______. I Shudder at Your Touch. Ed. Michele Slung. New York: ROC, May 1991. 86-96
Following her appointment as Associate Professor of Classics at the nearby university, a woman, along with her husband and their baby daughter, move into their new home. Rather than taking on the challenges of the shabby, broken down yet affordable house on the block, they settle on the more costly, yet renovated house beside it. What is quickly set up as a ghost story becomes something entirely difficult, relying on the psychological rather than the paranormal to illustrate an intelligent and hard-working woman's mental decline.
The story toys a little with the conventions of haunted house stories, referencing some of its tropes, like unpleasant scents and mirrors that reflect things that don't appear to be present at all, but instead of being a ghost story, it is far more akin to Charlotte Perkins Gilman's excellent psychological tale of deterioration, "The Yellow Wallpaper" (1892). Like Gilman, "Keeping House" is told through the point of view of a new mother in a new environment who begins to believe that her surroundings are coming alive. Rather than believing someone is living trapped in the wall or its paper, Blumlein's unnamed heroine believes that threatening spirits are trying to infiltrate her home, entering from the adjacent, broken down eyesore of a house she chose not to purchase. To prevent this threat from destroying home and family, she does battle via an obsessive cleaning/cleansing routine.
Though the story can arguably be read ambiguously, there is enough evidence in the text to indicate that the visions and scents stem from the woman's overwrought mind. Possibly following postpartum, as is the case in Gilman, the un-named narrator goes through various extreme mood swings, which eventually culminate in her taking on all aspects of a family provider, and believing there is a threat attempting to pervade the house and harm the order and harmony she is struggling to maintain. She fights back by increasing the need for order and cleanliness to a dangerously obsessive degree.
Our narrator finally snaps as she begins preparations to have sex with her husband. This is the only indication in the story of any form of intimacy between them, hinting that they have not been physical sine conceiving their only child. Like her obsessive cleaning routine, her preparations for sex become ritual-like, and the story hence makes a connection between the couple's intimacy and the invading spirits, at least in the woman's mind. As she fights to prevent threats to invade her home, she is fighting to prevent her husband's invasion of her body. Following this scene we are informed that the husband is grumpy and increasingly absent due to work, though likely he is staying away from his wife in response to her increasing obsessiveness ("You are sick," he tells her), and perhaps also out of basic sexual frustration. The consequence is simply that mother-wife, as in Gilman, becomes increasingly isolated in response to the husband's unsympathetic assessment of her condition.