No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.
So begins Shirley Jackson's novel The Haunting of Hill House -- a perfect Halloween-y read.
In the majority of gothic novels, the setting plays a vital role in the development of the story. In fact, it's pretty much crucial. Find me a gothic novel without a towering castle, crumbling ruins, or a locked chamber. But in very few does the castle itself become a character. In Jackson's novel, Hill House takes on its own identity. The characters are practically swallowed by the mansion. You may run away from Dracula (or at least run into the sunshine), but you can't outrun what surrounds you.
And since horror writing works best by very gradually building up fear, I can't really pick and choose short passages to show you how scary this story is. There's no equivalent of "BOO!" in literature. So at the risk of being haunted by Shirley Jackson's ghost (or her publisher's), here's a rather long section that nonetheless illustrates how great a writer she is:
Sitting up in the two beds beside each other, Eleanor and Theodora reached out between and held hands tight; the room was brutally cold and thickly dark. From the room next door, the room which until that morning had been Theodora's, came the steady low sound of a voice babbling, too low for words to be understood, too steady for disbelief. Holding hands so hard that each of them could feel the other's bones, Eleanor and Theodora listened, and the low, steady sound went on and on, the voice lifting sometimes for an emphasis on a mumbled word, falling sometimes to a breath, going on and on. Then, without warning, there was a little laugh, the small gurgling laugh that broke through the babbling, and rose as it laughed, on up and up the scale, and then broke off suddenly in a little painful gasp, and the voice went on.
Theodora's grasp loosened, and tightened, and Eleanor, lulled for a minute by the sounds, started and looked across to where Theodora ought to be in the darkness, and then thought, screamingly, Why is it dark? Why is it dark? she rolled and clutched Theodora's hand with both of hers and tried to speak and could not, and held on, blindly, and frozen, trying to stand her mind on its feet, trying to reason again. We left the light on, she told herself, so why is it dark? Theodora, she tried to whisper, and her mouth could not move; Theodora, she tried to ask, why is it dark? and the voice went on, babbling, low and steady, a little liquid gloating sound. She thought she might be able to distinguish words if she lay perfectly still, and listened, and listened and heard the voice going on and on, never ceasing, and she hung desperately to Theodora's hand and felt an answering weight on her own hand.
Then the little gurgling laugh came again, and the rising mad sound of it drowned out the voice, and then suddenly absolute silence. Eleanor took a breath, wondering if she could speak now, and then she heard a little soft cry which broke her heart, a little infinitely sad cry, a little sweet moan of wild sadness. It is a child, she thought with disbelief, a child is crying somewhere, and then, upon that thought, came the wild shrieking voice she had never heard before and yet knew she had heard always in her nightmares. "Go away!" it screamed. "Go away, go away, don't hurt me," and, after, sobbing. "Please don't hurt me. Please let me go home," and then the little sad crying again.
I can't stand it, Eleanor thought concretely. This is monstrous, this is cruel, they have been hurting a child and I won't let anyone hurt a child, and the babbling went on, low and steady, on and on and on, the voice rising a little and falling a little, going on and on.
Now, Eleanor thought, perceiving that she was lying sideways on the bed in the black darkness, holding with both hands to Theodora's hand, holding so tight she could feel the fine bones of Theodora's fingers, now, I will not endure this. They think to scare me. Well, they have. I am scared, but more than that, I am a person, I am human, I am a walking reasoning humorous human being and I will take a lot from this lunatic filthy house but I will not go along with hurting a child, no, I will not; I will by God get my mouth to open right now and I will yell I will I will yell "STOP IT," she shouted, and the lights were on the way they had left them and Theodora was sitting up in bed, startled and disheveled.
"What?" Theodora was saying. "What, Nell? What?"
"God God," Eleanor said, flinging herself out of bed and across the room to stand shuddering in a corner, "God God--whose hand was I holding?"
Aaaaand scene. That whole section would work great on its own as a short story.
HAPPY HALLOWEEN READERS! All...all two of you. :-D