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  1. The Pillows and Blankets War
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I started building houses of the world and also got into animation. There was a rocking horse that had to be specially reinforced because adults liked riding it. My husband wasn't well, we'd had a few break-ins and it was becoming difficult to keep going. Husbands also get involved. The doctor reacts in a scientific manner, determined to record the exact degree of difference in temperature. Eleanor is convinced that the chill is something deliberate from the house. It is beginning to get dark so they decide to gather in the parlor for drinks.

Following dinner, the group gathers again in the parlor. Montague has a discussion with Eleanor and makes her promise that if she feels like the house is getting the best of her, she will leave. Eleanor agrees, but in her mind she feels that something wants her to stay. After Luke and the doctor finish their game of chess, the group heads off to bed. In the middle of the night, Eleanor is woken by a noise which she initially thinks is her mother. She yells for her and her voice is heard by Theodora. There is a chill that accompanies the noise. As the noise gets closer and the temperature gets colder, Eleanor runs up to the door and screams.

She sits back by Theodora and they clutch each other like children until the noise is gone. The two women give an ironic laugh and describe what had occurred. The doctor explains that he and Luke were lured outside by a dog.

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He suggests that perhaps the forces that were tormenting Eleanor and Theodora had intended to separate the men from the women. The next morning, the group gathers downstairs for breakfast and begins discussing the events of the previous evening. Eleanor and Luke agree that despite the terrific fear they experienced, everything seemed fine now. The doctor says that no ghost has ever hurt anyone physically. Dudley demands that the table be vacated.

The group gathers in the parlor and the doctor says that he wants more coffee. He asks Luke if he will request it from Mrs. Luke leaves and comes back moments later, his face deathly pale. He gestures for the group to follow him into the hall. He points to the wall where a message has been written in chalk. The doctor shines his flashlight on it. She is helped into the parlor where she worries aloud about the message and the implications of being singled out.

As Eleanor gets increasingly worked up, she and Theodora get into an argument. After the incident with the chalk, things seem to calm down. The doctor and Luke try to measure the cold area outside the nursery and attempt to record the difference in temperature. But despite the undeniable degree of difference, the thermometer refuses to acknowledge any change. Montague informs the group that the Saturday coming up, his wife will be joining them in Hill House. As Eleanor enters into the blue room she hears Theodora scream.

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Eleanor sprints next door to find another message scrawled out in blood. Theodora accuses Eleanor of writing the message. Then she breaks down and Eleanor is forced to alert the doctor and Luke. The doctor commends Eleanor for keeping her head, but inside, Eleanor is filling up with a curious loathing for Theodora. She goes into her room and sees Theodora resting on her bed, staining her sheets with the blood on her hands. Eleanor feels an unmistakable feeling of hatred for her, but does her best to keep it inside. Luke brings in a bed and comments that Theodora and Eleanor will now be sharing clothes and a room.

Later that evening, the group convenes in the parlor for drinks. Eleanor is unreasonably upset, though she does her best to conceal her feelings. She goes on to say how frightening it is to see her name written on the wall. Theodora and Eleanor settle down to sleep, their beds positioned side by side. When the chill starts, they clutch hands and brave the eerie cackling and groaning. As the conditions worsen, Eleanor realizes that it is dark in the room, though she remembers leaving the lights on.

A sobbing child can be heard from some distant place in the house. Eleanor gets increasingly frightened and upset. The noises intensify.

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Eleanor jumps onto the floor and runs into the corner of the room. He tells her that he never had a mother and he realizes how much he has missed. He reminds her how lucky she was to have had a mother. The narrative resumes later in the day, as Luke is showing the doctor and the rest of the group the enormous scrap book that he found. The book was put together by Hugh Crain and is dedicated to his daughters. Inside there are pictures and passages about the tortures of hell and the splendors of heaven. There is a list of the seven deadly sins and pictures and descriptions to accompany each sin.

The action resumes in the parlor as Luke and the doctor play chess and Theodora and Eleanor sit together beside the fire. Theodora mocks Eleanor for having spent time alone with Luke. Theodora follows her and the two walk together down a hillside path. Before long, they are struck by how dark the path has become. They walk swiftly along the winding path, afraid to turn around or stop. Eleanor imagines she sees a picnic up ahead, with children and tables. Then Theodora screams and the two run for the house.

