throughout the story, emphasizing the narrator’s obsession and growing anxiety.
• First-Person Point of View (Paragraph 1) * “TRUE!—nervous—very, very dreadfully nervous I had been and am…” – The story unfolds through the eyes of the unnamed narrator, placing the reader directly in his thoughts and deteriorating mental state.

Literary Theories and Interpretation of “The Tell-Tale Heart” by Edgar Allan Poe

Questions and Thesis Statements about “The Tell-Tale Heart” by Edgar Allan Poe

• Narrator’s Unreliability
• Guilt and the Inevitable Confession
• The Descent into Madness
• Symbolism and Meaning
• Gothic Elements and Atmosphere
• Psychological Exploration of Character
• How does the narrator’s unreliable narration impact the story’s suspense and horror?
• In what ways does the story explore the themes of guilt and the urge to confess?
• How does the narrator’s mental state deteriorate throughout the story?
• What are the symbolic meanings of the vulture eye, the darkness, and the beating heart?
• How do classic gothic elements contribute to the overall atmosphere of dread and unease?
• To what extent does the story offer a realistic portrayal of a troubled mind?

Thesis Statements

• Edgar Allan Poe’s “The Tell-Tale Heart” utilizes an unreliable narrator to create a chilling atmosphere of suspense and expose the inevitable breakdown of a guilt-ridden conscience.
• The relentless sound of the beating heart in “The Tell-Tale Heart” serves not only as a symbol of the murdered man but also as a physical manifestation of the narrator’s overwhelming guilt, ultimately leading to his confession.
• Through the portrayal of a character’s descent into madness in “The Tell-Tale Heart,” Poe explores the terrifying possibility of how seemingly ordinary individuals can harbor violent impulses and ultimately succumb to their own distorted perceptions.
• By employing symbolic elements like the vulture eye and the beating heart, Poe imbues “The Tell-Tale Heart” with deeper meaning, suggesting a battle between good and evil and the enduring power of guilt.

Short Questions and Answer about “The Tell-Tale Heart” by Edgar Allan Poe

Literary Works Similar to “The Tell-Tale Heart” by Edgar Allan Poe

• Henry James’s “The Turn of the Screw” utilizes an unreliable first-person narrator, much like Poe’s, creating a story shrouded in ambiguity regarding the protagonist’s sanity and the existence of the supernatural.
• Sheridan Le Fanu’s “Carmilla,” a foundational vampire tale, shares “The Tell-Tale Heart’s” chilling atmosphere and dependence on an unreliable narrator, keeping the reader guessing about the protagonist’s perceptions and the truth of the vampiric threat.
• Shirley Jackson’s “ The Lottery ,” a masterpiece of suspense with a shocking twist ending, explores the darkness within human nature, similar to Poe’s works.
• Jackson’s “We Have Always Lived in the Castle” delves into psychological themes and the blurring of reality, reminiscent of the mental deterioration depicted in “The Tell-Tale Heart.”
• Charlotte Perkins Gilman’s “ The Yellow Wallpaper ,” a powerful indictment of societal norms and the treatment of mental illness, echoes Poe’s exploration of psychological deterioration under societal pressures.

Suggested Readings: “The Tell-Tale Heart” by Edgar Allan Poe

• Eichinger, Sanford. “The Madness of Crowds: ‘Ligeia’ and ‘The Tell-Tale Heart.'” Poe Studies 11.1 (1978): 1-8. Analyzes the theme of madness in both “Ligeia” and “The Tell-Tale Heart.”
• Kennedy, J. Gerald. “Poe’s ‘The Tell-Tale Heart.'” Studies in Short Fiction 5.2 (1968): 147-154. Offers a critical analysis of “The Tell-Tale Heart,” focusing on narrative structure and symbolism.
• Lacan, Jacques. The Seminar of Jacques Lacan, Book I: Freud’s Papers on Technique 1953-1954 . Edited by Jacques-Alain Miller, translated by Jacques-Alain Miller with Russell Grigg. W.W. Norton & Company, 1988. This influential work by psychoanalyst Jacques Lacan can be applied to analyze the psychological aspects of “The Tell-Tale Heart.”

Online Resource:

• Poe, Edgar Allan. “The Tell-Tale Heart.” https://learningenglish.voanews.com/a/tell-tale-heart-edgar-allen-poe-american-stories/2634706.html (Accessed March 23, 2024). The full text of the story, a valuable resource for any analysis.

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The Tell Tale Heart

Background of the story, the tell tale heart summary, mental health, confinement, characters analysis, the narrator, literary analysis, writing style, point of view, the bed and bedroom, more from edgar allan poe, short stories.

The Tell-Tale Heart

37 pages • 1 hour read

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Discussion Questions

Why does the narrator commit murder according to them? What is your explanation for the crime?

If you had to represent the narrator in court, what kind of defense would you propose?

Why do you think the narrator kept hearing the heartbeat even after the old man’s death? Why does the story emphasize the heartbeat over any other element of the murder? Do you think it was otherworldly, a hallucination, or something else? Explain your reasoning.

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The Tell-Tale Heart (1843) Essay

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• As a source of information (ensure proper referencing)
• As a template for you assignment

Introduction

Character analysis, plot summary, internal versus external forces, works cited.

The introductory part will present the The Tell- Tale heart (1843), by Alan Edgar Poe, introducing the main characters viz. the narrator and the old man. The story opens with the unknown narrator confessing he is restless but not harebrained or insane, as some would want to think.

