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Authors: Shirley Jackson

The Haunting of Hill House

Table of Contents
 
 
PENGUIN
CLASSICS
THE HAUNTING OF HILL HOUSE
 
 
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 1949. Her novels—which include
The Sundial, The Bird’s Nest, Hangsaman, The Road through the Wall,
and
We Have Always Lived in the Castle
(Penguin), in addition to
The Haunting of Hill House
(Penguin)—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
(Penguin) is a collection of stories, lectures, and part of the novel she was working on when she died in 1965.
 
LAURA MILLER is a journalist and critic living in New York. She is a cofounder of
Salon.com
, where she is currently a staff writer, and a regular contributor to the
New York Times Book Review
. Her work has appeared in the
New Yorker
,
Los Angeles Times
,
Time
magazine, and other publications. She is the editor of
The
Salon.com
Reader’s Guide to Contemporary Authors
(Penguin, 2000).
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Penguin Books Ltd, Registered Offices: 80 Strand, London WC2R 0RL, England
 
First published in the United States of America by The Viking Press 1959
Published in Penguin Books 1984
This edition with an introduction by Laura Miller published 2006
 
 
Copyright © Shirley Jackson, 1959
Copyright renewed Laurence Hyman, Barry Hyman, Sarah Webster, and Joanne Schnurer, 1987
Introduction copright © Laura Miller, 2006
All rights reserved
 
Publisher’s Note:
This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental.
 
eISBN : 978-1-101-53064-1
CIP data available
 
 
 
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For Leonard Brown
Introduction
Like all good ghost stories, Shirley Jackson’s
The Haunting of Hill House
sets a trap for its protagonist. In the classic version of the form, as established by the British writer M. R. James, the hero is a gentleman of mildly investigatory bent: a scholar, a collector, or an antiquarian. What lures him into the vicinity of the ghost is often intellectual curiosity and, occasionally, greed; what attracts the ghost’s wrath or malevolence is the hero’s tendency to meddle, to open the sealed room, to root around for treasure, to pocket a souvenir. The hero (“victim” might be a better word) typically hasn’t got much personality beyond his intrusiveness. He’s just someone inclined to put himself in the wrong place at the wrong time, and to rue the consequences.
What makes
The Haunting of Hill House
a great ghost story is that Jackson also sets a trap for her readers. Eleanor Vance, the young woman around whom the uncanny events of the novel constellate, is no mere snoop. She is drawn into this adventure, the narrator implies, by the house itself, and the terrible things that happen there emerge from and express her inner life. Eleanor is a genuine literary
character
rather than a device of the narrative. She is a complicated and distinctive individual, peculiar even, although not so peculiar that she fails to engage the reader’s sympathy. We experience the novel from within Eleanor’s consciousness, and however unreliable we know her to be, we are wedded to her. When the house infiltrates her psyche, the reader, so thoroughly bound up in her, is also invaded. When the ground pitches and ripples beneath her feet, we are unsteadied, too. When Eleanor is snared, so are we. Most ghost stories offer a cozy armchair chill or two, but
The Haunting of Hill House
exudes a lingering, clammy dread.
The true antecedents of
The Haunting of Hill House
are not the traditional English ghost stories of M. R. James or Sheridan LeFanu, or even the gothic fiction of Edgar Allan Poe, but the ghostly tales of Henry James.
The Turn of the Screw
, another short novel about a lonely, imaginative young woman in a big isolated house, is a probable influence, and so, perhaps, is “The Jolly Corner,” the story of a middle-aged aesthete who roams the empty rooms of his childhood home, haunted by the specter of the man he would have been if he had lived his life differently. The ghost story is a small genre to begin with, but its subgenre, the psychological ghost story, the category to which
The Haunting of Hill House
and Henry James’s tales belong, is tinier still. The literary effect we call horror turns on the dissolution of boundaries, between the living and the dead, of course, but also, at the crudest level, between the outside of the body and everything that ought to stay
inside
. In the psychological ghost story, the dissolving boundary is the one between the mind and the exterior world. During the third major manifestation at Hill House, as Eleanor’s resistance begins to buckle, she thinks, “how can these others hear the noise when it is coming from inside my head?”
The psychological ghost story is as much about the puzzle of identity as it is about madness. The governess in
The Turn of the Screw
yearns to be a heroine, to do something brave and noble, and to attract the attention of the dashing employer whose sole directive is that she never, ever bother him. She wants to be someone else. Without the mission of protecting her two young charges from mortal danger, she’s merely a young woman squandering her youth in the middle of nowhere, taking care of children who will only grow up to leave her behind. Is the house she presides over haunted by the ghost of brutish Peter Quint and his lover, her predecessor, the sexually degraded Miss Jessel? Or is it haunted by some half-formed, half-desired alternate version of the nameless governess herself? Eleanor may be the target of the haunting of Hill House, or
she
may be the one doing the haunting. After all, Dr. Montague invited her to participate in the project because of a poltergeist incident during her childhood.
In the 1930s, the critic Edmund Wilson advanced the theory that the ghosts in
The Turn of the Screw
did not exist at all, that they were manifestations of the governess’s neuroses, arising from sexual frustration. The manifestations in
The Haunting of Hill House
are more palpable; as Dr. Montague points out, Eleanor is not the only one who hears and sees them. But they could just possibly be caused by her poltergeist—a primitive, spiteful, violent, unthinking force—rather than by the house itself. It should be said that both James and Jackson gave every indication that they considered the ghosts in their short novels to be real within the fictional world that their books describe. Jackson, who had a lifelong interest in the occult, who dabbled in spells and liked to tell reporters that she was a witch, professed to believe in ghosts. But both of these writers were too preoccupied with the notion that people are attended by multiple, imaginary versions of themselves to be unaware of the nonsupernatural implications of their ghost stories.
 
Shirley Jackson often wrote about solitary, mousy young women. In addition to Eleanor Vance, who spends eleven years caring for her querulous invalid mother, Jackson’s protagonists include a wallflower college freshman who invents an imaginary female friend (in the 1951 novel,
Hangsaman
) and a young woman who suffers from multiple personality disorder and blames herself for her mother’s death (in the 1954 novel
The Bird’s Nest
). Jackson’s attraction to stories that pair fragile, lonely girls with more daring alter egos continued after
The Haunting of Hill House
. In her last novel and masterpiece,
We Have Always Lived in the Castle
(1962), two reclusive and unstable sisters hole up in the family mansion after the rest of their relatives are wiped out by a mysterious incident involving a poisoned sugar bowl.

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