A Haunting on the Hill
by Elizabeth Hand
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"Open the door....Holly Sherwin has been a struggling playwright for years, but now, after receiving a grant to develop her play Witching Night, she may finally be close to her big break. All she needs is time and space to bring her vision to life. When she stumbles across Hill House on a weekend getaway upstate, she is immediately taken in by the mansion, nearly hidden outside a remote village. It's enormous, old, and ever-so eerie--the perfect place to develop and rehearse her play. show more Despite her own hesitations, Holly's girlfriend, Nisa, agrees to join Holly in renting the house for a month, and soon a troupe of actors, each with ghosts of their own, arrive. Yet as they settle in, the house's peculiarities are made known: strange creatures stalk the grounds, disturbing sounds echo throughout the halls, and time itself seems to shift. All too soon, Holly and her friends find themselves at odds not just with one another, but with the house itself. It seems something has been waiting in Hill House all these years, and it no longer intends to walk alone ..." -- show lessTags
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Member Reviews
Why would anyone want to live in a haunted house? In this authorized sequel to Shirley Jackson's The Haunting of Hill House, Elizabeth Hand has an up-to-date answer: real estate! The COVID era migration to remote work in the countryside has driven housing costs up, so even Hill House looks worth renting.
This is a bad idea for playwright Holly Sherwin, who rents Hill House for two weeks in late Fall to workshop her play, about a witch with a demon dog. Fading diva Amanda will be the witch, Holly's girlfriend Nisa will be a one-person chorus singing rewritten murder ballads, and their friend Stevie will do sound design and play the demon. Omens pile up fast, often related to dark episodes in Holly's and the others' pasts. But the rental show more money has been spent! And the house seems perfect in many ways...
It's not necessary to read The Haunting of Hill House to appreciate this book. There are a few allusions to earlier occupants of the house in the 1950s and 1980s, and an old tree stump where the fatal tree stood in Jackson's book. Hand is good at this, and the ending delivers all of the uncanny I could ask for. show less
This is a bad idea for playwright Holly Sherwin, who rents Hill House for two weeks in late Fall to workshop her play, about a witch with a demon dog. Fading diva Amanda will be the witch, Holly's girlfriend Nisa will be a one-person chorus singing rewritten murder ballads, and their friend Stevie will do sound design and play the demon. Omens pile up fast, often related to dark episodes in Holly's and the others' pasts. But the rental show more money has been spent! And the house seems perfect in many ways...
It's not necessary to read The Haunting of Hill House to appreciate this book. There are a few allusions to earlier occupants of the house in the 1950s and 1980s, and an old tree stump where the fatal tree stood in Jackson's book. Hand is good at this, and the ending delivers all of the uncanny I could ask for. show less
Bear with me, folks, this is going to be a tough one to write.
I very likely had the same reaction as virtually anyone else who saw there was an "authorized" follow-up (let's not call this a sequel—I'll get into that later) to possibly one of the top two haunted house novels of all time—the other being King's THE SHINING, which saw its own disappointing sequel come out a few years back. My reaction was both incredible excitement, for a chance to read something that goes back to my favourite haunted house, but also a crossed-arm, narrow-eyed admonishment that it better not get screwed up.
I also went back and did a re-read of Jackson's original before this, and I'm glad I did. So, let's get into it, shall we?
To start, I should say, I show more actually considered Elizabeth Hand a brilliant selection, having read—and truly loved—WYLDING HALL, about a band going to a haunted house to try and write and record their next album.
Good fit, right?
I thought so. I'd hoped so.
Unfortunately, Hand sort of gave us a similar scenario, only this time it was a playwright and assorted stage personnel finessing a play about a witch. Similar feel to the band thing, just with a stage play instead of an album.
And, this is where the first problems cropped up. In Jackson's HAUNTING OF HILL HOUSE, she presented us with wholly unlikable characters. Mr and Mrs Dudley, the caretakers. Mrs. Montague. And, if we're honest, none of the main four characters, Theodora, Eleanor, Luke, and Dr. Montague, are especially likable either. Yet Jackson just gives us very quick hints of their background, enough to intrigue, but never enough to bore. And the thorougly unlikable Dudleys and Mrs Montague are also made fun of to the readers' delight.
And, while it literally takes about half the original novel to dig into the horror, Jackson never bores, while filling the reader in with what they need to know prior to the not sane Hill House starts its manipulations.
