Shirley Jackson The Lottery Quotes

Although the villagers had forgotten the ritual and lost the original black box, they still remembered to use stones.

It isn't fair, it isn't right," Mrs. Hutchinson screamed, and then they were upon her.

Upstairs Margaret said abruptly, 'I suppose it starts to happen first in the suburbs,' and when Brad said, 'What starts to happen?' she said hysterically, 'People starting to come apart.

Everything that makes the world like it is now will be gone. We'll have new rules and new ways of living. Maybe there'll be a law not to live in houses, so then no one can hide from anyone else, you see.

Grace Paley once described the male-female writer phenomenon to me by saying, “Women have always done men the favor of reading their work, but the men have not returned the favor.

Tessie Hutchinson was in the center of a cleared space by now, and she held her hands out desperately as the villagers moved in on her. "It isn't fair," she said. A stone hit her on the side of the head.

It's not the way it used to be... people ain't the way they used to be.

They stood together, away from the pile of stones in the corner, and their jokes were quiet and they smiled rather than laughed.

We are all measured, good or evil, by the wrong we do to others;

Is everyone really crazy but me?

The morning of June 27th was clear and sunny, with the fresh warmth of a full-summer day; the flowers were blossoming profusely and the grass was richly green.

Passing through the outskirts of the city, she thought, it's as though everything were traveling so fast that the solid stuff couldn't stand it and were going to pieces under the strain, cornices blowing off and windows caving in. She knew she was afraid to say it truly, afraid to face the knowledge that it was a voluntary neck-breaking speed, a deliberate swirling faster and faster to end in destruction.

The morning of June 27th was clear and sunny, with the fresh warmth of a full-summer day; the flowers were blossoming profusely and the grass was richly green. The people of the village began to gather in the square, between the post office and the bank, around ten o'clock; in some towns there were so many people that the lottery took two days and had to be started on June 2th. but in this village, where there were only about three hundred people, the whole lottery took less than two hours, so it could begin at ten o'clock in the morning and still be through in time to allow the villagers to get home for noon dinner.

There was a great deal of fussing to be done before Mr. Summers declared the lottery  open. There were the lists to make up­­ of heads of families, heads of households in each family, members of each household in each family.

That’s wrong, Mrs. Winning was thinking, you mustn’t ever talk about whether people like you, that’s bad taste.

It didn’t help that in AP English Lit, junior year, they’d read Shirley Jackson’s “The Lottery,” which was basically The Hunger Games except it was written in the forties and had a twist at the end.

In a period of international crisis," the doctor said gently, "when you find, for instance, cultural patterns rapidly disintergrating..." "International crisis," Mrs. Arnold said. "Patterns." She began to cry quietly. [...] "Reality," she said, and went out.

By the time she was standing up and in her bathrobe the day had fallen into its routine; after the first involuntary rebellion against every day’s alarm she subsided regularly into the shower, make-up, dress, breakfast schedule which would take her through the beginning of the day and out into the morning where she could forget the green grass and the hot sun and begin to look forward to dinner and the evening.

Bill Hutchinson went over to his wife and forced the slip of paper out of her hand. It had a black spot on it, the black spot Mr. Summers had made the night before with the heavy pencil in the coal company office. Bill Hutchinson held it up, and there was a stir in the crowd. "All right, folks," Mr. Summers said. "Let's finish quickly." Although the villagers had forgotten the ritual and lost the original black box, they still remembered to use stones. The pile of stones the boys had made earlier was ready; there were stones on the ground with the blowing scraps of paper that had come out of the box. Mrs. Delacroix selected a stone so large she had to pick it up with both hands and turned to Mrs. Dunbar. "Come on," she said. "Hurry up." Mrs. Dunbar had small stones in both hands, and she said, gasping for breath, "I can't run at all. You'll have to go ahead and I'll catch up with you." The children had stones already, and someone gave little Davy Hutchinson a few pebbles. Tessie Hutchinson was in the center of a cleared space by now, and she held her hands out desperately as the villagers moved in on her. "It isn't fair," she said. A stone hit her on the side of the head. Old Man Warner was saying, "Come on, come on, everyone." Steve Adams was in the front of the crowd of villagers, with Mrs. Graves beside him. "It isn't fair, it isn't right," Mrs. Hutchinson screamed, and then they were upon her.

Everything is thrown into relief, lit in a Hopperesque late-afternoon glow, the one-sided illumination both revealing and casting a long shadow.

All the millions of things we possessed as a family were inside the house, but, inexorably, there came one shocking moment when we discovered that the house was full.

no one liked to upset even as much tradition as was represented by the black box.

Ask your mommy can we have two chairs out here," Billy said. "Then we can pretend the whole garden is our house.

