Robert Wise (1914 - 2005).
Occupation: Director, producer.
Born: September 10, 1914, Winchester, Indiana, USA.
Robert Wise was born as the youngest of three brothers. Education: Franklin college, Indiana. Through an odd job at RKO at the age of 19, the avid moviegoer came into film business. A head sound effects editor at the studio recognized Wise's talent, and made Wise his protégé. After Wise was bored with music and sound editing, he got his first film editing job with Winterset (1936), followed by The hunchback of notre dame (1939).
Wise made cinematic history at RKO before ever having directed a film, as editor of Orson Welles's Citizen kane (1941) and The magnificent ambersons (1942). Two years later he made an auspicious behind-the-camera debut under the aegis of producer Val Lewton, with the stylish, atmospheric horror film, The curse of the cat people (1944). He then directed The body snatcher and Game of death (both 1945), Criminal court (1946), Mystery in Mexico and Blood on the moon (both 1948).
Wise's last film at RKO, the landmark boxing feature The set-up (1949), established him as a leading Hollywood talent. He went on to direct consistently through the mid-1960s for various studios, notably with the sci-fi favorite The day the earth stood still (1951), the classic submarine drama Run silent, run deep (1958), the Shakespearean musical update West side story (1961, also producer) and the eternally popular Julie Andrews vehicle, The sound of music (1965, also producer).
Other credits from this period include The desert rats and So big (both 1953), Executive suite (1954), Tribute to a bad man and Somebody up there likes me (both 1956), I want to live! (1958), Odds against tomorrow (1959, also producer), Two for the seesaw (1962), The haunting (1963, also producer), The sand pebbles (1966, also producer) and Star! (1968).
Since the 1970s Wise has directed only a handful of films, mostly big-budget spectacles that haven't measured up to his earlier achievements. These include The andromeda strain (1971), Two people (1973), The hindenburg (1975, also producer), Audrey rose (1977), Star trek: the motion picture (1979) and Rooftops (1989).
Wise served as president of the Directors Guild of American from 1971 until 1975. In 1988, he was awarded the Lifetime Achievement Award by the DGA, and in 1998, he received the American Film Institute Life Achievement Award.
He was married to actress Patricia Doyle from 1942 until her death in 1975.
Robert WISE left us on Sept 14, 2005. Four days before (on Sept 10), he had celebrated his 91st birthday...
All the fans of The haunting are inconsolable.
Nominated for Film Editing 1941: Citizen kane
Nominated for Directing 1958: I want to live!
Best Picture 1961: West side story - Producer at Mirisch/B and P Enterprises
Directing 1961: West side story (with Jerome Robbins)
Best Picture 1965: The sound of music - Producer at Argyle
Directing 1965: The sound of music
Irving G. Thalberg Memorial Award 1966.
Nominated for Best Picture 1966: The sand pebbles - Producer at Argyle-Solar
7 nominations, 4 Awards, 1 Honorary Award.
- Dance, Girl, Dance (1940)
- The Magnificent Ambersons (1942)
- Mademoiselle Fifi (1943)
- Curse of the Cat People (1944)
- The Body Snatcher (1944)
- Criminal Court (1946)
- Born to Kill (1947)
- Blood on the Moon (1948)
- The Set-Up (1949)
- Three Secrets (1950)
- Day the Earth Stood Still (1951)
- The Desert Rats (1953)
- Executive Suite (1954)
- Helen of Troy (1955)
- Tribute to a Bad Man (1956)
- Somebody Up There Likes Me (1956)
- Until They Sail (1957)
- This Could Be the Night (1957)
- Run Silent, Run Deep (1958)
- I Want to Live! (1958)
- Odds Against Tomorrow (1959)
- West Side Story (1961)
- Two for the Seesaw (1962)
- The Haunting (1963)
- The Sound of Music (1965)
- The Sand Pebbles (1966)
- Star! (1968)
- The Andromeda Strain (1971)
- The Hindenburg (1975)
- Audrey Rose (1977)
- Star Trek: The Motion Picture (1980)
- Rooftops (1989)
- Winterset (1936)
- The Hunchback of Notre Dame (1939)
- Bachelor Mother (1939)
- My Favorite Wife (1940)
- The Devil and Daniel Webster (1941)
- Citizen Kane (1941)
- Seven Days' Leave (1942)
- The Magnificent Ambersons (1942)
- The Iron Major (1943)
- The Fallen Sparrow (1943)
- Bombardier (1943)
- Odds Against Tomorrow (1959)
- West Side Story (1961)
- The Haunting (1963)
- The Sound of Music (1965)
- The Sand Pebbles (1966)
- The Andromeda Strain (1971)
- Audrey Rose (1977)
Julie Harris (1925 - ).
Born as: Julia Ann Harris.
