The House of Seven Gables by Nathaniel Hawthorne

Hawthorne’s gothic tale is a study in original sin, moral corruption, and redemption. Several generations of the Pyncheon family are cursed by an ancestor’s obsession with wealth and power. Each new generation falls into a common pattern of greed and manipulation, bankrupt of the redeeming qualities of love and humility. Redemption is won when a few simple and pure members of the family overcome the baser urges of their kin, banding together to care for one another.

This is not a book to speed through. There are no quick characterizations. There is no rollercoaster plot. Hawthorne’s prose, while dense and slow, is rich and absorbing. He meticulously designs his characters, sometimes pausing for whole chapters to pore over one person’s thoughts and feelings. The resulting experience is engrossing, with the dark mood of the story folded into every line.

Bottom line: An absorbing and moody read, rich in meticulous detail and ( )

Some thoughts...

This narrative, published in 1850, starts with a preface by Hawthone explaining his concept of the Romance, which is to be distinguished from the Novel because it provides the writer with greater latitude to takes risks. The Novel is somehow more straightforward, more conservative, less flexible as a vehicle for experimentation.

The first chapter gives us the backstory in a kind of lump sum. Most contemporary novelists probably write such a backstory but often cut it, since, lacking action and character, it can seem too schematic and impersonal. Hawthorne's backstory is perhaps no exception. But, it has the virtue of being 160 years old, and that, combined with its antiquated vocabulary, deftly wielded, combines to hook the reader. The backstory spills all the beans of this fantastic narrative, including the heinous crime, the resulting curse, the astonishing event at the housewarming--and the collective guilt that is said to course through each suceeding generation of the Pyncheon family.

When we reach the action of the present day, it's a particularly low moment in the Pyncheon family's fortunes. Hepzibah, the permanently scowling seemingly sole survivor of the line, is forced to open what was at the time known as a "cent shop" in a corner of the grand though decaying house. There's nerve-wracking suspense here. Hawthorne seems to wring it from every word. His mode of storytelling is simultaneously achingly and beautifully slow. There's one scene, for example, in which he lingers over a simple breakfast. Each item seems lovingly revealed; there's a sumptuousness to the language that seems to belie the meal's simplicity. The gaze throughout smacks of the voyeuristic; as if the dead, who are no longer permitted such pleasures, were narrating.

The narrative is marked by a number of oppositions in terms of imagery: gloom and sunshine, animal and spiritual, age and youth, ugliness and beauty, exhaustion and vitality. Clifford embodies many of these. He is put forth as the spoiled and decadent figure and symbol of the family's fortunes. He is obviously homosexual, something Hawthorne, working in the era he did, could only vaguely touch upon. Yet in the end he is mindful enough to turns this cliché on its head. For Clifford, it turns out, is not the "symbol" of the decaying family, but an individual, just one, from whose shoulders at the end of the book all unfair connotation seems justly lifted.

Clifford has an artist's sensibility without the artistry. He is a dilettante. The Daguerrotypist, how lives beneath one of the House's gables, is referred to as "the artist." The contrast is intentional. The fellow with the so-called artistic sensibilities is not an artist at all, but one who makes his living from a simple mechanical process. Clifford, by contrast, lives for beauty. It infuses his every happy moment. Without it he is corpse-like, almost inert.

I will revise and expand on these thoughts once I've had a chance to reread the Novel.

Another atmospheric read for the Halloween Group Read but this one evoked some mixed feelings. I was expecting the slow, deliberate pace of 19th century fiction, and certainly got it. It required a willingness to be patient with the unhurried exposition of characters and the frequent pauses for admonitory reflection, plus an acceptance of the fact that there aren't going to be any electrifying moments. I wasn't in any hurry and was able to relax and enjoy the trip.

What I didn't enjoy was the ending. After 290 pages of this slow trip, we get a sudden and very pat ending for our characters in about 50 pages. Yet, even at that, very little of the story's completion came as part of the plot through the offices of the characters. Instead, the narrator interjects himself for half of it to give us an "oh, by the way" explanation, clarifying what has happened. I was rather disappointed by all this.

