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The Haunting of Hill House (Penguin Classics) Paperback – November 28, 2006
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One of The Atlantic’s Great American Novels of the Past 100 Years
First published in 1959, Shirley Jackson's The Haunting of Hill House has been hailed as a perfect work of unnerving terror. It is the story of four seekers who arrive at a notoriously unfriendly pile called Hill House: Dr. Montague, an occult scholar looking for solid evidence of a “haunting”; Theodora, his lighthearted assistant; Eleanor, a friendless, fragile young woman well acquainted with poltergeists; and Luke, the future heir of Hill House. At first, their stay seems destined to be merely a spooky encounter with inexplicable phenomena. But Hill House is gathering its powers—and soon it will choose one of them to make its own.
For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
- Print length208 pages
- LanguageEnglish
- PublisherPenguin Classics
- Publication dateNovember 28, 2006
- Dimensions7.72 x 5.08 x 0.5 inches
- ISBN-100143039989
- ISBN-13978-0143039983
- Lexile measure920L
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Editorial Reviews
Review
"The scariest book I’ve ever read." —Carmen Maria Machado, author of Her Body and Other Parties
"The books that have profoundly scared me...are few....But Shirley Jackson's The Haunting of Hill House beat them all...It scared me as a teenager and it haunts me still."—Neil Gaiman, author of Norse Mythology
About the Author
Laura Miller, previously an editor at Salon.com, writes essays and reviews for the New York Times, the New Yorker, and other publications.
Excerpt. © Reprinted by permission. All rights reserved.
I
No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.
Dr. John Montague was a doctor of philosophy; he had taken his degree in anthropology, feeling obscurely that in this field he might come closest to his true vocation, the analysis of supernatural manifestations. He was scrupulous about the use of his title because, his investigations being so utterly unscientific, he hoped to borrow an air of respectability, even scholarly authority, from his education. It had cost him a good deal, in money and pride, since he was not a begging man, to rent Hill House for three months, but he expected absolutely to be compensated for his pains by the sensation following upon the publication of his definitive work on the causes and effects of psychic disturbances in a house commonly known as “haunted.” He had been looking for an honestly haunted house all his life. When he heard of Hill House he had been at first doubtful, then hopeful, then indefatigable; he was not the man to let go of Hill House once he had found it.
Dr. Montague’s intentions with regard to Hill House derived from the methods of the intrepid nineteenth- century ghost hunters; he was going to go and live in Hill House and see what happened there. It was his intention, at first, to follow the example of the anonymous Lady who went to stay at Ballechin House and ran a summer- long house party for skeptics and believers, with croquet and ghost- watching as the outstanding attractions, but skeptics, believers, and good croquet players are harder to come by today; Dr. Montague was forced to engage assistants. Perhaps the leisurely ways of Victorian life lent themselves more agreeably to the devices of psychic investigation, or perhaps the painstaking documentation of phenomena has largely gone out as a means of determining actuality; at any rate, Dr. Montague had not only to engage assistants but to search for them.
Because he thought of himself as careful and conscientious, he spent considerable time looking for his assistants. He combed the records of the psychic societies, the back files of sensational newspapers, the reports of parapsychologists, and assembled a list of names of people who had, in one way or another, at one time or another, no matter how briefly or dubiously, been involved in abnormal events. From his list he first eliminated the names of people who were dead. When he had then crossed off the names of those who seemed to him publicity- seekers, of subnormal intelligence, or unsuitable because of a clear tendency to take the center of the stage, he had a list of perhaps a dozen names. Each of these people, then, received a letter from Dr. Montague extending an invitation to spend all or part of a summer at a comfortable country house, old, but perfectly equipped with plumbing, electricity, central heating, and clean mattresses. The purpose of their stay, the letters stated clearly, was to observe and explore the various unsavory stories which had been circulated about the house for most of its eighty years of existence. Dr. Montague’s letters did not say openly that Hill House was haunted, because Dr. Montague was a man of science and until he had actually experienced a psychic manifestation in Hill House he would not trust his luck too far. Consequently his letters had a certain ambiguous dignity calculated to catch at the imagination of a very special sort of reader. To his dozen letters, Dr. Montague had four replies, the other eight or so candidates having presumably moved and left no forwarding address, or possibly having lost interest in the supernormal, or even, perhaps, never having existed at all. To the four who replied, Dr. Montague wrote again, naming a specific day when the house would be officially regarded as ready for occupancy, and enclosing detailed directions for reaching it, since, as he was forced to explain, information about finding the house was extremely difficult to get, particularly from the rural community which surrounded it. On the day before he was to leave for Hill House, Dr. Montague was persuaded to take into his select company a representative of the family who owned the house, and a telegram arrived from one of his candidates, backing out with a clearly manufactured excuse. Another
never came or wrote, perhaps because of some pressing personal problem which had intervened. The other two came.
