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Megan Davis
ENGL 3650A Contemporary Literature
7 December 2015
Mark Z. Danielewskis House of Leaves as Metafictional Myth
Mark Z. Danielewskis House of Leaves is what I term a metafictional myth; the
metafictional disruption of narrative inherently reinvigorates the metaphoric nature of the
symbols within the mythical text. In Thou Art That: Transforming Religious Metaphor, Joseph
Campbell defines a myth as an organization of symbolic images and narratives, metaphorical of
the possibilities of human experience and the fulfillment of a given culture at a given time (2).
In his definition, Campbell elucidates two essential characteristics of myth; myths are 1)
symbolic images and narratives that are 2) metaphorical of human experience. Navidsons
narrative within House of Leaves exemplifies these two essential characteristics and
demonstrates itself as a myth. The metafictional presentation of this myth disrupts a literal
reading of the text and leaves space for a figurative reading of the symbols within the text. The
identification of House of Leaves as a metafictional myth is the key for the unveiling of infinite
meaning within the text.
Campbell makes an important point regarding the nature of myth: the life of a
mythology springs from and depends on the metaphoric vigor of its symbols (6). Campbell
illustrates it is the metaphoric nature of the myth that is most important for profound
interpretation: the symbol, energised by metaphor, conveys, not just an idea of the infinite but
some realization of the infinite (6). Inversely, if the myth loses its metaphoric vigor, the myth
loses its connection with the infinite or the abstract. The task to maintain the metaphoric vigor of
symbols over time poses an enormous challenge: the metaphors of one historically conditioned
period, and the symbols they innervate, may not speak to the persons who are living long after
that historical moment (6). The problem that arises with the passage of time or the crossing of

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cultural boundaries is that people interpret myth denotatively instead of connotatively: the
problemis that these metaphors, which concern that which cannot in any other way be told, are
misread prosaically as referring to tangible facts and historical occurrences (7). Campbell
illustrates when metaphors are literalised interpreted as fact - , they become dead metaphors,
and the transcendent nature of the metaphor is lost; the metaphoric nature of the symbol must
remain alive in order for the symbol to remain open to the possibilities of human experience.
Herein lies the significance of combining metafiction with myth.
Metafiction is fiction in which the author self-consciously alludes to the artificiality or
literariness of a work by parodying or departing from novelistic conventions (especially
naturalism) and traditional narrative techniques (Oxford Dictionaries). Artifice is the key for
understanding metafictions effect on myth. One must understand a text as fiction to see the
metaphor. Artificiality thrusts the reader away from interpreting symbols and myth as fact, thus
metafiction works to perpetually reinvigorate the metaphoric nature of myth. The marriage of
metafiction and myth creates a literary space where interpretive possibilities of the human
experience are infinite; metafiction sustains the metaphoric vitality within the symbols of myth.
The combination of metafiction and myth in House of Leaves infinitely broadens the interpretive
potential of the text and allows meaning to transcend the constraints of time and space.
To adequately assert House of Leaves as myth, I contrast Campbells deconstruction of
the hero archetype in The Hero With a Thousand Faces with Navidsons narrative in House of
Leaves. By contrasting Campbells deconstruction with Navidsons narrative, I reveal Navidson
as a clear representation of the mythological hero within a contemporary myth. The identification
of Navidson as the mythological hero places events in the text within a wider mythological
understanding. I highlight the metafictional qualities of House of Leaves to assert the text as
metafictional and demonstrate the significance these metafictional qualities have on the

