House Of Leaves

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The plot is centered on a fictional documentary about a family whose house contains a seemingly endless labyrinth. The format and structure of House of Leaves is unconventional, with unusual page layout and style, making it a prime example of ergodic literature.[1][2] It contains copious footnotes, many of which contain footnotes themselves, including references to fictional books, films or articles.[3] In contrast, some pages contain only a few words or lines of text, arranged in strange ways to mirror the events in the story, often creating both an agoraphobic and a claustrophobic effect. At points, the book must be rotated to be read. The novel is also distinctive for its multiple narrators, who interact with each other in elaborate and disorienting ways.

Upon returning from a trip to Seattle, the Navidson family discovers a change in their home: a closet-like space shut behind an undecorated door appears inexplicably where previously there was only a blank wall. A second door appears at the end of the closet, leading to the children's room. As Navidson investigates this phenomenon, he finds that the internal measurements of the house are somehow larger than external measurements. Initially there is less than an inch of difference, but as time passes the interior of the house seems to expand while maintaining the same exterior proportions. A third and more extreme change asserts itself: a dark, cold hallway opens in an exterior living room wall that should project outside into their yard, but does not. Navidson films the outside of the house to show where the hallway should be but clearly is not. The filming of this anomaly comes to be referred to as \"The Five and a Half Minute Hallway\". This hallway leads to a maze-like complex, starting with a large room (the \"Anteroom\"), which in turn leads to a truly enormous space (the \"Great Hall\"), a room primarily distinguished by an enormous spiral staircase which appears, when viewed from the landing, to spiral down without end. There is also a multitude of corridors and rooms leading off from each passage. All of these rooms and hallways are completely unlit and featureless, consisting of smooth ash-gray walls, floors, and ceilings. The only sound disturbing the perfect silence of the hallways is a periodic low growl, the source of which is never fully explained, although an academic source \"quoted\" in the book hypothesizes that the growl is created by the frequent re-shaping of the house.

Navidson, along with his brother Tom and some colleagues, feel compelled to explore, photograph, and videotape the house's seemingly endless series of passages, eventually driving various characters to insanity, murder, and death. Ultimately, Will releases what has been recorded and edited as The Navidson Record.

Initially intrigued by Zampanò's isolative tendencies and surreal sense of reality, Johnny unknowingly sets himself up as a victim to the daunting task that awaits him. As he begins to organize Zampanò's manuscripts, his personal footnotes detail the deterioration of his own life with analogous references to alienation and insanity: once a trespasser to Zampanò's mad realm, Truant seems to become more comfortable in the environment as the story unfolds. He even has hallucinations that parallel those of Zampanò and members of the house search team when he senses \"...something inhuman...\" behind him (page 26).

Will is the central character in The Navidson Record subplot of the novel. A stint in the army early in his life leads him to a very successful career as a photographer, primarily in war-torn parts of the world; his role as an impartial documentarist of war affects him deeply. Later in his life, he moves to the eponymous house (located in the southeastern Virginia countryside), in an effort to find \"[a] place to drink lemonade and watch the sun set\", a place to \"once and for all stay in and explore the quieter side of life\" (page 9). However, the unnatural events that occur thereafter have a profound effect upon him and his relationship with his partner, Karen.

Karen is Will's partner and a former fashion model. She suffers from claustrophobia, and throughout the novel refuses to enter the labyrinth within her house. She also seems to be extremely insecure regarding her relationship with Will; he is 'her rock,' though it is confirmed that she had at least three long-term affairs during the course of their relationship. Curiously, the events of the novel only seem to reduce her dependence on Will (as well as contributing to the eventual dissolution of their relationship). It is speculated that, during Karen's childhood, her stepfather once took Karen and her sister into a barn in their backyard, putting one sister in a well while he raped the other, and vice versa. This event is widely considered to be the cause of her claustrophobia. However, several footnotes and comments about the incident question this claim (another of many examples of the use of an unreliable narrator in the novel). In the aftermath of the events in the house, she becomes an unlikely editor, approaching many real characters (including Stephen King, Stanley Kubrick, Hunter S. Thompson, Douglas Hofstadter, Harold Bloom, and Jacques Derrida) for comment on The Navidson Record, albeit comment within the fictional universe of the novel. Eventually, she is reunited with Navidson after she conquers her claustrophobia and saves him from the abyss of the labyrinth.

