Summary of "the Lottery" by Shirley Jackson

In her critical biography of Shirley Jackson, Lenemaja Friedman notes that when Shirley Jackson's story "The Lottery" was published in the June 28, 1948 issue of the New Yorker it received a response that "no New Yorker story had ever received": hundreds of letters poured in that were characterized by "bewilderment, speculation, and old-fashioned abuse."1 It is not hard to account for this response: Jackson's story portrays an "average" New England village with "average" citizens engaged in a deadly rite, the annual selection of a sacrificial victim by means of a public lottery, and does so quite deviously: not until well along in the story do we suspect that the "winner" will be stoned to death by the rest of the villagers. One can imagine the average reader of Jackson's story protesting: But we engage in no such inhuman practices. Why are you accusing us of this?

Admittedly, this response was not exactly the one that Jackson had hoped for. In the July 22, 1948 issue of the San Francisco Chronicle she broke down and said the following in response to persistent queries from her readers about her intentions: "Explaining just what I had hoped the story to say is very difficult. I suppose, I hoped, by setting a particularly brutal ancient rite in the present and in my own village to chock the story's readers with a graphic dramatization of the pointless violence and general inhumanity in their own lives."2 Shock them she did, but probably owing to the symbolic complexity of her tale, they responded defensively and were not enlightened.

The first part of Jackson's remark in the Chronicle, I suspect, was at once true and coy. Jackson's husband, Stanley Edgar Hyman, has written in his introduction to a posthumous anthology of her short stories that "she consistently refused to be interviewed, to explain or promote her work in any fashion, or to take public stands and be the pundit of the Sunday supplements."3 Jackson did not say in the Chronicle that it was impossible for her to explain approximately what her story was about, only that it was "difficult." That she thought it meant something, and something subversive, moreover, she revealed in her response to the Union of South Africa's banning of "The Lottery": "She felt," Hyman says, "that they at least understood."4 A survey of what little has been written about "The Lottery" reveals two general critical attitudes: first, that it is about man's ineradicable primitive aggressivity, or what Cleanth Brooks and Robert Penn Warren call his "all-too-human tendency to seize upon a scapegoat"; second, that it describes man's victimization by, in Helen Nebeker's words, "unexamined and unchanging traditions which he could easily change if he only realized their implications."5 Missing from both of these approaches, however, is a careful analysis of the abundance of social detail that links the lottery to the ordinary social practices of the village. No mere "irrational" tradition, the lottery is an ideological mechanism. It serves to reinforce the village's hierarchical social order by instilling the villages with an unconscious fear that if they resist this order they might be selected in the next lottery. In the process of creating this fear, it also reproduces the ideology necessary for the smooth functioning of that social order, despite its inherent inequities. What is surprising in the work of an author who has never been identified as a Marxist is that this social order and ideology are essentially capitalist.

I think we need to take seriously Shirley Jackson's suggestion that the world of the lottery is her reader's world, however reduced in scale for the sake of economy. The village in which the lottery takes place has a bank, a post office, a grocery store, a coal business, a school system; its women are housewives rather than field workers or writers; and its men talk of "tractors and taxes."6 More importantly, however, the village exhibits the same socio-economic stratification that most people take for granted in a modern, capitalist society.

Let me begin by describing the top of the social ladder and save the lower rungs for later. The village's most powerful man, Mr. Summers, owns the village's largest business (a coal concern) and is also its major, since he has, Jackson writes, more "time and energy [read money and leisure] to devote to civic activities" than others (p. 292). (Summers' very name suggests that he has become a man of leisure through his wealth.) Next in line is Mr. Graves, the village's second most powerful government official--its postmaster. (His name may suggest the gravity of officialism.) And beneath Mr. Graves is Mr. Martin, who has the economically advantageous position of being the grocer in a village of three hundred.

These three most powerful men who control the town, economically as well as politically, also happen to administer the lottery. Mr. Summers is its official, sworn in yearly by Mr. Graves (p. 294). Mr. Graves helps Mr. Summers make up the lottery slips (p. 293). And Mr. Martin steadies the lottery box as the slips are stirred (p. 292). In the off season, the lottery box is stored either at their places of business or their residences: "It had spent on year in Mr. Graves' barn and another year underfoot in the post-office, and sometimes it was set on a shelf in the Martin grocery and left there" (p. 293). Who controls the town, then, also controls the lottery. it is no coincidence that the lottery takes place in the village square "between the post-office and the bank"--two buildings which represent government and finance, the institutions from which Summers, Graves, and Martin derive their power.

However important Mr. Graves and Mr. Martin may be, Mr. Summers is still the most powerful man in town. Here we have to ask a Marxist question: what relationship is there between his interests as the town's wealthiest businessman and his officiating the lottery? That such a relationship does exist is suggested by one of the most revealing lines of the text. When Bill Hutchinson forces his wife Tessie to open her lottery slip to the crowd, Jackson writes, "It had a black spot on it, the black spot Mr. Summers had made the night before with [a] heavy pencil in [his] coal-company office" (p. 301). At the very moment when the lottery's victim is revealed, Jackson appends a subordinate clause in which we see the blackness (evil) of Mr. Summers' (coal) business being transferred to the black dot on the lottery slip. At one level at least, evil