Poe: In the Fall House of Usher

For many stories, introducing background information is essential. We, as readers, want it, and sometimes we need it to understand where the story is picking up and what relationships already exist. In the case of THE FALL HOUSE OF USHER by Edgar Allen Poe, key background information is deliberately omitted. Poe’s signature gothic style and genius are all about the elements of imagery and suspense. Immediately the reader is on its toes waiting and wondering about information that is never revealed, while at the same time, the author unravels a story that makes them forget they ever wanted or needed background. Reading between the lines of this story, however, reveals necessary details that allow glimpses at background information. For instance, Poe mentions that Roderick and the narrator are “boon companions”, in other words, best friends from childhood. The narrator does acknowledge that his friend was quite guarded, or ‘reserved’ while they were young. Even at that, one would assume that the very basics would be known between friends, yet we learn that the narrator has never before been to the House of Usher, nor does he really know a lot about his ‘friend’. How could they have been so ‘close’ growing up, but not visit one another’s homes; or know that your friend has a sister, let alone that she is a twin?
The narrator also mentions an awareness of the strange lineage that makes up the family’s ancestry, but seems aloof to the why or how it could be possible. It does not seem evident that the narrator knew of the sister prior to his visit. But upon learning of this and making the connection that incest was necessary to propel the family in the manner in which Poe suggests, parallels are clearly drawn. Assuming the family mansion is ‘alive’, one parallel is that the family and the house are feeding off of one another, as are the siblings. A sort of yin and yang effect where one is weak, the other thrives; one cannot exist without the other,