House of Leaves

House of Leaves. a deeply-woven, dual-narrative novel by Mark Z. Danielewski, is certainly a unique and thought-provoking read.  The story centers around narrator Johnny Truant’s discovery of a nearly finished manuscript in disarray by the recently deceased Zampanò.  Truant assumes the responsibility of piecing it together, unaware of the profound psychological confrontations this will entail.  Zampanò’s work revolves around a film known as The Navidson Record, a video documentary of the strange experiences of a subtly dysfunctional family moving to a seemingly quaint new home for a change of pace.  Newfound peace is interrupted when they discover an ominous dark closet, a quarter-inch increase in interior length, and a seemingly infinite maze opening up out of their living room. The dual-narratives and alternating casual and scholarly perspectives of the novel, as well as the unconventional layouts, make reading it a much deeper engagement than other more typical works.

        Despite the eerie context and lurking terror of House of Leaves, many readers, as well as the author himself, regard it as a love story.  This is incredibly difficult to perceive, especially in the most climactic sections of it’s internal narrative, The Navidson Record.  As we delve deeper into the hallways, however, we find reflections of the characters in what the house represents.  We observe the breakdown of Navidson’s marriage and hidden struggles of his past, Karen’s struggle with freedom and claustrophobia, the long stagnant relationship between brothers, Tom’s struggle with alcohol and drugs, Holloway’s struggle with depression, and even Reston’s struggle with mobility.

 The mystery and conflict of the hallways both within and outside of the house represents the conflicts both within and outside of the characters.  This is manifested in their entrances, in the transformations of the hallways, and in their choices and fates.  The house becomes what they will it, whether a hundred foot staircase or a 54,000 mile one; an empty closet or a five-and-a-half-minute hallway.  Navidson does all the he can to explore himself, but eventually loses himself within, nearly dying but rescued, unable to save himself alone.  Karen finally has every opportunity for freedom, but chooses her love and risks her life to save Navidson.  Holloway, in his struggle with depression and inadequacy, loses himself in the tunnels rather than aborting the mission, ultimately committing suicide and being consumed by the darkness.  Tom leaves in fear, but returns to save his brother, though, perhaps reflecting his struggles with himself, is also lost to the darkness.  His final act, saving his niece, passing her through the window to his brother, being perhaps a symbol of what Tom has been for Navidson all along.
An equally complex story coexists with Zampanò’s Navidson Record in the narration by Johnny Truant.  The story of the house deeply affects him and his perceptions of the world.  Truant begins in a relatively stable state, and then degrades more deeply into alcohol, drugs, and apparent sexual obsession, possibly as a result of the mental effects of Zampanò’s work.  As his degradation continues, we find him increasingly antisocial, disturbed, even potentially violent.  Even after he disposes of his supply of substances and contacts, he refuses to leave his apartment and becomes addicted to the transcription and preparation of Zampanò’s work.  Through his decline, we discover the abuse of his foster father, the mental degradation and incarceration of his mother, and the loss of his biological father, maybe the one person he relied upon.  All of this contributes to the depth of his character and fatal flaws.  Johnny is left unemployed, evicted, exploring the nation in search of the house.  Two of his wishes are fulfilled, however.  The story is out, with others just as deeply affected by it, and he knows Thumper’s first name.