"The Lottery" Shirley Jackson
The following entry presents criticism on Jackson's short story "The Lottery" (1948). See also Shirley Jackson Contemporary Literary Criticism.
Jackson's fiction is noted for exploring incongruities in everyday life, and "The Lottery," perhaps her most exemplary work in this respect, examines humanity's capacity for evil within a contemporary, familiar, American setting. Noting that the story's characters, physical environment, and even its climactic action lack significant individuating detail, most critics view "The Lottery" as a modern-day parable or fable which obliquely addresses a variety of themes, including the dark side of human nature, the danger of ritualized behavior, and the potential for cruelty when the individual submits to the mass will.
Plot and Major Characters
"The Lottery" concerns an annual summer drawing held in a small unnamed American town. As the townspeople gather and wait for the ceremony to begin, some calmly piling stones together, they discuss everyday matters of work and family, behaving in ways that suggest the ordinariness of their lives and of the impending event. Tessie Hutchinson, arriving late, talks with her friend, Mrs. Delacroix, about the household chores that almost made her miss the lottery. Although everyone appears to agree that the annual lottery is important, no one seems to know when it began or what its original purpose was. As Mr. Summers reads off an alphabetical list of names, the heads of each household come forward to select a folded slip of paper from an old black wooden box. Bill Hutchinson draws the paper with the black mark on it, and people immediately begin speculating about which Hutchinson will actually "win" the drawing. Each member of Bill's family then draws a slip from the box. Tessie selects the paper with the black mark on it, and she vigorously protests the unfairness of the drawing. The townspeople refuse to listen to her, and as the story ends they begin to pelt her with the stones they have gathered.
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 repre-sent 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.
"The Lottery" was first published in The New Yorker magazine on 26 June 1948, and it generated hundreds of letters from readers, the vast majority of whom were confused as to the story's meaning. According to Lenemaja Friedman, three "main characteristics dominated the letters: bewilderment, speculation, and old-fashioned abuse." Since then, critical reception has generally been very favorable, and "The Lottery" has been anthologized many times. Those critics who read the story as a traditional narrative tend to fault its surprise ending and lack of character development as unrealistic, unbelievable, and making reader identification difficult. Other commentators, however, view "The Lottery" as a modern-day parable; they argue that the elements of the story often disparaged by its critics are actually consistent with the style and structure of New Testament parables and to stories from the Old Testament. Generally, critics agree only that the story's meaning cannot be determined with exactitude. While most critics concede that it was Jackson's intention to avoid specific meaning, some cite flatly drawn characters, unrevealing dialogue, and the shocking ending as evidence of literary infertility. The majority of commentators, though, argue that the story's art lies in its provocativeness and that with its parable-like structure Jackson is able to address a variety of timeless issues with contemporary resonance, and thereby stir her readers to reflective thought and debate.
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