Besides, it happens fast for some people and slow for some, accidents or gravity, but we all end up mutilated.

The murderer, the victim, the witness, each of us thinks our role is the lead.

Everything mashed or pulverized or crushed.

When it's time to reintroduce me to solid foods, their words again, it's pureed chicken and strained carrots.

Another thing is no matter how much you think you love somebody, you'll step back when the pool of their blood edges up too close.

It's a hundred generations removed from anything original, but the truth is aren't we all?

What's burning down is a re-creation of a period revival house patterned after a copy of a copy of a copy of a mock-tudor big manor house.

Probably that goes for killing anyone in the world.

Shotgunning anybody in this room would be the moral equivalent of killing a car, a vacuum cleaner, a Barbie doll.

This perspective concludes that literature reaches its potential when there is a singular production of echo, or an unpredictable lack of echo, meaning discomfort and strangeness (ostranenie) in the reader’s consciousness.Invisible Monsters (1999) by Chuck Palahniuk, An American satirical novelist and freelance journalist living in Portland, Oregon. Finally, I read the concept of ‘echo,’ which is presented by Danielewski on Chapter V, as an essential notion to understand the characters' progression through the narrative.

I propose approaching this novel as “participating” in all these categorizations. Therefore, it would be inexact to categorize House of Leaves as being either one or other literary object.

Nevertheless, its structure is formally connected as a hypertextual narrative. Thus, these narratives form a major work that reveals and parodies aspects of the gothic novel, as well as other genres and modes. The novel, marked by digital textuality, is an encompassing multilayering system fictionally constructed by different authors and several narratives. Danielewski’s novel House of Leaves (2000). This essay is an in-depth analysis of Mark Z. The conclusion strengthens aspects in the structure, imaginary and content of the novel that enable the definition of Haunted as portrait and symptom of a new social organization, resulting from the inevitable changes the world goes through. The work also presents the features of the literature produced by Chuck Palahniuk and its newly-started critical fortune, highlighting the main aspects of postmodern society present in his works, culminating with an approximation of Haunted to the postmodern variation of Gothic literature, besides a comparison between the dynamics established among the characters in the novel to the one perceived in reality shows and mock-documentaries. The concepts by Baudrillard that underlie the analysis are: the 'post-orgy state‟, 'hyperreality‟, 'simulation‟, 'virulence‟, 'seduction‟ and 'phantasies‟.

The reading proposed is mainly based on the writings of French theoretician Jean Baudrillard, who presents the assumption that the contemporary world is in a “post-orgy” state, haunted by three phantasies he denominates cancer, transvestitism and terrorism, which symbolize contemporary social issues related to politics, sexuality, communication and human relationships, among other aspects. The main characteristic of such society is the individuals' difficulty while dealing with demands and constant changes in the individual, social and psychological spheres, a recurrent aspect in Palahniuk's work, which is pervaded by marginal characters in a more often than not apparently unconscious search of self-acceptance or social adaptation. This book presents Chuck Palahniuk's 2005 novel Haunted as a portrait of the behavior perceived in significant part of the postmodern Western society, whose values, according to the author himself, correspond to “the opposite of the American Dream”.

Invisible monsters a and e