Horror books
Ten Haunted House Stories
THE SEANCE BY JOHN HARWOOD
OCTOBER 23, 2012
OCTOBER 23, 2012
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| ‘House of Leaves is a kid. I’m that kid’s dad’ ... Mark Z Danielewski. Photograph: Ulf Andersen |
'House of Leaves changed my life': the cult novel at 20
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House of Leaves
HOUSE OF LEAVES
By Mark Z. Danielewski.
709 pp. New York:
Pantheon Books.
There is a dream that I, like many people, have: I am walking in my own house and suddenly find a room, attic, cellar or whole suite of rooms I never knew was there. It is clearly mine, but also amazingly, bewilderingly, other -- a new space. Each time I awake full of joy at this discovery, tinged with disappointment at the unexpanded circumstance of what I must call the actual house.
A set of Russian dolls enclosed within an Escher-style literal manipulation
Review by Cat Fitzpatrick
Johnny Truant, wild and troubled sometime employee in a LA tattoo parlour, finds a notebook kept by Zampano, a reclusive old man found dead in a cluttered apartment. Herein is the heavily annotated story of the Navidson Report.
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These are the people that looked for the ghost, that lived in the house that Jackson built
Shirley Jackson is an author with quite a reputation. Favourite of writers such as Stephen King, Harlan Ellison and Niel Gaimen, and author of several landmark stories in the history of horror and weird psychological fiction, despite having passed away sixty years ago her legacy just seems to keep on growing. Indeed, it’s nice to think a lady who apparently struggled with mental illness and lived a rather haunted life herself finally got the recognition she deserved.
It is very seldom that mere ordinary people like John and myself secure ancestral halls for the summer.
A colonial mansion, a hereditary estate, I would say a haunted house, and reach the height of romantic felicity—but that would be asking too much of fate!
Still I will proudly declare that there is something queer about it.
Else, why should it be let so cheaply? And why have stood so long untenanted?
John laughs at me, of course, but one expects that in marriage.
Son cœur est un luth suspendu; Sitôt qu’on le touche il résonne. |
De Béranger.
DURING the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was—but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil. There was an iciness, a sinking, a sickening of the heart—an unredeemed dreariness of thought which no goading of the imagination could torture into aught of the sublime. What was it—I paused to think—what was it that so unnerved me in the contemplation of the House of Usher? It was a mystery all insoluble; nor could I grapple with the shadowy fancies that crowded upon me as I pondered. I was forced to fall back upon the unsatisfactory conclusion, that while, beyond doubt, there are combinations of very simple natural objects which have the power of thus affecting us, still the analysis of this power lies among considerations beyond our depth. It was possible, I reflected, that a mere different arrangement of the particulars of the scene, of the details of the picture, would be sufficient to modify, or perhaps to annihilate its capacity for sorrowful impression; and, acting upon this idea, I reined my horse to the precipitous brink of a black and lurid tarn that lay in unruffled lustre by the dwelling, and gazed down—but with a shudder even more thrilling than before—upon the remodelled and inverted images of the gray sedge, and the ghastly tree-stems, and the vacant and eye-like windows.
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Wayne C. Rogers
January 31, 2013
After thirty-six years, I’m finally reviewing Stephen King’s The Shining. If the readers are confused by the price of the book, I purchased one of the hardcover editions published in the nineties with an exceptional dust jacket by Peter Kruzan, Craig De Camp, and Thomas Holdorf. Doubleday did the six King novels that were published by them with new jackets designed by these three men, and I love the way the covers look. I have Salem’s Lot, The Shining, and The Stand with matching jackets. The novel, however, is available in paperback for a lot less.
Carrie O'Grady on a ghost story that lacks both a story and a proper ghost
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Possibly our favourite sub-genre of the Gothic, haunted house stories make for spooky fun reading on stormy winter nights. For added thrills, we recommend enjoying the list below when you’re home alone or housesitting.
