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nodogsonthemoon's review against another edition
dark
mysterious
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? No
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? It's complicated
4.0
Content Warnings
Graphic: Blood, Car accident, and Schizophrenia/Psychosis
Moderate: Suicide and Death of parent
heavenward's review against another edition
dark
emotional
reflective
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
5.0
One of my favorite books of all time. I loved it soo much I started collecting the various editions and as of January 1st I own 20 different copies of the book.
Content Warnings
Graphic: Suicide and Schizophrenia/Psychosis
Minor: Terminal illness, Toxic relationship, Religious bigotry, and Car accident
eep's review against another edition
dark
emotional
reflective
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
5.0
This book is an investigation into the mind of a character who’s thoughts and feelings would usually remain closed to the outside world. It’s a great depiction of the complexities of mental illness written during the 1950’s.
Content Warnings
Graphic: Emotional abuse, Mental illness, and Gaslighting
Moderate: Suicide and Suicide attempt
Minor: Car accident
botanicpanic's review against another edition
challenging
dark
mysterious
sad
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.0
Content Warnings
Graphic: Suicide and Car accident
Moderate: Toxic relationship, Death of parent, and Toxic friendship
Minor: Confinement and Gaslighting
livimw's review against another edition
dark
emotional
mysterious
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? Yes
- Flaws of characters a main focus? Yes
3.75
Content Warnings
Moderate: Emotional abuse, Mental illness, Car accident, and Abandonment
grimviolins's review against another edition
adventurous
dark
tense
medium-paced
- Plot- or character-driven? A mix
- Strong character development? It's complicated
- Loveable characters? No
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
3.5
Content Warnings
Graphic: Death, Mental illness, Suicide, Car accident, and Death of parent
Moderate: Blood
linesiunderline's review against another edition
dark
mysterious
tense
slow-paced
- Plot- or character-driven? Character
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.0
It’s all about the dread in this classic horror story. All the gothic atmosphere, a brilliantly unsettling opening, bumps in the night, paranormal happenings, and a small cast of characters who prove to be quite captivating and elusive. The way Jackson crafts Eleanor and her unraveling is masterful. I love that you’re constantly unsettled throughout and left at the end with more questions than answers. I’m glad I finally read this one as well as We Have Always Lived in the Castle. I’d be hard pressed to choose a favourite between the two. The audiobooks narrated by Bernadette Dunne we’re very entertaining listening experiences.
Content Warnings
Moderate: Chronic illness, Mental illness, Panic attacks/disorders, Suicide, Toxic relationship, Car accident, Suicide attempt, Death of parent, Schizophrenia/Psychosis , Fire/Fire injury, and Gaslighting
okaynextcrisis's review against another edition
dark
mysterious
sad
slow-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? Yes
4.5
Funnier, gayer, sadder than its many adaptations
Content Warnings
Minor: Car accident, Death of parent, and Alcohol
caseythereader's review against another edition
adventurous
dark
funny
mysterious
sad
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? No
- Loveable characters? Yes
- Diverse cast of characters? No
- Flaws of characters a main focus? No
3.5
Content Warnings
Graphic: Death, Suicide, Blood, Car accident, Death of parent, and Alcohol
stubbornjerk's review against another edition
dark
emotional
mysterious
reflective
tense
medium-paced
- Plot- or character-driven? Character
- Strong character development? It's complicated
- Loveable characters? It's complicated
- Diverse cast of characters? N/A
- Flaws of characters a main focus? Yes
4.0
I watched every bit of media I could find about this book that wasn't the Liam Neeson adaptation (and I'd like for it to remain that way). I've watched video essays about the differences in adaptations and about haunted houses, read the review at the beginning of my copy full to the brim with spoilers and someone else's thoughts on the matter.
But I still can't wrap my head around it.
I suppose that was the intention, wasn't it.
In all regards, The Haunting of Hill House was a character study– as I'm sure most things are– but this one is specifically is about Eleanor Vance and how her fear of loneliness drove her to toxic dependency on an amoral concept of a house that wants nothing but to possess her. Literally and figuratively.
