Weird Tales, Volume 2

Jaksot

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  Letters on an Elk Hunt-Elinore Pruitt Stewart 27.08.2026 3t 3min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Court and Character of King James, with the Court of King Charles-Anthony Weldon 26.08.2026 3t 45min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Lines, On Hearing That Lady Byron Was Ill-George Gordon, Lord Byron 25.08.2026 57min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Light Science for Leisure Hours-Richard A. Proctor 24.08.2026 9t 40min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Woman's Experiences in the Great War-Louise Mack 23.08.2026 6t 12min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Poems Series Two-Emily Dickinson 22.08.2026 1t 40min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Shelley Selected Poems and Prose-Percy Bysshe Shelley 21.08.2026 7t

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Improvement of the Mind-Stephen Norris Fellows, Isaac Watts 20.08.2026 6t 56min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Sins of Hollywood-Edward Roberts 20.08.2026 2t 47min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Sonnets of John Keats-John Keats 18.08.2026 1t 10min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Burston Rebellion-Thomas George Higdon 17.08.2026 3t 45min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Town is Drowning-C. M. Kornbluth, Frederik Pohl 16.08.2026 4t 35min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Sonnets-Edna St. Vincent Millay 03.08.2026 55min

  Edna St. Vincent Millay's "Sonnets" captures the essence of love, longing, and the complexities of human emotion through her masterful use of language and form. These poignant poems resonate with timeless themes that explore the depths of passion and the intricacies of relationships, making them as relevant today as they were when first penned. Millay's lyrical style and emotional honesty invite listeners to reflect on their own experiences of love and loss, fostering a connection that transcends generations. Engaging with her work offers a rich, immersive experience that celebrates the beauty and pain of the human condition, ensuring its enduring place in the literary canon.
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  Weird Tales Volume 2 - E T A Hoffmann - Part 2 30.06.2026 2t 8min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland
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  Weird Tales Volume 2 - E T A Hoffmann - Part 1 29.06.2026 9t 19min

  Paradoxically, it is variety that unites the tales you are about to read. They take place in widely separated countries and historical periods, and their outcomes—fortunate or tragic—cannot always be predicted with accuracy. The characters too speak with varied voices; even the narrative voice is not uniform, for the author often frames story within a story, using a character in one tale to narrate another. The reader will sometimes feel as though the author is extending an invitation to enter his workshop to observe him at his trade and admire his craftsmanship. Narrative techniques, for instance, such as suspending the detailed account of events in order to summarize what follows or occasionally interrupting the story line to offer a bit of background or exposition, are introduced by referring to “the indulgent reader,” “my kindly reader,” or even (once) a direct address: “dear reader.” This device is common to much Romantic literature, but Hoffmann’s self-conscious use of it renders it satirical. He frequently shifts from seriousness to mockery, characterized by an arch tone as he knowingly overworks Romantic clichés like apostrophes to absent or non-sentient entities and especially hyperbole, which he mercilessly burlesques. Yet his mercurial sensibility can then shift in a moment back into the serious use of Romantic conventions: overwrought descriptions, pathetic fallacies, sudden reversals of fortune, unlikely coincidences, gloomy intimations of the cruelty of destiny, dark secrets, and men fulsomely unburdening themselves of their inmost feelings, not without tears. He even takes up the age-old theme of friendship vs. romantic love and their rival claims to be the nobler sentiment. In short, although clearly an early Romantic himself, Hoffmann nevertheless shares Jane Austen’s rational criticism of the Romantic temperament, “sentimental” being a term of reproach in this volume. - Summary by Thomas Copeland