Trauma, Obsession, and the Importance of a Haven

The lack of a safe space in House of Leaves is a motif for many characters, namely Johnny and Navidson. Starting with Johnny in the Introduction, he says that all he wants is “a closed, inviolate, and most of all immutable space” (p.xix). The reader slowly learns (though is never sure what is true) about Johnny’s traumatic past with his mother, father, and foster father. He bears physical scars from it; he has been repressing what happened to him his whole life. Putting all of his energy into transcribing Zampano’s notes gives Johnny a purpose; his obsession of completing the project consumes him but also garners his ultimate hope that whatever he believes is following will stop so he can be at peace. Johnny never sees the house on Ash Tree Lane, but it haunts him. For example, shortly after starting his transcription, he starts speaking in metaphors that relate back to the house: “Inside me, a long dark hallway…continued to grow” (p.49). His apartment is not a haven, as he repeatedly points out in his rapidly degrading mental state; he more feels stuck there than safe. He struggles to find his place.

When the reader is introduced to Will Navidson, all he wants is to settle down after his tumultuous career. “Personally, I just want to create a cozy little outpost for me and my family. A place to drink lemonade on the porch and watch the sun set” (p.9), he says. Navidson is haunted by a subject (Delial), a starving child that he photographed (and won the Pulitzer Prize) but did not help. He is consumed with guilt and trying to find a way to live with it. All he wants is to document his return to normalcy; he gets anything but that. Although it starts out the way he hoped, peace does not last long with The Navidson Record’s title character (and his family). Once the house’s mystery is presented, Navy tries to solve it thinking it will become the haven he’d hoped for (and needs) in the end. However, he also battles himself throughout the book. He constantly defends his obsession with the house (to Karen mostly) by saying “…going after something like this is who I am” (p.389). He can’t deny that he is intrigued by the dangerous closet hallway and the anomaly consumes him. In the midst of trying to solve the mystery, he attempts to seek solace from Karen (who is cold and not a source of peace) and Tom (who Navidson looks up to, but any solace that was found in him is dissipated when he is swallowed up by the house).

The lack of a haven leads these characters to put their energies into solving the mystery of the house, which leads to insanity and despair, but ultimately to resolution. Both Johnny and Navidson seem calm and contented with their lives at the book’s conclusion after the house has imploded, therefore not plaguing their minds any longer. Both have found their safe space.

House of Leaves and Poe (dominykasbytautas and shanemichaelgordon)

Parker, Bridgette. “Haunted Goth-Pop.” Inception. 2005. Web. 20 Oct. 2015. <http://www.inception-magazine.com/winter03/reviews_haunted.htm&gt;.

This article mostly talks about Poe’s album Haunted and how it relates to her family’s past and as well as her brother’s book, House of Leaves. It informs that after their father passed away, they found a box of cassette tapes full of recordings of their father speaking. Poe uses samples of these tapes throughout her album and directly references her dad’s death in the song “Exploration B”. The article also continues by mentioning some direct correlations between Haunted and House of Leaves, such as using a song titled “5 and a ½ Minute Hallway” and many other similarities.

Peraino, Judith Ann. “Flights of Fancy.” Listening to the Sirens : Musical Technologies of Queer Identity From Homer to Hedwig. Berkeley: U of California, 2006.

Judith Peraino identifies and analyzes how music has been throughout history in shaping society and traditional roles, as they relate to gender and sexuality. At the same time, she makes specific references to different types and forms of music, breaking down the structure to show how harmonies, chordal structures and instrumentation work in bringing together the ideas of the artist. The referenced section, Flights of Fancy, focuses on power and its use within music, whether from hearty, bravado vocalizations to underutilized approaches to traditional instruments (such as the piano and violin). By bringing in references to modern day rock songs (like Bohemian Rhapsody) and comparing them to older-time operas, Periano makes it easy for the reader to see the similarities between the works and their respective themes.