In THE HAUNTING ON THE HILL, Hand also chooses to make everyone unlikable, yet doesn't seem to offer up any true redeeming features. Holly is desperate for success. Nisa is overbearingly all about her songs. Amanda wants one last shot at a meaty role. And so on.
Unfortunately, they're all so deadly serious that there's no fun left in them. It's all been wrung out, leaving only desperation in its wake.
So, the characters tend to fail in this so-called sequel, but what about the story?
In the original, the four that come because one is also desperate to write a paper on a definitive house haunting, and the other three, due to their pasts or their affliations with the house, are invited.
In this new one, the house is stumbled upon, and first it's Holly that wants the place, but it's Nisa that is captured by the place and pushes the deal.
But the main thrust of the second story is everyone getting behind the "Witching Night" stage play, whether it's the writing, the songs, the sound design, or the acting. Unfortunately, much like the characters, the story within the story is only mildly compelling and doesn't feel strong enough to draw the people there, nor keep them there when things inevitably go south. Especially when the only message they hear throughout the entire novel is, "leave the house."
And, it should be mentioned, however that if I ever experience dialogue again where one character explains they aren't pagan, but more "neo-pagan adjacent" and they aren't trying to be wry or funny in any way?
Yeah, if that happens, I'll kill the book with fire and be done with it. That sentence moved up to the number one slot of most hated sentences in a novel I've read, and that's something, considering up to now, it was Lee Child with his shockingly bad, "It was as distinctive as the most distinctive thing you could think of."
But surely Jackson's greatest creation, Hill House—such a looming and menacing presence in the first one is equally terrifying here, right?
Well, only sort of. Hand relies on weirdly external sources, such as hares (and, oh my god, Hand, just let them pick one term and run with it...every time a character refers to a rabbit, they immediately correct themselves), and the woman who lives down the road, and a snow storm...
But she does touch on certain aspects of the original, the cold spot, previous dialogue is pulled in, the room at the top of the stairs that almost claimed Eleanor.
But here's the thing that kind of bugged me about this whole affair: Hand pay passing attention to the original with some details, which I fully appreciated. But then she creates a full ongoing history of events that occurred after the events of the first novel, not as though this book was the sequel, but as though this was about the fifth in the series, seemingly paying attention more to events from the 80s than what happened in the late 50s.
So, there's a familiar underlying odour, but overall the entire thing smells wrong.
The closest I can come to a comparison is the experience I had doing a re-read of TO KILL A MOCKINGBIRD by Harper Lee, then reading GO SET A WATCHMAN, the novel that should never have seen the light of day.
Because while it made a lot of mention of things we were familiar with in the well-loved and much-read original, it also seemed to not have as much respect as it should, and did not quite fit in with the original as it should.
This is very much the same feeling. Hand's a great author, and she didn't embarrass herself here, but it feels more like the estate of Jackson decided it was time to do something with this property they have, and Hand happened to have this haunted house story she'd been working on and shoehorned in some Hill House mentions to make it work. I've read a few reviews now that all seem to love the book and deem it a worthy successor, but for me, I guess I was hoping for something that, while not a carbon copy of the original, would at least make the house the star of the show again with its not sane presence, rather than the author bringing in completely new and, quite frankly, questionable choices as to how the house now operates. For all those glowing reviews, I know that I'll revisit Hill House at least a few more times. But it will be the Jackson Hill House I visit. I fully expect this sequel to be forgotten in a couple of years, much like GO SET A WATCHMAN has already slipped out of everyone's mind, except when they come across it in the cheap book sales.
This IS a decent haunted house novel, as far as it goes, but it's not a good haunted Hill House novel by any means. show less
I very likely had the same reaction as virtually anyone else who saw there was an "authorized" follow-up (let's not call this a sequel—I'll get into that later) to possibly one of the top two haunted house novels of all time—the other being King's THE SHINING, which saw its own disappointing sequel come out a few years back. My reaction was both incredible excitement, for a chance to read something that goes back to my favourite haunted house, but also a crossed-arm, narrow-eyed admonishment that it better not get screwed up.
I also went back and did a re-read of Jackson's original before this, and I'm glad I did. So, let's get into it, shall we?
To start, I should say, I show more actually considered Elizabeth Hand a brilliant selection, having read—and truly loved—WYLDING HALL, about a band going to a haunted house to try and write and record their next album.
Good fit, right?
I thought so. I'd hoped so.
