The Haunting of Hill House (part 1)

 Laura Miller, in her recent introduction to a new edition of the book, describes it as "setting a trap" -- both for its main character, Eleanor Vance, and for its reader. The trap is an improved version of the old "Poe" model: get your reader into the head of the protagonist, and once they're there, you can lure them into the deepest and darkest places, and they'll have nowhere else to go!

But it's also more than just a trap. Eleanor is a a curious sort of person -- somewhat reticent, shy, and inwardly turned -- indeed, she could very well fit the profile of many members of today's Gen-X and Gen-Y generations. She's also been victimized by a bossy sister, and saddled with the care of their aging, ailing mother.  In part as a result, she's had very little social contact outside the family; when she receives the invitation from Dr. Montague, the most significant thing about it is that it's an actual invitation -- and now, she's "expected" somewhere. Whether Hill House is haunted or cursed or just old and creepy matters not; what matters is that it's a house, a house where she's wanted, expected, and in which she belongs.

Which of course makes her the perfect central character for a horror novel.

According to an account by Paula Guran, Jackson had decided to write "a ghost story" after reading about a group of nineteenth-century "psychic researchers" who studied a house and somberly reported their supposedly scientific findings to the Society for Psychic Research. What she discovered in their "dry reports was not the story of a haunted house, it was the story of several earnest, I believe misguided, certainly determined people, with their differing motivations and background." Excited by the prospect of creating her own haunted house and the characters to explore it, she launched into research. She later claimed to have found a picture of a California house she believed was suitably haunted-looking in a magazine. She asked her mother, who lived in California, to help find information about the dwelling. According to Jackson, her mother identified the house as one the author's own great-great-grandfather, an architect who had designed some of San Francisco's oldest buildings, had built. Jackson also read volume upon volume of traditional ghost stories while preparing to write her own, "No one can get into a novel about a haunted house without hitting the subject of reality head-on; either I have to believe in ghosts, which I do, or I have to write another kind of novel altogether."

So, do you believe in ghosts? Does one need to, in order be enthralled by a tale that includes them? And as to houses, perhaps you know a haunted-looking one in your neighborhood. In your comments, let your fellow students know what views you had before -- and after -- entering Hill House; if you like, you can make use of these discussion questions, which are keyed to the first half of the novel.