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Shirley Jackson's “The Lottery” and Holocaust Literature
humanities Article Shirley Jackson’s “The Lottery” and Holocaust Literature Michael Robinson Writing and Rhetoric Department, Harrington School of Communication and Media, College of Arts and Sciences, University of Rhode Island, Kingstown, RI 02881, USA; [email protected] Received: 12 January 2019; Accepted: 19 February 2019; Published: 25 February 2019 Abstract: Shirley Jackson’s “The Lottery” has been notorious since its first publication in 1948, but rarely, if ever, has it been read in light of its immediate historical context. This essay draws on literature, philosophy, and anthropology from the period to argue that Jackson’s story, which scholars have traditionally read through the lens of gender studies, invokes the themes of Holocaust literature. To support this argument, the essay explores imaginative Holocaust literature from the period by David Rousset, whose Holocaust memoir The Other Kingdom appeared in English translation in 1946, anthropological discourse from the period on scapegoating and European anti-Semitism, and critical discourse on the Holocaust and anti-Semitism from the period by Hannah Arendt and Theodor Adorno. The analysis finds that, in representing the phenomena of scapegoating and death selection in a small town in the US, Jackson’s story belongs to an abstract discourse on Holocaust-related themes and topics that was actively produced at midcentury, as evidenced partly by Rousset’s influential memoir. A master of the horror genre, Jackson could have drawn on her own experience of anti-Semitism, along with her known interest in the study of folklore, to contribute this chilling representation of the personal experience of death selection to a discourse on Holocaust-related themes. -
Postgraduate English: Issue 40
Barton Postgraduate English: Issue 40 Postgraduate English www.dur.ac.uk/postgraduate.english ISSN 1756-9761 Issue 40 Summer 2020 Editors: Kashish Madan and Anna-Rose Shack “Time was running shorter, tightening around our house, crushing me.”: Space and Time in the Female Gothic of Shirley Jackson Harriet Barton Durham University ISSN 1756-9761 1 Barton Postgraduate English: Issue 40 “Time was running shorter, tightening around our house, crushing me.”: Space and Time in the Female Gothic of Shirley Jackson Harriet Barton Durham University Postgraduate English, Issue 40, Summer 2020 In her final three novels, The Sundial (1958), The Haunting of Hill House (1959), and We Have Always Lived in the Castle (1962), Shirley Jackson uses the Gothic space of the haunted house to locate ambivalent tales of women’s identity and control in the atomic age. Balancing her Gothic women between entrapment/freedom and inside/outside, she blends whimsical Gothic convention and romance with more pressing, timely discourse on gendered psychological trauma as women in the late fifties and sixties consider the possibility of an un- domestic life. Space for Jackson transcends the walls of the house, becoming also the figurative domestic sphere and the dislocated tropes of Southern Gothic that creep up the East coast to her New England beginnings. Time encapsulates tradition, inheritance, apocalypse, legacies, progress or lack thereof – and a being-out-of-time completely. Most commonly, the two are compounded and materialised for female protagonists as a shadowy, magnetised pull back to the normative. As Daryl Hattenhauer notes in his persuasive work on Jackson’s legacy beyond the genre, ‘her settings trap her characters not only in space but also in time. -
“Homespun” Horror: Shirley Jackson's Domestic Doubling
