1. THE HAUNTING OF HILL HOUSE

2. AN UNCANNY INDETERMINACY In The Haunting of Hill House the main indeterminacy is that about whose consciousness (or whose unconscious) is producing the supernatural effects described in the novel. The tropes of haunting, telepathy, and clairvoyance that dominate the novel challenge classical models of human consciousness and subjectivity by dramatizing the Lacanian notion of “knowledge in the real” (there is information already written as such in material reality, that we must only decipher). As Slavoj Žižek tells it, “knowledge in the real” also alludes to the fact that modern physics, when dealing with subatomic particles, “repeatedly encounters phenomena that seem to suspend the principle of local cause, i.e., phenomena that seem to imply a transport of information” as a form of “knowledge” already existing in “objective” reality, before we “know” it. All this questions the notion of a unitary subject and, thus, the perception that individual human brains house only a personal conscious and unconscious psyche.

3. SINCHRONICITY In The Haunting of Hill House, “knowledge in the real” manifests itself through synchronicity, by way of meaningful coincidences and strange parallels. When Eleanor Vance is awakened in Hill House by what she perceives is the sound of her (now dead) invalid mother knocking on the wall to summon her we interpret the noise as a manifestation of Eleanor’s guilty conscience (she was not with her mother when she died), a “projection” – but Theodora hears it too (Eleanor thinks that “the oddest part of this indescribable experience was that Theo should be having it too”).

4. METAPHANTASMIC PATTERNS Eleanor’s personal history is paralleled or doubled in the history of Hill House: one of the Crain sisters who inherited the house died of pneumonia but, recalling Eleanor’s experience of ignoring her mother, “there were stories later of a doctor called too late, of the old lady lying neglected upstairs” by her young companion, who eventually committed suicide. Doctor Montague uses the word “drove” to describe the companion’s compulsion to commit suicide, and later on Eleanor literally drives her car into a tree. Eleanor’s suicide seems even stranger when we recall how, at the beginning of her journey, Eleanor receives directions to Hill House from Doctor Montague in a letter that she reads “as though he had been guiding her from some spot far away, moving her car with controls in his hands.” All these metaphantasmic patterns make us unsure of who is who or, for that matter, what is what, because in addition to the lines and traces between characters, we must also consider the uncanny architecture of Hill House itself, a dwelling which, in so many ways, is strangely (pre)occupied with itself and appears as a sentient and equal partner in these psychic events.

5. A SENTIENT HOUSE The law of the oikos (house, room, tomb, crypt) is, as Jacques Derrida remarks, always already that of heimlich/unheimlich. The architectural principle of Hill House is also that of the house of fiction: it is the uncanny scene of writing that lends itself, in and as literature, to tracing and displacing the classical distinctions between interiority and exteriority, between consciousnesses and unconsciousnesses, between psyche and matter. Parallels between psychic and psychophysical events produce uncanny effects at Hill House, as the writing on the wall that reads “HELP ELEANOR COME HOME.” The writing on the wall is literal and figurative, ominously significant and allusive, and points towards the Lacanian notion of the unconscious as not only that which must be read, but also, and primarily, that which reads. To read the writing on the wall in Jackson’s text is doubly uncanny because that writing acts as a framing device to collapse the distinction between the literal and the figurative and to pull the outside of the story into its inside by enclosing in it what is usually outside it: its own readers - namely, Eleanor, Theo, John Montague, Luke Sanderson, and all of us. The trope thus offers us a way to think about how the con/fusion between house and occupants parallels that between the reader and Jackson’s convoluted text. Whatever is said about negotiating the layout of Hill House can also be said of reading Jackson’s text: “Every angle … is slightly wrong. … It is … a masterpiece of architectural misdirection.”

6. FANTASY AND THE FANTASTIC The dilemma facing the occupants of Hill House appears to be our own as well: is the house really haunted or is Eleanor just imagining things? But we finally find that a clear answer is impossible: this leaves us in the field of the fantastic, of course, but not only in the “traditional,” Todorovian sense. We are left inside a fantasy that leads us nowhere, as it leads Eleanor toward a tree, and in order to break free from it we must traverse it, overcoming the differences between what is real and what is imaginary by conflating them into a unified field where the imaginary is real, because the work of fiction (the imaginary) we are reading is a “real” book – or, if we want to use Lacanian terms, because the product of the Imaginary (the idea of the haunted house as a projection of the inner drives of the self) is translated into the Symbolic (the words the novel is made of) and alludes to an ungraspable Real (is Eleanor mad or is the house haunted?) that nonetheless gives meaning to everything we have read precisely for its absence, for the void it opens up in what is narrated in the novel, which may finally be considered as a sort of map (or architectural plan) for journeying into every kind of fantastic universe.