Sunday, March 09, 2008

One Risk Too Many
Anonymous

This story first appeared in an Australian newspaper on New Year’s Eve, 1977. Efforts have been made to trace the copyright holder without success. We trust that they would give permission for us to reproduce the story, so that young people today can also hear the message.

One of us will die tonight. It will be an ugly death. It will be a useless death. You probably won’t give a damn.

How can I make the death of an accident victim mean anything more than a statistic or newspaper headline to you?

How can I show you the bibs of vomit the drop off dead passengers, ejected from their bellies in suffocating fear as their last act of consciousness?’

How can I peak of the urine that stains the clothes of the dead? Because that is the way we humans die.

Urinating in fear. Blood, urine, vomit and grog – they are the last rites of the average crash victim.

Then there are the screams, the song of the wounded dying and the dead.

My own mind is scarred with such horrors. Do not suppose it melodrama. It is a perversity committed on life that can never be captured ruthlessly and honestly on paper.

I remember working one New Year’s night, the radio cackled into life. A car had rammed into a tree. Two passengers, one male, one female. The male was dead; the female though to be dying .What confronted me is to this day a recurring nightmare. I cannot even share it easily with myself.

The car had been concertinaed to half its normal size. The occupants still trapped inside.

The girl slumped on her dead companion’s chest. He had his arm around her. His arm was raised and pinned up by the deformed metal.

The arm was thus in a drinking position and the hand held a beer bottle. The bottle was rammed down his throat.

Slivers of glass had sliced through his throat. The neck of the bottle protruded form the base of his own neck.

His eyes were open. They were white with fear. And they were white with death. They were white with the eyes of an animal shot in the head at point-blank range.

I vomited. I could smell their blood and I could smell the alcohol. The night destroyed me. I had thought they were invincible – the young ones. I had thought death crept only into upstairs bedrooms to close the eyes of the aged. I never stopped to think it hurtled into trees at 100kms.

I never stopped to think of mothers drowning in hysteria, being brought to identify their dead children, beating their chests and pulling their hair.

The mother of this boy did. The car crashed only a couple of hundred meters from his home. A nosy neighbour at the scene of the accident went and phoned her .She came running down the street like a woman possessed .She bit and fought with the ambulance people. She wanted to tear the bottle from his throat.

She was screaming. And screaming. She couldn’t understand why her son wouldn’t answer her; take the bottle out himself. She seemed not to notice his throat was cut. And that he was dead. Her mother’s heart had punctured her mother’s eyes. He was buried with most of the bottle still in his throat.

The night destroyed her. The night will last a lifetime. But this is a pantomime of death we repeat nightly. The longest running show on earth with a willing cast of thousands.

Like drunken lemmings we drink and drive, drink and drive.

Sometimes the guilty kill themselves. More often they kill the innocent. We are impervious todeath. Because we are protected from its obscenities.

We don’t see the casualty sections of our hospitals that sometimes look like the inside of abattoirs. We don’t see the contents of the cranium spilling out onto pillows. We don’t see accident victims twitching in the throes of death. Life force diminishing.

We are happy to be our own butchers, our own murderers. We are happy to premeditate the killing of innocent people.

We are happy to drink to excess and jump behind the wheel of a car, as potent as a weapon as a machine gun.

And if we survive the evening we are happy to sit own to dinner the next evening and tut-tut over the carnage of strife or war in far away parts of the world.

So long as we don’t see the torn flesh and see the severed limbs bleeding in their twisted, steel tombs we’re all right. So long as we don’t see bodies being pulled like broken puppets from car wrecks or shovelled off the asphalt we’re all right.

Leave it to the ambulance teams to handle those thankless, lifeless corpses. They are the people who keep anger as well as tears for this senseless killing.

It is not tasteful for television news reels to record the moans and screamings of the injured. It’s not tasteful for newspaper photographs to feature corpses at accidents. Its not tasteful to write about it. Who wants to read about it? We all know it goes on.

What we need is some bloody tastelessness! You need to hear the scrams. You need to see the dead sprawled open legged, open mouthed and without dignity on our roads. You need to see blood spurting, broken children who will never be mended, who will never grow up, cut down by drunkards.

You need to visit the abattoirs that we call casualty sections .You need to understand that it COULD and WILL happen to you if you don’t take care.

You need to understand that you have no right to jeopardise yourself or anyone else and that if you do you are culpable as anyone who lies in wait to kill. You need to understand you do not have the right.


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One Risk Too Many
Anonymous

Theme:

1. What audience is this story aimed at? (Age/sex)
2. Quote the lines which suggest that this incident is only one of the incidents this Ambulance Officer has attended.
3. The writer describes in detail only one incident. Why was this incident more haunting than the others he must have attended?
4. What is the writers intention in writing this story?
5. How has this story changed the way you think about drunk drivers?

Style:

1. The first four sentences in the first paragraph are very short. Why? What effect does this have on the reader?
2. What do these metaphors suggest?
a. Bibs of vomit
b. The last rites
c. The song of the wounded
d. Car had been concertinaed
e. Death crept only into upstairs bedrooms
f. Twisted steel tombs
g. A willing cast of thousands
3. Find three examples of similes in this story
4. Find an example of where the writer has used a list of adjectives to create an effect of crisis
5. Give some examples where the writer has used repetition to create effect
6. Explain how the writer uses the five senses to make his writing vivid: (Give examples)
a. Sight
b. Hearing
c. Touch
d. Taste
e. Smell

One Risk Too Many
Vocabulary




Abattoirs
Asphalt
Carnage
Concertinaed
Confronted
Corpses
Cranium
Culpable
Deformed
Dignity
Ejected
Hurtled
Impervious
Invincible
Jeopardise
Lemmings
Melodrama
Obscenities
Pantomime
Perversity
Potent
Premeditate
Protruded
Puppets
Recurring
Rites
Ruthlessly
Severed
Slivers
Strife
Tasteful


Examination Day
Henry Slesar

The Jordans never spoke of the exam, not until their son, Dickie, was twelve years old. It was on his birthday that Mrs Jordan first mentioned the subject in his presence, and the anxious manner of her speech caused her husband to answer sharply.
“Forget about it,” he said. “He’ll do alright”
They were at the breakfast table, and the boy looked up from his place curiously. He was an alert-eyed youngster, with flat blonde hair and a quick, nervous manner. He didn’t understand what the sudden tension was about, but he did know that today was his birthday, and he wanted harmony above all. Somewhere in the little apartment there were wrapped, beribboned packages waiting to be opened, and in the tiny wall-kitchen something warm and sweet was being prepared in the automatic stove. He wanted the day to be happy and the moistness of his mother’s eyes, the scowl on his father’s face, spoiled the mood of fluttering expectation with which he had greeted the morning.
“What exam?” he asked.
His mother looked at the tablecloth. “It’s just a sort of Government intelligence test they give children at the age of twelve. You’ll be taking it next week. It’s nothing to worry about.”
“You mean a test like in school?”
“Something like that,” his father said, getting up from the table. “Go and read your comics, Dickie.” The boy rose and wandered towards that part of the living room which had been ‘his’ corner since infancy. He fingered the topmost comic of the stack, but seemed uninterested in the colourful squares of fast-paces action. He wandered towards the window, and peered gloomily at the veil of mist that shrouded the glass.
“Why did it have to rain today?” he said. “Why couldn’t it rain tomorrow?”
His father, now slumped into an armchair with the Government newspaper, rattles the pages in vexation. “Because it just did, that’s all. Rain makes the grass grow.”
“Why, Dad?”
“Because it does, that’s all.”
Dickie puckered his brow. “What makes it green, though? The grass?”
“Nobody knows,” his father snapped, then immediately regretted his abruptness.
Later in the day it was birthday time again. His mother beamed as she handed over the gaily-colored packages, and even his father managed a grin and a rumple-of-the-hair. He kissed his mother and shook hands gravely with his father. Then the birthday cake was brought forth, and the ceremonies concluded.
An hour later, seated by the window, he watched the sun force its way between the clouds.
“Dad,” he said, “how far away is the sun?”
“Five thousand miles,” his father said.

Dickie sat at the breakfast table and again saw moisture in his mother’s eyes. He didn’t connect her tears with the exam until his father suddenly brought the subject to light again.
“Well, Dickie,” he said, with a manly frown, “You’ve got an appointment today.”
“I know Dad. I hope – “
“Now, it’s nothing to worry about. Thousands of children take this test every day. The Government wants to know how smart you are, Dickie. That’s all there is to it.”
“I get good marks in school,” he said hesitantly.
“This is different. This is a – special kind of test. They give you this stuff to drink, you see, and then you go into a room where there’s a sort of machine – “
“What stuff to drink?” Dickie said.
“It’s nothing. It tastes like peppermint. It’s just to make sure you answer the questions truthfully. Not that the Government thinks you won’t tell the truth, but this stuff makes sure.”
Dickie’s face showed puzzlement, and a touch of fright. He looked at his mother, and she composed her face into a misty smile.
“Everything will be alright,” she said.
“Of course it will,” his father agreed. “You’re a good boy, Dickie; you’ll make out fine. Then we’ll come home and celebrate. All right?”
“Yes, sir,” Dickie said.

They entered the Government Educational Building fifteen minutes before the appointed hour. They crossed the marble floors of the great pillared lobby, passed beneath an archway and entered an automatic lift that brought them to the fourth floor.
There was a young main wearing an insignia-less tunic, seated at a polished desk in front of room 404. He held a clipboard in his hand, and he checked the list down to the Js and permitted the Jordans to enter.
The room was as cold and official as a courtroom, with long benches flanking metal tables. There were several fathers and sons already there, and a thin-lipped woman with cropped black hair was passing out sheets of paper.
Mr Jordan filled out the form, and returned it to the clerk. Then he told Dickie: “It won’t be long now. When they call your name, you just go through the doorway a that end of the room.” He indicated the portal with his finger.
A concealed loudspeaker crackled and called off the first name. Dickie saw a boy leave his father’s side reluctantly and walk slowly towards the door.
At five minutes to eleven, they called the name of Jordan.
“Good luck, son,” his father said, without looking at him. I’ll call for you when the test is over.”
Dickie walked to the door and turned the knob. The room inside was dim, and he could barely make out the features of the grey-tunicked attendant who greeted him.
“Sit down,” the man said softly. He indicated a high stool beside his desk. “Your name’s Richard Jordan?”
“Yes, sir.”
“Your classification number is 600-115. Drink this, Richard.”
He lifted a plastic cup from the desk and handed it to the boy. The liquid inside had the consistency of buttermilk, tasted only vaguely of the promised peppermint. Dickie downed it, and handed the man the empty cup.
He sat in silence, feeling drowsy, while the man wrote busily on a sheet of paper. Then the attendant looked at his watch, and rose to stand only inches from Dickie’s face. He unclipped a pen-like object from the pocket of his tunic, and flashed a tiny light into the boy’s eyes.
“All right,” he said. “Come with me, Richard.”
He led Dickie to the end of the room, where a single wooden armchair faced a multi-dialled computing machine. There was a microphone on the left arm of the chair, and when the boy sat down, he found its pinpoint head conveniently at his mouth.
“Now just relax, Richard. You’ll be asked some questions, and you think them over carefully. Then give your answers into the microphone. The machine will take care of the rest.”
“Yes, sir.”
“I’ll leave you alone now. Whenever you want to start, just say ‘ready’ into the microphone.”
“Yes, sir.”
The man squeezed his shoulder, and left.
Dickie said, “Ready.”
Lights appeared on the machine, and a mechanism whirred. A voice said:
“Complete this sequence. One, four, seven, ten…”

Mr and Mrs Jordan were in the living room, not speaking, not even speculating.
It was almost four o’clock when the telephone rang. The woman tried to reach it first, but her husband was quicker.
“Mr Jordan?”
The voice was clipped; a brisk, official voice.
“Yes, speaking.”
“This is the Government Educational Service. Your son, Richard M. Jordan, Classification 600-115, had completed the Government examination. We regret to inform you that his intelligence quotient is above the Government regulation, according to Rule 84, Section 5, of the New Code.”
Across the room, the woman cried out, knowing nothing except the emotion she read on her husband’s face.
“You may specify by telephone,” the voice droned on, “whether you wish his body interred by the Government, or would you prefer a private burial place? The fee for Government burial is ten dollars.”


----------

Examination Day – questions
Henry Slesar

Vocabulary


Presence
Anxious
Scowl
Veil
Vexation
Harmony
Appointed
Official
Concealed
Reluctantly
Consistency
Drowsy
Conveniently
Mechanism
Speculation
Regret
Specify
Inter


Irony is saying one thing but meaning another or where the outcome is different from what might be expected. Explain. It is ironic that a boy who “passes” an IQ test is regarded as having failed because he is too clever
Stories which have an unexpected ending are described as having a twist ending.
Genre is the type of story.
Twist in the tail an unexpected ending.

