In a New York Times review in 1959, Edmund Fuller wrote, "With her 'conceit' of Hill House, whether pretty be the name for it or not, Shirley Jackson proves again that she is the finest master currently practicing in the genre of the cryptic, haunted tale."[10]
Stephen King, in his book Danse Macabre (1981), a non-fiction review of the horror genre, lists The Haunting of Hill House as one of the finest horror novels of the late 20th century and provides a lengthy review.[11] In his review column for The Magazine of Fantasy & Science Fiction, Damon Knight selected the novel as one of the 10 best genre books of 1959, declaring it "in a class by itself."[12]
Reappraising the book in The Guardian in 2010, Sophie Missing wrote, "Jackson treats her material – which could be reduced to penny dreadful stuff in less deft hands – with great skill and subtlety. […] The horror inherent in the novel does not lie in Hill House (monstrous though it is) or the events that take place within it, but in the unexplored recesses of its characters' – and its readers' – minds. This is perhaps why it remains the definitive haunted house story".[13]
In 2018, The New York Times polled 13 writers to choose the scariest book of fiction they have ever read, and Carmen Maria Machado and Neil Gaiman both chose The Haunting of Hill House.[14]
Carmen Maria Machado wrote in The Atlantic about her experience discovering The Haunting of Hill House.[15] She was at a writer's retreat while working on her short story "The Resident," and was told her story reminded readers of Shirley Jackson. Having read little of Jackson, Machado decided to read Hill House:
"When I went back home to Philly, I picked up a copy. And I just devoured it. I read it in one sitting. I started reading one night, and when my girlfriend (now wife) went to bed I just kept reading. It scared the shit out of me. Even though the events that appear to be supernatural activity are few and far between, those scenes are so chillingly written—as if Jackson was describing a phenomenon she'd seen before and really understood. The book's particular brand of surreality felt, to me, like that experience of walking home from a party a little bit drunk, when the world somehow seems sharper and clearer and weirder."[15]
Sara Century, writing for SyFy, pointed out the queer themes of the book, specifically calling out the example of Theo as a queer character who goes against the "bury your gays" trope: "Theo stands out for being an imperfect, fallible queer woman consistently being subjected to life-threatening situations yet still walking away from them, evolving rather than fading away."[16]
