House of Leaves is a book for readers who enjoy frame stories. By my count, there’s approximately seven layers of framing to the actual plot. Each layer carries its own story, whether implicit or explicit.
The physical book in our hands is presented as a compiled text, given to the some sort of publisher by general riffraff Johnny Truant, who obtained it from a blind man named Zampanò after the latter’s death. Zampanò’s manuscript is presented as an academic paper reviewing the literature surrounds a documentary recorded by Pulitzer-winning photographer David Navidson. The Navidson Record, as the tape is called, details the story of when Navidson and his family moved into a Virginia house that’s bigger on the inside.
That doesn’t sound so bad, you say. So why did I call it cosmic horror in my Atlas Shrugged review? Let’s get into that.
Our first indication comes from Johnny Truant’s introduction, which essentially functions as a x-page infohazard warning. Johnny believes this book destroyed his life, and seeing his story unfold across dozens of multi-page footnotes, he’s not entirely wrong. Johnny is really too intelligent for his lifestyle of alcohol, drugs, and casual sex in late-90s Los Angeles. He works in a tattoo parlor, despite having no tattoos himself. It would be easy to write him off as another nobody, but his vocabulary and insight betray this as the product of an extremely troubled upbringing.
Johnny’s mother was institutionalized when Johnny was very young, after trying to murder her only son. His father died and the next several years were spent in foster homes, often with abusive foster-parents. He ran away during his teenage years, wondered around Europe writing poetry for awhile, and somehow ended up in LA.
During late-night excapades with a genuine underachiever, Lude, led to finding Zampanò’s manuscript after the old man passed away. A collection of papers and notes, the book is hardly publishable. Intrigued, Johnny takes the pile back to his apartment and begin reading.
Slowly, he comes unhinged.
The house does not show its true self at first. It begin by creating a closet between bedrooms that were previously unconnected, piquing Navidson’s curiosity. Despite measuring again and again, it would seem that the house is ¼ inch longer on the inside than out. The mystery spirals, as more and more precise instruments wielded by professionals confirm the discrepancy.
Then a hallway appears leading off the living room, which never existed there before. At first it leads to a cold, dark, dead-end, but as time goes on, new rooms appear and change. Several professional outdoorsmen are brought to the house on Ash Tree Lane to explore this curiosity.
We learn from his footnotes that this story of unstable space is driving Johnny Truant mad. His ability to function slowly implods around him. He starts to think some sort of beast or minotaur is after him.
The exploration of Navidson’s house tears his family apart and reveals a mystery that only grows deeper—quite literally. As Zampano gives us his pseudo-academic analysis of the documentary’s contents, we learn that the house is damaging to the psyche of most occupants throughout the property’s troubled history. Navidson is special, we learn, in that he has the artistic fortitude to force himself into understanding it. He and his partner Karen are perhaps the only people to confront the house head-on. But I shouldn’t spoil everything.
As I said, this is a book about layers. The veracity of a statement, at each level, is to be questioned. Particularly those related to Johnny Truant. It’s no mistake that an extended appendix is dedicated to him. (Do read all the appendices—there’s a lot of good information in them). The Navidson Record is part of why this book fascinated me, but Johnny Truant is another part. His story is just as important—don’t overlook him. His narration is unreliable but valuable.
Plenty of others have said this, but for House of Leaves, it really pays to buy a physical copy. Contextual storytelling plays a major role in getting the plot’s emotionalism across. This includes many places where the text skips back and forth between pages or runs at unconventional angles. Sometimes it does both at once. These are artefacts of both Zampanò’s incomplete manuscript, and Danielewski’s illustration.
I’m honestly just impressed that one person was able to construct such a complicated story, coherently, and without losing the reader. I would recommend it to anyone who enjoys science fictional, cosmic horror, mystery puzzle novels. Or something like that. Categorizing House of Leaves into a single genre would be a difficult task. Thankfully, we don’t have to. Just like the house, the real world is nebulous and infirm.