The home is supposed to be a safe space, a refuge from the evils of the world, so perhaps its not so shocking that when Horace Walpole penned the first Gothic novel, The House of Otranto (1764), he used his own estate for inspiration. After all, what could be more terrifying than finding unspeakable horror lurking in the one place it ought not exist?
Since Walpole’s days, there’s been a proliferation of haunted house stories, and by now, we all know roughly what to expect: a family or group of friends take up residence in old house where an awful thing, or series of awful things, has happened. After a brief period of ‘isn’t this house lovely! What could possibly go wrong?’ Night descends and the terror begins.
At the heart of these stories are family secrets, a cursed house pointing to something rotten and hidden within the family. Incest and illegitimacy are common themes. A haunted house is also a site of domestic terror and, unsurprisingly, the hero-victims of the genre are often women. In the 19th century, when the Gothic was at its zenith, women ruled the domestic sphere but they were also imprisoned within it and the haunted house became a vehicle for externalising their isolation and distress. Male characters are often unaware of the horror visited upon female protagonists and much gas lighting ensues. It is up to the women to restore order. Or not.
While in early haunted house stories crumbling estates are often tenanted by ghosts and serve as externalisations of the protagonist’s psychological landscape, more recently (as readers have become less credulous towards ghostly apparitions and psychoanalysis has fallen out of vogue) it’s the houses themselves that are ‘sick’ and the narratives focus on broader social themes—the house intent on keeping outsiders out and insiders in. In some ways these later stories are more frightening still, with the house itself becoming not only an insidious and unpredictable monster, but also occasionally a narrator.
An ancient prophecy predicts that ‘the castle and lordship of Otranto should pass from the present family, whenever the real owner should be grown too large to inhabit it’. On his wedding day the heir of Otranto is killed, his body found crushed beneath a giant helmet. His father, Manfred, Prince of Otranto, fears the prophecy is coming true and contrives to divorce his current wife and marry his son’s betrothed, Isabella, to produce a new heir. However, Manfred carries a family secret and as his desperation to capture Isabella grows, supernatural forces awake within the castle.
While The Castle of Otranto is unlikely to hold the same terror for 21st century readers as it did back in the day, it remains a must-read for Gothic enthusiasts.
One of Poe’s most famous stories, ‘The Fall of the House of Usher’ is narrated by an unnamed man who arrives at the House of Usher to nurse his friend and master of the house, Roderick Usher. The house appears to be falling apart and both Usher and his twin sister, Madeline, are infected with a strange illness. When Madeline dies, the narrator helps Usher entomb her in the family crypt. A storm rises and strange happenings within the house begin to drive the occupants mad.
‘The Fall of the House of Usher’ remains a chilling tale almost two hundred years on. The narrator’s descent from reason to madness is as unsettling as the horror that occurs within the house.
A woman suffering what we today understand as post-natal depression is taken to the counrty by her doctor husband and forced to rest in what was once a nursery decorated with peculiar yellow wallpaper. Within the pattern the narrator spies another woman creeping, creeping around the room.
‘The Yellow Wallpaper’ is just 6000 words long, but will make you shudder to think of it years after reading.
A governess takes a position looking after two orphaned children on a remote country estate. Soon after arriving she begins to sight a strange man and a woman moving about the house and grounds. She becomes convinced that the couple are in fact the children’s former governess, Miss Jessel, and her lover and fellow employee, Peter Quint—now both dead. The governess becomes increasingly alarmed when she learns that these ghostly apparitions are visiting the children.
The Turn of the Screw remains a terrifying read today. James’ apparitions are truly creepy and made more so by his use of an unreliable narrator. A word of warning: stay well away from the windows while reading this one. #justsaying
One of the most famous (and frightening) haunted house stories ever written, The Haunting of Hill House establishes many of the tropes of the modern haunted house story. Paranormal investigator Dr. John Montague is determined to find proof of the supernatural. He rents a rumoured ‘haunted house’ where several violent deaths have occurred and invites a number of people with links to the supernatural to join him in the house for the summer. Only three accept his invitation: Luke Sanderson, heir to the estate; Theodora a bohemian artist; and Eleanor Vance, a painfully shy woman who encountered a poltergeist as a child and spent her youth nursing her invalid mother.