In the end, I'm glad I read it, enjoyed it, and would mildly recommend it. If you don't look for modern pacing or excitement, it can be quite pleasant...like floating along on a slow-moving stream with a nice view. ( )

What can I say? I thought this book was a great Gothic novel that was very apposite for a Halloween read. One thing that contributed to this being a wonderful reading experience for me is now that I’m finished with the 999 challenge I really treasured the leisurely pace of the story and the long, lush sentences. I loved the way the characters were revealed bit by bit, often with little homilies on their quirks. For those who are looking for a fast paced thriller with twists and turns in the plot this is not the book to choose. If you enjoy stories that are built on atmosphere and character with some philosophy thrown in for good measure I recommend this as a fine example of that type of novel. I also have to admit, that sometimes I suspected that Hawthorn was writing with a little “tongue in cheek” attitude toward the reader and having a sly laugh on us—or perhaps inviting us to laugh with him. ( )

I was intrigued by the back cover and the promise of a ghost story and came away fustrated and disappointed. a great, creepy set-up in the early passages but the endless pages of minute descriptions were repetitious and interrupted the flow of the story. the supernatural elements appeared to be after thoughts crammed into the story rather than driving it. ( )

own, classic, suspense, gothic ( )

Read in high school in order to do a "research" paper. Had a difficult time getting through it since I didn't find the book all that interesting. ( )

Hawthorne is the equivalent of nudging someone and winking without actually thinking of anything interesting, risque, beautiful, or even useful. It is sad that a man with such a voluminous writing ability was seemingly devoid of any notion of what to do with it. ( )

I only recently discoverd this book after a tour of the House of the Seven Gables in Salem. This is one of the most interesting books I have read in a long time. The character development and the mixture of realism and fantasy really drew me in in way few books have. ( )

a classic -- must read!!! A++++ ( )

"This contrast, or intermingling of tragedy with mirth, happens daily, hourly, momently. This gloomy and desolate old house, deserted of life, and with awful Death sitting sternly in its solitude, was the emblem of many a human heart, which, nevertheless, is compelled to hear the thrill and echo of the world's gaiety around it."

The incredible detail of The House of Seven Gables left me feeling extreme pity one moment and laughing out loud to myself the next. This was just about everything I could ask for in a novel - a curse that spans generations, a haunted house and a wealth of description. A great read. ( )

This story is about a poor woman and her cousin.The house of the Seven Gables was built by Colnel,and same day he died. It was a little difficult for me to understand this book.But I like this book. ( )

This book was awarded to Janetta M.D. Henderson for perfect attendance at Auchterarder School for the session 1931/32. It is a book of little value but the award was to my mother. I wonder if she ever read it.

The House of the Seven Gables begins with a preface by the author that identifies the work as a romance, not a novel. That may be the author's preference, but I think most romance fans will be disappointed if they read this book. The book is a classic by a famous American author, so it deserves to be read. Once you finish the book and look over the complete plot, you can see how romantic love has healed a 200-year family curse. Therefore, in that regard it is a romance. However, the experience of reading the book is more like wondering through a dreary haunted labyrinth. I did not find it enjoyable to read.

I suppose the book can be considered a parable with a message aimed at the stiff necked 19th Century New England descendants of the Puritans. They are a people who behave in proper ways, but have an ancestral history of executing their neighbors on trumped up charges of witchcraft. They are haunted by a secret guilt of association because of the actions of their ancestors. The story told by this book is about the Pyncheon family that parallels this New England story at large.

The book's narrative comes as close as possible to being a ghost story while still remaining within the world of realism. I can imagine that a reader who believes in ghosts can come away from this story with the impression that it is indeed about ghosts. Likewise, another reader who doesn't believe in ghosts will say the story is about people who suspect that there may be ghosts in their lives who are intent on mischief. Either way Nathaniel Hawthorne skillfully weaves a family story filled with angst.

One feature of the book that surprised me was the role of Mesmerism (today we call it hypnotism). As described in this book it appears to be occult magic. Likewise, a lot of the melancholia described in this book would today be called clinical depression. Thank goodness for the character of Phoebe in the story. Her young sunny disposition is a breath of fresh air into an otherwise dreary environment. She’s a reminder of the eternal possibility of renewal brought by young people to human society.

Read in November, 2008 ( )

A classic ( )

need to be read again, after such a long time.....

