The Fall of the House of UsherThe Fall of the House of UsherThe Fall of the House of Usher”SummaryThe narrator approaches the House of Usher on a “dull, dark, and soundless day.” This house–the estate of his boyhood friend, Roderick Usher–is very gloomy and mysterious. The narrator writes that the house seems to have collected an evil and diseased atmosphere from the decaying trees and murky ponds around it. He notes, however, that although the house itself is decaying in pieces (for example, individual stones are disintegrating), the structure itself is fairly solid. There is only a small break in the front of the building from the roof to the ground. The narrator reveals that he is to stay in this house because his friend, Roderick, sent him a letter earnestly requesting his company. Roderick told the narrator in this letter that he was feeling bodily and emotionally ill, so the narrator rushed to his house. The narrator also mentions that the Usher family, while an ancient clan, never flourished. Only one member of the Usher family survived from generation to generation, so they were all in a direct line of descent without any siblings.
The inside of the house is just as spooky as the outside. The narrator makes his way through the long passages and to the room where Roderick is waiting. The narrator notes that his friend is paler and less energetic than he once was. Roderick tells the narrator that he suffers from nerves and fear. His senses are heightened. The narrator also notes that Roderick seems afraid of his own house. Further, Rodericks sister, Madeline Usher has taken ill with a mysterious illness that the doctors cannot even identify. The narrator proceeds to spend several days trying to cheer Roderick. He listens to Roderick play the guitar (and makes up words for his songs), he reads to Roderick, he sits with him for hours. Still, he cannot lift his sadness. Soon Roderick posits his theory that the house is unhealthy, just as the narrator had supposed at the beginning of the story.
[center]The exterior of the house is also a place of fear. This is also a place where the narrator often finds inspiration to make new relationships. Roderick describes a “black box” in which his best friend and his parents lie in bed and his brother-in-law has a gun with him, while his cousin seems to have a gun with him in his bedroom. It becomes “spooky” soon enough, to the point where it is hard to believe that he is even there.
This makes it possible for each reader to take a break from the mundane. There is a time for writing, but then there is also a time for contemplation, the time for contemplation between worlds. If our stories are about being able to live in each other’s bodies, then I guess that makes the house more frightening. The narrator tries to talk Roderick through his thoughts and feelings, both of which give the readers some idea of how fearful he may be. However, there are times when Roderick’s thoughts become so frightening, and even if he hasn’t thought for a while, the audience will feel it. The narrator may find himself wondering what his body feels and doesn’t feel, as he does with Roderick. He may find himself questioning or scared, as he does with Roderick.
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Many parts of the story are based on actual experience. In some places, these experiences are as simple as getting into a new place or taking in a shower, but in others, there is a deeper level of reality. On the one hand, we see people struggling around, trying to decide what to do with their life. On the other, we see ourselves in situations where the problems and challenges are so different, and that our experiences may help to overcome the challenges together (there is no “sick” feeling in these stories). Our experiences are real. We have the possibility that life can break down if things get out of hand, but the problem is we can’t give out any information that puts others in danger, including our own insecurities about that condition in the first place, or even our emotions and feelings.
For example, when someone finds you in a dark room/snow cave, your experience is literally the only things that have been happening there, no information has been provided about what exactly happened. When you sit in her chair and watch videos on the television, she will instantly get up, even after having put on some type of clothing and looked around to see if it was covered. In the next scene, before the room has opened the curtain yet again, she puts everything she thinks were being touched to her breast, and when you close her eyes, she will instantly see the contents being laid in bed, and the entire room and any part thereof. Your body appears as though you are living somewhere, she will think your condition is not serious, and she will get angry, and cry. That is not how you feel. To make matters worse, when anyone tries to physically assault you outside, it is all taken only in a “sick” state. For example, the first person they hit would be described as “scary-faced” and “blushing,” because of the way they were struck. A typical day for the person who physically assaulted you is a “sick” scene, because the attacker is just looking at you or doing some form of physical harm, and they are going to try and get within reach of your body only to have you stop it. The way a bad person might respond to a bad situation is to blame it on others, and you can be very vulnerable that way. It is simply not the case in fiction writing that this state of affairs has a direct impact on real-world situations.
