There is a special horror in hearing a mind unravel from the inside. In The Diary of a Madman, Guy de Maupassant pulls us into the private writings of a man who can no longer trust his own thoughts. His diary entries begin quietly enough—simple observations, small disturbances—until each page edges closer to something darker, something unmoored, something deeply and intimately wrong.

This is the slow, suffocating terror of a mind turning against itself.

Guy de Maupassant, one of France’s great masters of psychological horror, wrote with an uncanny instinct for the fractures that hide beneath ordinary life. His stories rarely rely on monsters or myth—only on the terrible things people can do, think, or become.

If you enjoyed this tale, explore more shadows and unsettling corners in the Short Storyverses collection at shortstoryverses.com.

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A man insists he is calm… reasonable… even kind. Yet something small and ordinary, something most people would ignore, begins to consume him. It creeps into his thoughts, scrapes against his nerves, and finally drives him toward an act he believes is both necessary and brilliant. But the mind doesn’t stay quiet for long. As the story tightens, the world around him narrows to a single sound he cannot escape. Poe’s tale is a descent told from inside the fall—where the truth comes knocking long before anyone else does.

Edgar Allan Poe (1809–1849) reshaped American literature with his mastery of psychological terror, unreliable narrators, and the eerie beauty of the macabre. A poet, critic, and storyteller, Poe created the modern detective story, refined the Gothic genre, and left behind some of the most haunting works in English. His writing slips into the darker corners of the mind—never with cheap shocks, always with precision and a pulse you can feel.

If this tale leaves your heartbeat just a little too loud in your ears, wander deeper into Short Storyverses. From ghosts in the walls to mysteries in the shadows, every story unlocks another room you’re not sure you should enter. But you will. And you’ll want to hear what’s waiting inside.

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There’s a certain kind of ghost story that doesn’t knock at the door or rattle chains. It whispers. It lingers. It asks you to listen a little more closely than you usually do.

Virginia Woolf remains one of the most influential voices in 20th-century literature, and A Haunted House shows why. In just a few pages she turns a simple domestic space into something tender, uncanny, and alive with memory. It’s a ghost story without the usual theatrics—quiet, rhythmic, almost like the house itself is breathing.

If you enjoy these classic tales, you’ll find hundreds more—along with original stories—across the Short Storyverse at shortstoryverses.com. Mysteries, frights, fantasies, holidays, and timeless literature, all waiting for you whenever you’re ready to listen.

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