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metaphorical nature of symbols in the text. This methodology places House of Leaves as a
metafictional myth that works to broaden the interpretive potential of the text.
In order to classify House of Leaves as myth, one must conduct a close analysis of the
character Navidson to reveal the symbolic nature of his narrative within House of Leaves and to
assert Navidson as a mythological hero. In The Hero With a Thousand Faces, Campbell
elucidates the symbolic nature of the hero archetype in what he calls The Adventure of the
Hero. Campbell separates The Adventure of the Hero into three phases: departure where a
hero ventures forth from the world of common day into a region of supernatural wonder (23),
initiation where fabulous forces are there encountered and a decisive victory is won (23), and
return where the hero comes back from this mysterious adventure with the power to bestow
boons on his fellow man (23). I will now illustrate Navidsons movement through departure,
initiation, and return.
Campbells deconstruction of Departure consists of five subheadings: 1) The Call to
Adventure, 2) Refusal of the Call, 3) Supernatural Aid, 4) The Crossing of the First Threshold,
and 5) The Belly of the Whale.
Campbell explains the initial Call to Adventure often falls under the guise of a blunder:
a blunder apparently the merest chance reveals an unsuspected world, and the individual is
drawn into a relationship with forces that are not rightly understood (42). Navidsons blunder in
House of Leaves arrives in the form of a strange spatial violation (Danielewski 24) in
Navidsons house on Ash Tree Lane. The appearance of a new room and subsequent hallway
is Navidsons unsuspected world. Navidson adopts rationality to attempt to solve the problem of
the hallway, but it is quite another thing when one faces a physical reality the mind and body
cannot accept (30). Navidson cannot rightly understand the arrival of the mysterious hallway
despite his repeated study of the house blueprints and his measurements; thus Navidson faces a

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blunder. Campbell states the blunder may amount to the opening of a destiny (42). In House of
Leaves, the mystery within the dark hallway is Navidsons destiny.
Campbell continues the adventure of the hero with a caveat: for those who have not
refused the call, the first encounter of the hero-journey is with a protective figure (57).
Navidson does not refuse the call; when Navidson suddenly notices the distant echoes of the
children playing within the house, and he discovers the echoes emanating from a dark doorless
hallway (Danielewski 57), without hesitating, Navidson plunges in after them (57).
Navidsons lack of hesitation illustrates his willing acceptance of his call to destiny. According to
the caveat, Navidson must then encounter a protective figure on his hero journey.
Campbell indicates the Supernatural Aid represents the benign, protecting power of
destiny (58). Navidsons protecting power of destiny comes in the form of his own daughter,
Daisy. Upon entering the hallway for what is later known as Exploration A, Navidson walks
beyond the range of his light (Danielewski 67) and much to his horror, he can no longer see the
arch let alone the wall (67). Navidsons confidence diminishes and fear and panic edge into his
consciousness. He starts to scream for help and finally in the next to last instant a sharp cry
comes back to him, a childs cry, calling out for him, drawing him to the right (68). Finally, after
experiencing the anguish of feeling lost, Navidson discovers a corridor, terminating in warm
yellow light, lamp light, with a tiny silhouette standing in the doorway, tugging her daddy home
with a cry (68). Daisy is Navidsons supernatural aid; she calls him back to safety and implicitly
asserts herself as Navidsons protecting power of destiny. Campbell states though omnipotence
may seem to be endangered by the threshold passages and life awakenings, protective power is
always and ever present within the sanctuary of the heart and even immanent within, or just
behind, the unfamiliar features of the world (58). As Navidsons daughter, Daisy is in and of
Navidsons heart; this relationship reinforces her as a symbol of the protective power ever

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present in the sanctuary of Navidsons heart. Campbell states having responded to his own call,
and continuing to follow courageously as the consequences unfold, the hero finds all the forces
of the unconscious at his side (58). The favourable shifting of the mysterious hallway and the
appearance of Daisy as his supernatural aid illustrates the forces of the unconscious on
Navidsons side.
In The Crossing of the First Threshold, Campbell explicates with the personification
of his destiny to guide and aid him, the hero goes forward in his adventure until he comes to the
threshold guardian at the entrance to the zone of magnified power (64). Karen inherently
adopts the role of the threshold guardian. During the pivotal scene where Navidson rushes into
the hallway without hesitation, Karen freezes on the threshold, unable to push herself into the
darkness toward the faint flicker of light within (Danielewski 57). Karen does not consciously
adopt the role of the threshold guardian, but unconsciously adopts the role out of her crippling
claustrophobia (57). Karens distress causes Navidson to at least temporarily make this new
addition to their house off limits (57). Karen implicitly discourages Navidson from crossing the
threshold which illustrates the protective aspect of the threshold guardian (Campbell 67).
Campbell explicates one had better not challenge the watcher of the established bounds. And
yet, it is only by advancing beyond those bounds, provoking the other, destructive aspect of the
same power, that the individual passes, either alive or in death, into a new zone of experience
(67). Although Karen discourages Navidson from entering the hallway, it is Navidsons destiny
to do so; Navidson accepts his destiny when he defies Karens wishes and embarks on
Exploration A.
In The Belly of the Whale, Campbell states the passage of the magical threshold is a
transit into a sphere of rebirth[where] the hero, instead of conquering or conciliating the power
of the threshold, is swallowed into the unknown, and would appear to have died (74).