1. Write down all the words and phrases which tell you the parents are worried
Never spoke of the exam
Anxious
Sharply
Tension
Moistness in mothers eyes
Scowl on fathers face
2. Were you surprised byt the ending of the story?
3. Explain how he “failed” the test.
4. What is the theme/main idea in this story?

1. Does the story tell us why the Governemtn wants to kill clever people? No we have to use our imagination
2. Why would the Government want to kill clever people? Because clever people can think, question, organise – and maybe defeat the government

Title: Examination day – tells us this day is very important
Setting: In the future – a dictatorship
Character: Only four – Mother, Father, Son, Examiner
Genre: Science Fiction
Type: Slice of life
Narration: Eye of God
Theme: The author wants us to think what life might be like in the future. It is also warning of the dangers of dictatorship. Peoples lives are less important than the government remaining in power .It is the good of the state being more important than the individual.

Saturday, March 08, 2008

Victim
Pauline Cartwright

“Do you mind if I join you?”

Hannah knew to be careful. There were all sorts round the city, from perverts to punks. Her mother and father went on about it endlessly.

“A disgrace! An absolute disgrace the way some young people dress these days!” How many times had she heard her mother say that while her brother rolled his eyes in the background. “Not an atom of respect for anyone or anything.”

Her father in reply. “And their minds as filthy as their clothes.”

“Nobody’s safe, these days. Nobody. You remember that, my girl.”

The voice that spoke to her now didn’t sound like one belonging to some kind of deviant. Nor did it sound particularly young. With a half smile on her face as she remembered the hopeful fellow who last week had tried to persuade he she would love to go to a party with him that night, she swung round from her window view of the street.

Hannah wasn’t very good at judging ages. The man was younger than her father but certainly more than twenty-five. Anyone over twenty-five, Hannah believed, was heading for fossil status and certainly not likely to be looking for dates with sixteen year old girls. Of course there were exceptions regarding age difference – such as Rod and Rachel. But Rod was a pop star. Rachel a model. Stardom made age irrelevant.

This man didn’t have the recognizable face of a star. But he was not unattractive, in spite of being older.

She shrugged. “You can sit here if you want to. There are other tables that are empty.”

She couldn’t help noticing how smartly and fashionably he was dressed. Her dad could look halfway decent if he got some gear like that, she thought.

The man reached into a top packet and, as he sat down, he flashed a small white card in front of her. Hannah caught a glint of gold, a splash of red. She didn’t manage to read any of the print.

“My studio card,” smiled the man. “So you know I’m genuine.”

A studio was the workplace of artists, dress designers – the sort of people who lived in a romantic world vastly removed, Hannah thought, from her prosaic world of chain-store clothing, a movie once a week, family squabbles, unemployment, ordinariness.

Hannah’s eyes reassessed the man from this new viewpoint, unsure of how to identify such unknown vocations merely by a person’s appearance.

The man picked up the question in her eyes. “I have a photographic studio.”

“Oh I see.”

She didn’t see. She didn’t think she knew what a person owning a photographic studio actually did for a living. She didn’t know either hwy the man had requested he sit at her table in the café when there were plenty of others empty. She felt unsure of herself, unable to make conversation, and she wished that it was Sue or Mere sitting opposite her. She always told her mother that she was meeting Sue or Mere, even when she wasn’t, to save the lectures about hanging around the town with no good reason. A cup of coffee on her own wasn’t exactly the height of corruption, and she felt entitled to some compensation for the regular rejection visit to the Employment Office.

She didn’t hear what the man had said.

“Sorry. I was thinking of something else.”

The man laughed. “I was just telling you what wonderful bone structure you have. Did you realize that?”

Hannah stared at him. Surely he wasn’t trying to move in. He was about the same age, for heaven’s sake as her old maths teacher had been.

Then she blushed. Of course he wasn’t. Photographs, he was into photographs. He noticed things like bones. Did she really have good bone structure?

“Have I?”

“Have you got good bone structure? Oh yes, you have.”

Mere sometimes said to her, “You could be a model, Hannah, with your long lanky legs. You’ve got such a neat figure.” And Sue, jealous because she wished she was tall and slim like Hannah, would say, “You haven’t got the right sort of eyes though.” Wait till she told Sue that a real photographer had said she had good bone structure!

Then suddenly, as though he were reading her thoughts, the man said, “Ever thought of modeling?”

“No. Of course not,” she lied. She gulped at her coffee, hoping that the cup might help hide the second wave of red sweeping over her face.

“Got a job at present? Is this your day off, perhaps?”

She’d had a job once helping sort the mail during the Christmas rush. Her father had organized it through his friend who worked in the mail room, but it hardly counted as a real job since it lasted only two weeks.

“I’m between jobs at present,” she managed.

The man stretched out his hand and she realized that he meant her to shake it. She did so awkwardly, feeling as though at any moment she might blush again. He wanted to shake hands and she had thought he was trying to move in. How embarrassing.

“The name’s Roger Highstead. And yours is?”

“Hannah. Hannah Wilson”

“Nice name. Hannah, I’m always on the look out for new models. Would you consider the possibility?”

It was like something out of the movies, or out of one of those stories in ‘those trashy magazines’, as her mother described them, that Sue lent her sometimes. She had woken up to an ordinary morning that promised nothing unexpected. She had come down to make her regular call at the Employment Office, to have a coffee and watch a bit of action in the street. And here was a man, an older man who was polite and businesslike, asking her if she wanted to be a model! Oh, how she wished that Sue and Mere were here listening to this!

She could see now. His photographic studio was where the models worked. He wasn’t some way out artist. How had he described himself? Genuine. That was it – a genuine businessman.

Hannah found her tongue. “I didn’t really see your card properly. What’s the name of your studio?”

She felt that her eyes must be glistening the way they did when she was excited. She knew the corners of her mouth were twitching. It seemed somehow unsophisticated to let her face burst into exhilarated smiles, which he might interpret as a child-like response.

“You have beautiful eyes, Hannah.” (So much for your opinion, Sue!) “Birchwood Studio is our name. We do calendars, some magazine work. Now I’ll tell you how we go about things and you can consider whether you’re interested.”

He leant forwards on the table looking very intense, and Hannah tried desperately to suppress the bubbling excitement that kept wanting to burst out of her. He wanted her to consider whether or not she would be interested! A job! Not just any job. A job as a model! It was a dream! A dream!

“The studio is in Grace Street, and the first thing we would need to do would be take some pictures to make sure you are photogenic. You can’t be too shy, of course, for modeling work. It’s a job and you have to be prepared to put your body and soul into it.” He smiled briefly. “Mainly your body.”

Hannah stopped suppressing her excitement and let a smile shine widely as if in appreciation of his joke.

“You understand that, don’t you, Hannah? A model is of no value, no matter how attractive, if she can’t pose for the camera as requested.” He paused for a moment or two as if to let the importance of his words sink in. “Now, after checking out your initial pictures, we would offer you an assignment. As long as that went well, you would then be permanently on the books. Work hours could be somewhat erratic, but the pay is good and I’ve never known any of our models complain about too many days off.”

He smiled again and Hannah smiled back. “That sounds wonderful, Mr. Highstead. I am interested.”

For fear of looking too eager, she glanced away out the window into the street, where life was going on in its usual fashion. Why, she wondered, wasn’t every person in the city turning celebratory cartwheels on her behalf! Wait till she told Sue and Mere – her brother, and her mother and father!

“Well then.” Roger Highstead’s voice almost held a question. She glanced back at him and felt unsure again of what to say next.

“Shall we arrange a photographic session?” he asked.

“Yes.” Her voice came out in a breathy gasp. She swallowed and tried to make herself sound more businesslike. “When would suit you?”

“Any time at all,” he answered, giving a warm smile. Then he reached into another pocket to bring out a notebook and a pen. He flicked it open, ran the pen down a page or two. His hand, she noticed, trembled a little. “Not tomorrow. And Thursday is full up. I don’t suppose now would suit you?” His eyes flashed upwards, suddenly, from his notebook.

“Now? Well, yes. I’m not – but I haven’t got the right sort of clothes on…”

One hand made a dismissive gesture. He pocketed the notebook and pen with the other. “We have clothes you can borrow.”

“If it suits you then.” Hannah managed to make her voice sound tentative, not over-eager, while her mind raced and trembled like a twirling ribbon. If she had come into the café ten minutes earlier, she would have been gone before Roger Highstead came in. If she had gone to another café and not this one, she would have never known he existed. Fate had seen to it that she was here at this moment in time. She had never been meant to get any of those stupid jobs she had once applied for. She had never meant to be offered anything from the Employment Office. The moment had been here, waiting for her to be part of it. From now on her life would be a magical and sparkling thing.

Roger Highstead led her to his car. For one second, as she slid into the front seat, her mother’s years of admonition rang in her ears. “Don’t ever let yourself be picked up by a stranger.” She smiled. Mr. Highstead wasn’t really a stranger. He was her new employer. And anyway, strangers didn’t show you business cards, shake your hand and make formal introductions, or make special efforts to verify their professional identity.

“Just some of my photographic gear,” Mr. Highstead had said as she glanced in the back seat at a stack of boxes. “There’s a wider variety at the studio of course.”

They drove through the city centre. She saw Marty Naylor crossing the street and waved crazily at him, but he didn’t notice her. They headed out through the suburb of Glenrose, on through Grayson.

Her mind continued to twirl and swirl, to seethe at intervals with anticipation. Then they were in Grace Street and Mr. Highstead eventually slowed the car down, pointing ahead to a large grey building on the left.

“Our studio is in there.”

Hannah felt tremors of nervousness begin inside. She wished desperately that she had worn smarter clothes; not that she had many to choose from. She feared facing a suave, sophisticated group of experienced models who would cast critical glances. She imagined others, office staff and clients, staring.

“A bit nervous, are you?”

Hannah felt grateful for Mr. Highstead’s understanding.

“I am a bit.”

He stopped the car but left the motor running. “Hannah, would you feel more relaxed if for this initial session we took some outside shots?” He waved a hand to the right, towards the flat blue wedge of the not-far-distant sea. “Say, down on the beach, for example?”

Hannah felt a flood of relief wash over her. “Would that be alright?”

“Of course.” Said Mr. Highstead. He changed gear preparing to turn, and Hannah noticed again how his hand trembled slightly.



For a second or two, her mother’s lifetime indoctrination of stranger danger once more flashed into Hannah’s brain as they drove past the main beach, safe with people. Then he smilingly reassured her he didn’t want to embarrass her by not allowing her a private, unpeopled space for her first photographs.

They stopped within sight of the main beach, and Mr. Highstead hovered politely at a distance while she climbed out of her jeans and top and into the filmy button-through dress he produced from one of the cartons on the back seat of the car. She wished she could see herself in a mirror, for the soft and silky garment made her feel feminine and glamorous. She wanted to check her hair, even though he told her that it looked natural and beautiful the way it was.

Then Mr. Highstead exclaimed in irritation as he searched the back seat again and announced that a vital part of the camera he was going to use had been left behind at the studio. He didn’t want to return to get it because the light was presently so good, he said, and might fade. He produced a small camera from the glove box and told her that model-girl qualities shone through no matter what size of camera was used. She believed that because her brother’s camera wasn’t very different to the one Mr. Highstead held, and in family photographs it was she who always looked the most photogenic.

Maths, history, science and all those other subjects that she had slaved over at school, and still hadn’t been able to shine in, had proved to be of no use. But being photogenic, an ability bestowed on her, was leading her to a job. She was going to be a model!

She worked hard as he photographed her, remembering his words about models being of no use unless they could pose as directed. Once or twice she felt her color rising as his demands were made. But she forced herself to respond, reminding herself that he was a professional doing a job he knew, that she was auditioning for a future as a model, not for a two-bit job as a Girl Friday. Besides, he alternated his dominating commands with soft encouraging remarks that fed her ego and soothed her momentary flashes of unwillingness.

She felt sure she had pleased him. She was bound to be offered her first assignment in no time at all.



She hadn’t been going to tell anyone. She had been going to keep it a secret until the letter came giving notice of her first assignment. But in the end she couldn’t contain herself. She told Mere.

Not all of it. There were some aspects that somehow couldn’t be discussed, aspects she had found a certain discomfort in thinking about herself. On making this discovery, she forced herself to prune the discomforting thoughts as they surfaced, to snip the tendrils before they grew and entwined themselves in her mind.

Voicing the dream of it all to Mere was another way of chopping off the tendrils. Mere listened as they sat in the same café where Fate had dealt her the card that was going to change her life.

