43 pages • 1 hour read
William SleatorA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Content Warning: The narrative includes depictions of bullying, physical violence, and psychological abuse.
The stairs that the title of House of Stairs refers to are a significant symbol in the novel. Outside of the epilogue, the whole narrative takes place in this enclosed, bare environment, which is only defined by its unfamiliarity and lack of logic. Peter first describes it as follows: “Without railings they rose and fell at alarming angles, forking, occasionally spiraling, rising briefly together only to veer apart again, crossing above and below one another, connected at rare intervals by thin bridges spanning deep gulfs” (2). He also notes that the stairs don’t make sense structurally; they shouldn’t be able to stand, and yet, they do. This setting creates a sense of unease that enhances narrative tension and intrigue. Through the prose, William Sleator replicates the protagonists’ confusion as they repeatedly attempt to make sense of their environment.
In the epilogue, Dr. Lawrence finally explains the crucial purpose of the stairs in relation to conditioning: “It was essential for the food to be the only thing that wasn’t unpleasant. If everything else is terrifying, alien, and uncomfortable, how much more intensely gratifying, and necessary, the one pleasurable element will be” (164-65). In the context of The Social Impact of Authoritarianism, the stairs can, therefore, be viewed as a symbol of the insidious, psychological effects of an authoritarian regime. The characters are forced to take part in a deeply alienating system that discourages human connection in favor of individualism and self-interest. As a result, they are only motivated by fear and violence, which their environment promotes. Once the machine asks the teenagers to hurt one another, for instance, Oliver, Blossom, and Abigail start to use the stairs to hide and ambush each other. This action symbolizes their assimilation into the very system that oppresses them and illustrates the self-replicating nature of unchallenged authoritarianism, just like the stairs that only lead the characters into circles.
When Peter and Lola first stumble onto the machine, they note that the device is “built into the floor” and looks like “a plastic hemisphere about a foot in diameter, made up of many diamond-shaped facets. It was red, and had a faint glow” (20-21). In addition, they soon learn that the machine has a slot to deliver food pellets and produces sounds in the form of incoherent whispers and lights whenever it turns on.
The machine first appears rather innocuous and slightly confusing. Over time, the teenagers realize that they must perform more and more complex sequences of actions to be rewarded with food. Although they find the machine unpredictable, they gradually become able to sense the machine’s moods, almost as if it were sentient. As a result, they adjust their behavior up to the point when the machine starts requiring them to hurt one another. Significantly, although it may appear so, the machine is not amoral: It is operated by humans and serves a specific purpose, namely, conditioning the five protagonists.
With regard to Power and Control, the machine represents a way to enforce rules through manipulation, coercion, and, ultimately, violence. It symbolizes the executive branch of an authoritarian system, which weaponizes human connection and emotions to foster constant surveillance and fear of the other. This approach is reminiscent of Michel Foucault’s Discipline and Punish, published only a few years after House of Stairs, in which he uses the metaphor of the panopticon as a means of enforcing discipline. In short, the machine can be viewed as a symbol of such a disciplinary society and authoritarian power.
Throughout the novel, Peter goes into daydreams about his previous life, which informs his character development. At first, Peter simply has normal dreams about his memories of the orphanage he used to live in with his best friend, Jasper. As the situation grows more and more dire, Peter deliberately starts going to sleep to escape the house of stairs momentarily. Then, the dreams start to overpower the young boy, who appears to experience trance-like episodes. The others find those trances unsettling, and Peter soon becomes unable to control them, only leaving them with great difficulty. The daydreams represent an escape for Peter, first allowing him to relive happier memories and later turning into idealized fantasies.
The evolution of the dreams parallels Peter’s feeling of control over his situation. At first, he chooses to go to sleep; later, he feels unable to stop the dreams and even comments: “I can’t help it, they just happen to me” (109). However, Lola is able to condition Peter out of his daydreams by rewarding him when he resists them. She even suggests to Dr. Lawrence that rewards are much more effective than punishment in shaping people’s behavior, which further highlights how her morality contrasts with the very essence of authoritarianism. Peter, therefore, regains a sense of control over his choices and his mind thanks to Lola’s support. He eventually stops daydreaming and remains friends with Lola, which enables them to remain mostly unaffected by the experiment.
By William Sleator