“Homespun” Horror: Shirley Jackson’s Domestic Doubling by Hannah Phillips In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in The Department of English State University of New York New Paltz, New York 12561 May 2019 “Homespun” Horror: Shirley Jackson’s Domestic Doubling Hannah Phillips State University of New York at New Paltz ___________________________________________________ We, the thesis committee for the above candidate for the Master of Arts degree, hereby recommend acceptance of this thesis. ___________________________________________________ Michelle Woods, Thesis Advisor Department of English, SUNY New Paltz ___________________________________________________ Cyrus Mulready, Thesis Committee Member Department of English, SUNY New Paltz ___________________________________________________ Approved on _5/1/19 Submitted in partial fulfillment of the requirements for the Master of Arts degree in English at the State University of New York at New Paltz Phillips 1 “Homespun” Horror: Shirley Jackson’s Domestic Doubling “All the time that I am making beds and doing dishes and driving to town for dancing shoes, I am telling myself stories. Stories about anything, anything at all. Just stories. After all, who can vacuum a room and concentrate on it? I tell myself stories…They keep me working, my stories.” —“Memory and Delusion,” Shirley Jackson The home space exists at the center of Shirley Jackson’s writing, presented to readers as a force of consistent fascination for characters. The domestic setting is one where Jackson manages to (or, attempts to) break free from enforced societal structure. Her work deconstructs the Freudian double, offering sardonically humorous takeaways that give way to liminality and horror alongside happiness. Fear in the everyday through a domesticized setting tangles and blurs the rigidly imposed lines of humor/horror, the mother/writer, housewife/public figure, and demon/angel of the house. -
We Have Always Lived in the Castle PDF Book
WE HAVE ALWAYS LIVED IN THE CASTLE PDF, EPUB, EBOOK Shirley Jackson | 176 pages | 01 Oct 2009 | Penguin Books Ltd | 9780141191454 | English | London, United Kingdom We Have Always Lived in the Castle PDF Book Tim Harris Liz O'Sullivan A crowd of villagers also gathers, and most of them are excited to see the house burn down, showing no concern for the Blackwood family. Later, Jim Clarke comes back with Dr. Constance has not left their home in six years, going no farther than her large garden. It leaves you, even in the end, wondering who in the story is crazier more unsettled? Which she will do time and time again out of spite. Harris Bosco Hogan Lethem calls this reversion to their pre-Charles stasis Merricat's "triumph". You can guess it's Merricat from the first chapter. Here we have Mary Katherine, or Merricat as she is often referred, a girl of eighteen akin to a feral cat. Crazy Credits. For her any deviation from her comfortable normality is seen as threatening—a parallel to the social standards of the town that see their deviation as threatening—and Merricat feels imbued with magical powers that ward off such demons. Then it is followed by a second, lengthier chapter where an overarching conflict is introduced, typically through a minor conflict in plot where more exposition is unveiled through the banter of characters. It was also social commentary in that delicious way that only Southern Gothicism can offer though this novel has no clear mention of place, it is widely believed to have been set in Vermont, making it technically not Southern Gothic, though every other aspect of it is every bit that genre : it tore back the layers on the small town where everyone knows your name, on the myth of genteelism, courtesy, manners, and community that we all think of from this era of writing Castle was originally published in At dinner, Charles offers to take over the job of getting groceries in town, and Constance is grateful to him. -
University of Florida Thesis Or Dissertation Formatting
THE DOMESTIC FANTASTIC: POSTWAR AMERICAN FICTION FROM BRADBURY TO PLATH By ANDREA E. KRAFFT A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2015 1 © 2015 Andrea E. Krafft 2 ACKNOWLEDGMENTS I thank my dissertation director, Marsha Bryant, for her feedback, assistance, and unceasing encouragement as I completed this project. I also thank Susan Hegeman, Stephanie A. Smith, and Trysh Travis for their support and guidance over the past two years as members of my dissertation committee. I could have not completed this project without the additional support of my partner, my sister, and my parents, who have always encouraged my pursuits, academic and otherwise. 3 TABLE OF CONTENTS page ACKNOWLEDGMENTS................................................................................................. 