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Navidsons final exploration into the hallway illustrates Navidson as being swallowed into the
unknown with the near result of death: Navidson is dying (Danielewski 483). Campbell states
this popular motif gives emphasis to the lesson that passage of the threshold is a form of selfannihilation (77). Danielewski illustrates the self-annihilation of Navidson in the closing
passages of Navidsons final exploration: very soon he will vanish completely in the wings of
his own wordless stanza (484). Campbell notes that instead of passing outward, beyond the
confines of the invisible world, the hero goes inward, to be born again (77). Navidsons selfannihilation illustrates inward rebirth; Navidsons adventure takes place in the deepest realms of
his house in the inward reaches of a deeply personal place.
Campbells deconstruction of Initiation consists of six subheadings: 1) The Road of
Trials, 2) The Meeting with the Goddess, 3) Woman as the Temptress, 4) Atonement with the
Father, 5) Apotheosis, and 6) The Ultimate Boon.
In Road of Trials, Campbell states once having traversed the threshold, the hero
moves in a dream landscape of curiously fluid, ambiguous forms, where he must survive a
succession of trials (81). Navidsons experience of the dark hallway illustrates a similar
movement through a curious, ambiguous landscape. Campbell states it may be that he here
discovers for the first time that there is a benign power everywhere supporting him in his
superhuman passage (81). Navidson implies having discovered a benign power supporting him
in his letter to Karen:
Do you believe in God? I dont think I ever asked you that one. Well I do nowGods a
house. Which is not to say that our house is Gods house or even a house of God. What I
mean to say is that our house is God. (390)
This quotation illustrates that Navidson understands the benign power of the house; therefore he
understands the power supporting him in his passage through the hallway. Campbell states and
so it happens that if anyoneundertakes for himself the perilous journey into the darkness by

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descending, either intentionally or unintentionally, into the crooked lanes of his own spiritual
labyrinth, he soon finds himself in a landscape of symbolical figures (84). Navidson undertakes
the perilous journey of the mythological hero into the darkness of his own house symbolic of
the spiritual labyrinth.
This scene leads to what Campbell calls the heros Apotheosis or the highest point in
the development of something (Oxford Dictionaries). Navidsons apotheosis is his direct
experience of the infinite. The architecture of the space disappears entirely: Im no longer
sitting on anything. The slab, whatever it was, is gone. Im floating or falling or I dont know
what (Danielewski 468). All sounds are absent: now, except for when Navidson speaks, silence
predominates (469). Navidson experiences the following formula [which] describes the
resonance frequencies [f] in a room with a length of L, width of W, and height of H, where the
velocity of sound equals c: f = c/2 [(n/L)2 + (m/W)2 + (p/H)2]1/2 Hz (49-50); notice that if L, W,
and H all equal , f will equal 0 (50). For Navidson, L, W, and H are infinite and the sound
frequency is zero; the formula for sound frequency mathematically verifies Navidsons
experience of the infinite. Campbell illustrates that the heros apotheosis signifies the attainment
of a divine state where the hero has gone beyond the last terrors of ignorance (127) which
Danielewski elucidates in not even the growl dares disturb this place (470). Navidsons
experience of the infinite is an illustration of him surpassing fear and drawing as close to the
border between the conscious and the subconscious without dying. Campbell elucidates this is
the release potential within us all, and which anyone can attain through herohood (127).
Navidson, the hero of House of Leaves symbolises the release potential through his story of
herohood.
In The Meeting with the Goddess, Campbell states the ultimate adventure, when all
the barriers and ogres have been overcome, is commonly represented as a mystical marriage of