Tom is Will Navidson's somewhat estranged twin brother; Tom is a carpenter with substance addiction problems, who is markedly less successful than Will in his personal and professional life. After approximately 8 years of little contact, Will contacts Tom when he notices that his house is larger on the inside than the outside. A section of the novel, called \"Tom's Story\", is a partial transcript of documentary evidence and radio communication with the outside world during his vigil within the labyrinth, which he spends alone with his radio, waiting for Will. This section is referred to in the book as a \"sometimes funny, sometimes bizarre history of thoughts passing away in the atrocity of that darkness\" (page 252). He often refers to \"Mr. Monster\" and many of the jokes and anecdotes he provides are religious in nature. However, in a test of his true character, he bravely saves Will's children from being swallowed by the house before being swallowed himself.

Billy is an engineer and a friend of Will's, whom Will enlists early on in the story to help him try to find a rational explanation for the house's oddities. Billy uses a wheelchair, having been paralyzed from the waist down in a freak engineering accident in India; Will happened to be on the scene and took a photo of Billy moments before he became paralyzed. Billy came across the photo after his accident and kept it as a reminder that he was fortunate to have survived. Once the house's irregularities become more extreme, Billy joins Will and Tom in a thorough analysis; after Holloway and his men go missing, Billy insists on joining Will on the rescue mission, navigating the maze in his wheelchair. He eventually saves Will and Holloway's men from Holloway by engaging in a firefight with him, holding him back long enough for the house to \"consume\" Holloway. Billy survives the journey into the maze, but suffers persistent cold spells afterward as well as sustaining damage to his wheelchair.

When the House begins to attempt to harm the others late in the novel, Reston calls out Holloway's name. Whether Holloway had some influence on the house's actions (before or after his suicide) is left ambiguous.

Kirby 'Wax' Hook: Another explorer of the labyrinth in Navidson's house. He is ultimately shot in the shoulder by Holloway, but he survives. The House leaves him with limited functionality in that shoulder, and an inexplicable case of impotence. However, after Navidson reenters the House for a fifth and final exploration, these symptoms disappear. Wax has a reputation as a flirt, who constantly attempts to hook up with women. He kisses Karen Green, a scene which Will later witnesses on camera.

House of Leaves includes frequent and seemingly systematic color changes. While Danielewski leaves much of the interpretation of the choice of colors up to the reader, several distinct patterns emerge upon closer examination.[8]

10) What are some of the ways that the novel defines and explores the concept of space In what ways is this concept distorted How does space change physically, in the house; literally, in the layout of the novel itself; and psychically, in the minds of the characters and between the characters How do these various spatial changes relate to each other

here is a dream that I, like many people, have: I am walking in my own house and suddenly find a room, attic, cellar or whole suite of rooms I never knew was there. It is clearly mine, but also amazingly, bewilderingly, other -- a new space. Each time I awake full of joy at this discovery, tinged with disappointment at the unexpanded circumstance of what I must call the actual house.

Anyone who has had such a dream should welcome the pioneering effort of Mark Z. Danielewski, whose wonderful first novel, ''House of Leaves,'' is a vast exploration and meditation on the paradoxical spaces that open out from -- or as -- our awareness. To make sure the word ''meditation'' doesn't daunt you into a coma of respectful abstention, let me say right off that his book is funny, moving, sexy, beautifully told, an elaborate engagement with the shape and meaning of narrative. For all its modernist maneuvers, postmodernist airs and post-postmodernist critical parodies, ''House of Leaves'' is, when you get down to it, an adventure story: a man starts traveling inside a house that keeps getting larger from within, even as its outside dimensions remain the same. He is entering deep space through the closet door. 59ce067264

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