Unfortunately, Hand sort of gave us a similar scenario, only this time it was a playwright and assorted stage personnel finessing a play about a witch. Similar feel to the band thing, just with a stage play instead of an album.
And, this is where the first problems cropped up. In Jackson's HAUNTING OF HILL HOUSE, she presented us with wholly unlikable characters. Mr and Mrs Dudley, the caretakers. Mrs. Montague. And, if we're honest, none of the main four characters, Theodora, Eleanor, Luke, and Dr. Montague, are especially likable either. Yet Jackson just gives us very quick hints of their background, enough to intrigue, but never enough to bore. And the thorougly unlikable Dudleys and Mrs Montague are also made fun of to the readers' delight.
And, while it literally takes about half the original novel to dig into the horror, Jackson never bores, while filling the reader in with what they need to know prior to the not sane Hill House starts its manipulations.
In THE HAUNTING ON THE HILL, Hand also chooses to make everyone unlikable, yet doesn't seem to offer up any true redeeming features. Holly is desperate for success. Nisa is overbearingly all about her songs. Amanda wants one last shot at a meaty role. And so on.
Unfortunately, they're all so deadly serious that there's no fun left in them. It's all been wrung out, leaving only desperation in its wake.
So, the characters tend to fail in this so-called sequel, but what about the story?
In the original, the four that come because one is also desperate to write a paper on a definitive house haunting, and the other three, due to their pasts or their affliations with the house, are invited.
In this new one, the house is stumbled upon, and first it's Holly that wants the place, but it's Nisa that is captured by the place and pushes the deal.
But the main thrust of the second story is everyone getting behind the "Witching Night" stage play, whether it's the writing, the songs, the sound design, or the acting. Unfortunately, much like the characters, the story within the story is only mildly compelling and doesn't feel strong enough to draw the people there, nor keep them there when things inevitably go south. Especially when the only message they hear throughout the entire novel is, "leave the house."
And, it should be mentioned, however that if I ever experience dialogue again where one character explains they aren't pagan, but more "neo-pagan adjacent" and they aren't trying to be wry or funny in any way?
Yeah, if that happens, I'll kill the book with fire and be done with it. That sentence moved up to the number one slot of most hated sentences in a novel I've read, and that's something, considering up to now, it was Lee Child with his shockingly bad, "It was as distinctive as the most distinctive thing you could think of."
But surely Jackson's greatest creation, Hill House—such a looming and menacing presence in the first one is equally terrifying here, right?
Well, only sort of. Hand relies on weirdly external sources, such as hares (and, oh my god, Hand, just let them pick one term and run with it...every time a character refers to a rabbit, they immediately correct themselves), and the woman who lives down the road, and a snow storm...
But she does touch on certain aspects of the original, the cold spot, previous dialogue is pulled in, the room at the top of the stairs that almost claimed Eleanor.
But here's the thing that kind of bugged me about this whole affair: Hand pay passing attention to the original with some details, which I fully appreciated. But then she creates a full ongoing history of events that occurred after the events of the first novel, not as though this book was the sequel, but as though this was about the fifth in the series, seemingly paying attention more to events from the 80s than what happened in the late 50s.
So, there's a familiar underlying odour, but overall the entire thing smells wrong.
The closest I can come to a comparison is the experience I had doing a re-read of TO KILL A MOCKINGBIRD by Harper Lee, then reading GO SET A WATCHMAN, the novel that should never have seen the light of day.
Because while it made a lot of mention of things we were familiar with in the well-loved and much-read original, it also seemed to not have as much respect as it should, and did not quite fit in with the original as it should.
This is very much the same feeling. Hand's a great author, and she didn't embarrass herself here, but it feels more like the estate of Jackson decided it was time to do something with this property they have, and Hand happened to have this haunted house story she'd been working on and shoehorned in some Hill House mentions to make it work. I've read a few reviews now that all seem to love the book and deem it a worthy successor, but for me, I guess I was hoping for something that, while not a carbon copy of the original, would at least make the house the star of the show again with its not sane presence, rather than the author bringing in completely new and, quite frankly, questionable choices as to how the house now operates. For all those glowing reviews, I know that I'll revisit Hill House at least a few more times. But it will be the Jackson Hill House I visit. I fully expect this sequel to be forgotten in a couple of years, much like GO SET A WATCHMAN has already slipped out of everyone's mind, except when they come across it in the cheap book sales.