“You got in a car and went off with some bloke that said he wanted you to be a model! Come on Hannah. You’re kidding me.”

“It did. It’s all true.”

“But you couldn’t believe he –“

Hannah refused to allow Mere to continue. She wanted shared delight. She needed verification and support. “As I said, Mr. Highstead, Roger Highstead, is a professional photographer who runs Birchwood Studio in Grace Street. The results of my first photographic session,” Hannah tossed her hair over her left shoulder, remembering to push it back and so further reveal the bone structure of her face, “will give me my first modeling assignment. The letter should come any day now.”

Mere, quelled by the disdainful tone, the confident air that Hannah had adopted, stared at her. “Really?”

Hannah felt joy bubbling back. “I can’t wait for that letter. It feels like two weeks that I’ve been waiting, not two days.”

“A real modeling job?” Mere’s voice was full of awe.

“I had to stand on top of a sand hill and the dress and my hair all blew in the wind.”

“Did you?” Mere’s voice acknowledged some admiration and Hannah noticed how she looked her up and down, imagining how she had looked. She tossed her hair again, lifted her chin.

“Are you sure he’ll send the letter? Tell me about it again.” The doubt returned to Mere’s voice. “Are you sure he wasn’t some kind of kinko? How do you know he was for real? He didn’t do anything – well, anything kind of weird or –“

Hannah felt her face growing scarlet. “Mere! What do you think I am? Some twitty kid?”

“It just sounds odd to me. You have to admit Hannah, it seems –“

“It was for real Mere. It was.”

“Well,” Mere’s face relaxed a little, “I suppose he could have raped you and buried you in the sand hills.”

“Mere!”

Mere grinned. “But obviously he didn’t, since you’re still here.” Her grin faded. “It still doesn’t feel right to me. Tell me everything again, from the beginning.”

Hannah felt the tendrils trying to push through. She’d hoped that sharing her dream and the anticipation with Mere would have revived her initial total delight.

“We’ll have to make it another time. I’ve got to go now.” She pushed back her chair. “Mere, don’t tell anyone. I want to keep it as a surprise until the letter comes.”



The next two days stretched out more endlessly than the previous two. Hannah wondered about phoning the studio. Then she thought that maybe that would make her seem too eager. She looked up the phone book anyway.

“Birchwood Studio – let’s see… Birchall… Birchall-Wier… Birchleigh… Bird…”

There was no listing for Birchwood Studio.

It was difficult to cut back the tendrils that kept trying to encroach.

Mere phoned her and asked if she had heard anything.

“Mere, don’t say anything, will you. If it doesn’t come to anything… I mightn’t have been good enough…”

“Or like I said –“ Mere began.

Hannah broke in. “I have to go. Mum wants the phone.”



On the third day she took a bus and got off at the Grayson shopping centre. She walked down Grace Street, staying on the right side away from the studio. It was silly really, she thought, but she just needed to see it. It would help keep her hopes alive.

It was too warm for a jacket, but she had worn it so that she could tuck her hair down inside it. She held the collar up round her neck as she approached the grey building.

The only sign still on the building was down one side. Tilting her head as she walked, Hannah managed to read GRACE STREET ENGINEERING. She stopped, stared, let her collar fall. The building stared back with hollow window eyes. It was empty.

The tendrils pushed strongly up through her brain, entwining themselves, crushing the dream. Reality, sordid reality, took its place.



It was at night that it was the worse. She lay in her bed and her face flamed red at the memory of Mr. Highstead’s voice. She was straddling the driftwood log, with the filmy dress pushed up off her legs, the top buttons of the dress undone.

“Just push your bra strap down, Hannah. That’s right. And pull the cup back so that you look just a little bit sensuous.” She had been at first unwilling. “Very Rachel Hunter, if I may say so. Your shoulders make a wonderful line parallel to that sand hill.”

And she had pushed her bra cup aside, draped the dress to his direction. It was her shoulders he was really concentrating on, she had told herself, not her breasts.

He had her put her hand up under her dress while she sad on the log – “it makes this wonderful line of limbs” – and his voice had sounded quite excited. “Arms and legs emerging at right angles from that material. I’ll come in closer. Tilt your head back to carry the line. Half shut your eyes. Hand right under your dress so there’s just the arm showing. Fantastic. Absolutely fantastic! You’re a natural!”

Now, desperate as she was to relieve the burning agony of her humiliation, the knowledge that she had gone along with his requests meant that she could not tell anybody – not even Mere.

She certainly couldn’t tell her parents. They would question her, castigate her for sifting out only the flattery, heap her with shame.

She couldn’t go to the police. She had allowed it all to happen. Rover Highstead hadn’t made her do anything. She had done what he asked, willingly.

Professional photographs for modeling… She had been duped, manipulated.

What did he do now with the cheap, suggestive snapshots he had taken? Share them with perverted friends? Masturbate over them? Sometimes at night she got up and retched into the toilet bowl.

“Well, I suppose he could have raped you and buried you in the sand hills”

He had raped her. He was still doing it. And she could tell no one.
The Strangers That Came to Town

by Ambrose Flack

Word Count: 6366


The first of April came dark and stormy, with silver whips of lightning cracking open the lowering clouds that seemed to skim the treetops. My brother Tom and I, recovering from chest colds, tired of reading and listening to the radio, turned to the big living-room window of our house on Syringa Street.

“Here they come, Mother,” cried Tom when a big truck drove up in the teeming rain and stopped in front of the empty cottage across the street. Mother hurried in from the kitchen and we three looked out. That truck, we knew, contained the Duvitch family and all their earthly possessions. Mr. Duvitch and the biggest boy carefully helped Mrs. Duvitch from the seat and walked her into the house, supporting her all the way. Another big boy, carrying a well-bundled baby, followed. A stream of young Duvitches, accompanied by a big brown houndlike dog, poured out of the back of the truck and stood in a huddle in the rain.

The barnyard sounds we heard escaped from two crates of hens the Duvitches had fetched along and from a burlap bag in which a small flock of ducks had been stowed. While the livestock made noises according to its kind, the Duvitches were quiet—almost solemn. They showed no elation at finding themselves in a new neighborhood and a very pretty neighborhood at that.

All afternoon Mother, Tom and myself had been watching out for them, with rather mixed emotions. For the Duvitches were immigrants and the first of their nationality to settle in our small smug town. Coming to our obscure part of the state a year before, they had moved into a rotting old farmhouse two miles north of town, long abandoned. After the slashing hurricane of mid-March, the moss-rotten dwelling looked like the house in the fairy tale that remained standing only because it did not know which way to fall and the Duvitches were forced to give it up.

“I wonder if Mrs. Duvitch is ill,” murmured Mother, looking through the rain at the dreary street scene.

“She must be,” said Tom. “I wonder if it’ll be all right for Andy and me to help ’em move in their stuff.”

This request, as Mother well knew, was not inspired by genuine feeling for the Duvitches but by curiosity and she shook her head. It was a strict family rule that any illness which kept us out of school would automatically keep us indoors.

But the Duvitches got along very well without help from us. As it turned out, they were old hands at moving. For years before coming to America they had been on the move, to escape starvation, separation, possible assassination. Every child capable of two-legged locomotion pitched in and helped carry the things from the truck. In no time at all, it seemed, the truck was empty and the Duvitches were shut up tight in their new home.

That was the signal for Mother to step into the kitchen. She returned swathed in her hooded raincoat, carrying a basket containing a vacuum jug of chicken soup, a baked tuna fish dish, steaming hot; a loaf of fresh bread and a chocolate cake. These she took to the house across the street and gave basket and all to the boy who answered her knock. It wasn’t her plan to stop for a visit that day but to wait a week or so and call when the Duvitches were all settled.

The next day when the three of us—Mother, Tom and myself—were having lunch, we heard a faint tap at the back door. I answered it and there stood a pale dark-eyed boy, looking very solemn, holding our basket. It contained the empty vacuum jug, casserole dish and cake plate, all of which shone, and a tiny very shapely potted rose tree, in exquisite pink-tipped bud, the handsomest plant—and the only plant of its kind—ever seen in that neighborhood.

“I send them a few scraps of food,” murmured Mother, a few seconds later, deeply touched, “and get this queenly gift!”

That was our last traffic with the Duvitch family for over two years. When Mother stopped to visit them a week after their coming, the little girl who opened the door a few inches said, “Mamma sick; she stay in bed today.”

Mrs. Duvitch never crossed the street to our house and Mother, a rather formal woman, made no further attempts to see the family. But Father disagreed when she remarked that she thought the Duvitches probably wished to be left alone.

Syringa Street seemed to be a friendly street. It was a crooked maple-shady country lane that wound through the town without losing its charm. The sidewalk here and there was almost lost in weeds and the ditches, in places, were brightened by clumps of orange day lilies. Widely spaced cottages, some of them smothered in vines, only seemed to make the neighborhood more rural. There were brilliant flower gardens, vegetable plots, fruit trees—and a few henhouses.

The children, who enjoyed all the benefits of country life while actually living in town, were quite numerous. Behind the facades of the street’s dwellings there was probably no more greed, envy, superstition or intolerance than lurked behind the doors of any average dwelling in any average American town. The cardinal virtues, no doubt, were all represented. Yes, Syringa Street seemed to be a friendly street.

But the Duvitches were marked people. They were the one struggling family in a prosperous community—and poverty, amid prosperity, is often embarrassing and irritating to the prosperous. They were considered unattractive physically. They were so meek! The Duvitches never fought back.

The women started in on Mrs. Duvitch because she “never showed her face.” It is true, she was rarely if ever seen in the daytime, emerging from her dwelling only after dark in warm weather, to sit on the veranda, where she found privacy behind the ragged trumpet creeper. But this gave rise to the rumor that she was the victim of an obscure skin disease and that every morning she shook scales out of the bed sheet. (When my father heard that one, he went out to the pantry and mixed himself a tall drink.)

Mr. Duvitch, too, was classified as an untouchable. His job, a rather malodorous one, was with the local rendering plant as a laborer. It followed that the Syringa Street young, meeting him on the street, sometimes stopped their noses as they passed him by—a form of torment all the more acute when Mr. Duvitch had to share it with the children that happened to be with him.

Black hard luck seemed to be their lot. A few weeks after they moved to Syringa Street they suffered a tragedy they were all summer in recovering from—Mr. Duvitch lost two weeks’ pay while gathering mushrooms in Tamarack Swamp. Inside of a year and a half, three Duvitch boys had lost, among them, by various mishaps, two fingers, one eye and an ear lobe. They were forever being cut up, bruised, mutilated by things falling, breaking, cracking and exploding.

A mild case of typhoid, mass cases of whooping cough and measles—all plagued the family within a year of their arrival. Their only bright spot here was Dr. Switzer, one of the town’s kindliest souls. He declined to accept fees, but was several times seen leaving the Duvitch cottage, carrying off a handsome house plant and looking very pleased. The Duvitches’ dog, Kasimar, acted just like the family to which he belonged—like one of the world’s poorest canine relations. He seemed to be afraid of his own shadow and no one had ever heard him bark or growl.

Because they cast their eyes on the sidewalk as one passed them by and spoke only when spoken to, the young Duvitches, like their parents, were considered antisocial. They were regarded as born scavengers too, for they spent hours foraging in the town dump, where they often picked up their footgear, some of their pants and shirts and furnishings for the house as well. They went on country excursions to gather watercress, dandelion greens, mushrooms and wild berries; and the few apples and tomatoes they occasionally concealed under their blouses didn’t make the farmers on whom they poached much poorer.

Tom and I raided tomato patches and robbed apple trees just for the fun of it. That first September four Duvitches—Irving, Benny, Abe and Esther—registered at the local grammar school. Mrs. Lovejoy, the principal, said they were bright, conscientious, pathetically eager but almost pathologically shy. Before she could put a stop to it, some of their classmates scoffed at the leaf, lard and black bread sandwiches they ate for lunch, huddled in one corner of the recreation room, dressed in their boiled-out ragpickers’ clothes. After school they headed straight for home, never lingering on the playground.

Even the tradesmen to whom the Duvitches gave good money were either curt with them or downright rude. Mrs. Frithjof Kinsella, the proprietor of the general store and a big jolly Viking who could be heard two blocks away, extended credit to almost everybody in town and had a way of insulting her customers so heartily that they all loved her for it. The Duvitches, however, Mrs. Kinsella very carefully did not insult (a form of insult in itself) and neither did she extend them credit.

But Mother, remembering the potted rose tree, always had a friendly word and a smile for the young Duvitches when she saw them and a bone for Kasimar when he found courage to venture across the road. Father was the only man on Syringa Street who tipped his hat to sixteen-year-old Maria Duvitch, when he met her coming home from her piece-work job in Miller’s Box Factory. It may have been that their European travail made it easy for them to endure such a trifle as humiliation in America.

