The Little Stranger is also the title of one of the Color Classics series produced 13 March 1936, in three-strip Technicolor, by Fleischer Studios. It is also the 2018 film adaptation of Waters' novel.

The Little Stranger is a 2009 gothic novel written by Sarah Waters. It is a ghost story set in a dilapidated mansion in Warwickshire, England in the 1940s. Departing from her earlier themes of lesbian and gay fiction, Waters' fifth novel features a male narrator, a country doctor who makes friends with an old gentry family of declining fortunes who own a very old estate that is crumbling around them. The stress of reconciling the state of their finances with the familial responsibility of keeping the estate coincides with perplexing events which may or may not be of supernatural origin, culminating in tragedy.

Reviewers note that the themes in The Little Stranger are alternately reflections of evil and struggle related to upper class hierarchy misconfiguration in post war Britain. Waters stated that she did not set out to write a ghost story, but began her writing with an exploration of the rise of socialism in the United Kingdom and how the fading gentry dealt with losing their legacies. A mix of influences is evident to reviewers: Henry James, Shirley Jackson, Wilkie Collins, and Edgar Allan Poe. The novel was mostly well received by critics as Waters' strengths are exhibited in setting of mood and pacing of the story. It is Waters' third novel to be short-listed for the Man Booker Prize.

Plot summary
Faraday, a country doctor with humble beginnings, is called to Hundreds Hall, an 18th-century estate that has survived far beyond its former glory. He treats a young maid who dislikes the large, draughty emptiness of the house, but strikes a friendship with Caroline Ayres, the unmarried daughter of the family, her brother Roderick, who continues to heal physically and mentally from his experiences as a pilot in World War II, and their mother, the lady of the estate. He begins treating Roderick's lingering badly-healed wounds and becomes a family friend, knowing them well enough to realise they are in dire financial straits and unable to keep the house in any comfortable condition without selling their lands or objects in the house.

In an attempt to cheer up the family and possibly match Caroline to a potential husband, they throw a party for a few family friends when disaster strikes. A couple brings their young child who is mauled by Caroline's ancient and previously gentle Labrador retriever. Roderick begins to behave moodily and drink heavily. Faraday believes the strain of managing the estate is at fault. Roderick, however, divulges that something appeared in his room the night the dog attacked the girl. He says that it was first in his room trying to harm him, and that he must keep the unseen force focused on him so as not to direct its attention to his sister or mother. Spots begin appearing on his walls looking like burns, and, after Caroline awakes in the middle of the night to find his room on fire, Roderick is committed to a mental hospital.

Faraday and Caroline waver between romance and confused platonic friendship. Other sounds in the house alarm Caroline and Mrs Ayres and their two maids. They find curious childish writing on the walls where these activities have taken place. The maids' bells sound without anyone calling them; the phone rings in the middle of the night with no one on the line. A 19th century tube communication device linking the abandoned nursery to the kitchen begins to sound, scaring the maids. When Mrs Ayres goes to investigate, she is locked in the nursery where Susan, her much-loved first daughter, died of diphtheria at eight years old. Experiencing shadows and indiscernible fluttering and frantic to escape, Mrs Ayres pounds the windows open, cutting her arms. After Caroline and the maids free her and she recovers, she comes to believe and take comfort that Susan is around her at all times, that Susan is impatient to be with her though she sometimes harms her. One morning not long after, Caroline and the maid find that Mrs Ayres has hanged herself.

The day of Mrs Ayres's funeral, Faraday and Caroline set plans to marry in six weeks' time. Caroline, however, is listless and uninterested in the wedding, eventually calling it off and making plans to sell Hundreds Hall. Faraday is unable to believe it and tries several times to talk Caroline out of it, to no avail. On the night of their would-be wedding, Faraday has a call that keeps him out. When he finally comes home, he learns that Caroline hurled herself off the second floor onto a marble landing, killing herself. The maid reports at the inquest that she awoke to hear Caroline go upstairs to investigate a sound she heard in the darkened hall. She simply said "You!" then fell to her death. Three years later, Faraday continues to visit the abandoned mansion, unable to find what Caroline saw.