This IS a decent haunted house novel, as far as it goes, but it's not a good haunted Hill House novel by any means. show less
You might be thinking - 'Is this the same house that Shirley Jackson wrote about? The answer is yes. Elizabeth Hand's new novel A Haunting on the Hill, has been sanctioned by Jackson's estate.
Hand puts her own spin on things. Scary things...
A playwright rents the run down mansion for two weeks. She's written a play called The Witching and decides that the house would be a good place to rehearse with the three actors involved. Uh huh. Before they even step a foot inside, there are warnings about the past of the house from the real estate agent - but to no avail.
Hand gives us four very different characters in Holly, Nisa, Amanda and Stevie. Hand fleshes out their personalities, decisions, wants, needs and more. The listener is privy to show more each player's thoughts. Their personalities affect what happens next in many cases.
And you got it - what happens starts off quietly with small things. Innocuous things that can be easily explained away. Doors, sounds, echoes, temperatures. But it's not long before there's more...and I shouted to the four to get out!
Okay, so I listen to audiobooks to fall asleep. Less learned. I couldn't get to sleep - I kept hearing things downstairs - creaks and bumps and an echo of something. I ended up finishing it off in the daytime.
Hand does a fantastic job of drawing the listener into the world of Hill House, with a well written and frightening setting and fresh plot.
The narrator was Carol Monda and she did a fabulous job of presenting Hand's book. She has the most interesting voice - with a whiskey and cigarette growl. She provides different voices for the other players, making it easy to know who was speaking. She speaks clearly and is easy to understand. That's the characters, but what about the house? The descriptions of the house and what transpires gave me a good case of the heebie-jeebies. The fear and the unknown are captured in Monda's performance. show less
Hand puts her own spin on things. Scary things...
A playwright rents the run down mansion for two weeks. She's written a play called The Witching and decides that the house would be a good place to rehearse with the three actors involved. Uh huh. Before they even step a foot inside, there are warnings about the past of the house from the real estate agent - but to no avail.
Hand gives us four very different characters in Holly, Nisa, Amanda and Stevie. Hand fleshes out their personalities, decisions, wants, needs and more. The listener is privy to show more each player's thoughts. Their personalities affect what happens next in many cases.
And you got it - what happens starts off quietly with small things. Innocuous things that can be easily explained away. Doors, sounds, echoes, temperatures. But it's not long before there's more...and I shouted to the four to get out!
Okay, so I listen to audiobooks to fall asleep. Less learned. I couldn't get to sleep - I kept hearing things downstairs - creaks and bumps and an echo of something. I ended up finishing it off in the daytime.
Hand does a fantastic job of drawing the listener into the world of Hill House, with a well written and frightening setting and fresh plot.
The narrator was Carol Monda and she did a fabulous job of presenting Hand's book. She has the most interesting voice - with a whiskey and cigarette growl. She provides different voices for the other players, making it easy to know who was speaking. She speaks clearly and is easy to understand. That's the characters, but what about the house? The descriptions of the house and what transpires gave me a good case of the heebie-jeebies. The fear and the unknown are captured in Monda's performance. show less
I have been waiting several months for this book to appear and I was not disappointed. Hand's writing, as always is excellent. The story has a lot of suspense, a sometimes understated sense of horror that suddenly becomes palpable. There is always a logical explanation, until there isn't. The house itself is really a central character (reminiscent of some of Hand's other books, notably Wylding Hall). The characters have depth and a good deal of baggage. At times the house seems merely an amplifier of their brokenness, emotional scarring, and neuroses; but it is more and worse.
The title and setting obviously allude to Shirley Jackson's The Haunting of Hill House, a book I haven't read in donkey years. But it is quite original and its show more own book. A great book for a gloomy fall day. show less
The title and setting obviously allude to Shirley Jackson's The Haunting of Hill House, a book I haven't read in donkey years. But it is quite original and its show more own book. A great book for a gloomy fall day. show less
Though much anticipated and well-reviewed by professional critics, this was a disappointment - it neither rose above Hand's previous work nor actually above the abundance of standard haunted house books which promise to be "for lovers of Shirley Jackson" (books which can be enjoyable, but don't rise to the promised pedigree - they don't and neither does this.) As for the critics who lavished praise on this return to Hill House, it's impossible to believe they understood what made The Haunting of Hill House so incredibly terrifying but - hint - it had nothing to do with overgrown hares (or, as you wish, big rabbits). Finally, if readers get any sense of déjà vu at all, it's quite likely they've read Hand's excellent Wylding Hall and it show more feels that it is to that book The Haunting on the Hill is paying homage. show less
A Haunting on the Hill by Elizabeth Hand is much more than a scary story about a haunted house instead it is an eerie and beautifully written sequel to Shirley Jackson’s original story entitled the Haunting of Hill House. This atmospheric story is a blend of group paranoia, vivid horror and claustrophobic intensity.