“I think,” said Father one fine Saturday morning in July two years after the Duvitches had come to Syringa Street, “that it would be very pleasant for Andy, Tom and myself to pitch our tent out at Durston’s Pond and spend the night. We could fish and swim. That is,” he added, “if Mother can spare us.”

“I can spare you very well,” Mother said cheerfully. She had a notion it did menfolk good to get away occasionally and in this instance the sacrifice came easily, because camp life was little to her liking.

She packed a hamper of food, Tom and I fetched a tent from the attic and Father looked over his fishing tackle. An hour after lunch we were driving through rolling farm country out to Durston’s Pond, four miles north of town.

We often had the serene little lake all to ourselves but on our arrival that afternoon we found half a dozen male Duvitches in possession. They had been fishing for several hours, casting from the shore, dropping their lines over the wooden bridge that spanned Cat Creek where it flowed into the pond and trolling for bass from a flat-bottomed rowboat.

Tom and I, Philistines like our friends, ignored the Duvitch boys but Father went up to Mr. Duvitch, who was fishing from the shore, and put out his hand.

“Good afternoon, Mr. Duvitch! It’s nice to see you and the boys here. What a beautiful day! Are Mrs. Duvitch and the girls all well?”

Mr. Duvitch was a little fellow, a lean starveling of a man with watery blue eyes and a kicked-about look. Gratitude for being agreeably noticed showed in his mosquito-bitten face as he took Father’s hand and his tremulous smile showed broken teeth.

“I know the mosquitoes are biting,” Father went on pleasantly, “but are the fish?”

Proudly, oh, so proudly, Mr. Duvitch exhibited the catch that would probably feed his family for the better part of a week: a fine mess of bass, perch and sunfish, all of them alive, as far as I could see, and swimming around in the oaken washtub in which they had been dropped. Father gave Mr. Duvitch hearty congratulations and said we couldn’t hope to do as well but that we’d try.

We three pitched the tent on a little knoll over the pond, and then Father, with a happy sigh, lay down on the blanket for a nap in the sun. Tom and I played a game of chew-the-peg on the grassy bank above the water and, later on, made several trips to the tent, for the camera, the field glasses, the sun lotion.

On a trip for a cold drink from the vacuum jug and to fetch towels and soap, we stopped to look again at the Duvitches’ catch of fish.

Mr. Duvitch and the boys had moved away and were fishing in a small arm of the pond below us. None of them seemed visible. Tom and I, our glances meeting over the big cake of soap in my hand, were similarly and wickedly inspired—the thing was irresistible. We held a brief whispering conversation; and then, egged on by him and quite willing on my own, I played a shameful trick on the Duvitches, the memory of which will come back to the end of my days to plague me. Without considering further, I dropped the cake of soap into the tub of fish.

“Let’s go,” whispered Tom after we had watched the soap sink to the bottom.

We swam out to the raft, diving and frolicking in the deep water. After a while the Duvitches, calling it a day, assembled at a spot on the shore below our tent, happy in the knowledge of a good catch to take home.

In a little while Tom and I could hear their muffled exclamations of disbelief and dismay. Father woke up and joined our neighbors in a conclave, looking down at the tub of fish near his feet. After a few moments he produced the whistle he carried on all our country excursions and blew it piercingly three times, the proclamation of emergency. This meant that Tom and I must come at once.

Looking as guilty as we felt, we swam in and joined the group gathering around the tub. In the midst of our stricken neighbors stood Father, holding the half-melted cake of soap in his palm silently but accusingly, for the fish had perished miserably in the soapy water and were unfit to eat. Not only had Tom and I snatched precious food from their mouths but we had brazenly advertised the contempt in which we held them.

Father’s eyes were narrow slits of blue fire in his white face. I had never seen him so angry. One look at Tom and me told him everything. Words would have been superfluous and my brother and I bowed our heads in acknowledgment of our guilt.

“You will begin,” Father said in a voice I didn’t recognize, “by saying you’re sorry.”

Our stunned neighbor wiped his blinking eyes as he listened to our mumbled words, which Father made us repeat when they were inaudible. But there was no hostility, no animosity toward us in the man and it was obvious also that he considered himself too humble to receive an apology, finding it, like most of life’s troubles, a mockery to be endured without protest. His sons showed no resentment, either, only a kind of resignation in their minds, which carried almost atavistic memories of century-old oppression by country barons and landed gentry.

One-eyed Manny Duvitch, as it turned out, had told Father he had seen me drop something in the tub of fish (before he learned that it had been a cake of soap). Now he looked guiltier than Tom and I. Because he had been the witness and accuser, it was as if he considered himself to be the troublemaker, deserving the punishment. The two real culprits were the young lords of the ruling manor, with unlimited license, exempt from chastisement. To Manny, the fortunate, the well-to-do, were also the privileged.

“Do you realize,” said Father coldly, looking from Tom to me, “that in certain primitive communities the sort of stunt you’ve pulled would be punishable by death?”

Tom and I did not reply.

“Turn over the tub,” said Father abruptly, addressing us as if we were strangers.

We turned it over. The gray soapy water ran away in bubbly rivulets, disappearing in the coarse mat of turf, and the poisoned fish lay exposed on the grass—quiet, strangled, open-mouthed—and somehow looking as if they were mutely protesting their horrid unnatural fate.

“Count the fish,” Father ordered us, his voice like steel.

Tom and I got down on our knees.

“How many are there?” demanded Father.

“Sixty-one,” I said.

“How many bass?”

“Twelve.”

Father handed Mr. Duvitch two dollars, the price of a day’s rental of the r owboat. Then, looking both the avenging angel and executioner, he ordered Tom and me, with our tackle and bait, off the land we had disgraced—into exile, out on Durston’s Pond.

“And you are not to come back,” he gave out in the same steely tones, “until you’ve caught sixty-one fish to repay Mr. Duvitch. See to it that among them you bring in at least a dozen bass.”

Father stepped up to the tent on the knoll to fetch our shirts and dungarees. These he rolled into a tight ball and shot like a bolt into the rowboat. He then turned his back to us and, thus disowned, Tom and I lost no time in rowing out on the pond. Father’s decisions, even with Mother present, were never reversed and swift execution, from which there was no appeal, followed his sentences.

Out in the middle of the big pond we dropped anchor, threaded our steel rods and, baiting our hooks, began to fish. I knew that if it took us all summer to catch them, we dared not set foot ashore without sixty-one fish. Almost at once Tom pulled in a good- sized bass and ten minutes later two yellow perch were added to our string. The crestfallen Duvitches went home. Father threw himself on the blanket, furiously smoking a cigar. That was about four in the afternoon.

Oh, the mosquitoes! They were bad enough at the time, and while the light held, but after we had been fishing for three hours and had caught eight fish, they swarmed out of the swampland surrounding the pond in legions. After an hour of it we wanted to leap overboard. They got in our ears, our noses, our eyes, even in our mouths, and nestling in our hair, they bit through to our scalps. I remembered tales of Indian prisoners in Alaska, turned loose on the tundra by their captors, where they died of the mosquitoes in two hours. Several times we slipped over the side of the boat, immersing ourselves in the water to escape the bloodthirsty clouds.

The night dragged on while the whining swarms grew thicker.

“Andy, what time is it?”

“Ten o’clock, Tom.”

“Is that all?” Tom groaned and pulled in another bass and killed six or eight mosquitoes in one slap. Two hours passed and midnight was ghostly on Durston’s Pond. The moon, bright as day, sailed high in the purple sky, dimming the starfire, casting a great white shaft of quivering radiance on the water, but it was all hideous. The big yellow disk sank in a gauzy cloudbank, then disappeared for good and the stars shone out with renewed splendor.

“Andy, what time is it?”

“Two o’clock, Tom.”

The treetops whispered as if in conspiracy against us. Owls hooted—mockingly we thought—and bats circled over our heads, making us feel thoroughly alone. Our only solace was the campfire Father kept burning near the tent, which flared like a beacon of light in the dark. We went on fishing as our tormentors bit and sang. Each hour was an eternity of frenzy and I fairly panted for the light of dawn to come, but even now I cannot decide which was worse, that night with the mosquitoes on Durston’s Pond or the following day in the blistering heat.

“Andy—”

“It’s four o’clock, Tom, and we’ve got sixteen fish.”

Dawn came but even I, a highly impressionable youngster of seventeen, did not enjoy that calm effulgent majesty of daybreak. A long stretch on Durston’s Pond, under the July sun, still faced us.

The rising sun was red, casting glimmering circles of rose-colored light on the windless surface of the pond. The mosquitoes thinned, the fish continued to bite. But as we fished the sun mounted steadily and by eleven it had fulfilled its awful prophecy and became a ball of fire in the cloudless skies. Tom and I began to bake in the heat waves that shimmered over the pond and we were steamed in the scalding vapory mist.

“I wish it was night again, Andy,” groaned Tom after sweating out two hours of it. “This is worse than the mosquitoes.”

“At least we won’t get any infections from our bites, Tom,” I said feebly. “The sun’s cauterizing them.”

“We might get sunstrokes, though. We’re liable to, without our hats. But I don’t care if I do. I’d rather be unconscious.”

Tom was only fifteen and I think he hated me that day. I, the older, should have been his protector against participation in crime, not his accomplice. I wanted to row him in, then come back to finish the business alone, but there on the green Eden-like shore stood Father, stationed there barring the way.

Tom and I weighed our hooks down to the deep cold water. We caught two more bass and half a dozen sunfish.

By one o’clock groups of people gathered on the shore, for word of the drama that was being enacted on Durston’s Pond had spread through the town. Some of the visitors praised Father for his stern discipline; others berated him. He went right on reading his magazine and smoking his cigar, as indifferent to their praise as he was to their criticism.

Local fishermen who knew the lake and something about the angling ability of the average youngster made gloomy estimates as to the possible length of our exile on the water. A few had us fishing until the snow flew. They made bets too. Would Tom and I have the guts to stick it out? Most of the bets were against us.

But we sat there in the rowboat, without food, through the hottest day of the summer.

No breeze stirred. No cloud obscured the sun. Even the bird life of the swamp, usually a medley of song, was silent and dead. Tom was drooping visibly in the glare and I tried hard not to look at his scorched face.

Between three and four we dropped lines in a school of yellow perch and pulled up no less than twenty. The bass continued to bite in the deep black holes off the swamp, which bristled with tree trunks. Benumbed, half-blinded, moving like automatons, Tom and I geared ourselves for the home stretch.

When the sun, dropping low, had lost its fury and the hard blue enamel of the sky began to pale, I pulled up the thirteenth bass, which was our sixty first fish.

Turned lobster-red, fairly devoured, famished and drooping from lack of sleep, we put together our rods and with our remaining strength rowed to where Father was waiting. He received us coolly, making no comment on our condition. At once he asked to see the fish and we held them up by the strings.

“Count them,” he said. Obviously we would receive permission to land only when we had produced the required number, which was the price of our freedom.

“Sixty-one,” said Tom.

“Including thirteen bass,” I added.

“Very good,” said Father in businesslike tones. “We will now restore to Mr. Duvitch his rightful property.”

Tom and I took care not to play the part of triumphant heroes, even of redeemed sinners—that would not have suited our parent. Certainly, in appearance, we were more condemned than redeemed. But when we tottered out of the rowboat something in me was quietly rejoicing. I guessed that Father was secretly proud of our fortitude and I realized, too, that all through the night he had suffered with us.

We walked through the crowd of visitors on the lake shore, climbed into the car and silently drove to the Duvitch cottage. Mrs. Duvitch and the children were not visible but we found Mr. Duvitch sitting on the porch.

When he saw Tom and me and we silently handed him the strings of fish, he gulped and swallowed hard. For a moment he could not speak. Then, in a voice that was raw with emotion, he protested that he had not wished us to suffer so. Suppose we had fallen overboard in the dark?

“Will you shake hands with the boys?” asked Father.

Instead, Mr. Duvitch broke down. My brother and I did not know where to look and during those moments we suffered more acutely than we had suffered in the clouds of mosquitoes and under the broiling sun. After our neighbor had composed himself, he seized our hands and bowed his head over them. There was something Biblical in the man’s gesture. Anyway, it was my greatest lesson in humility.

When Mother, who had heard about our exile on the pond from a neighbor, saw us she burst into tears. She tried to embrace us but we drew back painfully. While she was rubbing salves and ointments on our seared backs and necks, somebody knocked at the kitchen door and Father opened it to find Mrs. Duvitch standing there—the first time she had crossed the street to our house.

