![]() ![]() The author of this article, Dr Oliver Tearle, is a literary critic and lecturer in English at Loughborough University. To discover more about female modernist writers, see our pick of Woolf’s best novels and essays, her best short fiction, our reappraisal of May Sinclair’s fiction, our analysis of Kate Chopin’s ‘The Story of an Hour’, and our introduction to one of Woolf’s most influential essays about modernism. You can read ‘A Haunted House’, and Woolf’s other pioneering short stories, in The Mark on the Wall and Other Short Fiction (Oxford World’s Classics). But, given that final phrase, ‘The light in the heart’, it is also a love story, and – given its relative plotlessness, its brevity, and its prose-poetry style – barely a ‘story’ at all. Woolf sought to do this with ‘A Haunted House’, a story which is both a ghost story and a riposte to, or analysis of, the conventional ghostly tale. ![]()
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