Holly, a struggling playwright stumbles upon Hill House and decides it would be the perfect place to gather with the actors to develop and rehearse her play ‘The Witching Night”. The male and female leads , Stevie and Amanda along with her partner, Nisa, who is going to do some original music for the play come to Hill House which they have rented for a month. Every member of the party has their own ghosts and as they show more settle in the house starts to show it’s true nature with strange creatures stalking the grounds and the hallways, disturbing sounds, shifting time and something that feels like it’s been waiting many years for them to come.
A Haunting on the Hill and its iconic setting is a tribute to author Shirley Jackson’s genius, but it is also a truly terrifying and original read set in modern days. Darkly beautiful and strangely captivating, A Haunting on the Hill is an excellent successor to the original. show less
Holly, a struggling playwright stumbles upon Hill House and decides it would be the perfect place to gather with the actors to develop and rehearse her play ‘The Witching Night”. The male and female leads , Stevie and Amanda along with her partner, Nisa, who is going to do some original music for the play come to Hill House which they have rented for a month. Every member of the party has their own ghosts and as they show more settle in the house starts to show it’s true nature with strange creatures stalking the grounds and the hallways, disturbing sounds, shifting time and something that feels like it’s been waiting many years for them to come.
A Haunting on the Hill and its iconic setting is a tribute to author Shirley Jackson’s genius, but it is also a truly terrifying and original read set in modern days. Darkly beautiful and strangely captivating, A Haunting on the Hill is an excellent successor to the original. show less
In Elizabeth Hand’s “A Haunting on the Hill,” four individuals plan to live together for a few weeks in a creepy-looking and secluded mansion. Holly Sherwin, a playwright who is hoping to revive her career, invites her girlfriend, gifted singer Nisa Macari; Stevie Liddell, an actor and sound designer; and veteran actress Amanda Greer to workshop Holly’s play “Witching Night.” The play draws its inspiration from the tragedy of Elizabeth Sawyer, who was condemned and executed for being a witch. In Holly’s version, Sawyer retaliates and triumphs over her accusers. Nisa’s evocative vocals add flavor to the production, and Amanda is an expert at commanding an audience’s attention.
The agent who rents Hill House to Holly show more warns her to reconsider spending time in this cursed place, since tragic things have happened there. However, Holly hopes to use the house's eerie vibes to inspire her cast. For a while, the quartet makes the best of their shabby surroundings, but soon there are signs that something is seriously amiss. The residents are shaken by strange sights and mysterious voices that are difficult to dismiss as products of an overactive imagination. In addition, Holly, Nisa, Stevie, and Amanda all harbor secrets, anxieties, and petty jealousies that contribute to the fraught atmosphere.
The novel’s evocative and menacing mood are more impressive than Hand’s thinly developed plot. Furthermore, some readers may write off the book’s protagonists as reckless fools, since they could have left before the inevitable heavy snowstorm cuts off their escape route. Yet “A Haunting on the Hill” works, mostly because the author is a talented descriptive writer whose portrayal of Hill House is sinister and frightening, but never overdone. Those who are drawn to tales of psychological suspense and the supernatural may appreciate this imaginative homage to the great Shirley Jackson’s classic work, “The Haunting of Hill House.” show less
The agent who rents Hill House to Holly show more warns her to reconsider spending time in this cursed place, since tragic things have happened there. However, Holly hopes to use the house's eerie vibes to inspire her cast. For a while, the quartet makes the best of their shabby surroundings, but soon there are signs that something is seriously amiss. The residents are shaken by strange sights and mysterious voices that are difficult to dismiss as products of an overactive imagination. In addition, Holly, Nisa, Stevie, and Amanda all harbor secrets, anxieties, and petty jealousies that contribute to the fraught atmosphere.