When they arrive, the doctor and Luke claim to have been searching for them for hours. Eleanor mentions the picnic and Theodora laughs maniacally. The following evening, Mrs. Montague is a demanding woman who asks to be placed in the most haunted room. Her husband suggests the nursery, telling her of the cold draft that guards the entrance. Montague expresses disdain at how frightened her husband and his guests appear.

The doctor shows his wife and Arthur to the dining room where dinner had been left for them. Montague immediately acknowledges the surprising quality of Mrs. She informs her husband that she and Arthur will have to leave on Monday afternoon as Arthur has classes to teach. After dinner, Mrs. Montague tells of her plans to have a session with planchette.

Montague return from their spiritual session. The doctor is dismissive of her claims until she reveals that they have a message about one of the members of the group. She says that they communicated with a spirit who called herself Eleanor. The spirit said repeatedly that she wanted to go home. He is equipped with a revolver, a flashlight, and a whistle. Eleanor and Theodora huddle tightly together beneath a blanket. Eleanor feels like the noise is coming from inside her own head.

The group is laughing from relief. Eleanor is noticeably confused. Theodora offers to wash her up and bring her to their room. The following morning at breakfast, Arthur and Mrs. Montague remark on the lack of activity during the past evening. Following the morning meal, when Eleanor and Theodora are writing their notes, Eleanor reveals her plan to come home with Theodora after their stay in Hill House.

Theodora makes it clear that she would not be welcome to do that. Luke meets up with Eleanor and Theodora and decides to join them on a walk to the brook. Eleanor stops speaking. She claims that her mother had knocked on her wall, desperate for her medication, but she never woke up. Luke and Theodora dismiss her claim as silly and continue to talk on their own. She is convinced that she will be going home with Theodora after Hill House, and that Theo is excited about it. When Eleanor arrives at the brook, she realizes that she is alone.

Then she hears footsteps and her name being called both inside and outside her head. She flees up the path, and finds Theodora and Luke sitting against a tree. They claim to have wanted to rest in the shade. After lunch, Theodora and Luke walk outside. Eleanor follows them, hiding behind the summerhouse to listen to their conversation. The lyrics detail in rhyme how each member of the Grattan family got killed. Following dinner that evening, Eleanor hears the words of a song in her head and relishes in the joy that she is the only one who can hear it.

The rest of the room is occupied with the sound of Mrs. Montague, who is upset that planchette is not giving her anything, blaming the silence on the skepticism of her husband. That night, driven by the forces within her, Eleanor decides to leave her room and visit the library. When she gets to the bottom of the stairs, she hears a voice calling to her from the upstairs hallway.

When she gets to the landing, she searches for the voice. She walks to the nursery door and discovers that the cold chill is no longer there. She knocks on the door and Mrs. Montague, woken by the noise, asks who or what is there. Realizing that someone might open their door to search for her, she decides to descend the stairs again. She flees into the parlor and listens as the group searches for her. Eleanor runs playfully around the lower level, reveling in the fun of eluding her companions. She acknowledges that it is not as cold and dreary as she had expected.

She decides to ascend the winding, iron stairway, climbing toward the top of the tower. When she gets to the narrow platform at the top of the stairway, she is spotted by the group. They call out to her, imploring her to remain still. After pounding on the trapdoor, pleading with it to open, she sees Luke climbing after her. Montague insists that the platform can not hold them both.

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Finally Luke makes it to the top and guides Eleanor down to the ground. The following morning, there is an awkward silence at the breakfast table. Eleanor tries to deny that anything is different. But after breakfast, the doctor tells her that Luke will be bringing her car around and Theodora will be packing up her clothes. Eleanor laughs and reminds them that Theodora will need her clothes.

Eleanor protests, claiming that it would be impossible for her to leave. The doctor, slightly frustrated, tells her that she has no choice. The group lines up outside to bid Eleanor farewell. The doctor recites the directions to her as she gazes over the landscape of Hill House. Eleanor apologizes to the doctor. Luke and Dr. Montague take her to her car door and guide her inside.

The doctor insists that she go, suggesting that she will forget all about Hill House. After saying goodbye, Eleanor releases the brake and lets the car move slowly down the drive. She mocks the doctor who had insisted that she go. She laughs and thinks that the house is not as easy to deceive as the group. Why am I doing this? Theodora is accepted graciously back by her companion, Luke heads off to Paris to live indefinitely, and Dr. Montague retires from scholarly life, his initial essay about his experience in Hill House a failure.