In her pale swaying hand Mrs. Duvitch held a porcelain teacup, ornamented with pink rosebuds and golden leaves—a relic from the old country and, as it turned out, her most cherished possession.

Her voice, thin and wispy from fright and shock, was difficult to follow. But we gathered that she had brought the teacup over as a peace offering and as a plea for our forgiveness to her family for the living purgatory, no matter whose fault, through which my brother and I had passed.

When Mother declined the teacup and assured Mrs. Duvitch that she would not have it otherwise with Tom and me, our neighbor, unable to find her tongue, made a little eloquent sign with her hands that was for thanks and that looked like a silent blessing. She quietly turned and went away; and again I felt that I had witnessed a profound moment.

Mother continued her ministrations to Tom and me and put us to bed. Despite our skin, which stuck to sheet and pillowcase, we slept like creatures drugged.

“It is high time,” Tom and I heard Father say calmly, sanely, to Mother around noon next day when we woke up, “for this senseless feeling against the Duvitches to stop and I’m willing to do still more to stop it. Tonight we are having supper with them. I’ve just seen Mr. Duvitch and he remarked that since Andy and Tom caught the fish, he’d feel better if we all shared in them. I suggested a fish-fry picnic supper and with a few hints from me, and some encouragement, he invited us over. It may be an ordeal but we ought to be able to bear it.”

We walked across the street at six o’clock, not knowing what to expect. All the Duvitches, dressed in their Sunday best, bright and flushed and shining as we had never seen them, received us at the door as if we had been royalty. They looked at Tom and me and delicately looked away—I shuddered when I thought of what my brother and I would have had to endure had this been any other family.

Instead of a wretched abode we found a scantily furnished home that shone with cleanliness and smelled of spicy garden pinks. In its almost barren simplicity there was something comely. A few of the stands, chairs and tables had the intimate quality of what is fashioned by the human hand. These, together with odds and ends the family had brought from the old country and others resurrected from the town dump and mended, painted, waxed and polished, made for a kind of native household harmony.

The house plants (no window was without several) delighted Mother. Mrs. Duvitch was raising little orange and lemon trees from seed and experimenting with a pineapple plant growing in a butter tub.

At once we were conscious of a remarkable difference in the demeanor of the family. The children, thrilled by their first party, by the family’s first recognition in this country, kept showing their pleasure in wide delighted smiles. I couldn’t believe they were the same timid downcast youngsters one met on the street and saw in school; they seemed to have been touched by a wand. The Duvitches’ home was their castle: sustained and animated by the security of its four walls, shut away from a world of contempt and hostility, they were complete human beings. In their own house their true personalities emerged.

As the host Mr. Duvitch was a man we were seeing for the first time. Overjoyed to have neighbors in his house, he was so full of himself that I was conscious of an invisible stature in him which made him seem quite as tall as Father. He beamed and feasted his eyes on us. Saying very little, he managed to make us feel a great deal and he constantly sought his wife’s eyes with glances of delight over the wonder of what was happening.

David, the oldest boy, helped his father serve a bottle of homemade blackberry wine. We ate fried fish and good food of the American picnic variety at a long plank table set out in the back yard under an apple tree. The young Duvitches passed things politely, never helping themselves first, and their thanks upon receiving a dish were almost ceremonial. They waited patiently for their plates and ate every scrap of food.

Father kept the conversation going. His every word was listened to, every childish eye riveted on him while he spoke.

Tom and I, fascinated by the family’s metamorphosis, almost forgot about our blisters and our stings. As father told stories and jokes, we discovered that the Duvitches had a gift for gaiety, for laughter, all but extinguished but still capable of resurrection. They were merry people who had suffered too much. How strange to see the boys and girls throw back their heads and laugh when Father said something that was funny, but not terribly funny.

After supper we were ushered to the open summer kitchen, the coolest room in the house, for entertainment. David played folk songs on his accordion. Mr. Duvitch turned out to be an amateur ventriloquist; he made the dog Kasimar talk Polish, the cat Jan talk Russian and a doll named Sophia, talk English. Mrs. Duvitch read aloud to us, translating as she went along, a letter her mother had received from the great actress Modjeska, whom her family had known long ago.

I could tell that the Duvitches were a great revelation to Father and that he had enjoyed the evening tremendously.

“To think,” he murmured as if talking to himself, while we were crossing the street, “that they should turn out to be gentle people of cultivation and accomplishment. Looked down on and ignored by their inferiors!”

I like to believe that the oil paintings of George Washington, Abraham Lincoln and Thomas Jefferson, which hung in our living room, helped to establish the Duvitches in our community. Even the fountain tinkling in the lily pool in our garden might have helped. In that town, oil paintings and flowing fountains were the symbols of wealth and aristocracy. Only a few mansions on Sycamore Hill were adorned with such.

Because our home was graced with these symbols, we had always been classified with the town’s great, which gave us such prestige in the neighborhood that people often followed our lead. Obviously the Duvitches were important in Father’s eyes, shown by the rigorous sentence he had imposed on Tom and me for our misuse of them. Added to that, we had recognized the family by taking a meal with them in their own house.

People, often persuaded to accept what we accepted, to believe what we believed, began to think the Duvitches must really count, after all. Most of our neighbors decided that if they were good enough for a highly educated man like Father (the only college graduate on Syringa Street), they were good enough for them. The galvanized community began to look upon things in a different light and it soon became the fashion to give the Duvitches the favorable nod.

Mother invited Mrs. Duvitch to a tea party, where her delicate manners, and the fine needlework which engaged her, won the approval of the local housewives who were present. On hot days our neighbor asked one of her big boys to carry the pineapple plant (which Mother had advertised well) into the back yard; and since botanical rarities were irresistible in that town of gardens, people were soon stopping by the fence for a look at the tropical specimen.

After a while Mrs. Duvitch found courage to ask these people into her house and, if Mr. Duvitch was at home, he told the visitors stories about life in the old country. It was then that the neighborhood learned about the family’s European past.

The children ceased stopping their noses when Mr. Duvitch passed them by and it wasn’t long before the young Duvitches were able to enjoy outside companionship when they found time to play. They blossomed out in school and they were soon shining in school plays and festivals. Even Kasimar began to take on the ways of an American dog, daring to bark and growl on occasion.

Nathan Duvitch, who was seventeen, could throw and hit a baseball as far as anybody his age in town. When I learned this, and let it be known, he was asked to join one of the local ball clubs. David, invited to play his accordion at a country dance, turned out to be a magician with the instrument and ended up being one of the community’s most popular players. Mrs. Frithjof Kinsella gave One-eyed Manny an after-school job in her store and later on told Mother he was worth three boys put together.

The community presently had reason to be grateful for Mrs. Duvitch’s presence. It turned out that she had a great gift for nursing, and no fear of death, no fear of disease, contagious or otherwise. In times of severe illness Dr. Switzer often suggested that she be sent for—her own girls could take over at home. There were almost no nurses in town and the nearest hospital was over a hundred miles away. When Mrs. Duvitch quietly slipped into a sickroom, she never failed to bring along a sedative influence, a kind of sanity. After an hour or two of her serene presence, the patient was calmed and comforted and the family reassured.

People began to turn to the Duvitches in all kinds of trouble. A boy who got in a bad scrape, a bitter family quarrel, a baby who had come into the world deformed—the elder Duvitches, with their old-world wisdom and gift for accepting the inevitable, could sit by the hour and argue gently and convincingly against disgrace, false pride, grief, fear.

Most surprising of all, Mr. Duvitch, in one respect, turned out to be characteristically American. One Saturday afternoon when my ball team was playing Nathan’s, Father met him in the local ball park.

“Chust like de American boy,” Mr. Duvitch exploded when Nathan made a timely hit that drove in two runs. Our neighbor choked with pride and went on: “Nathan’s battering averich three hunnert tventy-sevened!”

On a cold snowy afternoon in winter Mr. Duvitch stopped at our house and presented Father (who had enormous hands, much bigger than any of the Duvitches’) with a handsome pair of leather mittens, lined with fur, which had a slightly acrid ashy odor. “No doubt one of the boys resurrected them from a heap of ashes in the dump,” remarked Father, drawing on the mittens, which fitted perfectly. “Why should I value them any the less? Who would have dreamed that the Duvitches would have so much more to offer us than we have to offer them?”
Lamb to the Slaughter

by Roald Dahl (1916-1990)


The room was warm and clean, the curtains drawn, the two table lamps alight-hers and the one by the empty chair opposite. On the sideboard behind her, two tall glasses, soda water, whiskey. Fresh ice cubes in the Thermos bucket.

Mary Maloney was waiting for her husband to come him from work.

Now and again she would glance up at the clock, but without anxiety, merely to please herself with the thought that each minute gone by made it nearer the time when he would come. There was a slow smiling air about her, and about everything she did. The drop of a head as she bent over her sewing was curiously tranquil. Her skin -for this was her sixth month with child-had acquired a wonderful translucent quality, the mouth was soft, and the eyes, with their new placid look, seemed larger darker than before. When the clock said ten minutes to five, she began to listen, and a few moments later, punctually as always, she heard the tires on the gravel outside, and the car door slamming, the footsteps passing the window, the key turning in the lock. She laid aside her sewing, stood up, and went forward to kiss him as he came in.

“Hullo darling,” she said.

“Hullo darling,” he answered.

She took his coat and hung it in the closer. Then she walked over and made the drinks, a strongish one for him, a weak one for herself; and soon she was back again in her chair with the sewing, and he in the other, opposite, holding the tall glass with both hands, rocking it so the ice cubes tinkled against the side.

For her, this was always a blissful time of day. She knew he didn’t want to speak much until the first drink was finished, and she, on her side, was content to sit quietly, enjoying his company after the long hours alone in the house. She loved to luxuriate in the presence of this man, and to feel-almost as a sunbather feels the sun-that warm male glow that came out of him to her when they were alone together. She loved him for the way he sat loosely in a chair, for the way he came in a door, or moved slowly across the room with long strides. She loved intent, far look in his eyes when they rested in her, the funny shape of the mouth, and especially the way he remained silent about his tiredness, sitting still with himself until the whiskey had taken some of it away.

“Tired darling?”

“Yes,” he said. “I’m tired,” And as he spoke, he did an unusual thing. He lifted his glass and drained it in one swallow although there was still half of it, at least half of it left.. She wasn’t really watching him, but she knew what he had done because she heard the ice cubes falling back against the bottom of the empty glass when he lowered his arm. He paused a moment, leaning forward in the chair, then he got up and went slowly over to fetch himself another.

“I’ll get it!” she cried, jumping up.

“Sit down,” he said.

When he came back, she noticed that the new drink was dark amber with the quantity of whiskey in it.

“Darling, shall I get your slippers?”

“No.”

She watched him as he began to sip the dark yellow drink, and she could see little oily swirls in the liquid because it was so strong.

“I think it’s a shame,” she said, “that when a policeman gets to be as senior as you, they keep him walking about on his feet all day long.”

He didn’t answer, so she bent her head again and went on with her sewing; bet each time he lifted the drink to his lips, she heard the ice cubes clinking against the side of the glass.

“Darling,” she said. “Would you like me to get you some cheese? I haven’t made any supper because it’s Thursday.”

“No,” he said.

“If you’re too tired to eat out,” she went on, “it’s still not too late. There’s plenty of meat and stuff in the freezer, and you can have it right here and not even move out of the chair.”

Her eyes waited on him for an answer, a smile, a little nod, but he made no sign.

“Anyway,” she went on, “I’ll get you some cheese and crackers first.”

“I don’t want it,” he said.

She moved uneasily in her chair, the large eyes still watching his face. “But you must eat! I’ll fix it anyway, and then you can have it or not, as you like.”

She stood up and placed her sewing on the table by the lamp.

“Sit down,” he said. “Just for a minute, sit down.”

It wasn’t till then that she began to get frightened.

“Go on,” he said. “Sit down.”

She lowered herself back slowly into the chair, watching him all the time with those large, bewildered eyes. He had finished the second drink and was staring down into the glass, frowning.

“Listen,” he said. “I’ve got something to tell you.”

“What is it, darling? What’s the matter?”

He had now become absolutely motionless, and he kept his head down so that the light from the lamp beside him fell across the upper part of his face, leaving the chin and mouth in shadow. She noticed there was a little muscle moving near the corner of his left eye.

“This is going to be a bit of a shock to you, I’m afraid,” he said. “But I’ve thought about it a good deal and I’ve decided the only thing to do is tell you right away. I hope you won’t blame me too much.”

And he told her. It didn’t take long, four or five minutes at most, and she say very still through it all, watching him with a kind of dazed horror as he went further and further away from her with each word.

“So there it is,” he added. “And I know it’s kind of a bad time to be telling you, bet there simply wasn’t any other way. Of course I’ll give you money and see you’re looked after. But there needn’t really be any fuss. I hope not anyway. It wouldn’t be very good for my job.”