3 ABSTRACT.................................................................................................................... 6 CHAPTER 1 INTRODUCTION ..................................................................................................... 7 Postwar Studies: A Critical Review ........................................................................ 10 Understanding the Fantastic: Some Definitions ..................................................... 16 Chapter Abstracts .................................................................................................. 22 2 “SHRUNK TO THE COZY WALLS OF THE HOME”: -
Disturbia 1 the House Down the Street: the Suburban Gothic In
Notes Introduction: Welcome to Disturbia 1. Siddons, p.212. 2. Clapson, p.2. 3. Beuka, p.23. 4. Clapson, p.14. 5. Chafe, p.111. 6. Ibid., p.120. 7. Patterson, p.331. 8. Rome, p.16. 9. Patterson, pp.336–8. 10. Keats cited in Donaldson, p.7. 11. Keats, p.7. 12. Donaldson, p.122. 13. Donaldson, The Suburban Myth (1969). 14. Cited in Garreau, p.268. 15. Kenneth Jackson, 1985, pp.244–5. 16. Fiedler, p.144. 17. Matheson, Stir of Echoes, p.106. 18. Clapson; Beuka, p.1. 1 The House Down the Street: The Suburban Gothic in Shirley Jackson and Richard Matheson 1. Joshi, p.63. Indeed, King’s 1979 novel Salem’s Lot – in which a European vampire invades small town Maine – vigorously and effectively dramatises this notion, as do many of his subsequent narratives. 2. Garreau, p.267. 3. Skal, p.201. 4. Dziemianowicz. 5. Cover notes, Richard Matheson, I Am Legend, (1954: 1999). 6. Jancovich, p.131. 7. Friedman, p.132. 8. Hereafter referred to as Road. 9. Friedman, p.132. 10. Hall, Joan Wylie, in Murphy, 2005, pp.23–34. 11. Ibid., p.236. 12. Oppenheimer, p.16. 13. Mumford, p.451. 14. Donaldson, p.24. 15. Clapson, p.1. 201 202 Notes 16. Ibid., p.22. 17. Shirley Jackson, The Road Through the Wall, p.5. 18. Friedman, p.79. 19. Shirley Jackson, Road, p.5. 20. Anti-Semitism in a suburban setting also plays a part in Anne Rivers Siddon’s The House Next Door and, possibly, in Richard Matheson’s I Am Legend (in which the notably Aryan hero fends off his vampiric next-door neighbour with a copy of the Torah). -
1 ARSENIC in the SUGAR by Sophia Reutter in Partial Fulfillment
1 ARSENIC IN THE SUGAR By Sophia Reutter In partial fulfillment of the degree Bachelor of Arts with Honors in English Wittenberg University 22 April 2020 2 Coveted Course or Chief Calamity—The Happy Housewife The existence of women in the realm of domesticity has been acknowledged, yet rarely ever questioned in our cultural past; however, the realm of domesticity in more modern years has vexed gender politics and has created a significant debate, especially concerning the dysphoria that sometimes occasions women’s identity. Barbara Welter, a feminist historian, identifies in her renowned work “The Cult of True Womanhood” the collective voices of various feminists from the 19th century, applying them in a modern context, such as S.E. Farley who claimed that “As society is constituted, the true dignity and beauty of the female character seem to consist in a right understanding and faithful and cheerful performance of social and family duties,” women were to work in the roles that were built for them (Welter 157). There were other writers that felt that “There is a composure at home; there is something sedative in the duties which home involves. It affords security not only from the world, but from delusions and errors of every kind:” a thought that perhaps paves the way for the thoughts that identify the agency that women built necessarily out of their domestic roles (Welter 157). Welter’s thoughts, though more reflective of her times, follow much of the same ideas on domesticity that exist in the modern day. This assertion that women were making about domesticity serving as a place of sanctuary, a place in which they could retreat away from their other worries, incidentally, brought them out of the shadows and into their own light. -
Craig Howes T. Trimble, U of Toronto