Product details
- Publisher : Penguin Classics; 1st edition (November 28, 2006)
- Language : English
- Paperback : 208 pages
- ISBN-10 : 0143039989
- ISBN-13 : 978-0143039983
- Lexile measure : 920L
- Item Weight : 5.3 ounces
- Dimensions : 7.72 x 5.08 x 0.5 inches
- Best Sellers Rank: #5,212 in Books (See Top 100 in Books)
- #14 in Ghost Fiction
- #71 in Gothic Fiction
- #602 in Literary Fiction (Books)
- Customer Reviews:
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About the author
Shirley Jackson was born in San Francisco in 1916. She first received wide critical acclaim for her short story "The Lottery," which was published in 1948. Her novels--which include The Sundial, The Bird's Nest, Hangsaman, The Road through the Wall, We Have Always Lived in the Castle and The Haunting of Hill House--are characterized by her use of realistic settings for tales that often involve elements of horror and the occult. Raising Demons and Life Among the Savages are her two works of nonfiction. Come Along With Me is a collection of stories, lectures, and part of the novel she was working on when she died in 1965. All are currently in print (Penguin). Two posthumous volumes of her short fiction are Just An Ordinary Day (Bantam) and Let Me Tell You (Random House). A graphic novel adaptation of "The Lottery" by Miles Hyman, her grandson, was published in 2016 (Farrar-Straus-Giroux). Also in 2016: Dark Tales by Shirley Jackson (Penguin Classics) and an authorized biography by Ruth Franklin: Shirley Jackson: A Rather Haunted Life (Norton).
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The first thing that surprised me was how relatively short this novel was. I seemed to zip through it in just a couple of nights’ reading time, and was almost disappointed that it was over so soon.
Nevertheless, the book is so beautifully, even soulfully written, that it really didn’t need anything further. Having already fallen in love with Shirley Jackson’s other most famous novel, “We Have Always Lived In The Castle,” I was afraid that this “horror” novel would either not live up to that one, or would leave a bad taste in my mouth for Ms. Jackson’s work. Nothing could be further from the truth.
Contrary to the deliberate “horrification,” if I may coin a word, of the movie versions, the written word gave a softer sense of sweetness, sorrow, and deepest empathy for our main character, Eleanor. I fell in love with her, but also adored her newly-made friend, Theodora (“Theo”), who I had not expected to like so much.
If you have only seen the movie, do yourself a favor and read the source material, straight from the horse’s mouth. It’s really quite beautiful, and although it is about a haunting, it’s really not horrifying at all.
Our main character is Eleanor, who's called to Hill House (along with a few others) by Doctor Montague. Montague is looking to record ghostly phenomenon. He needs something solid, because as an academic, he's under ridicule. Nobody believes in the paranormal, of course.
Hill House is creepy and oppressive--and said to be haunted due to the tragedies that happened there. It actually imitates the life Eleanor is coming from (she even has to steal a car in order to break free from that life). Immediately, we can see that, while Eleanor is enjoying her freedom, there's something not right about her. It's the unreliable way she narrates, how she attaches herself to a favorite person, the way she talks.
The hours roll by in Hill House and it soon becomes apparent that it may not be the house that's haunted.
The Haunting of Hill House book is way better than the Netflix adaptation. In fact, I almost passed up on the book because the adaptation was so bad. Very glad I didn't. It's a short, quick, tense read with an ending that makes you go, "oh heck".
One star lopped off for the opening essay. Written in the 1950s, The Haunting of Hill House isn't old or foreign enough to *really* require an opening essay to get you familiarized with the time and place.
After watching the Netflix series last year by the same name last year it inspired me to put this classic book on my reading list. I had first been aware of the book for many years as it was mentioned by Stephen King as a major influence on his writing and lauded the book as one of the best of the horror genre. After reading the book I can see why and agree with King it's one of the best.
The story begins as Dr. Montague is doing research into the supernatural and wanted to use Hill House as a setting due to its reputation as a haunted house and it’s somewhat sad history. We learn that on top of the somewhat tragic history of its original residents/builders the more recent residents who tried to live there seem to leave only after a short stay and without much explanation as to their quick departure. The house itself is a character all its own with its Gothic foreboding style and its unique floor plan is compared to in the book to the real-life Winchester House in San Jose, California which also had eccentric owners and history.