Her first instinct was not to believe any of it, to reject it all. It occurred to her that perhaps he hadn’t even spoken, that she herself had imagined the whole thing. Maybe, if she went about her business and acted as though she hadn’t been listening, then later, when she sort of woke up again, she might find none of it had ever happened.

“I’ll get the supper,” she managed to whisper, and this time he didn’t stop her.

When she walked across the room she couldn’t feel her feet touching the floor. She couldn’t feel anything at all- except a slight nausea and a desire to vomit. Everything was automatic now-down the steps to the cellar, the light switch, the deep freeze, the hand inside the cabinet taking hold of the first object it met. She lifted it out, and looked at it. It was wrapped in paper, so she took off the paper and looked at it again.

A leg of lamb.

All right then, they would have lamb for supper. She carried it upstairs, holding the thin bone-end of it with both her hands, and as she went through the living-room, she saw him standing over by the window with his back to her, and she stopped.

“For God’s sake,” he said, hearing her, but not turning round. “Don’t make supper for me. I’m going out.”

At that point, Mary Maloney simply walked up behind him and without any pause she swung the big frozen leg of lamb high in the air and brought it down as hard as she could on the back of his head.

She might just as well have hit him with a steel club.

She stepped back a pace, waiting, and the funny thing was that he remained standing there for at least four or five seconds, gently swaying. Then he crashed to the carpet.

The violence of the crash, the noise, the small table overturning, helped bring her out of he shock. She came out slowly, feeling cold and surprised, and she stood for a while blinking at the body, still holding the ridiculous piece of meat tight with both hands.

All right, she told herself. So I’ve killed him.

It was extraordinary, now, how clear her mind became all of a sudden. She began thinking very fast. As the wife of a detective, she knew quite well what the penalty would be. That was fine. It made no difference to her. In fact, it would be a relief. On the other hand, what about the child? What were the laws about murderers with unborn children? Did they kill then both-mother and child? Or did they wait until the tenth month? What did they do?

Mary Maloney didn’t know. And she certainly wasn’t prepared to take a chance.

She carried the meat into the kitchen, placed it in a pan, turned the oven on high, and shoved t inside. Then she washed her hands and ran upstairs to the bedroom. She sat down before the mirror, tidied her hair, touched up her lops and face. She tried a smile. It came out rather peculiar. She tried again.

“Hullo Sam,” she said brightly, aloud.

The voice sounded peculiar too.

“I want some potatoes please, Sam. Yes, and I think a can of peas.”

That was better. Both the smile and the voice were coming out better now. She rehearsed it several times more. Then she ran downstairs, took her coat, went out the back door, down the garden, into the street.

It wasn’t six o’clock yet and the lights were still on in the grocery shop.

“Hullo Sam,” she said brightly, smiling at the man behind the counter.

“Why, good evening, Mrs. Maloney. How’re you?”

“I want some potatoes please, Sam. Yes, and I think a can of peas.”

The man turned and reached up behind him on the shelf for the peas.

“Patrick’s decided he’s tired and doesn’t want to eat out tonight,” she told him. “We usually go out Thursdays, you know, and now he’s caught me without any vegetables in the house.”

“Then how about meat, Mrs. Maloney?”

“No, I’ve got meat, thanks. I got a nice leg of lamb from the freezer.”

“Oh.”

“I don’t know much like cooking it frozen, Sam, but I’m taking a chance on it this time. You think it’ll be all right?”

“Personally,” the grocer said, “I don’t believe it makes any difference. You want these Idaho potatoes?”

“Oh yes, that’ll be fine. Two of those.”

“Anything else?” The grocer cocked his head on one side, looking at her pleasantly. “How about afterwards? What you going to give him for afterwards?”

“Well-what would you suggest, Sam?”

The man glanced around his shop. “How about a nice big slice of cheesecake? I know he likes that.”

“Perfect,” she said. “He loves it.”

And when it was all wrapped and she had paid, she put on her brightest smile and said, “Thank you, Sam. Goodnight.”

“Goodnight, Mrs. Maloney. And thank you.”

And now, she told herself as she hurried back, all she was doing now, she was returning home to her husband and he was waiting for his supper; and she must cook it good, and make it as tasty as possible because the poor man was tired; and if, when she entered the house, she happened to find anything unusual, or tragic, or terrible, then naturally it would be a shock and she’d become frantic with grief and horror. Mind you, she wasn’t expecting to find anything. She was just going home with the vegetables. Mrs. Patrick Maloney going home with the vegetables on Thursday evening to cook supper for her husband.

That’s the way, she told herself. Do everything right and natural. Keep things absolutely natural and there’ll be no need for any acting at all.

Therefore, when she entered the kitchen by the back door, she was humming a little tune to herself and smiling.

“Patrick!” she called. “How are you, darling?”

She put the parcel down on the table and went through into the living room; and when she saw him lying there on the floor with his legs doubled up and one arm twisted back underneath his body, it really was rather a shock. All the old love and longing for him welled up inside her, and she ran over to him, knelt down beside him, and began to cry her heart out. It was easy. No acting was necessary.

A few minutes later she got up and went to the phone. She know the number of the police station, and when the man at the other end answered, she cried to him, “Quick! Come quick! Patrick’s dead!”

“Who’s speaking?”

“Mrs. Maloney. Mrs. Patrick Maloney.”

“You mean Patrick Maloney’s dead?”

“I think so,” she sobbed. “He’s lying on the floor and I think he’s dead.”

“Be right over,” the man said.

The car came very quickly, and when she opened the front door, two policeman walked in. She know them both-she know nearly all the man at that precinct-and she fell right into a chair, then went over to join the other one, who was called O’Malley, kneeling by the body.

“Is he dead?” she cried.

“I’m afraid he is. What happened?”

Briefly, she told her story about going out to the grocer and coming back to find him on the floor. While she was talking, crying and talking, Noonan discovered a small patch of congealed blood on the dead man’s head. He showed it to O’Malley who got up at once and hurried to the phone.

Soon, other men began to come into the house. First a doctor, then two detectives, one of whom she know by name. Later, a police photographer arrived and took pictures, and a man who know about fingerprints. There was a great deal of whispering and muttering beside the corpse, and the detectives kept asking her a lot of questions. But they always treated her kindly. She told her story again, this time right from the beginning, when Patrick had come in, and she was sewing, and he was tired, so tired he hadn’t wanted to go out for supper. She told how she’d put the meat in the oven-”it’s there now, cooking”- and how she’d slopped out to the grocer for vegetables, and come back to find him lying on the floor.

Which grocer?” one of the detectives asked.

She told him, and he turned and whispered something to the other detective who immediately went outside into the street.

In fifteen minutes he was back with a page of notes, and there was more whispering, and through her sobbing she heard a few of the whispered phrases-”...acted quite normal...very cheerful...wanted to give him a good supper…peas...cheesecake...impossible that she...”

After a while, the photographer and the doctor departed and two other men came in and took the corpse away on a stretcher. Then the fingerprint man went away. The two detectives remained, and so did the two policeman. They were exceptionally nice to her, and Jack Noonan asked if she wouldn’t rather go somewhere else, to her sister’s house perhaps, or to his own wife who would take care of her and put her up for the night.

No, she said. She didn’t feel she could move even a yard at the moment. Would they mind awfully of she stayed just where she was until she felt better. She didn’t feel too good at the moment, she really didn’t.

Then hadn’t she better lie down on the bed? Jack Noonan asked.

No, she said. She’d like to stay right where she was, in this chair. A little later, perhaps, when she felt better, she would move.

So they left her there while they went about their business, searching the house. Occasionally on of the detectives asked her another question. Sometimes Jack Noonan spoke at her gently as he passed by. Her husband, he told her, had been killed by a blow on the back of the head administered with a heavy blunt instrument, almost certainly a large piece of metal. They were looking for the weapon. The murderer may have taken it with him, but on the other hand he may have thrown it away or hidden it somewhere on the premises.

“It’s the old story,” he said. “Get the weapon, and you’ve got the man.”

Later, one of the detectives came up and sat beside her. Did she know, he asked, of anything in the house that could’ve been used as the weapon? Would she mind having a look around to see if anything was missing-a very big spanner, for example, or a heavy metal vase.

They didn’t have any heavy metal vases, she said.

“Or a big spanner?”

She didn’t think they had a big spanner. But there might be some things like that in the garage.

The search went on. She knew that there were other policemen in the garden all around the house. She could hear their footsteps on the gravel outside, and sometimes she saw a flash of a torch through a chink in the curtains. It began to get late, nearly nine she noticed by the clock on the mantle. The four men searching the rooms seemed to be growing weary, a trifle exasperated.

“Jack,” she said, the next tome Sergeant Noonan went by. “Would you mind giving me a drink?”

“Sure I’ll give you a drink. You mean this whiskey?”

“Yes please. But just a small one. It might make me feel better.”

He handed her the glass.

“Why don’t you have one yourself,” she said. “You must be awfully tired. Please do. You’ve been very good to me.”

“Well,” he answered. “It’s not strictly allowed, but I might take just a drop to keep me going.”

One by one the others came in and were persuaded to take a little nip of whiskey. They stood around rather awkwardly with the drinks in their hands, uncomfortable in her presence, trying to say consoling things to her. Sergeant Noonan wandered into the kitchen, come out quickly and said, “Look, Mrs. Maloney. You know that oven of yours is still on, and the meat still inside.”

“Oh dear me!” she cried. “So it is!”

“I better turn it off for you, hadn’t I?”

“Will you do that, Jack. Thank you so much.”

When the sergeant returned the second time, she looked at him with her large, dark tearful eyes. “Jack Noonan,” she said.

“Yes?”

“Would you do me a small favor-you and these others?”

“We can try, Mrs. Maloney.”

“Well,” she said. “Here you all are, and good friends of dear Patrick’s too, and helping to catch the man who killed him. You must be terrible hungry by now because it’s long past your suppertime, and I know Patrick would never forgive me, God bless his soul, if I allowed you to remain in his house without offering you decent hospitality. Why don’t you eat up that lamb that’s in the oven. It’ll be cooked just right by now.”

“Wouldn’t dream of it,” Sergeant Noonan said.

“Please,” she begged. “Please eat it. Personally I couldn’t tough a thing, certainly not what’s been in the house when he was here. But it’s all right for you. It’d be a favor to me if you’d eat it up. Then you can go on with your work again afterwards.”

There was a good deal of hesitating among the four policemen, but they were clearly hungry, and in the end they were persuaded to go into the kitchen and help themselves. The woman stayed where she was, listening to them speaking among themselves, their voices thick and sloppy because their mouths were full of meat.

“Have some more, Charlie?”

“No. Better not finish it.”

“She wants us to finish it. She said so. Be doing her a favor.”

“Okay then. Give me some more.”

“That’s the hell of a big club the gut must’ve used to hit poor Patrick,” one of them was saying. “The doc says his skull was smashed all to pieces just like from a sledgehammer.”

“That’s why it ought to be easy to find.”

“Exactly what I say.”

“Whoever done it, they’re not going to be carrying a thing like that around with them longer than they need.”

One of them belched.

“Personally, I think it’s right here on the premises.”

“Probably right under our very noses. What you think, Jack?”

And in the other room, Mary Maloney began to giggle.

----------

Lamb to the Slaughter by Roald Dahl
Answer these questions using evidence and quotations from the story:
1. What is the mood like at the beginning of the story? Choose some words or phrases that help create the mood. What effect do these words have on the reader?
2. Where is the story set? Place, indoors, outdoors, past or present?
3. What is the story actually about? What do you think the author wanted to achieve?
4. Who are the main characters in the story? Describe them. Find some quotations that show what they are like. Which characters do you like or dislike?
5. Does the author use lots of description or hardly any? Do they use direct speech? Do they tell the story in the first or third person? Why do the do this?
6. Is there suspense in the story? When does it begin? What adds to the suspense? When does it end?
7. What is the twist or surprise ending? Did you expect it? What effect does this twist have on the reader?
8. What did you enjoy most or least about the story?
http://www.classicshorts.com/stories/lotry.html

The Lottery
by Shirley Jackson

Word Count: 3773

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.

The children assembled first, of course. School was recently over for the summer, and the feeling of liberty sat uneasily on most of them; they tended to gather together quietly for a while before they broke into boisterous play. and their talk was still of the classroom and the teacher, of books and reprimands. Bobby Martin had already stuffed his pockets full of stones, and the other boys soon followed his example, selecting the smoothest and roundest stones; Bobby and Harry Jones and Dickie Delacroix-- the villagers pronounced this name "Dellacroy"--eventually made a great pile of stones in one corner of the square and guarded it against the raids of the other boys. The girls stood aside, talking among themselves, looking over their shoulders at rolled in the dust or clung to the hands of their older brothers or sisters.