The final words of the novel are devoted toward the empty state of Hill House, and how anything that walks within, walks alone. She had been taking care of her difficult, ailing mother before her death. She lived briefly with her sister and her brother-in-law before responding to Dr.

Her name appears in cryptic messages that manifest periodically throughout the novel. She gradually loses her grip on reality and is asked to leave by the doctor. As she is pulling out of the driveway, she veers intentionally into the oak tree and kills herself. John Montague instigates the Hill House gathering in an effort to acquire data on psychic phenomena and write a book.

He has studied the lay-out of Hill House and does his best to explain the unusual occurrences scientifically. When his wife shows up, he loses some of his control over the proceedings. He insists that Eleanor leave Hill House after it is clear that she has lost her grip on reality. Theodora Vane decides to come to Hill House after having a falling-out with her apartment mate. Luke Sanderson is the nephew of the owner of Hill House.

His aunt insists that he stay with Dr. He helps Eleanor down from the tower after she had climbed to the top—the action that forced the doctor to insist that she leave. Dudley is the cook and caretaker of Hill House.

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She is a cold woman, with rigid regulations, but a surprisingly talented cook. Dudley is the husband of Mrs. He reluctantly lets everyone inside the gate upon their arrival. Montague is the demanding wife of Dr. She arrives after the group had been in Hill House for a week. She discloses a message about Eleanor that planchette, her device for communicating with the spirits, relays to her. He drives Mrs. Montague to Hill House and joins her in the process of communicating with planchette.

He was the author of American Moderns, a survey of contemporary fiction. In this excerpt, Geismar speaks on how Jackson is better at capturing the supernatural world than she is the normal one. The two women in the story, Eleanor and Theodora, engage in a curious kind of infantile Lesbian affection that is meant to be sophisticated, but is usually embarrassing. There is too much of this whimsy in the earlier parts of the novel; eventually it turns out that both women have an eye on Luke, and that their real relation is one of love-hate.

While all this goes on, the doctor lectures us intermittently on the role played by haunted houses in the annals of magic. It is only when the monster at Hill House strikes at last and how! Miss Jackson never deigns to offer this to us. But in this rather restricted and peculiar medium Shirley Jackson is, I must say, very eloquent. Shortly thereafter, she states, on a trip to New York, she saw at the th Street station, a grotesque house—one so evil-looking, one that made such a somber impression, that she had nightmares about it long afterward.

In response to her curiosity, a New York friend investigated and found that the house, intact from the front, was merely a shell since a fire had gutted the structure, leaving only the frame of the remaining walls. In the meantime, she was searching newspapers, magazines, and books for pictures of suitably haunted- 62 looking houses; and she at last discovered a magazine picture of a house that seemed just right. Apparently, it had stood vacant and deserted for many years until, it was believed, a group of townspeople burned it down. She had been surprised that there were still pictures of the house in circulation.

While seeking the proper house, Miss Jackson did research about ghosts. As she says, she had always been interested in witchcraft and superstition, but she knew little about spirits. Her information came from personal inquiry and the reading of books, especially true ghost stories. No one that she contacted had ever seen a ghost, but most people had the uneasy suspicion that, at some undisclosed time, they just might run into one.

After the house had been selected and with the psychic research well under way, the writing went smoothly. Finally, the novel was finished; published in by the Viking Press, it went through several printings and many foreign editions; it was hailed by critics as one of the best spine-chillers in years.

Parks is a professor of English at Miami University in Ohio. In this excerpt, Parks discusses the presence of the House in the stor y, particularly within the central character, Eleanor Vance. Its presence is felt on nearly every page. The house is over eighty years old and carries the unsavory reputation of death, madness, revenge, and suicide.

In classic gothic fiction, as Devendra P. She is so fragile and vulnerable that her survival is questionable from the beginning. Her chief foil, reminiscent of Dr. Montague, a pompous academic representing scientific rationalism and logic. He is little more than an intellectual voyeur, knowing very much, but really understanding very little, especially when it comes to the mysteries of the human personality and the human heart.