In the beginning the story is mostly centered around the four main characters of Dr. Montague, Eleanor Vance, Theodora, and Luke Sanderson. Aside from the very beginning and end the story is told through the perspective of Eleanor (aka: Nell) which we find out was a recluse who took care of elderly demanding mother until recently and was brow beaten by her two siblings from whom she took the family car to stay at Hill House. It was noted in her childhood her sister and her experienced the phenomenon of stones raining on their house as children, which was one of the reasons Dr. Montague invited her to the house. Stephen King fans might recognize this as an event that happened in his debut novel Carrie whose main character’s(Carrie White) house was also pelted with stones and had a domineering mother. Her main companion in the book is Theodora, no last name given, is described as living a bohemian lifestyle and perhaps is receptive to ESP. Luke Sanderson is a distant family heir to the house. He was mainly their as part of the agreement to stay at the house for their time there. He’s a bit of a playboy who never stayed at the house before.
The other characters are Mr. & Mrs. Dudley who are the caretakers of the house. Both are adamant about not staying at the house after dark. Mr Dudley is cantankerous and abrupt when meeting the visitors. Mrs. Dudley is quite rigid and humorless in her duties, so much so that in turn the guests make her the object of some light humor. No backstory is given to their relation to the house and how they became caretakers.
Dr. Montague’s wife and driver Authur Parker, who is the headmaster at a small boys school. In contrast to her spouse she has no qualms about expressing herself and taking control. Likewise Mr. Parker presents himself in an alpha male quality and even brandishes a gun for emergencies. He implies that Luke is a lightweight in his manliness on one occasion. Mrs. Montague acts as a woman on a mission to communicate with the supernatural. She tries a form of spirit writing using a planchette which seems to be channeling Eleanor.
Other happenings include doors closing by themselves, Luke and Dr. Montague chasing a mysterious dog, banging of the door to Eleanor and Theodora’s room, Theodora’s room/clothing covered in blood and writing in blood on the walls of the hallway which seems to be addressing Eleanor.
As time goes by the Hill House and Eleanor seem to be bonding together. It culminates one evening when she wakes up feeling energetic and carefree. She runs around knocking on doors waking the others as she runs and dances throughout the house. The others get up to see what is going on puzzled by this behavior. Eleanor makes her way to the library climbing a rickety iron spiral staircase that is barely staying vertical. The others that found her there are alarmed by this and beg her to stop. She seems either unaware or puzzled at why they are so frantic as she looks down upon them. Luke reluctantly climbs the staircase to implore her to come down which she reluctantly does. She is still seemingly unaware of the danger she put herself in by remarking she was just getting a book after Luke was able to coax her down.
The next morning the incident is unspoken but it is agreed at least between Dr. Montague, Theodora, Luke and the others that it is better if Eleanor leave Hill House for her own safety. Eleanor insists she does not want to leave and is very reluctant. Eleanor feels Hill House doesn't want her to leave and is sure she feels happy there. Her car is brought around already packed and being outnumbered and they were blocking the stairway to the front door. She still insists the house wants her to stay. Dr. Montague is insistent, firm although with some empathy as a parent might be with a child. After much back and forth about her leaving she finally says goodbye to everyone. As she drives away she feels a sudden rush of freedom but yet in a fleeting second just before hitting a tree and killing herself she asks herself what she is doing and why is no one stopping her.
In the end, Eleanor never really leaves Hill House taking her own life,or was it Hill House that killed her? I suppose we’ll never know. Dr. Montague goes on to write his paper to a cool reception. Theodore goes back her bohemian lifestyle. Luke is off Paris and his aunt, Mrs. Anderson, seems to be relieved that everyone had left.
After listening to this story it’s easy to see how many elements of the story have influenced the horror genre and pop culture. What would any ghost story be without it’s spooky Gothic style house? I can see it’s influence in classic TV series like The Addams Family, The Munsters and even the cartoon series Scooby Doo.
It was Stephen King that introduced me to this story decades ago. He even wrote about this story extensively in book about the horror genre. The story was a huge influence on his writing. The comparisons between Hill House’s “Eleanor” and the title character “Carrie” in King’s debut novel of the same name. Both young women with over powering mother’s. The key giveaway is the stones raining down on both girls houses when the were young. Even Hill House plays a part in other King books as we have the large foreboding “Marsten House” in ‘Salems Lot” that is home the stories vampires. In “The Shining” we have the Overlook Hotel that plays a huge part of that story.
The story itself has spawned two movies and a Netflix series based on the book(which influenced me to finally listen/read the story finally. The first movie done in 1963 in England called “The Haunting” follows the original fairly well but does change some details and omit other stuff. Another version was made in 1999, also titled “The Haunting”, that I have not seen so I can’t comment much on it. The 2018 Netflix series uses Hill House but instead a family there stays there over the summer renovating to then flip the house. Many of the original characters names are used and as the original story goes Eleanor again plays the central character.
One key element of the story is that even though title includes a haunting much of the story is about what is left unseen. Doors are shut when no one is looking. Aside from a mysterious family picnicking and a quick glimpse of a dog,at least that's what it’s presumed to be, but nothing else is seen. Blood is seen in Theodore's room and writing of Eleanor’s name in the hallways are as about as much as we see physically. We hear hear banging on the door and barely audible voices. It scares you more by what is unseen.