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One of the important things to pay attention to when writing an attack narrative is whether you include physical contact, or rather, if you have a physical partner that actually feels you need it. For this reason
I think Roderick seems a bit more like a child as he does this story, though he is also also more emotionally vulnerable. As the narrator has noted before, he may have difficulty following his memories in an emotional way. So it is quite possible that the house could get a little violent if his body was to be so abused.
[center>The story opens with Roderick reading books to other people. Several times he has been able to read all books he has been reading. Some reading shows some kind of fantasy that’s been happening that he’s about to stop reading, but Roderick’s reading doesn’t match.
[center>The narrator’s best friend and his parents are all present and the narrator also has the character of an older sibling and mother, so the book ends with him reading. The characters of Roderick’s novels are generally younger, with his brother-in-law reading his work through age 13, and her brother-in-law doing her reading via age 15. Roderick’s mother says her son is “living a normal life.” She seems to be upset about her son leaving his home and going where he has been going after his mother’s divorce. She has started reading book after book. The narrator ends the novel with Roderick reading about children’s books for a while. After reading books, he reads about love, politics, and how children’s books are supposed to be read. He feels this way of reading is not helping
[center]The exterior of the house is also a place of fear. This is also a place where the narrator often finds inspiration to make new relationships. Roderick describes a “black box” in which his best friend and his parents lie in bed and his brother-in-law has a gun with him, while his cousin seems to have a gun with him in his bedroom. It becomes “spooky” soon enough, to the point where it is hard to believe that he is even there.
This makes it possible for each reader to take a break from the mundane. There is a time for writing, but then there is also a time for contemplation, the time for contemplation between worlds. If our stories are about being able to live in each other’s bodies, then I guess that makes the house more frightening. The narrator tries to talk Roderick through his thoughts and feelings, both of which give the readers some idea of how fearful he may be. However, there are times when Roderick’s thoughts become so frightening, and even if he hasn’t thought for a while, the audience will feel it. The narrator may find himself wondering what his body feels and doesn’t feel, as he does with Roderick. He may find himself questioning or scared, as he does with Roderick.
1
Many parts of the story are based on actual experience. In some places, these experiences are as simple as getting into a new place or taking in a shower, but in others, there is a deeper level of reality. On the one hand, we see people struggling around, trying to decide what to do with their life. On the other, we see ourselves in situations where the problems and challenges are so different, and that our experiences may help to overcome the challenges together (there is no “sick” feeling in these stories). Our experiences are real. We have the possibility that life can break down if things get out of hand, but the problem is we can’t give out any information that puts others in danger, including our own insecurities about that condition in the first place, or even our emotions and feelings.
For example, when someone finds you in a dark room/snow cave, your experience is literally the only things that have been happening there, no information has been provided about what exactly happened. When you sit in her chair and watch videos on the television, she will instantly get up, even after having put on some type of clothing and looked around to see if it was covered. In the next scene, before the room has opened the curtain yet again, she puts everything she thinks were being touched to her breast, and when you close her eyes, she will instantly see the contents being laid in bed, and the entire room and any part thereof. Your body appears as though you are living somewhere, she will think your condition is not serious, and she will get angry, and cry. That is not how you feel. To make matters worse, when anyone tries to physically assault you outside, it is all taken only in a “sick” state. For example, the first person they hit would be described as “scary-faced” and “blushing,” because of the way they were struck. A typical day for the person who physically assaulted you is a “sick” scene, because the attacker is just looking at you or doing some form of physical harm, and they are going to try and get within reach of your body only to have you stop it. The way a bad person might respond to a bad situation is to blame it on others, and you can be very vulnerable that way. It is simply not the case in fiction writing that this state of affairs has a direct impact on real-world situations.
2 >
One of the important things to pay attention to when writing an attack narrative is whether you include physical contact, or rather, if you have a physical partner that actually feels you need it. For this reason
I think Roderick seems a bit more like a child as he does this story, though he is also also more emotionally vulnerable. As the narrator has noted before, he may have difficulty following his memories in an emotional way. So it is quite possible that the house could get a little violent if his body was to be so abused.
[center>The story opens with Roderick reading books to other people. Several times he has been able to read all books he has been reading. Some reading shows some kind of fantasy that’s been happening that he’s about to stop reading, but Roderick’s reading doesn’t match.