Poe. Haunted. Poe. Rec. 31 Oct. 2000. Poe, 2000. CD.

The album, Haunted, was recorded and produced by Poe (Anne Danielewski) and released on October 31, 2000. The album is a tribute to her father and connected to her brother Mark Danielewski’s book House of Leaves. The album addresses themes such as death, loss, fear, feeling lost, and a multitude of others. The album is to be viewed as a soundtrack to House of Leaves, with both publications even featuring the same images inside of them.

Childhood Innocence in House of Leaves

In House of Leaves, the characters of Tom, Daisy, and Johnny can be connected through their childhood innocence. Poe’s album Haunted directly helps us find a link with the characters with her songs Dear Johnny, Lemon Meringue, and Spanish Doll. Each song helps us understand each character better than how they are just represented in the book. For example, Dear Johnny is a short song with only the lyrics “Johnny dear don’t be afraid. I will keep your secret safe. Bring me to the blind man who, lost you in his house of blue”. The lyrics have a motherly tone to them, with the use of Johnny instead of John and with the reassurance that there is no need to be afraid. It also makes a direct reference to Zampano with the blind man lyric. Tom’s mention of lemon meringue in House of Leaves is mirrored in the song Lemon Meringue by Poe, which talks about life as being bitter and how there must be a way to make is sweeter. Tom gets along especially well with Daisy and Chad in House of Leaves and always is at odds with his brother. Tom talks about how he would love some lemon meringue and he also performs shadow puppets with his hands on the walls for the children. Daisy, in House of Leaves, is not afraid of the house. Her and Chad run through it and play hide and seek, but she does have a Spanish doll which helps her feel safe. Beginning with the first line of Poe’s song Spanish Doll, she sings of Daisy from her perspective. The line is “this place feels so unfamiliar, and yet I know it well”. This is about the house and ever since the phenomena of the closet and hallway, the house is beginning to change into something Daisy considers foreign to her understanding. Although Johnny, Tom, and Daisy all exist in either a different time or are of a different age, they are all connected through the house and their childlike innocence.

The Life of a Student: Explanation Post

When reading House of Leaves I always found it really interesting that Johnny’s inserts usually began as relevant notes about Zampano’s analysis, and would then deteriorate into a commentary on something about his personal life that at times was completely unrelated. His footnotes appear to mimic his thoughts in an almost stream of consciousness way (not fully stream of consciousness because a lot of the time they make perfect grammatical sense), and I thought it would be interesting to examine how my mind wanders when reading a piece of scholarly work.

Tonight I had to read an article for French about university education, and I wanted to do my blog post on how my mind wandered whilst reading the beginning of that article. My mind definitely wandered and I found my thoughts similarly wandering as Johnny’s did, beginning with something related to the article and quickly going off on a tangent not entirely related to the subject at hand. This to me seemed very indicative of a student’s process in doing homework. I think that many of us have a huge problem with procrastination, and at times our minds just wander in directions completely unrelated to what we should be doing.

The Life of a Student

Le lobby en faveur de la suppression de la quasi gratuité des études supérieures revient à la charge dans Le Figaro, profitant de la période estivale[1] où les étudiants sont moins vigilants, pour avancer ses pions. Reprenons point par point la thèse des partisans d’une américanisation de notre système pour mieux la démonter.

Tout d’abord, les officines en faveur de frais d’inscription à 10 000€/an (dans un premier temps… !) comparent notre système en premier lieu avec le système américain sur un seul critère : celui de la quantité d’argent disponible pour former un élève. Cela relève d’une pure idéologie dont le qualificatif n’existe guère, mais qui est pourtant très répandue en notre société ; l’argent serait à même de régler tous les problèmes et un problème non résolu ne serait dû qu’à un manque d’argent. Rien n’est plus faux et il faudra bien un jour que les mentalités polluées par cet état d’esprit changent profondément. De même, la qualité de l’enseignement et la quantité d’argent qui est injectée seraient liés.[2] Là encore, on est en plein délire américain ! Dieu merci, bien qu’anglo-saxons, les britanniques ne pensent pas ainsi. Quant à la France, son histoire est jonchée de prouesses qui ont été faites, justement, avec presque rien, prouvant par-là que ce qui compte avant tout c’est la volonté et non l’argent.[3]

