The Women of Shirley Jackson :: Biography Biographies Essays

The Women of Shirley capital of Mississippi Throughout her life, Shirley capital of Mississippi refused to fit into societys limited concept of a womans persona. Her works feature egg-producing(prenominal) protagonists who are punished for seeking a more substantial human beings than that of the traditional wife or mother. In most cases, these characters are condemned as witches, ostracized by society, and even killed for their refusal to con rebound. From her youth, Jackson was an outsider. Always self-conscious about her obesity and plain appearance, she preferred spending time alone in her style writing poetry to socializing with other children (Oppenheimer 16). As an adult, she struggled to fulfill her role as a mother without sacrificing her career as a writer. Kathleen Warnock writes Jackson served as chauffeur for her children and hostess for her husbands university colleagues at Bennington College where he was a professor. . . . But she in any case set aside time each day for her writing. There was ceaselessly the sound of typing, her children wrote, pounding away into the night (10). Jacksons husband, writer and literary dilettante Stanley Edgar Hyman, felt threatened by her talent and tried to discourage her by preoccupying her with housework. This, however, only made Jackson more determined. Her writing became a form of rebellion against her husband (who was allegedly unfaithful) and, ultimately, against a male-dominated society. This element of rebellion in Jacksons works led to its poor reception by contemporary critics and readers alike. jibe to mythologian Barbara G. Walker, Any unusual ability in a woman like a shot raises a charge of witchcraft (1078). In the flood of mail that followed the issuance of The Lottery, Jackson was labeled un-American, perverted, and modern (Sullivan 71). Rumors of supernatural events concerning Jackson began to circulate. According to David Gates, Jackson was widely believed to have broken t he leg of publisher Alfred Knopf by glutinous pins into a voodoo doll (67). Bennington College student Elizabeth Frank recalls a narration that. . . Jackson had turned a certain male faculty member into a pumpkin (6). Jacksons extensive library of witchcraft as well as the mystique that arose from her agoraphobic tendencies added to this characterization. Her house became a cave, her small social circle a coven, and her many cats familiars. In the words of Jack Sullivan, Jacksons real witchcraft is her manufacturing (71).