IABAA 2017 – Lives Outside the Lines: A Symposium in Honour of Marlene Kadar Panel Three: Inhabited Geographies of Life Writing Moderator: Craig Howes T. Trimble, U of Toronto [[email protected]] Writing through the Walls: Shirley Jackson, House/Wife Shirley Jackson’s writing career was haunted by questions of genre. The mid-century New England writer is best known for her eerie novels about women whose selves splintered under the pressure of the houses they inhabited—a story famously told in The Haunting of Hill House (1959). But she also wrote humorous sketches of family life for popular women’s magazines, selections of which she collected into the memoirs Life Among the Savages (1953) and Raising Demons (1957). As Jackson biographer Ruth Franklin (2016) observes, this supposed schism bothered critics, who regularly commented on Jackson’s split writer/housewife persona. But Jackson’s memoirs sound some of the same uncanny notes as her fictions—a new family home “insists” that the furniture is arranged just so—and her fictions derive their creeping dread from the writer’s experiences of the everyday violence of small-town life and the patriarchal family form. Shirley Jackson’s generic dexterity results in a body of work that depicts the family home as a locus of warmth, comfort, imagination, constraint, and entrapment—an undecidability mirrored in the writer’s own struggles with agoraphobia near the end of her life. Beginning with “an expanded concept of the autobiographical signature or trace” (Brophy and Hladki 2014, 6), this paper reads across the generic seams of Jackson’s writing. -
'Dark Tales' by Shirley Jackson
Madeleine Schwartz reviews ‘Shirley Jacksonʼ by Ruth Franklin and ‘Dark Talesʼ by Shirley Jackson · LRB 5 January 2017 12/30/16, 231 PM LOG OUT You are logged in as: burt@ufl.edu | Your Account Search the LRB LATEST ARCHIVE BOOKSHOP CONTACT US ABOUT THE LRB SUBSCRIBE CURRENT ISSUE CONTENTS LETTERS AUDIO & VIDEO BLOG RSS Vol. 39 No. 1 · 5 January 2017 facebooktwitter share email letter cite print pages 27-28 | 3366 words larger | smaller It doesn’t tie any shoes Madeleine Schwartz Shirley Jackson: A Rather Haunted Life by Ruth Franklin BUY Liveright, 585 pp, £25.00, October, ISBN 978 0 87140 313 1 Madeleine Dark Tales by Shirley Jackson BUY Schwartz is an Penguin, 208 pp, £9.99, October, ISBN 978 0 241 29542 7 assistant editor at the New York Review of ‘I don’t think I like reality very much,’ Shirley Jackson used to say in her lectures on Books. writing. It was an idea she returned to often. ‘Just being a writer of fiction gives you an absolutely unassailable protection against reality; nothing is ever seen clearly or starkly, but always through a thin veil of words.’ By the time she gave such talks in the 1950s and early 1960s, she had reached national fame as the author of ‘The Lottery’, a 1948 New Yorker short story about an imagined ritual stoning in a New England village that led hundreds to cancel their subscriptions in outrage. Her novels We Have Always Lived in the Castle and The Haunting of Hill House, with their flat and Upcoming Events measured descriptions of troubled minds, led to her reputation as a ‘spine-chiller’. -
Penguin Classics
PENGUIN CLASSICS A Complete Annotated Listing www.penguinclassics.com PUBLISHER’S NOTE For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world, providing readers with a library of the best works from around the world, throughout history, and across genres and disciplines. We focus on bringing together the best of the past and the future, using cutting-edge design and production as well as embracing the digital age to create unforgettable editions of treasured literature. Penguin Classics is timeless and trend-setting. Whether you love our signature black- spine series, our Penguin Classics Deluxe Editions, or our eBooks, we bring the writer to the reader in every format available. With this catalog—which provides complete, annotated descriptions of all books currently in our Classics series, as well as those in the Pelican Shakespeare series—we celebrate our entire list and the illustrious history behind it and continue to uphold our established standards of excellence with exciting new releases. From acclaimed new translations of Herodotus and the I Ching to the existential horrors of contemporary master Thomas Ligotti, from a trove of rediscovered fairytales translated for the first time in The Turnip Princess to the ethically ambiguous military exploits of Jean Lartéguy’s The Centurions, there are classics here to educate, provoke, entertain, and enlighten readers of all interests and inclinations. We hope this catalog will inspire you to pick up that book you’ve always been meaning to read, or one you may not have heard of before. To receive more information about Penguin Classics or to sign up for a newsletter, please visit our Classics Web site at www.penguinclassics.com. -