Aside from the very beginning and end the story is told through Eleanor’s point of view. She is a bit shy and has been somewhat sheltered because she had been taking care of her demanding invalid mother until she dies. As is implied at times she harbors some guilt over her mother’s death. How much this plays into what goes on in the house is hard to tell. It at least feels as an influence on Eleanor's character. As the story unfolds it can be hard to tell how much the house is coming over her. Even in her last moments it seems as if she had no idea she was about to drive into a tree.
It is a classic story of horror that uses what is unseen as the most terrifying feature. You will also see how this story has become a blueprint for so many other supernatural stories. Isn’t it often what is unknown or unseen that is most terrifying to us? It is still a mystery what it is exactly about Hill House that has this aura of horror and terror. Whatever it may be we do know it walks alone.
Top reviews from other countries
Read this soon. . .now. . .just not after dark!
(BTW, the 1963 film is FABULOUS! But don't watch it alone.)
I’m obsessed, you don’t understand, that line IS SEARED into my brain, how am I supposed to be normal about this?? you write an opening sentence like that, and I would follow you to the ends of the earth!!!
The second I’d read that sentence I felt it in my bones that this novel would bag one of my rare 5-star ratings. It reads like poetry, it reads like magic, it reads like beauty on the outside, with danger lurking on the inside.
Long have I known about Shirley Jackson and the cult-like status she (rightly!) enjoys not only among horror fans, but in the English literary world in general. As such, the fact that this edition is blurbed by Stephen King – king of horror for obvious reasons – is a bit misleading, and unfair. Misleading because I expected the same kind of horror I’d expect from It or Pet Cemetary; unfair because Shirley Jackson did everything King does now, only decades earlier. If still alive, SHE should be blurbing his books.
And no, Shirley Jackson does not write horror like King, and if you hear “horror” and all you can think of is “clown” and “undead animals” and if you then go into a horror novel expecting exactly those things from it only to end up being disappointed and letting that disappointment influence your rating, then I’m sorry because it means the term has become so uniquely specific, it excludes almost everything else that makes horror horror. It also means you should read something that is NOT what you think horror is.
No, Shirley doesn’t do King’s horror; instead, she writes about a supposedly haunted house, a doctor curious enough to move there and investigate it, and two women and a man who are just bored, adventurous, and lonely enough to move in there with him. Taking course over just a week or two, the experiment of trying to find and explain the reason for the haunting of Hill House, the house and its characters are slowly coming undone, pulling readers into unknown depths of disbelief, deceit, and despair.
Mainly told from the first-person perspective of Eleanor Vance, who arrives at the house with a car stolen from her sister (it’s half hers!) and her mother freshly six feet under, we are thrust into a setting in which “the haunted house” becomes a character in its own terms, more substantial than any of the novel’s human characters and granted far more attention than any of them except Eleanor.
This short story packs such a punch, it’s almost unbelievable, given how little is neither confirmed nor denied and how much is left up to our imagination. And yet… and yet, Jackson knows exactly where to drop that little word, that sentence that is sure to let your thoughts run wild. It’s almost impossible to consume this story sitting still. Shuffling, walking, changing sitting positions, breathless laughter over a clever pun, it’ll all happen, guaranteed.
The switch between Eleanor arriving at the house, afraid and small but simultaneously hopeful and excited for her life to start turning into a ferocious, jealousy-ridden, giggling, angry woman happens both so quickly and slowly that when you blink, the entire character has changed within the span of a second, and you blink again, and you think it must have all been a figment of your imagination. Is this genuine horror? Is the house really alive or filled with ghostly entities? Or is this a psychological terror of the mind that has Eleanor’s (in Freudian terms) Id and Superego fighting a battle of wills? The juicy and uncomfortable truth: it is up to the reader to determine what is “really” going on, and if we believe that wherever these characters came from before they arrived at Hill House is indeed the real world.
This book is so clever, and the language is so smart and timeless, at times I could not believe Shirley wrote dialogues this sharply modern. I read what the characters were saying and what Eleanor was thinking, and there wasn’t a doubt in my mind that some of those lines are exact replicas of what some of us would say were we in the same situation. It’s cutting, and it’s absurd, and it’s EXACTLY RIGHT.
This novel will be re-read and re-read and re-read because it’s great, it’s smarter than me. Because I need to underline sentences and scribble in between the lines next time I read it because reading it is like staring at a rotten brain carefully preserved in formalin, because it’s disgustingly good and haunted and crooked.
🎬 If you enjoyed this you should watch that: The Haunting of Hill House (2018)
Reviewed in India on August 11, 2023