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the triumphant hero-soul with the Queen Goddess of the World (91). Navidsons reunion with
Karen in his final exploration represents the mystical marriage of the triumphant hero-soul with
the Queen Goddess. Campbell asserts woman is the guide to the sublime acme of sensuous
adventure. By deficient eyes she is reduced to inferior states; by the evil eye of ignorance she is
spellbound to banality and ugliness (97). Karen undergoes a barrage of negative criticism
throughout House of Leaves from a diverse group of commentators: following the release of
The Navidson RecordKaren, in particular, was decimated by a vituperative stream of
accusations from the tabloids, reputable reviewers, and even an estranged sister (Danielewski
16). But like Campbell says of the Queen Goddess, so too is Karen redeemed by the eyes of
understanding (97). Navidson is Karens eyes of understanding. From the beginning of the text,
it is apparent how much Navidson cares for Karen. When Karen catches Navidson looking
through her jewellery box, the interplay between the two characters highlights how despite his
sarcasm and apparent disregard for her things the scene itself represents the exact opposite
(Danielewski 11). The playful nature of Navidsons dialogue does not illustrate contempt but
love for Karen. In the closing scene of Navidsons final exploration, Karen comes to his mind.
Campbell states the hero who can take her as she is, without undue commotion but with the
kindness and assurance she requires, is potentially the king, the incarnate god, of her created
world (97). Navidson takes Karen for all that she is. Navidsons evolving relationship with
Karen asserts his role as hero within the text. In Woman as the Temptress, Campbell
explicates: the mystical marriage with the queen goddess of the world represents the heros
totally mastery of life (101). Navidsons reunion with Karen illustrates his total mastery over
the mystery of life.
In Atonement with the Father, Campbell explicates atonement (at-one-ment) consists
in no more than the abandonment of that self-generated double monsterbut this requires an

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abandonment of the attachment to ego itself (107-110). Navidson illustrates the relinquishment
of his ego when Navidson becomes almost light hearted, for a moment losing sight of the
question of his own end, his own past, derailed by some tune now wedged in his head, drifting
up from out of the blue (476). In this moment, Navidson lets go of the regrets of the past and the
worries of the future; he is fully present in the moment when a song comes to him from out of
the blue. The song wedged in Navidsons head is Daisy, Daisy, Daisy, Daisy, Daisy, give me
your answer do (477). Daisy, Navidsons supernatural aid, arrives in song to remind Navidson
of the benign protecting power of destiny. After the song plays out, the words dont be scared,
dont be, and I am are spoken (482). Navidsons destiny is to relinquish fear dont be
scared - , to relinquish the self dont be - , and to realise the true self within the infinite I am.
This realization is Navidsons ultimate boon. Campbell explicates the ease with which the
adventure is here accomplished signifies that the hero is a superior man, a born king (148).
Navidsons experience within the hallway if we can even call it that anymore signifies his
heroic nature. Campbell explicates:
As he crosses threshold after threshold, conquering dragon after dragon, the stature of
divinity that he summons to his highest wish increases, until it subsumes the cosmos.
Finally, the mind breaks the bounding sphere of the cosmos to a realization transcending
all experiences of form all symbolizations, all divinities: a realization of the ineluctable
void (163)
Navidsons final exploration of the labyrinth demonstrates Campbells explication of the ultimate
boon. Navidsons experiential realization of the ineluctable void is his boon to bring back to the
world.
Campbells deconstruction of Return consists of six subheadings: 1) Refusal of the
Return, 2) The Magic Flight, 3) Rescue from Without, 4) The Crossing of the Return Threshold,
5) Master of the Two Worlds, and 6) Freedom to Live.