All four inhabitants of the house experience strange and frightening phenomena, but the supernatural occurrences appear to target Eleanor. As she begins to lose her grip on reality it becomes increasingly unclear how much of the terror that unfolds exists only in Eleanor’s mind and whether it is the house or Eleanor herself conjuring the strange occurrences. Either way, the more unnerving things get, the more determined Eleanor is to remain in the house.
Shirley Jackson has an uncanny knack for the unnerving and The Haunting of Hill House may be her most disturbing work. If you’re in the mood for genuine chills, this should be top of your TBR pile.
Technically The Shining is the story of a haunted hotel rather than a haunted house, but that just broadens the scope for terror. Aspiring writer and recovering alcoholic, Jack Torrance, takes a job as caretaker at the Overlook Hotel during the off-season, bringing his wife and young son along for the adventure. While Jack hopes the winter will give him time to sober up and write his book, the Overlook has other plans. His son, Danny, has ‘the shining’—a gift that enables him to see the horror of the hotel’s past—which he must use to stop his father from killing himself and his mother.
Fun fact: the story was partly inspired by King’s own recovery from alcoholism and his stay at The Stanley Hotel.
In 2013 King followed up The Shining with a sequel, Doctor Sleep.
It’s a big call to make, but House of Leaves might just be the scariest book of all time ever. The primary story follows the classic haunted house plot. A filmmaker moves his family into an old house only to discover a sometimes-there-sometimes-not doorway in the living room that leads to a dark maze beneath the house. Against all common sense, the filmmaker decides to investigate and document the process. Unspeakable terror ensues.
Danielewski fragments his story through frame narratives, footnotes, photographs, interviews and appendices. The words on the page shake loose, distort and rearrange themselves until the reader, like the filmmaker finds themselves drawn into the labyrinth, spiralling round and round, closer and closer to the unnamed, unknown horror at its centre.
Winner of the 2008 Aurealis Award for Best Horror Novel, The Seance is the second book in what might loosely be called a trilogy, preceded by The Ghost Writer (2004) and rounded out with The Asylum (2013). The three novels aren’t explicitly linked, but they are connected through Harwood’s nuanced understanding of Victorian Gothic and all pay homage to the archetypal stories and voices of the genre.
In The Seance protagonist Constance Langton comes into possession of Wraxford Hall, a crumbling estate where strange and inexplicable events are rumoured to have occurred. In a bid to help her mother recover from the death of Constance’s sister, Constance becomes ensnared in the world of necromancy and soon finds herself alone with Wraxford Hall and all its mysteries looming ominously over her.
Harwood is a master of suspense, mystery and terror and The Seance makes for an excellent companion on a dark and stormy night.
Set in post-war 1940s England, The Little Stranger narrates the financial ruin of the noble Ayres family and general decline of the landed gentry that occurred in post war Britain. Country doctor, Faraday, befriends the Ayres family after attending a sick maid at their estate, Hundreds Hall. However, as he draws closer to the family and comes to understand the extent of their financial distress and struggle to keep the house, unsettling events begin to occur on the estate, threatening the lives of its inhabitants.
Ideal reading for those who like their terror infused with social upheaval.
Part coming-of-age narrative, part haunted house story, White is for Witching is sinister and surreal. After the death of her mother, eighteen-year-old Miri develops pica—a rare mental illness compelling her to eat chalk, stones and other non-foods. Meanwhile, the ancestral home her father runs as a bed an breakfast stirs to life, scaring off staff and guests, and a mysterious figure, the Goodlady, walks invisible through the rooms.
White is for Witching earns bonus points for having parts of the story narrated by the house itself.
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