Internal Conflict In House Of Leaves By Mark Z Danielewski

The novel, Into Thin Air, is written by Jon Krakauer. The novel was published by Villard Books in 1997 and copyrighted in 1997 by Jon Krakauer. It is considered a non-fiction novel and has also been made into a movie in 2015. It has 301 pages.

Edgar Allan Poe’s “The Fall of the House of Usher” and Julio Cortazar’s “House Taken Over” shows the traits of two genres, gothic literature and magical realism. Even though both of these literary works were made in different time periods they show how the effects of fear and loneliness can affect someone. The setting of House Taken Over and House of Usher is similar as they both take place in a house and their interior is bleak, but the two settings are different as one house is surrounded by a decaying forest and the other house is in a neighborhood.

Most people cannot see reality as it truly is from their eyes. In Athol Fugard’s Master Harold… and the Boys, he shows the apartheid between blacks and whites in South Africa. While some of these white people wanted to end apartheid, other people who lived with apartheid for their whole lives do not see the wrongs with it. These people want change, but do not know that they are the issue which is known as a psychological barrier. In the play, Athol Fugard uses Willie who struggles with a psychological barrier, how Wille’s psychological barrier motivates his actions and how Willie’s barrier is altered by the end of the play to prove how Willie is affected negatively by apartheid.

At first, the protagonist talks about the house that she and her husband were to stay at for a short while. She does not hesitate to describe what her first impressions were on the house because she states that it was rather strange building that had a haunted effect from looking at it. Not only this, but she also introduces her husband and physician, John. John is described as a person with “no patience with faith, an intense horror of superstition, and he scoffs openly at any talk of things not to be felt and seen and put down in figures” (Gilman 364). Not only is the narrator consciously observant of her circumstances, but she is able to think for herself and formulate logical claims. For example, Gilman writes about how the narrator is frequently seen as a schizophrenic, possessed, and absolutely insane individual whose mind only continues to deteriorate rather than an individual who understands the situation and can conscientiously create questions and thoughts about what she is experiencing. Greg Johnson writes, “Her experience should finally be viewed not as a catastrophe but as a terrifying, necessary stage in her

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

In both, Nathanial Hawthorne’s “Young Goodman Brown” and Edgar Allen Poe’s “The Fall of the House of Usher” the protagonists, Young Goodman Brown and the narrator experience a journey into the subconscious. Both stories have an overlap that blurs the boundaries of reality and fantasy. It is truly the supernatural aspects of these two stories that force the protagonists and the reader to delve into the realm of the subconscious and to scrutinize good versus evil and real versus imaginary.

It is a big, airy room, the whole floor nearly, with windows that look all the ways, and air and sunshine galore. It was a nursery first and then playroom and gymnasium I should judge; for the windows are barred for little children, and there are ring and things in the walls. […] that gate at the head of the stairs. ”n the power between him and his wife, possibly a symbolism to what mans’ reaction would be to see women in places of power, especially when the narrator “creeps” over his body. This ‘creeping’ is symbolic of the wives power over her husband when she was able to free herself from the restraints of the home in which she was kept.

He has adopted a sort of fixation around the aesthetics of their family home, however, it can be more truly regarded as a method for him to hide who he really is. As Alison walks through and observes her home, she relates the decorations to the deeper ongoings within the house. She states, “His shame inhabited our house as pervasively and invisibly as the aromatic musk of mahogany. In fact, the meticulous, period interiors were expressly designed to conceal it. Mirrors, distracting bronzes, multiple doorways” (Bechdel 20). Through this dialogue she explores how he has constructed a literal labyrinth within their home that serves a greater purpose of helping to hide who he truly is from both his family and himself. Like Nel, Alison recognizes the incredible struggle her parent endures and vows to lead the life he wished he could have had by exploring her own personal

Poe wastes no time putting the reader in front of the image of an eerie, old mansion. As a result, the reader will soon be aware of a sense of death and decay. Poe’s setting plants the seed of horror