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In Refusal of the Return, Campbell explicates that when the hero-quest has been
accomplished, through penetration to the sourcethe adventurer still must return with his lifetransmuting trophy (167). Campbell also elucidates that several heroes in traditional mythology
doubted whether the message of realization could be communicated (167). Navidson does not
refuse to return, but does not fully understand the enormity of his experience: Navidson has
never stopped wrestling with the meaning of his experience (Danielewski 527). It is not refusal
that hinders Navidson, but the inability to process and translate a direct experience of the infinite
to the human world.
In The Magic Flight, Campbell explicates if the hero in his triumph wins the blessing
of the goddess or the godthe final stage of his adventure is supported by all the powers of his
supernatural patron (170). Navidsons flight from the infinite space of the house illustrates his
triumph and his blessing from the goddess Karen. Navidsons triumphant self-realisation and
his blessing from Karen indicate the support from the benign protecting powers of destiny.
In Rescue from Without, Campbell explicates the hero may have to be brought back
from his supernatural adventure by assistance from without (178). Navidsons rescue comes
from without; Karen must face her fears and embark on a search for Navidson. Campbell
explicates the bliss of the deep abode is not lightly abandoned in favor of the self-scattering of
the wakened state (178). The movement from the conscious to the subconscious directly leaves
Navidson incapable of prompting his own exit from the infinite; external rescue from Karen is
necessary for his return.
In The Crossing of the Return Threshold, Campbell elucidates the two worlds, the
divine and the human, can be pictured only as distinct from each other different as life and
death, as day and night (188). In Navidsons narrative, the darkness and the cold of the hallway
illustrate the distinctness between the hallway the world of darkness and the human world
the world of light. Campbell states the hero adventures out of the land we know into darkness;

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there accomplishes his adventureand his return is described as coming back out of that yonder
zone (188). Navidsons return follows similar suit; his final exploration demonstrates his
conscious venture into the darkness, his experience of the infinite, and his return with Karen out
of the infinite void. Campbell continues by stating nevertheless and here is a great key to the
understanding of myth and symbol the two kingdoms are actually one (188). Campbell
describes this realization of unity as the whole sense of the deed of the hero (188). Navidsons
final exploration is representative of this final truth, but Navidson cannot explain himself within
his own narrative; Campbell describes this phenomenon: there must always remain, however,
from the standpoint of normal waking consciousness, a certain baffling inconsistency between
the wisdom brought forth from the deep, and the prudence usually found to be effective in the
light world (188). Navidsons inability to translate his experience of the void illustrates the
heroic clause a baffling inconsistency of wisdom between the world of dark and the world of
light. The result of this translational divide is the boon brought from the transcendent deep
becomes quickly rationalized into nonentity, and the need becomes great for another hero to
refresh the word (Campbell 188). Navidsons film exemplifies his artistic attempt to translate
his experience through the medium of film, but even the film is quickly rationalized into
nonentity. Campbell asks how render back into light-world language the speech-defying
pronouncements of the dark? (188); Campbell answers his own question with that is the heros
difficult task (188). The Navidson Record is Navidsons achievement of this task; whether
viewers literalise the film and deem it fake or contemplate the symbolic nature of the film is
entirely out of Navidsons hands.
In Master of the Two Worlds, Campbell explicates the master has been blessed with a
vision transcending the scope of normal human destiny, and amounting to a glimpse of the
essential nature of the cosmos (201). Navidsons final exploration illustrates an experiential

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vision transcending the scope of normal human destiny. In Campbells Freedom to Live, he
explicates that the result of the heros journey is powerful insight into the true workings of the
cosmos (206). The hero surpasses the limitation of symbols and experiences the transcendental
directly; the story of the hero is a symbol a window for the human world to experience the
transcendental.
Discussion of the abstract requires symbols. Campbell warns that symbols are only the
vehicles of communication; they must not be mistaken for the final term, the tenor, of their
reference (202). Danielewski heeds this warning in House of Leaves. Symbols mediate between
the intangible and human understanding, and are vital for the discussion and experience of the
abstract. Campbell continues by stating the problem of the theologian is to keep his symbol
translucent, so that it may not block out the very light it is supposed to convey (202). The author
must aspire to the same lofty goal. An author must work to maintain the metaphoric vigor of
his/her symbols. Campbell asks how, in the contemporary period, can we evoke the imagery
that communicates the most profound and most richly developed sense of experiencing life?
(Thou Art That 8). Danielewskis implicit answer in House of Leaves is: write a contemporary
myth with metafiction.
Danielewskis creation of a contemporary myth is one critical component for the
reinvigoration of mythical symbols. The infusion of metafiction is the second critical component;
metafiction sustains the metaphorical nature of mythical symbols. The very nature of metafiction
asserts the artificial nature of the text and disrupts the tendency to rationalize the narrative and
the subsequent symbols as fact. Metafiction becomes the ultimate mythical boon to maintain
the translucency between the world of light and the world of dark. Danielewski demonstrates
metafiction in a vast number of ways. For the purposes of this essay, I will discuss three key
ways. Danielewski diverges from traditional novelistic conventions and self-consciously alludes