[1] That would be an awesome word for my French vocab assignment “estivale”… too bad its already taken. You know I love my French class, I really do. I love my teacher and I love the topics that we discuss, but I also don’t love it, you know? My professor is super sweet and awesome but she also assigns like a million things to do each class. Does she not understand that I have other classes with other just as important and time consuming assignments? Just last week I had to write a huge paper for her on immigration. Qu’est-ce que l’immigration? Qu’est-ce que cet mot répresent pour toi? It was actually a really interesting topic to write about. I don’t think our next paper will be as interesting. The upcoming chapter is about the cost of higher education. In general this class is a lot more interesting than other French classes I’ve had because we discuss actual relevant issues. Anyways this week is going to be tough. I just realized that I have way more to do than I thought, and because of meetings I have at night this week I really just don’t have enough time to get it all done. I’m majourly stressed. And yes, I use british spelling. I was raised in Egypt where they use british spelling so I’m sorry but that’s what I’m going to use.

[2] “Lié” is my word. It means related. I had no idea. I used it in a sentence discussing how the church and the state shouldn’t be related. I’m not a huge fan of government. It really isn’t something that interests me so I have avoided it at all costs, but I have to take 6 hours of it at UT. I’ve actually learned a lot about the government, but that doesn’t change how I feel. See I’m a conspiracy theorist about a lot of governmental things, and most people in the US don’t believe you when you talk about conspiracy theories because they don’t want to believe that their government is capable of such things. But I honestly believe the US government is behind some truly abhorrent things.

[3] Okay I’m done for today. She said we have until Wednesday to read that article and do the vocab assignment. I’m honestly so exhausted from all of the homework and errands that I had to do today I can’t think anymore. Mais, ces sont mes responsabilités, non? Do you ever study or do work for a language class for so many hours that you find yourself thinking in that language? Whenever that happens I’m always so amazed because I realize I can speak this language and think in this language and that is super cool. Last semester I devoted an entire day to studying for my French midterm a couple of weeks ahead of time and I couldn’t stop thinking or speaking in French… it actually got kind of annoying but at the same time is was super cool. Okay yeah I’m gonna make dinner now. Its almost 8 I definitely deserve a food break.

The Whalestoe Letters (brookeborglum and caroline yong)

Cox, Katharine. “What Has Made Me? Locating Mother in the Textual Labyrinth of Mark Z. Danielewski’s House of Leaves.Critical Survey 18.2, Friends and Family Figures in Contemporary Fiction (2006): 4-15.

This article focuses on how the confusing and changing layout of the labyrinth in Danielewski’s House of Leaves relates to the dysfunctional relationships between characters in the book. Specifically, Cox describes how Johnny’s perception of his mother develops as Johnny reads through The Navidson Record. Cox shows how Johnny’s analysis of Zampano’s writings allows him to reestablish memories of his mother in his mind. The article also details on how Johnny and Pelafina tie into mythological references (specifically about the Cretan labyrinth), relating them to certain characters in Greek myths. For instance Johnny is compared to Icarus while his mother, in context, refers herself as the “old Sibyl of Cumae.”

Pressman, Jessica. “House of Leaves: reading the networked novel.” Studies in American Fiction 34.1 (2006): 107+.

In this article, Pressman focuses on the supplementary texts and multimedia works which connect to Danielewski’s House of Leaves, such as The Whalestoe Letters, an album called Haunted, and different forums across the Internet. The article summarizes the background of The Whalestoe Letters and how the novella introduces two new narratives in the Foreword (Walden and Waheeda Wyrhta) as well as Pelafina Lièvre in the letters. Pressman also explains the placement of certain “clues,” such as altered typography, throughout the external texts for the purpose of analysis and decoding in order for readers to interact with the story outside of just reading the original book.

