Reading Order

In the Dream House Reading Order

Carmen Maria Machado's In the Dream House (2019) is a memoir about an abusive relationship with a woman, told through the genre conventions of folklore, horror, the romance novel, the choose-your-own-adventure, and the haunted house — each chapter using a different genre's logic to approach the experience from a different angle. A landmark of contemporary memoir for both its formal invention and its exploration of an aspect of domestic violence that is systematically underrepresented in both the literature and the legal framework around abuse.

Where to start

In the Dream House

Complete In the Dream House Book List

  1. 1

    In the Dream House

    Carmen Maria Machado·2019·The complete standalone memoir. Content warning for depictions of emotional and psychological abuse.
    Buy
  2. Her Body and Other Parties

    Optional
    Carmen Maria Machado·2017·Machado's debut story collection — eight stories using horror, science fiction, and fantasy conventions to explore female embodiment, desire, and violence — the best introduction to Machado's range as a writer of fiction.
    Buy

In the Dream House — Frequently Asked Questions

What is the "dream house" of the title?

The 'dream house' refers literally to the house in Bloomington, Indiana that Machado and her abusive partner shared during their relationship — a Victorian house that becomes, in Machado's telling, something like a haunted house, a site of danger that has been made to look like a site of safety and romance. But the dream house is also the fantasy of the relationship itself — the 'dream' of love and partnership that Machado entered into and that the abuse systematically destroyed — and the book uses the haunted house as a recurring genre frame to capture what it felt like to inhabit a space that should have been safe but wasn't. The title's double meaning is central to the memoir's project: the domesticity that was supposed to be the dream became the trap, and Machado's task is to understand how this happened and to find language for an experience that most cultural frameworks for understanding abuse don't accommodate, because the abuser was a woman.

Why does the memoir use different genre conventions for each chapter?

Machado uses genre conventions — the haunted house, the choose-your-own-adventure, the fairy tale, the romance, the cookbook — as a way of approaching her experience from multiple angles without reducing it to a single frame. Each genre illuminates something different: the haunted house captures the feeling of inhabiting a space that has been made dangerous; the choose-your-own-adventure enacts the way abuse forecloses choice while creating the illusion of agency; the fairy tale connects her experience to the cultural scripts about love and danger that shaped her understanding of her own situation. The formal experimentation is also a way of acknowledging that conventional memoir — the direct, chronological, first-person account — is inadequate to the experience of abuse, which fractures memory, destabilizes identity, and resists linear narration. The genre frames give Machado a set of tools for approaching something that doesn't have established tools.

What is the significance of the memoir focusing on queer domestic abuse?

In the Dream House addresses a gap in the existing literature on domestic violence: most accounts of intimate partner abuse assume a heterosexual context (woman abused by man), and the legal frameworks, support structures, and cultural narratives around abuse were largely built for that context. Abuse between women is systematically underreported, underrecognized, and underrepresented — partly because of the stereotype that women are not dangerous to each other, partly because the visibility politics of the early LGBTQ movement meant that public acknowledgment of queer domestic violence felt like a risk to community reputation, and partly because the victim of same-sex abuse often faces a legal and support system not designed for them. Machado's memoir is an act of naming as well as a literary work: by insisting on the reality of her experience and by using the archive — the footnotes and literary history that run through the book — she establishes that this experience exists and has existed and belongs in the record.

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