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to the artificial nature of his text through the use of 1) multiple fictitious narratives 2) overtly
unreliable narration and 3) the heavy use of footnotes.
The root of House of Leaves is a fictional narrative with multiple fictional narratives
branching out of this root. The core of the text is a fictitious film created by the fictitious
Navidson edited by the fictitious Karen - which prequels much of the fictitious narrative within
The Navidson Record and inspires much of the invented scholarly criticism included within the
text. Johnny Truant elucidates the fictitious nature of The Navidson Record early on in the House
of Leaves: as I fast discovered, Zampanos entire project is about a film which doesnt even
exist (Danielewski xix). Truant reveals the artifice of The Navidson Record. Truant also reveals
the artifice of several documents and interviews within the text: furthermore, most of whats
said by famous people has been made up. I tried contacting all of them. Those that took the time
to respond told me they had never heard of Will Navidson let alone Zampan (xix-xx). Truant is
a clear representation of metafictions self-conscious allusion to the artifice of the text. The selfconscious artificiality of the film and the subsequent related narratives associated with The
Navidson Record indicate that one must not read House of Leaves literally.
Johnny Truant is an example of an unreliable narrator. Truant challenges the traditional
notion of a reliable narrator by repeatedly explicating ignorance: maybe theres some
underlying logic to the shift. Fuck if I know. Your guess is as good as mine (Danielewski 57).
The unreliable narration of Truant urges the reader to resist a literal reading of the text.
Interestingly, Truant exemplifies someone who literalises The Navidson Record instead of seeks
the transcendental meaning behind the metaphoric symbols within the text; Truants physical
search for Navidsons house on Ash Tree Lane demonstrates his folly in interpreting the text
literally. This error bars Truant from glimpsing the transcendental meaning within the symbolic
narrative of The Navidson Record. Truant the assembler of the entire narrative has the

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illusion of a reliable narrator but his explicit ignorance and endorsement of literal interpretation
makes him unreliable. The metafictional tendency to self-consciously highlight unreliable
narration works to further reinforce the artifice of the text which subsequently urges the reader to
identify and muse over symbols within the text.
The disruption of narration with the heavy use of footnotes is an important metafictional
tool that breaks up the illusion of an all-knowing, omniscient narration. A traditional omniscient
narrative encourages a literal reading of a symbolic narrative; a disrupted narration encourages
contemplation over the symbols of a symbolic narrative. The constant interruption by scholarly
works, theories, translations, definitions, notes, interpretations, external narrative, etc., all work
to create an internal discourse within the consciousness of the reader. This internal discourse
actively reinvigorates the metaphoric nature of the symbols and propels the reader to search for
meaning within these symbols.
Danielewskis House of Leaves is an answer to Joseph Campbells question: how, in the
contemporary period, can we evoke the imagery that communicates the most profound and most
richly developed sense of experiencing life? (Thou Art That 8). Danielewski responds by using
timeless mythological motifs by creating a modern myth in The Navidson Record with added
metafictional qualities. The metafictional qualities prompt readers to resist a literal reading of the
symbols within the contemporary myth. By recognising Danielewskis myth as symbolic,
meaning transcends the symbol. Instead of just another fictional novel, the House of Leaves
becomes a beacon of metaphorical symbolism; the text unveils itself as the ash tree of Old Norse
lore Yggdrasil; the symbol waiting to be reinvigorated by your metaphoric understanding. The
metafictional nature of House of Leaves perpetually reinvigorates the metaphorical nature of the
symbols, and the transcendental meaning beyond the symbols remains open for those who wish
to contemplate.

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Works Cited
Campbell, Joseph. The Hero with a Thousand Faces. Novato: New World Library, 2008. Print.
Campbell, Joseph. Though Art That: Transforming Religious Metaphor. Ed. Eugene Kennedy.
Novato: New World Library, 2001. Print.
Danielewski, Mark Z. House of Leaves. New York: Pantheon Books, 2000. Print.
Oxford Dictionaries. Oxford University Press, 2015. Web. 12 Nov. 2015.

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