Though Gothic in style, the comparative lightness of this book's themes (as opposed to The Scarlet Letter) allows the full wryness of Hawthorne to blossom. God, especially in the descriptions of Hepzibah. Don't get me wrong, there is full creepiness at some points, but it's light hearted in a way, as terrible things happen to the Pyncheons because they're Pyncheons, though they feel that that particular attribute—being Pyncheons—should be protecting them from such degradation and horror. ( )

The usual Hawthorne makes for some long sentences, but not necessarily unwieldy; it just takes a little more concentration than some. I enjoyed very much this story of an old house and the family that lives in (and through) it. It reminded me a little of Poe's Fall of the House of Usher. An enjoyable read, but just note that it's from an earlier era when we had longer attention spans. ( )

The house of the Seven Gables was built by Colnel, and same day he died. And for many years, the family is unhappy. But in the last they are happy. ( )

I suspect Nathaniel Hawthorne is nobody's idea of a light read. It certainly wasn't mine; I still have memories of struggling through The Scarlet Letter in high school. So, it came as a bit of a surprise to me that I actually found this novel to be quite fun.

The tricky bit, however, as with a lot of 19th Century fiction, is that the pacing is really slow. It can be frustrating at first, but I found when I relaxed and accepted it, it made for a fun reading experience. At the risk of sounding twee, the slow pace made everytime I sat down to read feel like a little mini-vacation. It helps that Hawthorne does write quite beautifully, so there is quite a bit to appreciate during those long passages that don't really seem to go anywhere.

As for the plot, well, The House of the Seven Gables tells the story of the present-day (at that time) descendants of the Pyncheon line. A certain curse has apparently hung over the family since their ancestor had a man executed for witchcraft and then took his lands to build his large family house (with seven gables). What remains of the line are four descendants: an old maid and her brother, young cousin Phoebe, and Judge Pyncheon, who bears a striking resemblance to the ancestor and is rumored to share his ruthlessness.

House is in some ways a gothic novel. You've got many of the elements: the accursed line, the ancient dwelling in which ghosts linger, the greedy usurper. It is interesting to see those elements placed in an American context. Though generally not that atmospheric for a story with a haunted house at the center, there are some nice moments of real spookines and tension.

Anyway, bottom line is if you have an interest in stories about haunted houses and accursed lines, and have the patience to relax and accept a slower pace in your fiction, than you will probably get some enjoyment out of this book. ( )

this book talk about house became bad house because of wizards curse
ali
( )

The house of the Seven Gables was built by Colnel,and same day he died.And for many years,the family is unhappy.Are they unhappy because a dead man cursed them? This story gives us a love story too.It is interesting. ( )

You'll laugh, you'll cry, you'll wish Nathaniel Hawthorne hadn't kissed his editor goodbye! ( )

The Pyncheons are an old, old family that is cursed by sins of past generations. Three of the remaining members of the family (2 of which are haunted by the past) live in the old family mansion. A fourth is a prominent judge with a deep secret to hide. The prose is dense and melodic and often dramatic--typical of Hawthorne (who self-styles this book a Romance). The book loses a few points for a certain lack of subtlety and a too-neat ending. ( )

(Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com]. I am the original author of this review, as well as the owner of CCLaP; it is not being reprinted here illegally.)

The CCLaP 100: In which I read 100 supposed "classics" for the first time, then write reports on whether or not I think they deserve the label

Book #2: House of the Seven Gables, by Nathaniel Hawthorne

The story in a nutshell:
Like any good horror story, the spooky House of the Seven Gables actually tells two stories at once: it is simultaneously the historic tale of the cursed Pyncheon family, concurrent owners of a reputedly haunted house in Salem, Massachusetts for over two centuries now, as well as the specific tale of the most recent generation of this family, dealing with the same curse that has haunted all the Pyncheons since Puritan times. It seems that the original owner of the seven-gabled house, old Colonel Pyncheon, ended up getting a man named Maule killed as a witch in order to weasel out of the construction costs of the house itself, even deliberately knowing that the man was innocent; Maule, it seems, as a result issued an infamous curse on the Pyncheon family as he died, one that has haunted any member in those two centuries who's had anything to do with the house in question. In the meanwhile, though, another persistent rumor has been that the Pyncheon family actually owns a whole lot more land in Salem than the simple Seven Gables estate, and that if they could simply find the 200-year-old evidence then they could get the state government to retroactively reimburse them and make them rich, rich, stinkin' filthy rich; and in that respect, House of the Seven Gables is as much a morality tale as it is a horror or haunted-house one, in that any Pyncheon over the decades who takes an interest in finding this old evidence just ends up obsessed with the subject to their ultimate ruin, as surely as the supposed magical curse that also exists, along the tormented ghosts of all those cursed Pyncheons who still supposedly reside within the house's walls.