He narrates his story by defending his sound mind although he has murdered an innocent old man. The narrator lives with the old man; however, he claims that his supposedly housemate has an evil blue eye that evokes fear in him (the narrator). At this point, the narrator is not trustworthy because he does not even understand himself; he does not know whether he is psychologically sick or he is just another murderer.

This section tackles the main characters of the story and as aforementioned, the narrator and the old man are the only central characters in the story. The narrator is untrustworthy, self-righteous and a rigid person who leaves no space for learning.

He believes he is sane despite the fact that he kills the old man for no apparent reason. His sanctimonious overtones infringe is trustworthiness. On the other hand, the old man is just a victim of malice or covered insanity.

The plot summary will outline the flow of the story where once more the narrator plays the central role. As the story opens, the narrator insinuates he is insane by declaring he has a story to tell; however, the story is a defense to guard his sanity. Therefore, the events of this section will focus on the narrator as he puts forward his claims of sanity.

However, to understand where all the sanity ‘noises’ are coming from, this section will flashback to the one event that seems to infringe the narrator’s insanity; the murder of the old man. Again, the narrator’s trustworthiness is compromised for by defending his actions, he unknowingly exposes his unreliability.

The overriding theme in this story is the theme of paranoia. As the story opens, the narrator acknowledges that he is nervous for reasons he does not know. The thin, almost confusing, or blurred line between paranoia and madness comes out clearly. People think paranoia is synonymous to madness and perhaps this explains why the narrator is vehement in defending his sanity.

Paranoia in this context also underscores the blurred line between hate and love according to Benfey (78). Ironically, many a time individuals hurt the closest people in their lives. In this section, the narrator is trustworthy; he loves and needs the old man, yet he kills him.

Ironically, the presence of police officers who come to investigate the murder of the old man does not evoke any uneasiness in the narrator. However, the deafening sounds of fear and guilt that haunt the narrator seem to take away his peace. The narrator does not confess the murder because the offices push him; no, he confesses because of guilt and self-conviction.

At this point, the story tries to emphasize that internal forces are stronger than external forces. One can defy and deny external forces like rule of law; however, defying self-conviction is tantamount to committing suicide and the narrator comes out as a trustworthy source of this scenario.

The concluding part of the essay will try to piece together the ideas raised in the story. Running from introduction, though plot summary to themes; this section will give a concise recap of the whole story.

Benfey, Christopher. “Poe and the Unreadable: ‘The Black Cat’ and ‘The Tell-Tale Heart.” New Essays on Poe’s Major Tales . United States: Cambridge University Press, 1993.

Poe, Allan. “The Tell-Tale Heart.” Electronic Text Center, University of Virginia Library, 1992. Web.

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‘Janet Planet’ Review: A Sticky Summer Full of Small Dramas

Annie Baker’s debut feature film is a tiny masterpiece — a perfect coming-of-age story for both a misfit tween and her mother.

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By Alissa Wilkinson

Kids are supposed to love summer, but I can’t be alone in remembering it as the most vexing season. It’s hot, and there are mosquitoes and spasms of allergic sneezes, and the predictable, sociable structure of the school year vanishes for what feels like an interminable stretch. When Lacy, the 11-year-old in the playwright Annie Baker ’s brilliant “Janet Planet,” calls home from camp to tell her mother, Janet, that if she doesn’t come pick her up, she’ll kill herself — I got that, in all its hyperbolic provocation. Sometimes summer is just the worst.

But being 11 is also the worst. “You know what’s funny?” Lacy (Zoe Ziegler) asks Janet (Julianne Nicholson) a few weeks later, when she’s been brought back to the home the two share in western Massachusetts: “Every moment of my life is hell.” Janet doesn’t want to laugh, and gently corrects her. But she’s also in the throes of her own turmoil, so she gets it. “I don’t think it will last, though,” Lacy continues, acknowledging with tween stoicism her spells of hell and happiness.

Lacy’s life is not hell, no matter her solemn belief. Her mother has built a good life for the two of them, even if it’s invaded at times by friends who need help and boyfriends who Lacy knows are bad news. But every day is long and every occurrence is amplified when you’re Lacy’s age. The genius of “Janet Planet,” Baker’s debut as a feature writer-director, is how flawlessly it renders what it’s like to spend the summer being 11 at your home in the woods, when your mother is your whole world and you wish you could just have her to yourself. You can hear the buzzing bug zapper, feel the sunburn on your skin, scratch your knees on the freshly cut grass and sink into the hazy evening ennui.

Baker, who grew up in Amherst, knows the texture of those Massachusetts summers by heart. She also knows the kinds of people who populate the area, sending Janet and Lacy at one point to a midsummer mystical theatrical presentation, complete with larger-than-life puppetry, after which everyone is implored to take home all the extra zucchini the group grew by accident. “Janet Planet” is a tiny masterpiece, and it’s so carefully constructed, so loaded with details and emotions and gentle comedy, that it’s impossible to shake once it gets under your skin.

The film is divided into three big sections, centering on three adults who show up in Janet’s life, and thus Lacy’s, in the summer of 1991. First there’s Wayne (Will Patton), Janet’s boyfriend, who was expecting to have the summer alone with her. Later, there’s Regina (Sophie Okonedo), who needs a place to stay after leaving a group that’s part commune, part theater troupe and maybe part cult. Finally, there’s the leader of that group, Avi (Elias Koteas), who takes an interest in Janet and her spiritual development.

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