Despite this, The Haunting of Hill House is a poem. It contains poetry and songs, sure– The Grattan Murders, the verses from Twelfth Night that Eleanor sings again and again as a reassurance, a sort of mantra or prayer– but its events rely on these repetitions as well. Its prose is deceptively simple and builds up and up until the climax of Eleanor's stay in the house. It states that a house, Hill House– a structure made by Hugh Crain about a century prior to the book's events– has intent and emotion.
Jackson telling me that, through the bookended narrations opening and ending this novel, doesn't convince me of its reality anymore than the characters' insistence of it. How likely is a house built by someone else to be malicious towards people who it was not made for? How much of these views belong to the characters themselves or were impressed upon them to soothe their skepticisms? Dr. Montague said it best after their first event:
But I still can't wrap my head around it.
I suppose that was the intention, wasn't it.
In all regards, The Haunting of Hill House was a character study– as I'm sure most things are– but this one is specifically is about Eleanor Vance and how her fear of loneliness drove her to toxic dependency on an amoral concept of a house that wants nothing but to possess her. Literally and figuratively.
Despite this, The Haunting of Hill House is a poem. It contains poetry and songs, sure– The Grattan Murders, the verses from Twelfth Night that Eleanor sings again and again as a reassurance, a sort of mantra or prayer– but its events rely on these repetitions as well. Its prose is deceptively simple and builds up and up until the climax of Eleanor's stay in the house. It states that a house, Hill House– a structure made by Hugh Crain about a century prior to the book's events– has intent and emotion.
Jackson telling me that, through the bookended narrations opening and ending this novel, doesn't convince me of its reality anymore than the characters' insistence of it. How likely is a house built by someone else to be malicious towards people who it was not made for? How much of these views belong to the characters themselves or were impressed upon them to soothe their skepticisms? Dr. Montague said it best after their first event:
“No, the menace of the supernatural is that it attacks where modern minds are weakest, where we have abandoned our protective armor of superstition and have no substitute defense. ”
Because they do believe that the house is doing these unexplainable things, these experiences that only four of them can experience. And collectively, they believe that because the house is doing it, the house must be malicious. But is it? “No ghost in all the long histories of ghosts has ever hurt anyone physically. The only damage done is by the victim to himself," the doctor said.
But, suppose we take Jackson's statements bookending the novel another way. “No live organism can continue for long to exist sanely under conditions of absolute reality,” it says, and Hill House is, decidedly, not sane, inferring that the house itself is alive.
That doesn't denote malice either. And throughout the book, you see it reflected on Eleanor because, again, this book is about her. In fleshing out Eleanor's social anxiety and deep insecurity and inferiority complex and fear of alienation, and the ambiguity of that being the house's influence on her versus how she generally just is, you can see that nothing Eleanor thinks, she thinks out of malice. And nothing she does is either. It's out of an urgent need to belong, to grieve, to become. She dreams often in order to escape her own absolute reality, of being solitary but not lonely (nestled in an orchard of oleander), of having her creativity (her cup of stars), of having protection (her stone lions), and of being loved and taken care of (her wanting to come home with Theodora).
The night after she surrenders to the house, the night before she comes home, she enters the library she says smelled of death and decay. Every time the door to it opens, she calls out to her mother, who she found dead after passing in the night, so she would know, wouldn't she? And the house(?) beckons her. She runs up and up and up to the top of the tower, running away (she was good at that, Theo had said) in a fit of warmth and elation, embodying the hauntings the four of them had been experiencing, feeling like the mornings after a haunting, and the narration takes up like the reverse of a bad dream, as Luke says.
Like the narration is telling it back over and over to ensure us that it did happen, that it was happening. Only, all of them were witnessing it, experiencing it too, so it must be real.
The Haunting of Hill House is a study on Eleanor Vance's view of her own self. Someone unfit to house children, someone whose valuables are quarreled over by sisters, someone nestled apart from everyone else. Altogether unwelcoming upon first glance– abandoned and only barely hospitable– but so very, desperately, lonely to belong to someone.
Content Warnings
Graphic: Death, Suicide, Violence, and Car accident
Moderate: Emotional abuse