48 pages • 1 hour read
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Content Warning: This section contains graphic depictions of violence and presents mental health conditions through a stereotyped and exaggerated lens. In addition, the source text uses outdated and offensive terms for mental health conditions, replicated in this guide only in direct quotes.
A map of Old House shows various pathways to different places, including a psychiatric hospital and a different point in time. The map is extremely disorganized and scattered, implying that the pathways have no set position.
Eve Palmer stares out the window of the home that she and her girlfriend, Charlie, recently moved into at 3709 Heritage Lane, in a Pacific Northwest forest. At her door is a family of five (a man, a woman, and three kids). They look ready for church, and Eve wonders why they’re at her house on a Friday night. She opens the door, and the man, introducing himself as Thomas Faust and his wife as Paige, explains that he grew up in the house and wants to show it to his family. He claims they’re just passing through. Eve notices that the woman wears a cross and has striking blue eyes and that the father has dirt on his jacket. She sees no car, and the man claims that they parked down the road. Eve calls her ability to notice seemingly mundane details her “broken spidey-sense” (3).
Eve struggles to be assertive; her paranoia (which she calls “Mo,” after her favorite childhood toy, a chimp with cymbals) leads her to think the worst. She wonders if they might be murderers and how she can get them to leave. Eve calls Charlie, but she doesn’t answer. Eve claims that Charlie disagreed about letting the family inside, and they start to leave. Feeling guilty and eager to keep them happy, Eve calls them back and lets them in.
A real estate listing for the house describes it as secluded but only 30 minutes from the nearest town and a perfect place for hiking and fishing. The house is Victorian and measures 2,700 square feet.
Eve watches as Thomas opens the closet and hangs up his family’s jackets, and notices Paige’s expression as she stares at the dilapidated property. Eve thinks about how she was reluctant to move in, but the house was a great deal, and she and Charlie planned to flip it for profit. Thomas introduces his children, Kai and Newton, who often fight, and Jenny, who carries a notebook and questions everything. Thomas shows his family around, asking Eve about changes like the missing chandelier. Jenny notices Eve’s dog, Shylo, watching them (Shylo was a rescue dog), and Thomas mentions having a chocolate lab growing up. He points out carvings of horses on the wall that his mother made and a symbol of a circle with lines through it that his sister, Alison, drew on the wall to prevent bad luck. Mo’s voice tells Eve that it’s a symbol for a cult, but she tries to ignore it.
Eve starts to enjoy Thomas’s descriptions of how the house used to be. In the study is a stained glass window with a strange-looking apple tree on it. The family passes by the attic and Thomas stops at the wall where the dumbwaiter hides behind wallpaper, pointing out that it’s likely still there. Eve decides that the family seems normal and goes downstairs to continue a project. Suddenly, Shylo starts staring at the basement door, but Eve realizes that she’s only barking at an ant. Eve never goes down there, fearing basements and the unknown evil that she always felt lurking there. When the family comes downstairs and wants to see the basement, Eve declines, implying they should go. Thomas takes the hint and gathers his family. He stops in the middle of asking Eve whether she’s noticed anything odd since moving in, noticing that Jenny is missing. Eve looks out the window and sees a light in the distant woods, and wonders if it could be Jenny. After yelling for her and hearing no answer, Thomas finds the wallpaper covering the dumbwaiter gone and thinks Jenny went down to the basement.
A document shows an ad for a “free chocolate lab” named Buckley that was given away after an incident with the family’s son (29).
Eve reluctantly follows Thomas to the basement to look for Jenny. Immediately, she smells the musty dampness and is nervous when Thomas suggests they split up. He tells Eve to grab Jenny if she finds her lest Jenny just keep running and hiding. Eve explores the basement’s narrow corridors and dark rooms, and when a can falls off a shelf, she tells herself it must have been the uneven floorboards. A trail of ants leads toward a white door, and she enters a room to find a wardrobe. The ants disappear under it, and Eve shines her light inside. She thinks she sees eyes and has found Jenny, but it’s just an old picture frame. Still, Eve thinks she saw the eyes blink. She also finds an old painting of a chocolate lab looking nervously toward the woods and wonders if Thomas’s mother painted it.
In the hall, Eve sees Thomas standing perfectly still and shining his flashlight at the floor. She calls his name several times, but he doesn’t respond until she’s almost right behind him. He then lies and says he didn’t hear her. Suddenly, Thomas seems to know exactly where Jenny is, pointing to a small crawl space that an adult likely couldn’t fit through. He tells Eve that they should wait for Jenny to come out because if someone does try to go in after her, she’s likely to bite. Given what he said earlier, Eve is confused, but she lets go of her doubts because she’s just glad to leave the basement.
A document shows an advertisement for a heavy metal cover group called “Ring of Eyes” in the town of Yale (41).