Like I said, as a result the book ends up telling two stories at once, with the majority of it dedicated to the current Pyncheon family at the time of the story itself (mid-1800s): bitter spinster Hepzibah, for example, who has ended up having to open a cent-store on the first floor (basically the Victorian equivalent of a convenience store) in order to make ends meet; her elderly brother Clifford, a broken sad-sack who has just gotten out of jail after spending 30 years there for a crime he didn't commit; Judge Jaffrey, a haughty and hard old man who is thinking of running for governor, and who has become convinced that Clifford knows where the hidden Pyncheon real-estate evidence is; and the sweet-as-sunshine Young Phoebe, a rural cousin who is visiting that summer in order to help out this terminally dour family, and who is like a freakin' little rainbow compared to the rest of the family's endless thunderstorms. Combine with a lot of melodrama, a series of events that are semi-supernatural in nature, and a liberal sprinkling of backstory about the doomed Pyncheons of yore, and you have yourself one very Victorian novel indeed.

The argument for it being a classic:
As hinted above, the main argument for this being a classic is its historic nature; it is not only a fine example of the Victorian Novel (also known as the Romantic Novel), but indeed one of the first American examples of the genre to exist, at a time when American-born and -educated artists were just starting to make a mark on world culture for the first time in history. As such, its fans argue, House of the Seven Gables in effect becomes one of the very first American "weird" stories ever published, a subgenre within Romanticism that eventually led to such modern subgenres as horror, psychological thriller, science-fiction, mystery and more. Most people agree at this point that Hawthorne himself is an imminently important figure in American artistic history (mostly because of the perpetually loved and hated The Scarlet Letter), one of the first-ever US writers to have not only a global reputation but to argue for a distinctly "American" style of artistic expression; his fans, though, argue that he was not only this, but also one of a handful of people who began what is arguably the US's most prolific and ultimately important artistic output, the so-called "genre" projects that we seem so particularly damn good at.

The argument against:
The main charge that seems to be leveled at Hawthorne by his critics (and there's more and more of them in our contemporary times) is that his work simply isn't aging very well; that even though it's extremely important from a historical standpoint, there's also a reason that Hawthorne is so closely associated with the stereotypical "Victorian style" of narration, that has become so outdated in modern times. What's that, Dear Reader? You need more elucidation as to the nefarious nature of the Victorian style of narration? Perhaps if the more well-heeled in the audience will think of an overflowery style that directly addresses the intellectually curious in question, they will have more of a grasp over what Your Humble Narrator is dutifully trying to explain. Yeah, now imagine 200 pages of that, and you start to understand the rationale behind the critics' claims that this novel is important historically but not necessarily a classic.

My verdict:
After reading House of the Seven Gables myself, I tend to fall on the side of its critics; the manuscript itself certainly is a flowery mess to modern eyes, with a plotline lacking the modern "oomph" that we contemporary genre fans are used to and expect from genre projects. In fact, this is arguably the most interesting thing about it in our modern times, and the main argument for a horror or mystery fan to still read it, is to see the actual evolution of so-called "spooky stories" in this country. The fact is that this novel is not very scary at all, not very spooky or weird either from the standpoint of how we modern audiences define it; there are some hallways that creep people out, the general feeling of gloom and doom that the eponymous house emits, and of course the central curse driving it all, but is otherwise a fairly conventional morality tale about how one should be happy with the things one currently has in life, not just endlessly yearning for what's not there.

It's fascinating for anyone who's read a broad depth of weird American literature from over the decades, because you can very plainly see the starting point for the genre's maturation; you can literally see the things that ended up inspiring people such as Edgar Allen Poe and HP Lovecraft, which were the things that then inspired people such as Stephen King and Clive Barker, which is what's now inspiring a whole new generation of genre writers. It's definitely an interesting intellectual exercise for anyone seriously interested in the history of strange literature in this country, but otherwise a book that can safely remain unread by most without having to feel guilty on one's deathbed.

Is it a classic? No ( )