The novel’s evocative and menacing mood are more impressive than Hand’s thinly developed plot. Furthermore, some readers may write off the book’s protagonists as reckless fools, since they could have left before the inevitable heavy snowstorm cuts off their escape route. Yet “A Haunting on the Hill” works, mostly because the author is a talented descriptive writer whose portrayal of Hill House is sinister and frightening, but never overdone. Those who are drawn to tales of psychological suspense and the supernatural may appreciate this imaginative homage to the great Shirley Jackson’s classic work, “The Haunting of Hill House.” show less
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It isn’t surprising, then, that Elizabeth Hand’s novel, “A Haunting on the Hill,” the first authorized novel set in the world of Jackson’s Hill House, would be an exciting and risky venture. Coming to the book, fans of Jackson will inevitably expect to experience the same haunted mansion that she created, with all its eerie oddities, while fans of Hand — a beloved author who has show more written more than a dozen genre-crossing and award-winning novels — will want to hear her particular voice and her uncanny ability to combine the edgy and the ethereal. It’s a difficult high wire to walk. Bringing these two heavy-hitting novelists together could alienate fans of both....And so it’s thrilling to find that “A Haunting on the Hill” is a true hybrid of these two ingenious women’s work — a novel with all the chills of Jackson that also highlights the contemporary flavor and evocative writing of Hand. The story stays true to Jackson’s vision of “Hill House” while becoming a thing of its own. Indeed, “A Haunting on the Hill” is strange and wonderful, a frightening foray into the supernatural that will inspire you to go back and reread the original. show less
added by Lemeritus
Hand, the author of 20 novels, including “Hokuloa Road,” has long been preoccupied with the notion of artistic creation as a form of folk magic or conjuring, one that exacts its toll on body, mind or spirit. “A Haunting on the Hill” is shot through with that witchy sacrifice....In Jackson’s story, the rotten, beating heart was never the house itself. It was damaged, doomed Eleanor, show more newly freed from a cruel mother, whose desperate neediness and formless identity opened the door to a mad kinship with the house, a sort of demented ouroboros of domestic bliss. Hand opens up the playing field: We don’t know which, if any, of her characters might succumb to the house, which refracts and amplifies all their flaws and insecurities....It’s a compelling and frightening novel, but did it need to take place in Jackson’s universe? Probably not — and that’s why it works. A lesser writer might’ve paid more overt homage to “The Haunting of Hill House,” or tried to imitate Jackson’s singular prose style. Hand, wisely, does no such thing, opting for resonance over replication. In a landscape of soulless franchises geared toward quick, shallow hits of fan service, she has the maturity and talent to deliver the follow-up that Jackson’s novel deserves (even if it didn’t necessarily need one). show less
added by Lemeritus
This riveting tale from Nebula Award winner Hand (Hokuloa Road) eerily, if sometimes unevenly, updates and riffs on Shirley Jackson’s classic ghost story The Haunting of Hill House.... While the story takes its time getting underway, Hand demonstrates masterful control over the ebb and flow of tension once it does. Lush atmospheric details and sharply observed characterization abound, but show more occasionally overload the plot to the point that certain elements end up feeling extraneous or underutilized. Still, this chillingly mesmerizing narrative is a worthy addition to the haunted house canon. show less
added by Lemeritus
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Author Information
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Awards and Honors
Awards
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Common Knowledge
- Canonical title
- A Haunting on the Hill
- Original publication date
- 2023-10-03
- People/Characters
- Holly Sherwin; Nisa Macari; Stevie Liddell; Amanda Greer
- Important places
- Hill House
- Epigraph
- This workaday actuality of ours--with its bricks, its streets, its woods, its hills, its waters--may have queer and, possibly, terrifying holes in it.
-Walter de la Mare - Dedication
- In memory of Peter Straub
Beloved friend and tireless guide through the dark - First words
- Most houses sleep, and nearly all of them dream: of conflagrations and celebrations, births and buckled floors; of children's footsteps and clapboards in need of repair, of ailing pets and peeling paint, wakes and weddings an... (show all)d windows that no longer keep out the rain and snow but welcome them, furtively, when no one is home to notice.
- Last words
- (Click to show. Warning: May contain spoilers.)Hill House waits.
- Blurbers
- Gaiman, Neil; Reyes, Ana; Tremblay, Paul; Harrow, Alix E.; Collins, Bridget; Chaon, Dan (show all 8); Gailey, Sarah; LaValle, Victor
- Original language
- English
- Canonical DDC/MDS
- 813.6
- Canonical LCC
- PS3558.A4619
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- 582
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- 50,646
- Reviews
- 22
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- (3.47)
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- English, German, Italian
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- Paper, Audiobook, Ebook
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- 5
