Over the past decade, I have indulged many of my obsessions here at Original Content. I've done many Rebecca posts, for instance. I went through a dad book period. I've gone on, at length, about breakout experiences. Then there's Louisa May Alcott.
But the obsession worthy enough for a tenth anniversary post can only by the one I have with Shirley Jackson. That goes back all the way to high school.
December 6, 2008 Not What I Expected From Shirley
Shirley Jackson's main connection to YA literature is probably through the short story The Lottery, which many students read in high school. I think it's considered attractive to kids because it's scary and surprising. So a lot of readers think, "Oh, Shirley Jackson. Creepy." As Jonathan Lethem said in the Salon article Monstrous Acts, "An unfortunate impression persists (one Jackson encouraged, for complicated reasons) that her work is full of ghosts and witches. In truth, few of her greatest stories and just one of her novels, "The Haunting of Hill House," contain a suggestion of genuinely supernatural events". That is definitely the case with the short story collection The Lottery: Adventures of the Daemon Lover. (This is the original title of the 1949 book and it appears that way on my old paperback published in 1969.)
What struck me about these stories when I reread them last month is that many, if not most, of them are about women. Specifically, they're about women's lives. I'm not talking about a writer making some kind of feminist statement with her writing. (Though her story Elizabeth might be of particular interest to feminists.) I'm talking about a writer showing us women's experience during a particular point in time and in a particular place--mid-twentieth century America. The women in Jackson's stories live extremely claustraphobic, narrow lives. They are almost always referred to as Mrs. Something or Another or Miss Something or Another. They are thus defined in terms of their relationships--or lack thereof--with men. How often do we see Mrs. or Miss or even Ms. used these days the way Jackson uses those honorifics? She creates a very definite feeling of oppression with them.
Jackson's female main characters in these short stories are almost always alone. They are also often trapped emotionally in some way. And many of the stories involve a city woman who has moved to the country, where she is, once again, isolated and trapped.
The Lottery appears at the end of this collection, which is a very good place for it. After having read the other stories, The Lottery doesn't seem all that surprising. Instead, it fits in rather well with Jackson's other stories of women trapped in worlds from which they cannot escape.
It's still scary, though.