We yield to it or we fight it, but we cannot meet it half way. She is the opposite of Eleanor. She is secular and much experienced, exotic and exciting, representing, in part, what Eleanor might have been if her life had 64 not been so restricted and inhibited. At other times she ridicules Eleanor, and when Eleanor desperately reaches out for help, Theodora turns away abandoning her to her lonely dissolution. Unlike the Apollonian Dr. Montague, the Dionysian and cynical Theodora, Eleanor has no resources to call upon for survival.

Her loneliness and schizophrenia find a welcome in the chaos of Hill House. If Eleanor is abandoned to suicide, the house remains unconquerable, eluding the vain assaults of rationality and pointing to the mysterious and incomprehensible. In this excerpt, Kittredge discusses the personality of evil in the story.

In previous books, weird happenings grew out of weird psyches; here, however, they occur independently and are apparently meant to be taken at face value; the snake that appears in the house, for example, is no ordinary snake, but it is quite real and not a figment of madness or imagination. In The Haunting of Hill House, Jackson takes this shift a step further, giving the evil force not just reality, but personality and purpose. It does not occupy her; rather, it lures and 65 seduces her away from the pains and problems of the real world into a ghostly existence as another haunting spirit.

In Haunting, the evil is developed to the point of winning the conflict; there is no happy ending for the heroine, because her character is too weak for the battle. She does not choose madness, but is overwhelmed by it. She puts her damsel into mortal distress and leaves her there, completely unrescued. The potential for disaster is fully explored; the evil force is developed into a completely independent and alien entity, and is shown to be a power that can triumph.

In this bleak and chilling twist on the house-with-the-terriblesecret gothic, the heroine dies. While she is the most psychically sensitive of the guests at Hill House, she is also the most susceptible to the forces there. With few satisfactions of her own, she has throughout her peril been wishing to merge herself with someone else, so that she will not have to make a life for herself. She harbors also the expectant fantasy that she will be rescued.

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But the rescuing prince never appears. Unable to rescue herself, she succumbs to the power of the house, which chillingly grants her desire and makes her life part of its own. Darrell Schweitzer Mercer Island, Wash. She works as an adjunct professor and a freelance writer. Eleanor Vance, Natalie Waite and Elizabeth Richmond are all entering on the same crucial phase of their growth—the last step into the adult world as independent people.

All find themselves coming seriously apart when confronted with this task.

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Jackson had a strong penchant for mixing genres and reversing conventional expectations. In The Haunting of Hill House, she takes a tired formula from the gothic romance and turns it inside out to tell a genuine ghost story with strong roots in psychological realism.

In House, the heroine is exceedingly vulnerable, the weird happenings quite real, the house really haunted. Eleanor Vance, as unmarried daughters have been expected to do, has spent her youth taking care of a bedridden mother. She has so little experience that she will take anything offered.

What fate offers is Hill House, which is mad. She is summoned by Dr. John Montague to be part of a ghost-hunting house party. She has been chosen because of a poltergeist incident dating from her adolescence. Jackson assumes that poltergeist phenomena happen, that they are the result of repressed emotion and that Eleanor is author and victim of the increasingly frightening events that follow the installation of the party of four at Hill House.

Jackson also assumes that houses and other locales can be the centers of evil associations—wells of misery and agony waiting for suitably tenuous human beings to drink from them. What Eleanor needs in order to 67 have any hope of survival is a place to belong, where she is welcome for herself, not suffered as a duty. Hill House welcomes her. She is exactly the personality it has been waiting for. More Women of Mystery, ed. Jane S. In fiction, she writes most often about women. The typical Jackson protagonist is a lonely young woman struggling toward maturity.

She is a social misfit, not beautiful enough, charming enough, or articulate enough to get along well with other people, too introverted and awkward. In short, she does not fit any of the feminine stereotypes available to her. She is Natalie Waite in Hangsaman , whose feelings of isolation and alienation during her first few months away at college generate a fantasy other, an imaginary friend. She is Eleanor Vance in The Haunting of Hill House , whose feelings of rejection and social displacement ultimately lead her to suicide.

She is Mrs. Angela Motorman in Come Along With Me unfinished, , whose world has always been peopled by creatures no one else can see. She is even Aunt Fanny in The Sundial , whose life of uselessness as a maiden aunt is vindicated by a vision of doomsday. These women are all victims, and several are clearly victimized by men. Patriarchs, however, are often the villains. For most of the girls on Pepper Street, allegiances are drawn by intimidation; the most outspoken and audacious girls attract followers, until a tacitly understood hierarchy exists. Overweight Harriet Merriam, however, manages to develop a close friendship with the Jewish outcast Marilyn Perlman, until Mrs.

