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A review by callum_mclaughlin
The Haunting of Hill House by Shirley Jackson
5.0
With The Haunting of Hill House, Shirley Jackson has penned a masterful tale of mounting tension, and a supreme example of the 'less is more' approach to horror. There are no cheap jump scares or gory scenes in sight, and yet it creeps beneath your skin and makes you question what is real, and which characters can be trusted. Not only are there some outright creepy moments in which she builds a tangible sense of fear, but the whole book is suffused with a somewhat oppressive and ethereal atmosphere that suits the tone of the story perfectly.
As with We Have Always Lived in the Castle, it's Jackson's restraint, and deft handling of the plot and themes, that heighten its impact. The balance of how much she gives us, and how much she leaves to our imagination, is just right. This, in itself, plays well into the strong notion of storytelling, and fiction fuelling our sense of reality, that I felt (and loved) throughout the novel. The characters, Eleanor in particular, have a habit of telling stories and spinning lies with ease. It brings up the idea that the haunting of Hill House may in fact be of their own doing. How much of the strange phenomena they experience is real, and how much is caused by the coming together of their vivid imaginations and the reputation and rumours that already ensnare the house? This argument is further backed up by the later arrival of further guests, who, uninitiated in the influence of the house's presence, fail to hear the same ghostly goings on that the others do. Is it all in their heads, after all? Jackson is too clever to hand us all the answers, and therein lies the power of the book.
As such, I think it could be read, in many ways, as being about the power and influence of storytelling - and fear. Is it a genuine haunting, or are their minds being moulded by their mix of desire and hesitance to experience the supernatural, and the preconceived ideas they have of the house, caused by the existing stories that surround it?
There are other really interesting notions at play as well. I felt there was definite commentary on the idea of sisterhood, explored through the dynamic between Eleanor and her real sister; the young girls who previously grew up at Hill House; and the blossoming bond between Eleanor and Theodora. In all cases, the relationships simmer with jealousy. This idea of a sinister edge lurking beneath the seemingly pleasant surface is something that Jackson seems to do well in much of her work.
I also felt there was a theme of suppression running throughout the narrative. There are hints of sexual tension between Eleanor and Theodora, introducing the idea that one or both of them could be supressing their sexuality. But the house itself seems to draw out the supressed events of Eleanor's past, and the feelings of guilt and resentment she feels towards her deceased mother. This gradual unravelling of her emotions contributes to what appears to be her ever waning grip on reality. This, in turn, strengthens the unreliable nature of her narration, throwing up yet more ambiguity.
There is even a possible argument that Eleanor has been the one causing the trouble all along. In the book's climax, she runs through the house, unseen, pounding on people's doors, just as the 'spirits' had previously done. Has she become possessed? Has she been unhinged by the fear the house elicits within her? Is her own imagination driving her mad, fuelled by the emergence of the guilt she has supressed over her mother's death? Has she perhaps been a ghost all along? There is solid ground to argue in favour of all these possibilities, and more, I’m sure.
There is also definitely something to be said for Eleanor's yearning to belong. She frequently craves the acceptance of the others, and fears that she is being left out or laughed at. This self-made 'family' is her first taste of belonging, and her determination to hold onto it reaches its peak in the book's climax. Again, is she being taken over by some kind of power within the house; is she driving herself mad through fear; or is she merely a fragile young woman, finally finding a place in which she feels she belongs, and fearful of having it taken away?
This was not only a gripping and immersive psychological horror – in the true sense of the term – but a fascinating look at the inspiration behind so many elements that have become mainstays of the haunted house narrative. Though it's clear to see where others have drawn from, I'd argue that Jackson's original take is far more nuanced, understated and intelligent than those that have come since – and it’s all the better for it.
As with We Have Always Lived in the Castle, it's Jackson's restraint, and deft handling of the plot and themes, that heighten its impact. The balance of how much she gives us, and how much she leaves to our imagination, is just right. This, in itself, plays well into the strong notion of storytelling, and fiction fuelling our sense of reality, that I felt (and loved) throughout the novel. The characters, Eleanor in particular, have a habit of telling stories and spinning lies with ease. It brings up the idea that the haunting of Hill House may in fact be of their own doing. How much of the strange phenomena they experience is real, and how much is caused by the coming together of their vivid imaginations and the reputation and rumours that already ensnare the house?
As such, I think it could be read, in many ways, as being about the power and influence of storytelling - and fear. Is it a genuine haunting, or are their minds being moulded by their mix of desire and hesitance to experience the supernatural, and the preconceived ideas they have of the house, caused by the existing stories that surround it?
There are other really interesting notions at play as well. I felt there was definite commentary on the idea of sisterhood, explored through the dynamic between Eleanor and her real sister; the young girls who previously grew up at Hill House; and the blossoming bond between Eleanor and Theodora. In all cases, the relationships simmer with jealousy. This idea of a sinister edge lurking beneath the seemingly pleasant surface is something that Jackson seems to do well in much of her work.
I also felt there was a theme of suppression running throughout the narrative. There are hints of sexual tension between Eleanor and Theodora, introducing the idea that one or both of them could be supressing their sexuality. But the house itself seems to draw out the supressed events of Eleanor's past, and the feelings of guilt and resentment she feels towards her deceased mother. This gradual unravelling of her emotions contributes to what appears to be her ever waning grip on reality. This, in turn, strengthens the unreliable nature of her narration, throwing up yet more ambiguity.
There is also definitely something to be said for Eleanor's yearning to belong. She frequently craves the acceptance of the others, and fears that she is being left out or laughed at. This self-made 'family' is her first taste of belonging, and her determination to hold onto it reaches its peak in the book's climax.
This was not only a gripping and immersive psychological horror – in the true sense of the term – but a fascinating look at the inspiration behind so many elements that have become mainstays of the haunted house narrative. Though it's clear to see where others have drawn from, I'd argue that Jackson's original take is far more nuanced, understated and intelligent than those that have come since – and it’s all the better for it.