Hubbard 1

Mason Hubbard
15 October 2020
Mrs. Rutan
AP Lit and Comp

Foster’s Theories Application in “The Landlady”

Literature is often consumed in a disposable manner, with one read/watch before we are

done with it. However when moving beyond casual reading, and shifting the focus in deeper

reading, it is necessary to read more methodically and examine things more closely. Thomas C.

Foster builds on this idea in How to Read Literature Like a Professor by presenting an array of

evidence for the different types of hidden gems and patterns in literature. Using these patterns it

reveals just how common some are throughout all types of literature. Searching for these patterns

in pieces of literature is a useful step to take when attempting to read more closely. We can see

several of Foster’s theories at work in Roald Dahl’s short story, “The Landlady”, including

Foster’s theories on quests, seasons, geography, and symbols. Identifying these patternsー

although not always obviousー can provide a new perspective to the literature.

Foster’s first chapter of How to Read Literature Like a Professor focuses on the idea of a

quest and lays out the basic elements as well as the common cliches of a quest within literature.

It becomes apparent while reading how many seemingly unglorius adventures, like going to the
 Hubbard 2

grocery store, or in this case, searching for a place to stay the night. We can check if Billy’s quest

in “The Landlady” actually fits all of Foster's criteria (Foster, 3) for a literary quest. The first and

most obvious element is a ‘quester’ which Billy would cover. Next we need a place to go, and a

reason to go there, both of which are covered by the story (Billy is searching for an inn because

he is in an unfamiliar town and he needs a place to sleep). A proper literary quest also needs an

obstacle and another, more legitimate but unstated reason to go to your destination. In Billy’s

case these are covered by the cold, eerie nature of the unfamiliar town, as well as the unstated

reason for embarking on the quest is figuring out that he can be a bit too nice at times as well as

naive. The underlying pattern of the quest serves in this case as an examination of Billy, we

know he is a young aspiring businessman, but his kindness and inability to read between the

lines and realize maybe his choice of inn could use some revision serves as his downfall. We can

see Foster’s statement that quests are there to reveal something about the characters to

themselves that they hadn’t realized before, and Billy’s only issue is we’re left wondering if he

gains this self-knowledge before it’s too late.

One of the first bits of detail we receive while reading Billy’s adventure in “The

Landlady” is the utterly shiver-inducing weather, with the air being described as “deadly cold

and the wind was like a flat blade of ice on his cheeks” (Dahl, 8). Although not explicitly stated,

we can infer that the time of year is close to winter from this description. Not only does this work

to motivate Billy to be brisk in his choice of inn, it also establishes the hostile environment and

foreshadows Billy’s future downfall. Some of Foster’s patterns about winter can be applied to

this situation, with him pointing out the connection between winter and “old age and resentment

and death” (Foster, 178) as well as its association with hibernation and sleep (Foster, 180). Once

we have identified our patterns, the coldness is no longer one-dimensional, and instead provides
 Hubbard 3

a juxtaposition between the old-age, resentment and death that come with winter and cold, and

the young, bright, outgoing, and friendly Billy. The associations between wintertime and

hibernation fit Billy’s narrative perfectly, as his quest that the story focuses on is finding a place

to sleep for the night. The added connections to Foster’s patterns provides us with more to chew

on and unpack than just the fact that Billy’s face is cold, proving to add depth to reading what

seems like an insignificant detail.

Foster also stresses the impact of geography on a stories’ theme, symbol, and plot. Foster

also shows us that geography can not only encompass the environment, but also people. The

coldness and atmosphere established by the rundown town is an obvious example of this

statement, as well as the setting of the Bed and Breakfast, which is very warm and inviting with

its round furniture, cozy fire, sleeping dog, and cheap prices (This cozy feeling of the place is

later turned on its head). However, Foster’s two most impactful arguments that characters are a

part of the geography, and geography can act as a character, (Foster, 168) are both very

applicable to this story. The landlady adds to the warm, welcoming environment and as we

slowly realize her welcoming nature is much more creepy than we first realized, the Bed and

Breakfast itself grows more sinister with her, as we learn about how the pets are actually

taxidermies and the guest book only has two entries over the course of 2 years. (Dahl, 266) The

landlady also makes it known those two guests have not checked out yet, leading us to infer they

received a fate similar to both the dog and the parrot. In this case the Bed and Breakfast and the

Landlady act seemingly as a single being, both of them taking on the role of geography/setting

and a character.

Symbolism is another element that is often oversimplified, but Foster shows us that

symbolism is not rigid like allegory (Foster, 98) and instead is more fluid. We can apply this to
 Hubbard 4

elemetns of Dahl’s story, like the yellow crysanthmums we can see outside the bed and breakfast.

Crysanthemums can be symbolic of happiness and love, but they are also used as funeral flowers

in parts of Europe. This serves as great symbolism for the bed and breakfast itself, as we can

infer that both symbols would be applicable for Billy when he chooses to stay. Another more

obvious symbol is the taxidermied pets. There is less uncertainty when it comes to these, as they

are more allegory than anything. The cold outside carries with it a sort of symbolism to winter

and death, and the warm, cozy bed and breakfast seems to carry the opposite meaning. However

these expectations are subverted in a very unexpected way. By examining the different ways

symbolism can be used and interpreted, we become more close readers, as we see in the main

symbols of “The Landlady”

Foster shows us numerous new ways to look at literature as not just entertainment. His

many theories and patterns he has picked up on through his years of reading and his willingness

to share them with us is able to show us how closely reading makes reading more impactful and

rich with meaning.