FAST FACTS Author's Works and Themes: Shirley Jackson
FAST FACTS Author's Works and Themes: Shirley Jackson ““Author's Works and Themes: Shirley Jackson.” Gale, 2019, www.gale.com. Writings by Shirley Jackson • The Road through the Wall (novel) 1948 • The Lottery; or, The Adventures of James Harris (short stories) 1949 • Hangsaman (novel) 1951 • Life among the Savages (nonfiction) 1953 • The Bird's Nest (novel) 1954 • Witchcraft of Salem Village (juvenile fiction) 1956 • Raising Demons (nonfiction) 1957 • The Sundial (novel) 1958 • The Bad Children: A Play in One Act for Bad Children (drama) 1959 • The Haunting of Hill House (novel) 1959 • We Have Always Lived in the Castle (novel) 1962 • The Magic of Jackson (short stories and novels) 1966 • Come Along with Me: Part of a Novel, Sixteen Stories, and Three Lectures (short stories, novel, and lectures) 1968 Major Themes The principal themes of "The Lottery" rely on the incongruous union of decency and evil in human nature. Citing James G. Frazer's anthropological study of primitive societies, The Golden Bough (1890), many critics observe that the story reflects humankind's ancient need for a scapegoat, a figure upon which it can project its most undesirable qualities, and which can be destroyed in a ritually absolving sacrifice. Unlike primitive peoples, however, the townspeople in "The Lottery"--insofar as they represent contemporary Western society--should possess social, religious, and moral prohibitions against annual lethal stonings. Commentators variously argue that it is the very ritualization that makes the murder palatable to otherwise decent people; the ritual, and fulfilling its tradition, justifies and masks the brutality. As a modern parable on the dualism of human nature, "The Lottery" has been read as addressing such issues as the public's fascination with salacious and scandalizing journalism, McCarthyism, and the complicity of the general public in the victimization of minority groups, epitomized by the Holocaust of World War II. -
Untitled.Pdf
COI1E ALONG vJITH ME, INTO A WORLD OF FANTASY: AN ANALYSIS OF THE ILLUS lVE WORLD OF SHIRLEY JACKSON A Thesis Presented to The School of Graduate Studies Drake University In Partial Fulfillment of the Requirements for the Degree Master of Arts by Jerry M. \"jadden January 1970 /q 1D \1\/ ) I '1 COME ALONG \-lITH NE, INTO A TtJORLD OF FANTASY: AN ANALYSIS OF THE ILLUSIVE WORLD OF SHIRLEY JACKSON' by Jerry Jl.l. \iadden Approved by Committee: Dann of the School oL;Oradu'ete Studies ,i) / ! U J 'J,'l < )J ~·""'f [- /I' ~_:1i t t" TABLE OF CONTENT S CHAPTER PAGE I. INTRODUCTION. • • • • • • • • • • • • • • • 1 II. THE END OF THE LINE • • • • • • • • • • •• 4 III. THE QUEST FOR IDENTITY. ••••••••.• •• 19 IV. TIME TO LOVE • • • • • • • • • • •• 30 V. THE SANCTUARY ••••••••••••••• •• 42 VI. THE CASTLE OF LOVE. •••••••••• . .• 56 VII. CONCLUSION. • • • • • • • • • • • • • . 67 BIBLIOGRAPHY • • • • . • • • • • . • . • • • . • • 72 CHAPTER I INTRODUCTION The specific purpose of this study of Shirley Jackson was to determine what roles her worlds of fantasy. isolation. and illusion play in man's search for meaning and identity. Jackson's five main novels, Hangsaman, The Bird's Nest, The Sundial, The Haunting of Hill House, and We Have Always Lived in the Castle, were critically exam ined in order of their composition to locate and identify her worlds of fantasy. Once these worlds were located, it was necessary to discover why her characters sought refuge in them. What did these worlds of fantasy have to offer that could not be found in the real world? In all five novels, Jackson's answer was that people are forced to search for love and happiness in fantasy when these goals are impossible in the real world.