Upstairs, Thomas and Paige argue over what to do about Jenny, and Paige isn’t happy about the family moving to Minnesota. Thomas finally agrees to try to get Jenny out one last time. To Eve’s great relief, Charlie walks in, an hour late and complaining about the snow on the roads. She introduces herself to the family, surprised to see so many people at the house, notes that she saw their moving truck down the street, and invites the family to stay for dinner. When Charlie mentions the possibility of tearing the house down, Thomas seems almost glad to hear it. Eve tries to tell Charlie that she suspects the family is up to something sinister, but the evidence she has gathered seems meaningless upon reflection.
Dinner is awkward. Thomas is downstairs trying to coax Jenny out. Eve notices that Paige seems angry. Thomas reappears without Jenny, and Paige insists on praying before the meal. He reacts to this with humor, but Paige is serious and says a long, thoughtful prayer. Charlie asks about the family’s move, and Thomas reveals that he received an offer for a photography professor position at a college in Minnesota. Paige asks Eve and Charlie about their relationship and religious practices. Eve admits she grew up religious but no longer practices (though she still has nightmares about hell). When Eve notices a faded circle tattoo on Paige’s neck, Paige says she tried to have it removed, but the process is imperfect and left a scar. Eve wonders if it’s related to the circle symbol Thomas pointed out.
Charlie’s phone alerts her to the hazardous driving conditions due to the storm, but Thomas insists they’ll be okay. When Jenny finally emerges, she apologizes, and her parents lecture her for doing something dangerous. After supper, the family gets their coats on and leaves, but Eve still senses something isn’t right. Another alert on her phone notes that the only bridge out of the area is closed due to the weather, which means that the family is stuck for the night. Eve thinks about how Thomas started to ask about strange happenings in the house and seemed hesitant to reveal what he knew. Eve’s Uncle Benji loved telling a story of a time he saw a flying demon, but his eagerness almost gave it away as a farce. Charlie pointed out that Uncle Benji’s photo was just an overexposed photo of an owl. Eve feels differently about Thomas because of his hesitation.
A document reveals that laser tattoo removal is a lengthy and painful process that is never guaranteed to produce full results.
Early descriptions of Eve and her inner thoughts, history with mental health conditions, and general character traits set the foundation for a story that constantly presents doubt about what’s real and what isn’t (and whether what Eve sees as real or not even really matters). This introduces the theme of Perception, Reality, and the Intersecting Lines Between Them. Eve tends to focus on mundane details; for example, she immediately notes the dirt on Thomas’s jacket. Her narrow perception, which would usually be considered a flaw, allows her to notice tiny details that begin to change and the family’s strange behavior. Eve’s paranoia (represented by the childhood toy she called “Mo”) introduces another trope of horror stories: the animation of a toy, particularly a chimp with symbols, which is a nod to Stephen King’s 1980 short story The Monkey. This paranoia in some ways controls Eve, but it too becomes a powerful force that helps her stay alive and discover the truth. The novel focuses on Eve’s inner logic and the conversations she has within her own mind, creating a setting that largely plays out internally.
“Old House,” or 3709 Heritage Lane, is a supposedly ancient house that contains generations’ worth of history and secrets. The trope of the old Victorian house in the middle of nowhere is common in the horror genre, and this novel uses it to maximum effect. In the early chapters, Thomas tours the house with his family and Eve in tow, and the experience ironically teaches Eve the beginnings of what she needs to know to understand her new situation. Thomas points out old carvings and the circle symbol that Alison drew, and he questions the changes he notices in the house. Although Thomas makes a strong effort to appear ordinary and innocent, he clearly still feels a sense of ownership or claim to the house, and Eve immediately begins to feel unwelcome in her own home. Thomas doesn’t openly criticize Eve and Charlie’s changes, instead encouraging them, but Eve’s acute perception tells her otherwise. Walking through the house is like an adventure in itself given its size and detail, and the novel describes each room and feature in detail: “A pull-string for the attic’s trapdoor staircase. He blew on it, a swift puff, like putting out a birthday cake candle. It swung back and forth like a metronome” (22). The cold winter weather intensifies the haunted house trope, adding another layer of foreboding and isolation, particularly when Paige mentions hypothermia.
Throughout the story’s introduction, clues signal that Eve’s world is changing, foreshadowing the eventual total replacement of Eve’s reality by something she doesn’t recognize. First, the family appears on a cold Friday night, claiming to want to tour the house. This in itself shows a lack of respect for Eve and her home and implies that Thomas doesn’t consider her its owner. In thinking of the basement, Eve imagines “the nameless thing, stowed away in the depths of half-forgotten memories” (23). This thought suggests that she already senses the house has a dark history and more secrets than any one person can unearth. When Jenny disappears, Thomas seems relatively undisturbed, almost as if Jenny’s safety doesn’t really matter and she’s just a distraction. While the family appears ordinary on the surface, the inconsistencies that Eve notices slowly become too much to ignore. When the bridge is closed for the night, it seems far too convenient to be a coincidence. Eve listens to Thomas’s every word and becomes convinced that he’s hiding something.
Appearance Versus Reality
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Canadian Literature
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Fate
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Fear
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Good & Evil
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LGBTQ Literature
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Memory
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Order & Chaos
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Religion & Spirituality
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Safety & Danger
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The Future
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The Past
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Trust & Doubt
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Truth & Lies
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