“Your own history tells you. Your people are intelligent, and that’s good…But you’re also hierarchical…You’re bright enough to learn to live in your new world, but you’re so hierarchical you’ll destroy yourselves trying to dominate it and each other.”
Octavia Butler, Adulthood Rites, pp. 264-265
In its June 27, 1948 issue, The New Yorker Magazine included what was arguably one of its most controversial short stories to date and since. Shirley Jackson’s “The Lottery” generated an avalanche of immediate feedback for the magazine, most of it negative (1). Hundreds of readers were horrified and confused enough to cancel their subscriptions. Jackson began receiving a steady stream of hate mail, and even her parents openly expressed dismay at the story.
“The Lottery,” for the uninitiated, depicts a small, contemporary New England village as it conducts its annual lottery to determine which villager will be stoned to death. While much has likely been written about Jackson’s possible motivations for writing the story, this analysis will be informed more by the reactions. Most 1948 readers of The New Yorker had to have been aware, as doubtless was Jackson, of the horrors of the Nazi-led Final Solution in Europe just a few years before, and of the mass slaughter of Allied carpet-bombings on German and Japanese cities that had culminated in the deployment of an unprecedented and potentially apocalyptic weapon of war. Why, then, did the situation of ritual human sacrifice in a mundane, modern, and culturally familiar setting discomfit so many presumably sophisticated readers? It is beneath that jarring cognitive dissonance that we must look, if only to find whether ritual human sacrifice is either as obsolete or as incongruous to our modern, liberal societies as we might wish to believe.
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