Little Disgusted By It All And Glad

The house, although beautiful, is institutional; the room the narrator’s husband chooses is large and airy, but the great bed is nailed down and there are bars on the windows. Even the wall-paper itself is unsettling. The narrator describes its color as “repellent, almost revolting; a smouldering unclean yellow, strangely faded by the slow-turning sunlight” (Gilman, 957). Its pattern is brash and everlasting, “one of those sprawling flamboyant patterns committing every artistic sin” (Gilman, 957). It is indecipherable, yet the narrator explains that she has made up her mind “for the thousandth time that [she] will follow that pointless pattern to some sort of conclusion” (Gilman, 960).

The mouldy, rotting, brown house stood in front of Emily, only fear keeping her feet planted to the ground. Moaning and creaking noises being projected from the house. The grass was damp from the evening fog and every time she took a step the mud squelched. The bottom step squeaked as she applied pressure with her foot, she let out a sigh of relief as the old structure hadn’t swallowed her up. The door, slightly off colour from the rest of the house, loomed over her like a giant as he reached for the brass door handle. A shiver ran through her body like an electric current, the musty smell of a house that had been long abandoned filled Emily’s nose. It was dim and uninviting. The furniture dusty and old, looking as if it would crumble to dust if she was to touch it. Mould ate away at

“Mrs. Manstey’s View,” a short story about the end of an old woman’s life, has a strong theme of the importance of nature. The titular woman has very little left in her life besides a small home with an extraordinary view of gardens and flowers. Indeed, early in the story, she states, “Mrs. Manstey’s real friends were the denizens of the yard, the hyacinths, the magnolia, the green parrot…” This dedication to her view causes a huge upheaval when a neighbor plans to expand her house, cutting off the view mentioned in the title.

Chapter 1 A young woman appears out of nowhere and quickly catches up to another who's dashing along a moonlit lane. "Are we late?" She asks as she falls into step besides the older woman. "No not yet, but we need to hurry, we don't have much time." "Follow me," the older woman replies, and her dark cloak billows about casting shadows on the high stone walls that border the lane. They walked side by side in silence for a long ways and then through a set of huge iron gates swung opened before them and onto a narrow driveway. A manor house grew out of the darkness at the end of the straight drive, lights glinting in the windows. Gravel crackled beneath their feet as speeding toward the front door, which swung inward at their approach, though

When she got near the porch, she stopped to take a look at the house.

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

The roof looked battered and dilapidated. The roof was pointy, like the point on a witch’s hat. The roof sloped at odd angles. So much so that you would look at it and wonder, what would happen if you skied off the roof in the winter? The house had droopy, wooden shutters on the windows that were hung crookedly on purpose. The house was a yellow beige color with odd leadlight

old house that she used to visit and tries to convince the family to stop and view is. With

Christopher’s interpretation of the picturesque stone house being encroached on by the mass of trees surrounding the perimeter shows his interaction with nature and reinforces his paranoid feelings towards

“I don’t know, but she hadn’t left her house, or answered her door for three days. And the lights remained on the entire time. So, I thought something must be wrong.”

“knew that Bailey [her son] would not be willing to lose any time looking at an old house, but the more she talked about it, the more she wanted to see it once again and find out if the little twin arbors were still standing.”There was a secret panel in this house,” she said craftily, not telling the truth but wishing that she were..” (O 'Connor, 268).

Thinking perhaps, someone was playing silly buggers and messing about outside, she dismissed the idea as ridiculous. Yet, she could hear it, a frantic rushing sound at the window as though something wanted in.

“What are you doing here?” She looks young but her expression carries the strictness of a seventy year old librarian. She folds her arms against her chest.

In this picture, Victorian style house stands alone in the field. A railroad track cuts through the foreground. There is a bare sky behind the house with no secondary objects in the immediate surroundings of the building. this enables us to keenly focus on the articulation of the building and its relationship with its environment.

Francine was hesitant at first to go examine behind the tree, but she knew it would make her feel better to see that it was nothing harmful. She drew back a leaf, then took another and placed it behind