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The House of the Seven Gables (Webster's Korean Thesaurus Edition)
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Having to work for the first time in her life will help save her. So will the cheerful young Phoebe, a cousin who comes to visit and stays to help with the store. So will the garden outside, which has hens, flowers, humming-birds ... a little bit of life. Hawthorne describes the garden to save us from the house, but he says, "The author needs great faith in his reader's sympathy; else he might hesitate to give details so minute, and incidents so trifling, as are essential to make up the idea of this garden life. It was ... Eden."
But for all the slow time he spends in the garden, he spends five times as much slower time in the house. The most famous chapter in the book is a fifteen-page address the author makes to a corpse in the house's most important room. The point of the speech is that the corpse won't be going to dinner as night, as planned, won't become governor, as planned, won't double his money, as planned ...
Meanwhile the ex-convict and the sister who has never left the house before are running away by train at a mile a minute. That was all described in the previous chapter, the one before the address to the corpse. Are they running from the law? No. They're running from the house. The house stops life. The house slows everything down to a crawl, and then down to absolute paralysis. That's Hawthorne's big point: such houses, and the ancestry they represent, must be escaped from. The sister, "by secluding herself from society, has lost all true relation with it, and is in fact dead," says a boarder, a Daguerrotypist, who ends up being the novel's hero.
The hero looks on at the ex-convict and his sister. He tells the hard-working cheerful Phoebe, "It is not my impulse--as regards these two individuals--either to help or hinder; but to look on, to analyze, to explain matters to myself, and to comprehend the drama which, for almost two hundred years, has been dragging its slow length over the ground, where you and I now tread. If permitted to witness the close, I doubt not to derive a moral satisfaction from it, go matters how they may. There is a conviction within me, that the end draws nigh."
Phoebe answers him, "I wish you would speak more plainly ... and above all, that you would feel more like a Christian and a human being! How is it possible to see people in distress, without desiring, more than anything else, to help and comfort them?" So, as it turns out, the heroine does more to save everyone from the house of the seven gables than the hero does.
But what does she do? She is cheerful, she has faith, and she waits. The house has been waiting for two hundred years. She waits just a little longer.
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People who complain that this book is slow are missing its main point. It is as slow as death, and it is meant to be. Someone has pointed out that the mile-a-minute railroad trip isn't necessary to the plot. No. It's necessary to get away from the slowness of the house -- and there is no plot, because there is no movement, and there is no movement because lack of movement is death, and death is what the book is about.
Somebody else has said that he knew right away that Hawthorne was addressing a corpse in Chapter XVIII, and figured Hawthorne was pretty stupid not to think that readers would guess the character was a corpse long before the chapter ended. But readers should have guessed that all the characters in the house were corpses from the very first paragraph of the book--and there, perhaps, Hawthorne was just a little bit ahead of them.
Not that it's a sad book. It's slow, but it's never sad. The happy ending happens, but it's no spoiler to tell about it, because how it works that everything turns out so well is never explained, and readers have been arguing about exactly how everything got fixed from 1851, when the book was published, until today.
There's a fair amount of scary Gothic action, too: corpses and curses and false convictions ... but they all happened something like five lifetimes ago. The nightmares turn out to be dreams, and the dreams turn out to be traps. People who like horror stories know how slow horror should be.
This is not a fast-paced story. It is not even a slow-paced story. It is a story that doesn't move at all, and it took a genius to slow it so far down that it stopped -- and then keep telling it.
At the center of The House of Seven Gables is a profound curse, whose origins are established in the opening chapter. Matthew Maule, accused and convicted of being a witch, is executed. Before dying Maule exclaims “God will give him blood to drink” in reference to Colonel Pyncheon. Colonel Pyncheon, a rival of Maule who had a hand Maule’s conviction, has the audacity to subsequently build an elaborate house, The House of Seven Gables, right on top of the “unquiet grave” of Maule. Despite all this, the house is constructed, ironically with the help of one of the members of the Maule family.
Fast forward years later and whisperings of the curse seem to still be etched in the Pyncheon family history. One of the members of the Pyncheons in the present day, Hepzibah, an old maid, opens up a shop in one of the parts of the house as a means of earning some income. She is soon visited by characters who will have a prominent role in the plot, cousin Phoebe, Uncle Venner, Clifford, and a neighbor, Holgrave.
Truth be told, The House of Seven Gables was a slow go for me in the some of the parts of the early section and portions of the first half of the novel, but I definitely warmed up to the story, and by the end, felt fully invested in the outcome. I think this is familiar ground when reading Hawthorne, as I think the reader has to find their footing and get used to the density of the prose. The second half of the novel is where things pick up, and several plot developments come into focus and we learn some revelations. While there are certainly ambiguities to certain aspects of the plot, I still felt like there is a sense of resolve at novel’s end.
One of the recurring and predominant themes of the novel seems to be the nature of time. In the case of the novel, this would be the attempt at separating the present from the past. We see this for the present day Pyncheons, as they have to deal with the sins of the past in order to earn their keep.
Much more than The Scarlet Letter, The House of Seven Gables has a definite Gothic feel. It is labeled as a romance, which is fitting due to some developments that occur. Hawthorne’s rich descriptions of the house and the family (while sometimes difficult to wade through due to the style) are certainly effective in creating a bleak and sometimes dreary mood. However, this is counterbalanced (fortunately) by the appearance of Phoebe Pyncheon, who adds some cheeriness to the house.
In some ways, I do believe that the House itself becomes a character, as it certainly has a bearing and effect on all those who enter or have a history associated with it.
After missing out on this one for years, I’m glad I finally got a chance to read it. Much different than other Hawthorne reads, with a bit of a sense of romance, supernatural and Gothic.
This New England house exists today and reflects a very long and controversial history. The manner in which people dressed, what they ate, how they spent their time and expectations are all richly woven in the fabric of this story. A very enjoyable, entertaining and enlightening read of times gone by.
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Reviewed in India on November 26, 2018