Soon the men began to gather. surveying their own children, speaking of planting and rain, tractors and taxes. They stood together, away from the pile of stones in the corner, and their jokes were quiet and they smiled rather than laughed. The women, wearing faded house dresses and sweaters, came shortly after their menfolk. They greeted one another and exchanged bits of gossip as they went to join their husbands. Soon the women, standing by their husbands, began to call to their children, and the children came reluctantly, having to be called four or five times. Bobby Martin ducked under his mother's grasping hand and ran, laughing, back to the pile of stones. His father spoke up sharply, and Bobby came quickly and took his place between his father and his oldest brother.

The lottery was conducted--as were the square dances, the teen club, the Halloween program--by Mr. Summers. who had time and energy to devote to civic activities. He was a round-faced, jovial man and he ran the coal business, and people were sorry for him. because he had no children and his wife was a scold. When he arrived in the square, carrying the black wooden box, there was a murmur of conversation among the villagers, and he waved and called. "Little late today, folks." The postmaster, Mr. Graves, followed him, carrying a three- legged stool, and the stool was put in the center of the square and Mr. Summers set the black box down on it. The villagers kept their distance, leaving a space between themselves and the stool. and when Mr. Summers said, "Some of you fellows want to give me a hand?" there was a hesitation before two men. Mr. Martin and his oldest son, Baxter. came forward to hold the box steady on the stool while Mr. Summers stirred up the papers inside it.

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.

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. There was the proper swearing-in of Mr. Summers by the postmaster, as the official of the lottery; at one time, some people remembered, there had been a recital of some sort, performed by the official of the lottery, a perfunctory. tuneless chant that had been rattled off duly each year; some people believed that the official of the lottery used to stand just so when he said or sang it, others believed that he was supposed to walk among the people, but years and years ago this p3rt of the ritual had been allowed to lapse. There had been, also, a ritual salute, which the official of the lottery had had to use in addressing each person who came up to draw from the box, but this also had changed with time, until now it was felt necessary only for the official to speak to each person approaching. Mr. Summers was very good at all this; in his clean white shirt and blue jeans. with one hand resting carelessly on the black box. he seemed very proper and important as he talked interminably to Mr. Graves and the Martins.

Just as Mr. Summers finally left off talking and turned to the assembled villagers, Mrs. Hutchinson came hurriedly along the path to the square, her sweater thrown over her shoulders, and slid into place in the back of the crowd. "Clean forgot what day it was," she said to Mrs. Delacroix, who stood next to her, and they both laughed softly. "Thought my old man was out back stacking wood," Mrs. Hutchinson went on. "and then I looked out the window and the kids was gone, and then I remembered it was the twenty-seventh and came a-running." She dried her hands on her apron, and Mrs. Delacroix said, "You're in time, though. They're still talking away up there."

Mrs. Hutchinson craned her neck to see through the crowd and found her husband and children standing near the front. She tapped Mrs. Delacroix on the arm as a farewell and began to make her way through the crowd. The people separated good-humoredly to let her through: two or three people said. in voices just loud enough to be heard across the crowd, "Here comes your, Missus, Hutchinson," and "Bill, she made it after all." Mrs. Hutchinson reached her husband, and Mr. Summers, who had been waiting, said cheerfully. "Thought we were going to have to get on without you, Tessie." Mrs. Hutchinson said. grinning, "Wouldn't have me leave m'dishes in the sink, now, would you. Joe?," and soft laughter ran through the crowd as the people stirred back into position after Mrs. Hutchinson's arrival.

"Well, now." Mr. Summers said soberly, "guess we better get started, get this over with, so's we can go back to work. Anybody ain't here?"

"Dunbar." several people said. "Dunbar. Dunbar."

Mr. Summers consulted his list. "Clyde Dunbar." he said. "That's right. He's broke his leg, hasn't he? Who's drawing for him?"

"Me. I guess," a woman said. and Mr. Summers turned to look at her. "Wife draws for her husband." Mr. Summers said. "Don't you have a grown boy to do it for you, Janey?" Although Mr. Summers and everyone else in the village knew the answer perfectly well, it was the business of the official of the lottery to ask such questions formally. Mr. Summers waited with an expression of polite interest while Mrs. Dunbar answered.

"Horace's not but sixteen vet." Mrs. Dunbar said regretfully. "Guess I gotta fill in for the old man this year."

"Right." Sr. Summers said. He made a note on the list he was holding. Then he asked, "Watson boy drawing this year?"

A tall boy in the crowd raised his hand. "Here," he said. "I m drawing for my mother and me." He blinked his eyes nervously and ducked his head as several voices in the crowd said thin#s like "Good fellow, lack." and "Glad to see your mother's got a man to do it."

"Well," Mr. Summers said, "guess that's everyone. Old Man Warner make it?"

"Here," a voice said. and Mr. Summers nodded.

A sudden hush fell on the crowd as Mr. Summers cleared his throat and looked at the list. "All ready?" he called. "Now, I'll read the names--heads of families first--and the men come up and take a paper out of the box. Keep the paper folded in your hand without looking at it until everyone has had a turn. Everything clear?"

The people had done it so many times that they only half listened to the directions: most of them were quiet. wetting their lips. not looking around. Then Mr. Summers raised one hand high and said, "Adams." A man disengaged himself from the crowd and came forward. "Hi. Steve." Mr. Summers said. and Mr. Adams said. "Hi. Joe." They grinned at one another humorlessly and nervously. Then Mr. Adams reached into the black box and took out a folded paper. He held it firmly by one corner as he turned and went hastily back to his place in the crowd. where he stood a little apart from his family. not looking down at his hand.

"Allen." Mr. Summers said. "Anderson.... Bentham."

"Seems like there's no time at all between lotteries any more." Mrs. Delacroix said to Mrs. Graves in the back row.

"Seems like we got through with the last one only last week."

"Time sure goes fast.-- Mrs. Graves said.

"Clark.... Delacroix"

"There goes my old man." Mrs. Delacroix said. She held her breath while her husband went forward.

"Dunbar," Mr. Summers said, and Mrs. Dunbar went steadily to the box while one of the women said. "Go on. Janey," and another said, "There she goes."

"We're next." Mrs. Graves said. She watched while Mr. Graves came around from the side of the box, greeted Mr. Summers gravely and selected a slip of paper from the box. By now, all through the crowd there were men holding the small folded papers in their large hand. turning them over and over nervously Mrs. Dunbar and her two sons stood together, Mrs. Dunbar holding the slip of paper.

"Harburt.... Hutchinson."

"Get up there, Bill," Mrs. Hutchinson said. and the people near her laughed.

"Jones."

"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."

"Martin." And Bobby Martin watched his father go forward. "Overdyke.... Percy."

"I wish they'd hurry," Mrs. Dunbar said to her older son. "I wish they'd hurry."

"They're almost through," her son said.

"You get ready to run tell Dad," Mrs. Dunbar said.

Mr. Summers called his own name and then stepped forward precisely and selected a slip from the box. Then he called, "Warner."

"Seventy-seventh year I been in the lottery," Old Man Warner said as he went through the crowd. "Seventy-seventh time."

"Watson" The tall boy came awkwardly through the crowd. Someone said, "Don't be nervous, Jack," and Mr. Summers said, "Take your time, son."

"Zanini."

After that, there was a long pause, a breathless pause, until Mr. Summers. holding his slip of paper in the air, said, "All right, fellows." For a minute, no one moved, and then all the slips of paper were opened. Suddenly, all the women began to speak at once, saving. "Who is it?," "Who's got it?," "Is it the Dunbars?," "Is it the Watsons?" Then the voices began to say, "It's Hutchinson. It's Bill," "Bill Hutchinson's got it."

"Go tell your father," Mrs. Dunbar said to her older son.

People began to look around to see the Hutchinsons. Bill Hutchinson was standing quiet, staring down at the paper in his hand. Suddenly. Tessie Hutchinson shouted to Mr. Summers. "You didn't give him time enough to take any paper he wanted. I saw you. It wasn't fair!"

"Be a good sport, Tessie." Mrs. Delacroix called, and Mrs. Graves said, "All of us took the same chance."

"Shut up, Tessie," Bill Hutchinson said.

"Well, everyone," Mr. Summers said, "that was done pretty fast, and now we've got to be hurrying a little more to get done in time." He consulted his next list. "Bill," he said, "you draw for the Hutchinson family. You got any other households in the Hutchinsons?"

"There's Don and Eva," Mrs. Hutchinson yelled. "Make them take their chance!"

"Daughters draw with their husbands' families, Tessie," Mr. Summers said gently. "You know that as well as anyone else."

"It wasn't fair," Tessie said.

"I guess not, Joe." Bill Hutchinson said regretfully. "My daughter draws with her husband's family; that's only fair. And I've got no other family except the kids."

"Then, as far as drawing for families is concerned, it's you," Mr. Summers said in explanation, "and as far as drawing for households is concerned, that's you, too. Right?"

"Right," Bill Hutchinson said.

"How many kids, Bill?" Mr. Summers asked formally.

"Three," Bill Hutchinson said.

"There's Bill, Jr., and Nancy, and little Dave. And Tessie and me."

"All right, then," Mr. Summers said. "Harry, you got their tickets back?"

Mr. Graves nodded and held up the slips of paper. "Put them in the box, then," Mr. Summers directed. "Take Bill's and put it in."

"I think we ought to start over," Mrs. Hutchinson said, as quietly as she could. "I tell you it wasn't fair. You didn't give him time enough to choose. Everybody saw that."

Mr. Graves had selected the five slips and put them in the box. and he dropped all the papers but those onto the ground. where the breeze caught them and lifted them off.

"Listen, everybody," Mrs. Hutchinson was saying to the people around her.

"Ready, Bill?" Mr. Summers asked. and Bill Hutchinson, with one quick glance around at his wife and children. nodded.

"Remember," Mr. Summers said. "take the slips and keep them folded until each person has taken one. Harry, you help little Dave." Mr. Graves took the hand of the little boy, who came willingly with him up to the box. "Take a paper out of the box, Davy." Mr. Summers said. Davy put his hand into the box and laughed. "Take just one paper." Mr. Summers said. "Harry, you hold it for him." Mr. Graves took the child's hand and removed the folded paper from the tight fist and held it while little Dave stood next to him and looked up at him wonderingly.

"Nancy next," Mr. Summers said. Nancy was twelve, and her school friends breathed heavily as she went forward switching her skirt, and took a slip daintily from the box "Bill, Jr.," Mr. Summers said, and Billy, his face red and his feet overlarge, near knocked the box over as he got a paper out. "Tessie," Mr. Summers said. She hesitated for a minute, looking around defiantly. and then set her lips and went up to the box. She snatched a paper out and held it behind her.

"Bill," Mr. Summers said, and Bill Hutchinson reached into the box and felt around, bringing his hand out at last with the slip of paper in it.

The crowd was quiet. A girl whispered, "I hope it's not Nancy," and the sound of the whisper reached the edges of the crowd.

"It's not the way it used to be." Old Man Warner said clearly. "People ain't the way they used to be."

"All right," Mr. Summers said. "Open the papers. Harry, you open little Dave's."

Mr. Graves opened the slip of paper and there was a general sigh through the crowd as he held it up and everyone could see that it was blank. Nancy and Bill. Jr.. opened theirs at the same time. and both beamed and laughed. turning around to the crowd and holding their slips of paper above their heads.

"Tessie," Mr. Summers said. There was a pause, and then Mr. Summers looked at Bill Hutchinson, and Bill unfolded his paper and showed it. It was blank.

"It's Tessie," Mr. Summers said, and his voice was hushed. "Show us her paper. Bill."

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 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."

Mr. 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 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.

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http://mb.sparknotes.com/mb.epl?b=71&m=830354&h=shirley,jackson

"The Lottery," A Story of Blind Obedience
posted by josie320 on 3/29/04 5:35 PM

This is a literary analysis of the short story by Shirley Jackson. It is my hope that people will find this useful without stealing the whole thing. I wrote it for a college intro to literature class and received an A from a very difficult professor, so you can count on the information being legitimate. Good luck!!