Timmer, Nicoline. “Johnny T.” Do You Feel It Too? The Post-Postmodern Syndrome in American Fiction at the Turn of the Millennium. Amsterdam: Rodopi, 2010. 243-297. Rpt. in Contemporary Literary Criticism. Ed. Lawrence J. Trudeau. Vol. 360. Farmington Hills, MI: Gale, 2014.

In this essay, Timmer discusses Danielewski’s use of multiple narrators connected to each other in House of Leaves while leaving room for an extra narrative— the voices and analyses of the readers. One specific section of the essay called “The Madmother in the Attic,” Timmer refers to The Whalestoe Letters in order to describe the relationship between Johnny Truant and his mother, Pelafina Lièvre. The essay zooms in on how Pelafina’s voice, through her letters to Johnny, impacts her son’s own prose style and uneasy emotional states. Timmer also touches on the possible burden Pelafina puts on her son whenever she expresses her intense need to hang onto Johnny while she is locked away in the Whalestoe Institute.

Decoding House of Leaves (haleyalxnder & zguang)

Hemmingson, Michael. “What’s beneath the Floorboards: Three Competing Metavoices in the Footnotes of Mark Z. Danielewski’s House of Leaves.” Critique: Studies in Contemporary Fiction 52.3 (2011): 272-87.

This article analyzes how the novel’s footnotes function as three different narrative voices competing for the reader’s attention: Truant’s, Zampano’s, and the nameless “editors” of the published book. It explains how these voices interact in the novel to create a work of Avant-pop critifiction, and how a full exploration of these footnotes are crucial to fully understanding the statements the novel is making, which includes its own theory and meta-criticism. This article is therefore extremely useful in understanding the ways in which the novel engages the reader and has the reader interact with its references, some of which take the reader to the Internet sphere, and therefore how the online communities dedicated to “de-coding” the novel are perhaps also an inevitable, and necessary, part of the novel itself.

McCaffery, Larry, and Sinda Gregory. “Haunted House—An Interview with Mark Z. Danielewski.” Critique: Studies in Contemporary Fiction 44.2 (2003): 99-135.

In this interview, the author discusses his thoughts on the background, authenticity, and meaning behind House of Leaves. Since the novel contains a variety of visual details with multiple narratives, many readers continually ask for the true interpretation of the novel. The author simply responds that the thrill of uncovering a private meaning is far better than revealing everything outright. He also notes how there really is no sacred text, stating that everything we encounter involves some interpretation. In any discussion of House of Leaves, interpretation is a key element to consider. Not only does this source reveal the author’s original intention but it also grounds the reader in understanding the novel’s page-long footnotes and its confusing interplay of font, color, and space.

Pressman, Jessica. “House of Leaves: Reading the Networked Novel.” Studies in American Fiction 34.1 (2006): 107-28.

This article examines the relationship between House of Leaves and the age in which it was born: the digital age at the turn of the millennium. The author discusses how the novel inserts itself into a multimedia network that collectively makes up its narrative, through other texts, the novel’s website, and the musical album recorded by the author’s sister. This reading also details how the novel links itself with the contemporary “discourse network” of the Internet, directly tying itself to the topic of House of Leaves’ online fan base. It therefore is very useful in understanding the novel’s full impact on the reader through a range of multimedia methods, and how each of these gives a new layer to the narrative to create an interactive experience depicting “the digital context from which it emerges” (Pressman, pg. 122).

Frankenstein: Video Game Adaptations (coltonwadedempsey and ngarcia96)

Caruso, Norman. “The Video Game Crash of 1983.” The Gaming Historian. The Gaming Historian, 24 March 2011.