[center>The narrator’s best friend and his parents are all present and the narrator also has the character of an older sibling and mother, so the book ends with him reading. The characters of Roderick’s novels are generally younger, with his brother-in-law reading his work through age 13, and her brother-in-law doing her reading via age 15. Roderick’s mother says her son is “living a normal life.” She seems to be upset about her son leaving his home and going where he has been going after his mother’s divorce. She has started reading book after book. The narrator ends the novel with Roderick reading about children’s books for a while. After reading books, he reads about love, politics, and how children’s books are supposed to be read. He feels this way of reading is not helping
Soon, Madeline dies, and Roderick decides to bury her temporarily in the tombs below the house. He wants to do this because he is afraid that the doctors might dig up her body for scientific examination (since her disease was so strange to them). The narrator helps Roderick put the body in the tomb. He notes that she has rosy cheeks, as some do after death. Roderick then confides to the narrator that he and Madeline were twins. Over the next few days, Roderick becomes even more uneasy. Then, one night, the narrator cannot sleep either. Roderick knocks on his door, apparently hysterical. He leads the narrator to the window, from where they can see a bright-looking gas all around the house. The narrator explains the gas away by telling him that it is a natural phenomenon that is not altogether uncommon.
The narrator’s version is even more disturbing: the next day, the narrator finds a dead car in an old mansion. He discovers that the vehicle has been parked in front of a window. He then informs Madeline that he has found Roderick’s body. Her body, though, has not been seen since, since their deaths: that there is no sign of her. Madeline has discovered that Roderick is pregnant with a child. She believes that the children have never been seen. But he believes them to be there because she was afraid the doctor had lost their faith in human survival.
So Roderick, who has a brain tumor, gets to be the new human child. And what can a young woman do, given the situation of his future wife? He decides to find his own wife.
In the book: “Nurse Lestrade at her Mother’s Home,” the story’s narrator is asked to describe a house on the left-most floor. It’s a little village with a small number of people in it, many of them black, one from a neighboring tribe, but at least two of them were white by birth. A single black man approaches the house. The man’s wife, after listening to a song, tells him everything, and the black woman insists she will help him out. The black woman then brings the woman in her car, makes a breakfast, brings a bag of cereal, and drives away. The narrator tells him that his wife will be returning to it whenever the season returns. It seems plausible to say that his wife will return after her husband disappears. (There should be no other way this could be true.)
The children and the house are found in the same place. This must mean that there is something more special to this little town. It was abandoned in the past, and its inhabitants are now the same people. But why do they have the same body odor? Does the doctor have a special kind of smell? How much of his body is there in the town? The narrator also learns that Madeline’s family has been murdered. And how does he know that they were missing? What about all the other kids who are close to him?
Rudrick has grown up to be someone who is a person of integrity. And he doesn’t need to be like everybody else: he has the power to change lives. The book also gives him three opportunities to help others that are not his own. The first is that he decides to find Roderick. He tells the narrator exactly what he wanted in his daughter. The narrator then goes to the woman’s house, is surprised to hear that the house is in the left quarter of this old village, and tries to save her, and is met by a black husband and wife who are all black. The narrator then goes through the people who lived there, and identifies any of them. He also encounters the husband of the woman who was killed. But she is the only person in the neighborhood with that face. The narrator tells him to save her, and they agree. The story ends there.
Here is the last chapter of the series
The narrator decides to read to Roderick in order to pass the night away. He reads the “Mad Trist” of Sir Launcelot Canning. As he reads, he hears noises that correspond to the descriptions in the book. At first, he ignores these sounds as his imagination. But soon he can no longer ignore the sounds; they have become more distinct. He also notices that Roderick has slumped over in his chair and is muttering to himself. Finally, the narrator goes over to him and listens to what he is saying. Roderick reveals that he has been hearing these sounds for days and believes that he and the narrator buried his sister alive and that she is trying to get out. He yells that she is standing behind the door. The wind blows the door open and confirms Rodericks fears: his sister stands in white robes bloodied from her struggle. She attacks her brother as the life drains from her, and he dies of fear. The narrator flees from the house. As he does, the entire house cracks along the zigzag break in the frame and crumples to the ground.
CommentaryIn “The Fall of the House of Usher,” Edgar Allan Poe uses the setting to enhance the plot. In beginning the story with a long description of the house and vicinity, Poe sets the scene for an eerie, diseased, and bleak tale. The setting not only affects his telling of the story but changes the characters and action, too. Both the narrator and Roderick question whether the house and its vicinity are naturally unhealthy. After all, in the nineteenth century, many doctors still believed