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The Fall Of The House Of Usher

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At first, the erratic, ambiguous, and disorientating narrative style of ‘The Fall of the House of Usher’ seems to lack consistent symbolism, and can be understood as a convention of the gothic genre. Macabre texts often employ unreliable narrators to convey readers down circuitous paths littered with false steps and red herrings, in order to postpone, and perhaps even prevent, arrival at singular interpretations of stories. In ‘The Fall of the House of Usher’, the narrator suddenly and ambiguously reveals facts about the house and its inhabitants, and couches his observations in ornate and turgid language. These features seem superfluous, but force readers to collude in the mysterious, entertaining and infinite game of engineered interpretation that the gothic genre revels in. Nevertheless, a second reading of the text reveals uncanny similarities between the narrator and Roderick– both men ultimately share a belief in “the sentience of all vegetable things” (185), possess the power to distort the distinction between art and reality, and suffer from “a morbid acuteness of the senses” (181). This suggests that the malady plaguing the surviving branches of the Usher family has infected the narrator. Therefore, the perplexing, and oftentimes infuriating narrative style of ‘The Fall of the House of Usher’ reflects both authorial manipulation essential to create a suspenseful gothic tale, and also unconscious manipulation by the mentally disturbed narrator (itself a gothic

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