Fear and Insanity Gothic Literature: Why ‘the Haunting of Hill House’ and ‘the Little Stranger Are not Your Typical Scary Stories

Over the last thirty years, horror and suspense films have consistently ranked among the highest-grossing movies, both in ticket sales and production volume. Dr. Glenn Walters, in a 2004 article published in the Journal of Media Psychology, identifies three key factors that contribute to the allure of horror films: tension, relevance, and unrealism. This fascination extends beyond cinema, permeating modern and historical literature, particularly within the gothic genre. This genre intricately weaves elements of fiction, horror, death, and romance, crafting an atmosphere of eerie tension and ambiguity for readers. Two notable authors who exemplify this gothic nature in their works are Shirley Jackson and Sarah Waters. Both authors explore the themes of fear and insanity through their plots and characters, highlighting numerous parallels despite their distinct storylines.

Gothic Aesthetics in Literature

The settings in both The Haunting of Hill House and The Little Stranger are characterized by dark, foreboding colors, enhancing the gothic atmosphere for readers. In The Haunting of Hill House, the house's darkness transcends mere color; it envelops the entire aesthetic of the narrative. Each character's room is imbued with a specific color that reflects their psychological state. For instance, Eleanor's room, while perhaps not dark in hue, plays a damaging role in her psyche, leading to her ultimate submission to the house. In the climactic moments of the story, Eleanor awakens in her room, feeling an unsettling comfort in the house, stating, “I am disappearing inch by inch into this house; I am going apart a little bit at a time because all this noise is breaking me; why are the others frightened?” (Jackson 183). This conformity in color and aesthetic is crucial in shaping the gothic effect perceived by readers and ultimately contributes to Eleanor's tragic fate.

Similarly, The Little Stranger opens with Dr. Faraday's chilling description of Hundreds Hall, the story's haunted setting. His vivid recollections create an immediate understanding of the house's significance. He recalls, "I remember its lovely ageing details: the worn red brick, the cockled window glass, and the weathered sandstone edgings. They made it look blurred and slightly uncertain - like an ice, I thought, just beginning to melt in the sun…” This rich description serves to draw readers into the narrative, contrasting the beauty of his childhood memories with the current dilapidation of the house. As the story unfolds, the dark transformation of Hundreds Hall enhances the gothic elements, introducing supernatural occurrences that heighten the tension.

Fear and Insanity: Thematic Overlaps

The aesthetics of the houses in both stories are directly linked to the characters' experiences of fear. In The Little Stranger, Dr. Faraday recalls his childhood visits to Hundreds Hall, a stark contrast to its present decay. This shift evokes unease, mirroring the characters' psychological struggles as they confront the house's eerie presence. In The Haunting of Hill House, the house's unsettling aesthetic evokes terror in almost all characters. Dr. Montague intentionally selects the house for its haunted reputation, drawing in individuals who grapple with their own fears. However, Eleanor's relationship with the house is unique; she feels an increasing connection with its aesthetics, leading her to a psychological breakdown as her sanity unravels.

Both novels explore the theme of family, albeit in contrasting manners. In The Haunting of Hill House, Eleanor's strained relationship with her mother and sister sets the stage for her internal conflict. Despite her mother's recent death, Eleanor harbors resentment, leading to a sense of guilt and isolation. Upon arriving at Hill House, she forms connections with other guests, creating a surrogate family. However, this newfound bond ultimately contributes to her psychological decline, as the constraints of their shared confinement lead to a tragic climax. The only character who escapes this cycle is Hugh Crain, the original owner, whose death sparked the rumors surrounding the house.

In The Little Stranger, the family dynamic is explored through Dr. Faraday and Caroline. Unlike Eleanor, who seeks belonging within a new family, Dr. Faraday struggles to reconcile his childhood memories with the present reality of Hundreds Hall. Caroline, trapped by her family's expectations and her brother's deteriorating mental state, experiences a growing sense of entrapment. Her eventual suicide is a poignant commentary on the oppressive nature of familial ties, further emphasizing the theme of insanity.

Ambiguous Endings: A Reflection of Psychological Demise

Both The Haunting of Hill House and The Little Stranger conclude with shocking, ambiguous endings that challenge readers to interpret the characters' motivations. In The Haunting of Hill House, Eleanor's tragic fate underscores the intertwining of fear and insanity. Her psychological decline culminates in a moment of despair as she feels increasingly chosen by the house, leading to her final act of suicide. Similarly, in The Little Stranger, Caroline's death leaves readers questioning the motivations behind her leap from the balcony. The ambiguity surrounding her actions forces readers to grapple with the complexities of mental health and familial pressures.

Conclusion

In conclusion, The Haunting of Hill House and The Little Stranger exemplify the complexities of gothic literature, intertwining themes of fear and insanity through their richly constructed settings, character dynamics, and ambiguous conclusions. While the narratives may diverge in plot, they converge in their exploration of psychological turmoil and the impact of familial ties. Both stories resonate with contemporary audiences, reflecting enduring themes that continue to captivate readers in the ever-evolving landscape of horror and gothic fiction.

References:

• Jackson, Shirley. The Haunting of Hill House. Viking Press, 1959.
• Waters, Sarah. The Little Stranger. Virago Press, 2009.
• Walters, Glenn. "The Psychology of Horror: The Allure of Fear." Journal of Media Psychology, vol. 9, no. 1, 2004, pp. 23-30.