This article summarizes the effects of the Video Game Crash of 1983. In the presentation, the focus leans toward the pieces of the article that chronicle E.T. The Game’s role in this event and the effect it had on licensed properties. Since consumers no longer had faith in the quality of Atari games, the market crumbled and was almost demolished. The article also touches upon Nintendo’s role in changing the process of licensing properties by restricting third party developers for their 8 bit system, the NES, and how the brought the industry out of its depression. The gives context to the existence of “The Monster Returns.”

Pearson, Roberta and Anthony N. Smith. Storytelling in the Media Convergence Age. New York: Palsgrave Macmillan, 2014.

The first chapter of Storytelling in the Media Convergence Age opens with a summary of the first Super Mario game that describes the basic plot elements and archetypes of the game. The quest, the hero, the damsel in distress, the boss battles, and the two dimensional side scrolling are all outlined. Many games, both in the Mario franchise and out of it, continued the pattern in attempts to recreate the success. The introductory chapter highlights the archetypes that serve as the foundation for Frankenstein: The Monster Returns. The player is given the task of saving the kidnapped Emily from Frankenstein, and along the way he must defeat numerous minor ad major villains.

Wolf, Mark J.P. The Video Game Explosion. Westport: Greenwood Publishing Group, 2008.

Chapter 40 of The Video Game Explosion contains a section that touches on the relationship between video games and other media, specifically film. The section points out that after the Video Game Crash of 1983 Hollywood studios lost interest in the market. However once the popularity of Nintendo’s NES was clear, Hollywood studios regained interest in the market, particularly an economic interest. Video games since the early 80’s had been adapting TV and film to the medium, and after the resurgence of consoles in the late 80’s this trend resumed. Popular films gave inspiration to video games, as highlighted by the video game tie in of 1994’s Mary Shelleys Frankenstein. The film-video game relationship was mutually beneficial, as both mediums essentially advertised for the other.

Walton as a Conduit

Robert Walton, the romantic 28 year old explorer through whom Mary Shelley’sFrankenstein is told, serves not only as the young Viktor Frankenstein’s audience for his tragic tale, but also as a parallel to Viktor. They are both in their twenties, desperately seeking adventure to give their life meaning, face repercussions for their fanciful minds, and are plagued by a sort of naive angst about themselves and the World. In Volume I, Letter I, Walton writes to his sister that his spirits have been dramatically lifted upon having a “steady purpose”: to sail to the North Pole, literally unexplored territory. Viktor, at this point in his life, has already fixed what would be the whole of his life’s focus on creating his infamous monster and bringing it to life, an undertaking even more grandiose than Walton’s. At the beginning of their undertakings, both characters were filled with ecstasy at the idea of fulfilling such a “favorite dream” of which they had read much about. Walton read feverishly  about “mathematics, the theory of medicine, and those branches of physical science from which a naval adventurer might derive the greatest practical advantage.” Frankenstein read about physics, alchemy, philosophy, chemistry, anatomy. As they progressed however, and as life-threatening obstacles became evident, both Walton and Frankenstein face disillusionment, which essentially destroys Frankenstein in the end. Once he created his monster, his life became a near endless series of tragedy and depression. They both posses brilliant, educated minds but they use their potential by playing dangerous games of life and death.

It gets interesting in that Walton, like Frankenstein, also resembles the creature in many aspects. Walton and the monster are both desperately lonely as well as being self-educated, and all three…”men”…actually have good intentions, or at least are not evil. They just are bad at acting out their intentions in a way that reflects who they want to be. In the end, Walton, Frankenstein, and the monster all end up in the arctic. Walton is near his dream, but hasn’t completed it, Frankenstein is chasing his mangled dream, and the monster’s dream of companionship is chasing after him with the intent of destroying him. The protagonist and the antagonist die, and all that’s left is Walton, the conduit of the story. Though the dying Viktor, still full of hubris, tells Walton not to give up on his dream, Walton is the only character to have enough instinct for self-preservation to save himself and his crew by turning away from the North Pole. Though he emerges seemingly defeated, “ignorant and disappointed,” Walton was the only one of the three men to learn his limits and to grow up some out of that selfish, naive angst that hindered them all. Walton was not the most important character, per se, but he is the one who readers are ultimately left with, and he is the one who we know made the more logical, less romantic choice.