Style
Sara O'Leary in The Gazette states that Waters' narrative voice is her strongest asset and that she has an "uncanny ability to synthesize her research and is never expository in the telling details she draws upon—tiny little things about what people wore or ate or had in their houses". Emma Donoghue in The Globe and Mail remarks on the diversion from the narrative style in The Little Stranger. Waters is known in her previous four novels for providing plot twists, but this one, notes Donoghue, provides a straightforward accounting that tackles issues of insanity, poltergeists, and family secrets "with a minimum of tricks". The review in The Washington Post concurs, using a quote by Henry James to say everything to be done in the way of ghost stories and haunted houses has been done. Ron Charles states that the novel is not cliché due to Waters's restraint: "the story's sustained ambiguity is what keeps our attention, and her perfectly calibrated tone casts an unnerving spell". A similar review appeared in The Australian calling attention to Waters' "moderation and flawless cadence" that forms "a story pulsing with malevolent energy" and an "atmosphere is wickedly, addictively tense".

In The Sunday Telegraph, John Preston writes that "the richness of Waters's writing ensures that the air of thickening dread is very thick indeed. Everything, from Mrs Ayres's 'absurdly over-engineered shoes', to the hairs on Caroline's legs—each one 'laden with dust, like an eye-blacked lash'—is described with a wonderfully sharp eye." Waters herself acknowledges the light-handedness of the supernatural elements of the story, stating "I wanted the ghost story to be fairly subtle. The ghost stories that I've enjoyed are uncanny, unsettling and eerie more than they are about in-your-face pyrotechnics. I wanted it to be very based in the social context of the time, but for it to have this extra element of strangeness."

Several references in The Little Stranger indicate the influences Waters used in its composition. Rebecca Starford in The Australian praises Waters' ability to use elements from other authors: "Waters is one of the great contemporary storytellers. She has never made bones about borrowing", noting that her inspirations for this story were Daphne du Maurier, Henry James, Agatha Christie, and Charles Dickens. As children, Roderick and Caroline changed the hands of a broken clock to twenty minutes to nine, thinking it amusing to reflect the stopped clocks of Miss Havisham's house from Dickens' Great Expectations. Like the narrator of du Maurier's Rebecca, Faraday has no first name; the man overcome by the house in Poe's The Fall of the House of Usher is also named Roderick. Peter Cannon in Publishers Weekly writes that the novel is evocative of Henry James' The Turn of the Screw and Shirley Jackson's The Haunting of Hill House.

Themes

Evil

As a doctor, Faraday is a rational narrator who confronts each member of the Ayres family and the maids in turn as they divulge their suspicions that something in the house is alive. As he consults with other physicians, they are able to explain away the strange happenings easily with answers supplied by medicine and psychology. Waters does not give definitive answers about the occurrences, leaving it more a philosophical issue. Not wanting to frustrate the reader however, she admits "I tried to keep it strange, keep what was happening genuinely odd, without closing it down with a neat explanation at the end." The title of the book is a reference to Faraday's continuing questions; Roderick is fearful that the house is infectious. Eventually Faraday wonders if it is "consumed by some dark germ, some ravenous shadow-creature, some 'little stranger' spawned from the troubled unconscious of someone connected with the house itself".

Emma Donoghue considers the deepest theme of the story to be "the unpindownability of evil", as suspicion shifts to individuals who may be self-destructing from the forces around them, possible malevolent motivations from the family or house staff, an unseen force inhabiting the house, or Faraday himself. Faraday's concern for the family is often intertwined for concern for the house so that he often discourages those who are obviously troubled by staying there from leaving it. He explains away the suspicions of Mrs Ayres, who believes that Susan is in the house trying to hasten their reunion; Caroline, who believes that Roderick is so upset in the mental institution that a part of him