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'"'The Lottery,'"' A Story of Blind Obedience

When reading '"'The Lottery'"' for the first time, it is easy to anticipate a story about impossible odds and large sums of money. However, Shirley Jackson delivers an interpretation of a topic that is on the exact opposite end of the emotional spectrum. Immediately after finishing this short story, the reader is left wondering why Jackson would create such a cynical and gruesome concept. Upon a closer look, however, Jackson has simply applied her adept skill to point out a fundamental flaw in modern society. The way in which the townspeople of this story carry out the motions of the lottery is a direct relation to the way people in modern American society live their lives without nearly enough thought given to change, revolution, or individualism. Unique opinion is all too often rejected in favor of the more commonly accepted way of doing things. Through a series of clever symbols and recognizable character traits, Jackson has created a story designed to stun people into realizing the senseless conformity all around them. According to Gioia and Kennedy, Jackson also provides her readers with a brutal example of '"'the pointless violence and general inhumanity in their own lives'"' (254). Gioia and Kennedy also point out that the scare value of this story was effective enough to sell out every copy of the New Yorker that contained it. Combine these simple elements and a theme to the story can easily be defined. The theme in '"'The Lottery'"' is that of blind obedience.
The story starts out by describing a very beautiful day, including a description of how '"'the flowers were blossoming profusely and the grass was richly green'"' (Jackson 255). This detail, as it turns out, directly contradicts the only reason given for actually performing the tradition known as the lottery. After the actual lottery begins, Old Man Warner insists that Mr. Adams realize that there has never been a time when there wasn"'"t a lottery, and so there is no good reason to eradicate it now. Warner also says, '"'Lottery in June, corn be heavy soon'"' (Jackson 258). At no other point in the story is an additional satisfactory reason given for such a horrific practice to have a place in this small town or anywhere else for that matter. Since we immediately find out that the climate and the plant life are in harmony in this particular setting, there is no reason for the people to make the sacrifice to ensure abundant crops. But just like Old Man Warner, it is hard for the townspeople as a group to listen to any input that is against the mainstream way of doing things. It is exactly this kind of small-mindedness, along with reckless stubbornness and ignorance that Shirley Jackson is trying to point out to her readers.
Throughout this short story, there are only three people that speak out against this terrible tradition. The first is Mr. Adams when he says, '"'over in the north village they"'"re talking of giving up the lottery'"' (Jackson 258). This immediately arouses Old Man Warner who retorts, '"'Pack of crazy fools […] Listening to the young folks, nothing"'"s good enough for them'"' (Jackson 258). Unfortunately for this town, and later for Mrs. Hutchinson, no one else has the initiative to back up Mr. Adams except for his own wife. Mrs. Adams answers Old Man Warner by claiming that there are places that have already stopped conducting the lottery. Old Man Warner repeats his opinion about how people who cease the lottery are simply crazy. Through reading this story, it becomes very apparent that Old Man Warner symbolizes the mentality of not only his entire village and society, but the mentality of modern American society as well. It is unfortunate that people like Old Man Warner do not realize that times change, and sometimes the old fashioned way of doings things is old fashioned for a reason. Reluctance to try something new is like turning a cold shoulder to curiosity, education, development, and ultimately, personal and societal improvement. Shirley Jackson wrote this story in 1948 in Vermont, further reinforcing the fact that this story is a direct parallel to the way people currently live their lives, blindly letting others make decisions for them.
The other very obvious person to speak out against the lottery is Mrs. Hutchinson. As soon as it was determined to be her family that would be making the sacrifice, she became hysterical. Unfortunately her motives for speaking out against the lottery were selfish and unfounded, completely ruining her credibility, and as a result no one in the town took the time to listen and consider what she was saying. For example, Mrs. Delacroix responded to Mrs. Hutchinson"'"s protests by saying, '"'Be a good sport, Tessie'"' (Jackson 259). Be a good sport? This comment clearly displays how the townspeople are reluctant to imagine a life without this horrible tradition. Moreover, everyone else in the town was feeling an overwhelming feeling of relief, as they knew that they didn"'"t have to worry about the lottery for at least another year. Since the majority of the townspeople were experiencing the same feeling of relief from the crushing stress of impending death, no one really cared about what Mrs. Hutchinson or the Adams were saying, making it even more unlikely that anyone would consider their petition for a change. In this story, Mrs. Hutchinson and the Adams represent the select few from modern society who are willing to take the risk and speak out against the dominant opinion. They are the people who are often labeled as outcasts or even freaks, even though they are part of the few who are willing to not only think for themselves, but to voice that opinion in the face of adversity as well. Furthermore, they are a symbol of courage and change, considering that many of the rituals involved with the lottery have eroded away over time, probably because of small and seemingly insignificant protest such as that presented by the Adams and Mrs. Hutchinson.
Some of the most significant rituals associated with the lottery that have disappeared over time have been the monotone chant and the salute given by the person in charge of overseeing the lottery as each individual approaches the black box. In fact, the reality that bits and pieces of the original tradition have been dying over time is a strong indication that many of the townspeople have felt that a change is needed. It is inevitable that an underlying common opinion will eventually prevail, even though hardly anyone is willing to stand up for what everyone else is thinking. In the case of this town, the underlying opinion has taken multiple generations to manifest itself in the form of the deteriorating rituals involved with the lottery. For example, Mr. Summers, the man in charge of running such events as the lottery, while on the surface appears to hold the lottery in high esteem, actually gives the reader reason to believe that he too questions whether or not times are changing, and if the lottery still remains a reasonable tradition. The most obvious thing that Mr. Summers does to imply his inner conflict with the situation is to discard the wood chips in favor of paper slips for use in the black box. This part of the tradition has lost value to him, so he resorts to a much easier and efficient method of conducting the lottery, rather than preserving a signature part of the process. His negative feelings toward the lottery may very well have been unconscious, but he has helped to whittle away at the tradition nonetheless. The other action, or lack of action, that Mr. Summers commits in his private struggle with the lottery is when he often talks of constructing a new box for the paper slips. He never actually executes this plan. Instead, he, along with everyone else in the story, is not actually very worried about the condition of the box at all. This popular opinion toward the state of the box can be directly linked to the overall condition of the town"'"s attitude toward the lottery itself.
The treatment and appearance of the black box is one of the most symbolic aspects of '"'The Lottery.'"' Colors have always been an easy indication to what an object might symbolize, and the black color of the box is no different. One of the most important symbols associated with the black box is the sense of impending death. It does not take long for the reader to realize that there is an uneasy feeling at the town square that morning, and that this must not be an ordinary lottery. The black box is one of the things that helps to create this feeling. After Jackson sets the scene in the town square, she decides to go into further detail about the appearance of the black box. By adding these special details, the symbolism of the black box is greatly enhanced. First of all, the reader learns that the box has potentially been built with pieces from the box that was used previously, '"'even before Old Man Warner, the oldest man in town, was born'"' (Jackson 255). This demonstrates some futile attempts to hold on to the old tradition, but in the end it is an aged, neglected box that no one really wants to take the time to repair or rebuild. As a result, '"'The 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'"' (Jackson 255). Although the box is supposed to be black, the splintering of the sides represents the faltering of an old tradition. The people of this town have been carrying out the motions of the lottery for several generations. It has been so long that for many, the only reason they keep doing it is simply because of the longevity of the routine. Faded and stained are also used to describe the condition of the box. Both words are helpful in reinforcing the image that much of the ritualistic aspects have faded and the motives of the tradition have become stained. In other words, many of the rituals have been forgotten over time, and there are no remaining motives to speak of that would justify holding on to this dreadful tradition. However contradictory it may seem, the townspeople continue with the lottery purely because they do not know anything different.
There are many other symbolic elements in '"'The Lottery,'"' including Mr. Graves"'" name, Mrs. Hutchinson forgetting what day it was, and the townspeople letting their used scraps of paper blow away in the wind. Almost all of these symbols, in one way or another, point toward the idea of blind obedience. All too often, in modern society, people decide to let others make their decisions for them. This is evident in something as simple as submitting to peer pressure, as well as the utter lack of voter turnout on an election day. This issue is something that Shirley Jackson wanted to voice her opinion about, and to be sure that her belief was heard, she developed a brutal, gruesome, and horrific story in order to gain the attention of her public. There is no doubt that she achieved her goal of gaining attention toward her ideas, but unfortunately blind obedience is an inherent factor of living in large communities that place values in holding on to the past, no matter what the traditions or rituals that might be involved with such a practice.


Works Cited

Kennedy, X.J., and Dana Gioia. Literature: An Introduction to Fiction, Poetry, and Drama. New York: Longman, 2002.

Jackson, Shirley. '"'The Lottery.'"' Literature: An Introduction to Fiction, Poetry, and
Drama. X.J. Kennedy and Dana Gioia. New York: Longman, 2002. 254-261.



http://www.cummingsstudyguides.net/TheLottery.html#The%20Lottery

Background and Themes
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Author Shirley Jackson (1919-1965), an American writer of short stories and novels. Her most famous works are “The Lottery” and a novel entitled The Haunting of Hill House.
Setting New England village on a sunny day
Date of publication 1948 in The New Yorker, a literary magazine.
Type of Work Short Story. “The Lottery” is considered one of the finest American short stories of the 20th Century.
Point of View Third Person, detached.
Theme 1 The reluctance of people to reject outdated traditions, ideas, rules, laws, and practices. The villagers continue the lottery year after year because, as one of the villagers would say, “We have always had a lottery as far back as I can remember. I see no reason to end it.” Put another way, this theme says: “We’ve always done it this way. Why change now?” Defenders of the status quo have used this philosophy down through the ages and into the present day. For example, it was used in 1776 to retain slavery even though the Declaration of Independence asserted that “all men are created equal.” Until 1919, it was used to prevent women from voting. Until the 1960's, it was used as an official public policy to allow racial segregation. This philosophy continues to be used today to retain outmoded practices, discriminatory practices, and sometimes dangerous practices. These practices include the use of paper ballots in elections, the use of nuclear weapons, capital punishment, abortion, anti-Semitism, racial profiling, and denial of health benefits to the poor.
Theme 2 Society wrongfully designates scapegoats to bear the sins of the community. According to some interpretations of “The Lottery,” Tessie Hutchinson is stoned to death to appease forces desiring a sacrificial lamb offered in atonement for the sins of others. The practice of using scapegoats dates back to ancient times, when Jews ritually burdened a goat with the sins of the people, then threw it over a cliff to rid the community of those sins. Ancient Greeks performed a similar ritual with a human scapegoat, although the scapegoat apparently did not die. In ancient Rome, an innocent person could take on the sin of a guilty person, thus purifying the latter. Early societies in Central and South America offered human sacrifices to appease higher powers.
Theme 3 The wickedness of the common man or woman on the street can be just as shocking and horrifying as the heinous crime of a serial killer or a sadistic head of state. From time to time, we are surprised to learn that the man, woman, or even child next door–a quiet, unassuming postal worker, bank clerk, or student–has committed offenses so outrageous that they make national news.
Theme 4 The unexamined life is not worth living. The truth of this dictum of the ancient Greek philosopher, Socrates, becomes clear when the townspeople refuse to examine their traditions–and continue to take part in a barbaric ritual.
Theme 5 Following the crowd can have disastrous consequences. Although some townspeople raise questions about the lottery, they all go along with it in the end. Thus, they become unthinking members of a herd, forfeiting their individuality and sending Tessie Hutchinson to her death.
Foreshadowing Shirley Jackson uses foreshadowing (second paragraph; the gathering of stones) to presage the ending and make it seem more plausible.
Irony Jackson uses irony throughout the story. For example, the title suggests that one of the villagers will receive a boon; the sunny day indicates that a happy event is about to take place.
Symbolism The black box and the stoning represent outdated traditions.
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Plot Summary
By Michael J. Cummings © 2004
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.......Residents of a New England village gather at 10 a.m. on June 27 in the square between the post office and the bank for the annual lottery. A bright sun is shining down on fragrant flowers and green lawns while the townspeople–more than 300 of them–await the arrival of Mr. Summers and the black wooden box from which everyone is to draw a folded slip of paper. Adults chat while children play a game in which they gather stones. Whoever draws the slip of paper with the black dot on it will receive all of the lottery proceeds.
.......Over the years, the lottery rules and trappings remained the same except for minor changes: Wood chips were replaced by the slips of paper, and ritual chants and salutes preceding the drawing were eliminated. Other than those modernizations, the same old wooden box and the same old rules prevailed year after year.
.......No one in the square knows why or under what circumstances the lottery began. All they know is that it is a tradition–a tradition that they are not willing to abandon.
.......After Mr. Summers shows up with the black box, he sets it down and prepares for the drawing. A housewife, Mrs. Tessie Hutchinson, arrives late just then, telling Mrs. Delacroix that she “Clean forgot what day it was” until she noticed that her children had left her house and remembered it was the day of the lottery.
.......Each of the townspeople draws a folded slip of paper but does not open it until everyone has drawn. When the big moment arrives, it is Tessie Hutchinson who has the paper with the black dot. Everyone then closes in on her, picks up rocks–the “proceeds” of the lottery–and stones her to death.