I believe I mentioned in class that one of my students had the most bizarre reaction when I mentioned that I was going to be reading The House of Leaves. One day, when I told her I was going to start reading the book that night, she cried, “Oh no! Don’t read it at night! Read it during the day when you’re sure of yourself and the world around you!” Her reaction made me laugh, but when I did go to start reading the book later that evening I must admit that I was a bit hesitant. J Maybe it was the warnings of my student that got me, but I did find the style to be rather ominous. I kept waiting for the horror I might discover on the next page. Although I still feel that Danielewski has successfully created an eerie, foreboding mood, I’ve overcome that initial hesitation and I am very much intrigued by the style of the book!
Several people have commented on the many layers of the book. I find this layering just fascinating! We’re reading a book told from the point of view of a narrator (a “frame narrator”?) who is piecing together a book from scraps of writings about a film which, as others have mentioned, is also fragmented. Then there is the layer of false support and commentary found in the footnotes. Additionally, Truant’s compilation also offers him a chance to reflect in journal-like writings. Just like the house in the novel, these layers seem never-ending.
In addition to the layers of the novel, I’m also interested in the names Danielewski chose. Susanna discussed the significance of Truant’s name. I’m also intrigued by Truant’s friend, Lude. Lude is rather lewd, but, then again, so is Truant. However, by going through Zampano’s writing, Truant begins to think on a deeper level, to some level going beyond the lewd lifestyle of smoking pot, getting drunk, and having sex with multiple (and random) partners. However, Lude (or the lewd lifestyle) keeps interrupting his thoughts (50).
As others have mentioned, Truant’s lifestyle has other implications…he can be seen as an unreliable narrator. Sara mentioned that Truant’s errors make him unreliable. I had a very different view, though. I actually see Truant has a rather reliable narrator because he is presented as very “real”. Truant’s voice is very conversational. He apologizes for how he is expressing his thoughts, he uses clichés (which we’re all guilty of), and he does make mistakes. Also, Truant demonstrates an understanding that time distorts memory. Within the first few pages of his introduction he admits that a particular memory “isn’t entirely accurate” but states that he is trying to be (xvi). Sure, we might not be getting an accurate account of this fictional tale, but I believe that Truant is presented as a rather real, believable character trying to make sense of what he has stumbled upon.
Speaking of real…I was relieved to learn that I was not the only one who struggled with Baudrillard’s essay on the real and the simulated. (I honestly struggled a bit with Foucault’s, too.) I think there have been some interesting comments about the connection between Baudrillard’s piece and The House of Leaves. I particularly liked Susanna’s observation that “Zampano’s reality becomes Truant’s reality”. From what I could gather, Baudrillard seems to make the argument that, due to representation and simulation, the real and the imagined become intertwined, and the imagined (or, in our case, the seemingly impossible) becomes another sort of reality. This thought really came back to me when I was reading Truant’s introduction and he states, “Zampano knew from the get go that what’s real or isn’t doesn’t matter here. The consequences are the same” (xx). I feel this statement really connects to the idea of constructed realities. At this point in the novel we’re also seeing Truant dealing with consequences from what is not truly real but has become real to him through his connection to Zampano and his work. (Did that make sense? J)
I look forward to discussing the novel and the articles in class tomorrow!
~Jennifer Kathryn Fulton