Although the phenomenon of doubling had become a Gothic trope with many seminal works of Gothic literature, with ‘The Strange Case of Dr. Jekyll and Mr. Hyde’ and ‘The Picture of Dorian Gray’, came the paradigm shift that stepped away from the far off and medieval settings to a more urban landscape that was marked by uncanny architectural layouts serving as a favorite site for uncanny disturbances and psychogeographic effects of the environment on the emotions and behavior of individuals. Both the novels deal with inherent dualism both at individual as well as the societal level where the aristocracy has dedicated sites for uncanny occurrences and both are “set in London in the present day, (1800’s) and situates horror within a respectable individual, with its vision of evil reflecting on a much

Bewildered, she found herself not in the kitchen, but in the attic. For as long as she could remember, her parents had expressly forbidden her from entering the mysterious room. Now she understood why; At the far end of the room, among all of the clutter and jumble, was a door. In the light of day, Avery would not have given it a second glance, but in the half-light that emanated from her feeble candle, the door seemed different; Somehow eerie and sinister. Despite its great craftsmanship, years of wear had nevertheless taken their toll on the once delicate frame, and scratches etched their way across the old wooden panelling. Strings of whispers surrounded her, guiding her to towards the door. Slowly, she reached out one trembling hand, knowing that despite her fears, she must open it. What horrors, what wonders, lay on the other side? Avery pushed open the door and stepped

The symbolism being used by Poe helps to contribute to the daunting and unwavering sense of urgency and grief being felt by the reader. He uses it to his advantage to pull the reader deeper into the feelings of loneliness, making it impossible not to share the emotions that he himself is feeling while writing this poem. There is a great potential that Poe wrote this poem in a Georgian home rich in history (Marks, Rusty). This style of home is widely associated with spooky feelings helping Poe to achieve the supernatural emphasis that can be associated with similar style homes

In gothic literature, the architecture that inhabits a story can go a long way not only in establishing the mood, but also in establishing the story’s characters. In “The Fall of the House of Usher,” by Edgar Allan Poe, published in 1839, readers are introduced to a dreary house that is falling apart, while in another story by Poe published in this same year, “William Wilson,” readers are introduced to a school that, although not in disrepair, is labyrinthian and similarly dreary. Moreover, Wuthering Heights by Emily Brontë, published in 1847, showcases a house, the size of which would normally reflect the wealth and high class of it’s owner, and yet the grounds are overgrown, indicating a lack of attention to maintenance while the house itself only features sparse furnishing. In all of these stories, the buildings that inhabit their pages are more than merely settings. Instead they are fragments of specific characters, representations of some form of wellness, while almost being characters in their own right. In “The Fall of the House of Usher” the house represents the physical wellness of both Roderick and Madeline Usher; whereas in “William Wilson” the school reflects the mental wellness of the lead character; and in Wuthering Heights, the titled building represents the emotional wellness of its owner.

In the Short story, “I used to live here once" by Jean Rhys portrays the story of a woman who is still in the process of accepting her death and that she is already in the afterlife. The conflict in the short story is also very intriguing because this is more of an internal conflict that the female character has to deal with.

As I stood, gazing at the dilapidated mansion, I shivered as though ice had replaced my spine. The haunted mansion was in the middle of nowhere and only had forests of decayed trees to accompany it. Against the dark night sky, all I could see was the crumbling walls that were nothing more than a ghostly silhouette of some previous existence. The wind whistled through the trees, bringing with it the laughter of children who once lived here and the caring call of a mother letting them know dinner was ready. My plain t-shirt could not protect against the deathly cold. The walkway leading up to the house were cracked, with weeds and dandelions poking out from them. Vines formed a twisted maze upon the side of the house, reaching their tentacles towards the roof. The house's walls showed black decay by neglect and splotches of original paint. Cobwebs covered the corners of the doors with tiny black spiders that were treading towards their prey. The house was fit for the kings and queens of the supernatural, not for a modern family of four. As I stood in front of my brand new house, I wondered why my parents were leaving me to babysit Damon in this place. I know they have a business trip in Colorado, but why leave now.