Respectable Femininity in Mary Shelley’s Frankenstein

“I gazed on the picture of my mother which stood over the mantel-piece. It was an historical subject, painted at my father’s desire, and represented Caroline Beaufort in an agony of despair, kneeling by the coffin of her dead father. Her garb was rustic, and her cheek pale; but there was an air of dignity and beauty, that hardly permitted the sentiment of pity.”

Frankenstein, Page 79

The female characters in Frankenstein are few and are generally relegated to the background, as are most of the secondary characters, as the majority of the novel centers on Victor and his creature. However, unlike the male secondary characters, the only prominent women of Frankenstein are almost always depicted as long-suffering saints, whose nobility and composure in the face of adversity are their most attractive traits. Notably, Victor’s mother, Caroline, is portrayed in this manner. This depiction of the female characters in Frankenstein reflects the idea that a femininity characterized by suppressed pain, particularly one dampened by grief, is the most attractive a woman can possess.

Victor’s mother, Caroline, is introduced as the daughter of an ailing man, a friend of Victor’s father, who does all in her power to support him until his eventual passing. It is within this context that she meets her future husband, who, “came like a protecting spirit to the poor girl”. She is therefore rewarded for bearing her struggles, remaining a dutiful daughter and serving a traditional role in a patriarchal system. Within the span of two years she transitions neatly from a caretaker to her father, to a wife and caretaker of a child. It is mentioned briefly that Caroline had been “shaken by what she had gone through”, but her grief at losing her father to disease in relative squalor is never fully explored. From that point on the only emotion she shows is concern for others, going on to be described as “a guardian angel of the afflicted”. She ends up contracting a fatal illness by refusing to be stopped from nursing Elizabeth when she takes ill, and the one-sidedness of her character only continues with her death. Of his dying mother, Victor says, “On her death bed the fortitude and benignity of this best of women did not desert her”, and Caroline’s final moments are spent telling Victor and Elizabeth that she wants them to get married, and then she dies “calmly”, “and her countenance expressed affection even in death”. She never has a moment where she is without poise or composure, even as she knows she is about to die, and she is held up by Victor as “this best of women”. This woman, who we never get to know as a full-fledged character, serves as the pinnacle of idealized respectable femininity in the novel. She is charitable and kind, always thinking of others before herself, and when she has served her purpose (nursing Elizabeth from illness) she dies quietly and without incident.

These traits are echoed in Elizabeth, who, after Caroline’s death, “indeed veiled her grief, and strove to act the comforter to us all”, and Victor even claims that “never was she so enchanting than at this time”; that is, never was Elizabeth so appealing than when she was suppressing her own unexplored feelings of grief and possibly guilt at having been nursed to health only to see her caretaker killed by that same illness which afflicted her, to appease the people around her. We see a similar treatment of Justine who, is not only rendered “exquisitely beautiful” by the “solemnity of her feelings” upon being on trial for murder, but is described as a “saintly sufferer” who “assumed an air of cheerfulness, while she with difficulty repressed her bitter tears” trying to comfort Elizabeth on the eve of her own death. These women are attractive when they are denying their own emotional needs for the sake of those around them, at least in Victor’s eyes.

This idealized feminine suffering is made especially clear when Victor returns to his family home and looks upon the painting of his mother described in the quote above. This portrait, displayed prominently on the mantelpiece, is how his father wanted to remember her: sobbing over her father’s grave (where he first met her and, perhaps, fell in love with her). Her pain is romanticized to the point where her depiction in the portrait “hardly permitted the sentiment of pity” because her suffering is just so darn beautiful.