No one even noticed me, she thought with reassurance, everyone who saw me has gone by long ago.

There ought to be a law against rain.

All right, folks." Mr. Summers said. "Let's finish quickly.

When Mrs. Ferrier stepped inside our front door at one minute before three that afternoon it was perfectly clear to me without hesitation that we were not going to become fast friends.

especially the short story “The Lottery,” which caused a sensation when it was published in The New Yorker in 1948 and has been widely anthologized, to the terror of countless schoolchildren since

They do say," Mr. Adams said to Old Man Warner, who stood next to him, "that over in  the north village they're talking of giving up the lottery." Old Man Warner snorted. "Pack of crazy fools," he said. "Listening to the young folks, nothing's good enough for them. Next thing you know, they'll be wanting to go back to living in caves, nobody work any more, live hat way for a while. Used to be a saying about 'Lottery in June, corn be heavy soon.' First thing you know, we'd all be eating stewed chickweed and acorns. There's always been a lottery, he added petulantly. "Bad  enough to see young Joe Summers up there joking with everybody." "Some places have already quit lotteries." Mrs. Adams said. "Nothing but trouble in that," Old Man Warner said stoutly. "Pack of young fools.

Telling women’s stories was—and would always be—Jackson’s major fictional project. As she had in The Road Through the Wall and the stories of The Lottery, with Hangsaman Jackson continued to chronicle the lives of women whose behavior does not conform to society’s expectations. Neither an obedient daughter nor a docile wife-in-training, Natalie represents every girl who does not quite fit in, who refuses to play the role that has been predetermined for her—and the tragic psychic consequences she suffers as a result. During the postwar years, Betty Friedan would later write, the image of the American woman “suffered a schizophrenic split” between the feminine housewife and the career woman: “The new feminine morality story is . . . the heroine’s victory over Mephistopheles . . . the devil inside the heroine herself.” That is precisely what happens in Hangsaman. Unfortunately, it was a story that the American public, in the process of adjusting to the changing roles of women and the family in the wake of World War II, was not yet ready to countenance.

When Jannie came home from school that afternoon she said that her teacher had put it into the class news that Jannie’s mommy and daddy were going to get a new house and Jannie would walk to school instead of taking the bus.

It is not proven that Elizabeth’s personal equilibrium was set off balance by the slant of the office floor, nor could it be proven that it was Elizabeth who pushed the building off its foundations, but it is undeniable that they began to slip at about the same time.

We have got to get a bigger house,” I said. “Don’t be silly,” my husband said, reading. “There is no bigger house.” “A new house?” said Jannie. “Can I have a room of my own?” When I went down to the grocery the next morning the grocer said he heard we were thinking of moving.

Almost all of Mr. Cobb’s function—aside from lighting cigarettes for me, and pausing respectfully when my husband spoke—seemed to consist of taking objects which actually existed in almost square feet, and translating them into cubic feet—rugs had to be rolled, books had to be boxed, pictures had to be put into packing cases.

The original paraphernalia for the lottery had been lost long ago, and the black box now resting on the stool had been put into use even before Old Man Warner, the oldest man in town, was born. Mr. Summers spoke frequently to the villagers about making a new box, but no one liked to upset even as much tradition as was represented by the black box. There was a story that the present box had been made with some pieces of the box that had preceded it, the one that had been constructed when the first people settled down to make a village here. Every year, after the lottery, Mr. Summers began talking again about a new box, but every year the subject was allowed to fade off without anything's being done. The black box grew shabbier each year: by now it was no longer completely black but splintered badly along one side to show the original wood color, and in some places faded or stained. Mr. Martin and his oldest son, Baxter, held the black box securely on the stool until Mr. Summers had stirred the papers thoroughly with his hand. Because so much of the ritual had been forgotten or discarded, Mr. Summers had been successful in having slips of paper substituted for the chips of wood that had been used for generations. Chips of wood, Mr. Summers had argued, had been all very well when the village was tiny, but now that the population was more than three hundred and likely to keep on growing, it was necessary to use something that would fit more easily into he black box. The night before the lottery, Mr. Summers and Mr. Graves made up the slips of paper and put them in the box, and it was then taken to the safe of Mr. Summers' coal company and locked up until Mr. Summers was ready to take it to the square next morning. The rest of the year, the box was put way, sometimes one place, sometimes another; it had spent one year in Mr. Graves's barn and another year underfoot in the post office. and sometimes it was set on a shelf in the Martin grocery and left there.

Elizabeth watched him: this is Robbie, she was thinking, I know what he's going to do and what he's going to say and what tie he's going to wear every day in the week, and for eleven years I have known these things and for eleven years I have been wondering how to say things to make him understand; and eleven years ago we sat here and held hands and he said we were going to be successful.