Merriam intervenes.

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Without someone to share her ostracism, Harriet falls victim to despair. In The Haunting of Hill House, the lonely Eleanor Vance becomes infatuated with the beautiful Theodora when both are invited to a haunted house by a psychic investigator. The appearance of a young man introduces rivalry, tension, and cruelty into the relationship, as Eleanor struggles to maintain her favored status with Theodora. Eleanor kills herself when she is sent away and perceives that she is again to be excluded.

In this excerpt, Oppenheimer discusses the process involved in writing the story and the acclaim received once the novel was released. The effects in Hill House are offstage, indirect, unexplained, elusive; not just the characters but the readers too are not sure what they have or have not actually experienced.

Quite a feat to pull off in cold print. The story is about a group of people brought together by a psychic researcher to investigate a particular house; all are supposed to have some sensitivity to supernatural forces. As Barry says, What difference would it make? But at the house, Eleanor experiences a sense of belonging for the first time, even amid the horror, and she refuses to give up what is hers. When forced to leave, she smashes her car into a tree, killing herself, triumphantly.

His cold response angered Troy who went off and gathered a group of students to build his own fort he dubbed "Blanketsburg". The construction of both forts eventually crossed paths in Group Study Room F. Neither side was able to continue expanding unless the other fort was taken down.

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Troy, backed by Dean Pelton, demanded Abed give in and allow Blanketburg to continue building. Abed finally understood how serious Troy was about this and sadly agreed. He ordered Magnitude to clear Pillowtown so he could initiate the self destruct device.

However, Vice Dean Laybourne meddled once again and stopped Abed before he could activate it. He played to Abed's ego and urged him not to sacrifice his bold vision and allow mediocrity to win. Having changed his mind, Abed brought his Pillowtown forces to the study room for a showdown with Troy and his Blanketsburg denizens.

Dean Pelton tried to calm the situation down but it was exacerbated when Star-Burns , a citizen of Pillow Town, launched a pillow into the air. It hit a broom stick which was acting as a support beam to the entrance of Blanketsburg and resulted in the collapse of several sections of the fort. In retaliation Troy's forces started a mass pillow fight in the study room. After a brief skirmish, both sides retreated at the behest of their respective leaders " Digital Exploration of Interior Design ".

Dean Pelton called on Jeff Winger to try and negotiate an end to hostilities. Troy and Abed met with Jeff and the Dean in Pelton's office but neither side backed down. Jeff was not taking the situation seriously and tried to get them to become friends again by making them wear imaginary "Friendship hats".

They refused and Troy issued an ultimatum "All Tomato" that Abed had until midnight to concede. After the deadline passed Troy's forces launched a surprise assault on the Pillowtown citizens in the library. As the rest of the school started taking sides in the conflict so did the other study group members. Shirley Bennett joined Troy's side as his general while Pierce Hawthorne who at first was also Blanketsburg supporter switched his allegiance to Abed due to her promotion.

Britta Perry tried to document the war by taking photographs of the event and Jeff sought to extend the conflict in order to get out of class by rallying both sides to continue fighting. Meanwhile, Annie Edison opened up a clinic to take care of the wounded. Hostilities along the borders of both forts occurred in an attempt by to expand their territory.

It was there Pierce was slightly injured and suffered a humiliating defeat. Blanketsburg spies alerted Troy to the possibility of this secret weapon and his response was to make an alliance with Sgt. Ben Chang. He was head of Campus security at that time and bolstered Blanketsburgs army with his personal security force.

It was made up of middle school kids whom he nicknamed the " Changlourious Basterds ". They became a fearsome presence on the battlefield acting as shock troops and attacking Pillowtonians without mercy. Abed had little choice but to unleash Pierces doomsday device which was codenamed " Pillow Man ". Covered in a suit of armor made up of pillows, Pierce confronted and defeated the Changlourious Basterds shifting the balance of power once again. However, things got more personal when Troy's forces intercepted an e-mail from Abed to his commanders.

It outlined Troy's weaknesses and deficits in great detail. A hurt and angry Troy retaliated by texting Abed a similar list citing the Pillow Town leaders faults.