We had three more attics, but one of them was full of old lumber and bricks left over from the various additions that had been built onto the house, and one of them was full of bats, and the last could only be reached by climbing through a trapdoor in the ceiling of the next-to-the-last attic and even if I could get past the bats and through the lumber and bricks I did not think I could keep taking the baby up and down through a trapdoor.

The minute the light changes, she told herself firmly; there's no sense. The light changed before she was ready and in the minute before she collected herself traffic turning the corner overwhelmed her and she shrank back against the curb. She looked longingly at the cigar store on the opposite corner, with her apartment house beyond; she wondered, How do people ever manage to get there, and knew that by wondering, by admitting a doubt, she was lost.

Shirley Jackson’s work and its nature and purpose have been very little understood. Her fierce visions of dissociation and madness, of alienation and withdrawal, of cruelty and terror, have been taken to be personal, even neurotic, fantasies. Quite the reverse: they are a sensitive and faithful anatomy of our times, fitting symbols for our distressing world of the concentration camp and the Bomb. She was always proud that the Union of South Africa banned “The Lottery,” and she felt that they at least understood the story.

By the time I woke up on a summer morning—the alarm having missed fire again, for the third time in a week—it was already too hot to move. I lay in bed for a few minutes, wanting to get up but unable to exert the necessary energy. From the girls’ room, small voices rose in song, and I listened happily, thinking how pleasant it was to hear a brother and two sisters playing affectionately together; then, suddenly, the words of the song penetrated into my hot mind, and I was out of bed in one leap and racing down the hall. “Baby ate a spider, Baby ate a spider,” was what they were singing.

I do not now have the slightest understanding of the events which got us out of one big white house which we rented into another, bigger white house which we own, at least in part. That is, I know we moved, and I think I know why, and I know we spent three pleasant months in a friend’s summer home, and I am pretty sure we got most of our own furniture back. What really puzzles me, I suppose, is how a series of events like that gets itself started. One day I went to clean out the hall closet and the next thing I knew we were trying to decide whether to have all four phones put on one line, or leave them all different numbers and list ourselves four times in the phone book. We decided wrong, by the way.

If you want the reader to feel intimately related to your subject, try a close-up shot. Describe the character, object or scene as if it were positioned directly in front of your eyes, close enough to touch. Let the reader see the hand-etched signature on the bottom of the wooden bowl or the white strip on the divorcée’s finger where a wedding ring once lay. Let him smell the heaviness of the milking barn after a night of rain, hear the squeak of the farmer’s rubber boots. If you want to get even closer, take the reader inside a character’s body and let him experience her world—the reeling nausea of Lydia’s first morning sickness, the tenderness of her breasts, the metallic taste in her mouth—from the inside out. Then, when you need to establish distance, to remove the reader from the scene as Shirley Jackson did in “The Lottery,” pull back. Describe your object from a great distance. The wooden bowl is no longer a hand-crafted, hand-signed original, or if it is, you can’t tell from where you’re standing. The pregnant woman is no longer Lydia-of-the-tender-breasts; she’s one of dozens of other faceless women seated in the waiting room of the county clinic. As you vary the physical distance between your describer and the subjects being described, you may find that your personal connection with your subjects is altered. Physical closeness often presages emotional closeness. Consider how it is possible that kind and loving men (like my father, who served in three wars) are capable of dropping bombs on “enemy” villages. One factor is their physical distance from their targets. The scene changes dramatically when they face a villager eye to eye; no longer is the enemy a tiny dot darting beneath the shadow of their planes, or a blip on the radar screen. No, this “enemy” has black hair flecked with auburn and a scar over her left eyebrow; she’s younger than the wives they left behind. If

when I gently advised against this, pointing out that the studies would not end until 2024, they became irate. This was my people, my tribe, my whole life, the progressive, right-on part of the ideological world — and it became more and more uncritical, less and less able to discuss or reason. Friends and colleagues who their whole adult lives had known the dangers of Big Pharma (and, reflexively wellness-oriented, would only think of using Burt’s Bees on their babies’ bottoms and sunscreen with no PABAs on themselves) rushed to take the experimental genetic-based therapy; then, like the stone throwers in Shirley Jackson’s short story “The Lottery,” crowded around to lash out at, shun, punish anyone who raised the slightest question about Big Pharma. Their entire knowledge base about that industry seemed to have magically evaporated into the ether.

In 1948, the New Yorker published a short story by a then-unknown writer. The tale, about an ordinary town with a sinister secret, so outraged readers that the magazine reported receiving more negative mail than ever before, including many subscription cancellations. That story was “The Lottery” by Shirley Jackson, which went on to become one of the most famous short stories in American literature.