Born: December 2, 1925, Grosse Pointe, Michigan, USA.
The daughter of an investment banker, she was educated at a finishing school and received her stage training at the Yale Drama School and at the Actors Studio. She made her Broadway debut in 1945 and almost immediately won recognition for her sensitive and subtle portrayal of complex roles. She established herself as a star in 1950 in The Member of the Wedding, a role she would later repeat in her 1952 screen debut. Miss Harris went on to make many distinguished stage and TV appearances, winning several Tony and Emmy awards in the process. Her sporadic film appearances include memorable roles in East of Eden (1955), I am a camera (1955), Requiem for a heavyweight (1962), The Haunting (1963), and Harper (1966).
Another Julie Harris is a costume designer with numerous major films to her credit.
- A Wind From the South (1950)
- The Member of the Wedding (1953)
- I Am a Camera (1955)
- East of Eden (1955)
- The Truth About Women (1958)
- The Hallmark Hall of Fame (1959)
- A Doll's House (1959)
- Requiem for a Heavyweight (1962)
- The Haunting (1963)
- You're a Big Boy Now (1966)
- Harper (1966)
- Reflections in a Golden Eye (1967)
- The Hiding Place (1975)
- Last of Mrs. Lincoln (1976)
- The Bell Jar (1979)
- The Woman He Loved (1988)
- Gorillas in the Mist (1988)
- The Christmas Wife (1988)
- Housesitter (1992)
- The Dark Half (1993)
- Secrets (1994)
- One Christmas (1994)
- Carried Away (1996)
- Ellen Foster (1998)
- Bad Manners (1998)
- The Belle of Amherst (1976)
- A Woman's Place (1987)
- The Story Of Elizabeth Cady Stanton and Susan B. Anthony (1999)
Claire Bloom (1931 - ).
Born as: Patricia Claire Blume.
Born: February 15, 1931, London, England.
Education: Guildhall School of Music and Drama, London; Central School of Speech and Drama, London. Elegant, classically trained leading lady whose cool good looks and exceptional talent have kept her in demand for nearly four decades. Bloom received international notice in her second film, Charlie Chaplin's Limelight (1952), and, though her output was limited, distinguished herself in such excellent adaptations as Laurence Olivier's Richard III (1955), Tony Richardson's Look back in anger (1958) and Dick Clement's A severed head (1971). More recently she turned in fine supporting roles in Sammy and Rosie get laid (1987) and Woody Allen's Crimes and misdemeanors (1989).
Married to actor Rod Steiger from 1959 to 1969, to producer Hillard Elkins from 1969 to 1972, and to novelist Philip Roth from 1990 to 1995.
- Limelight (1952)
- Richard III (1955)
- Alexander the Great (1956)
- The Buccaneer (1958)
- The Brothers Karamazov (1958)
- Look Back in Anger (1959)
- The Haunting (1963)
- The Spy Who Came in From the Cold (1965)
- Charly (1968)
- The Illustrated Man (1969)
- A Doll's House (1973)
- Islands in the Stream (1977)
- Clash of the Titans (1981)
- Separate Tables (1983)
- Ellis Island (1984)
- Deja Vu (1984)
- Shadowlands (1985)
- Hold the Dream (1986)
- This Lightning Always Strikes Twice (1987)
- Sammy and Rosie Get Laid (1987)
- Queenie (1987)
- Intimate Contact (1987)
- Shadow on the Sun (1988)
- Crimes and Misdemeanors (1989)
- Remember (1993)
- Brideshead Revisited - Book 1, 2, 3, 4, 5, 6 (1993)
- Shameless (1994)
- Mighty Aphrodite (1995)
- Daylight (1996)
- Brideshead Revisited - Gift Set (1997)
- Wrestling With Alligators (1998)
- Shakespeare's Women and Claire Bloom (1999)
- Fear and the Muse: The Story of Anna Akhmatova (1999)
- The Poetry Corner (2003)
Richard Johnson (1927 - ).
Born: July 30, 1927, Upminster, England.
Education: RADA. Darkly handsome leading man and second lead of the British stage and screen. He joined John Gielgud's repertory company in 1944 and after serving with the Royal Navy (1945-48) appeared in many films and stage productions on both sides of the Atlantic in increasingly more important roles. He frequently appears with the Royal Shakespeare Company.
He was married briefly (1965-66) to Kim Novak.
- The Haunting (1963)
- Tomb of Ligeia (1964)
- The Pumpkin Eater (1964)
- The Amorous Adventures of Moll Flanders (1965)
- Khartoum (1966)
- Deadlier Than The Male (1966)
- The Rover (1967)
- Julius Caesar (1970)
- The Fifth Day of Peace (1972)
- Antony and Cleopatra (1974)
- Hennessy (1975)
- Restless (1978)
- Zombie (1979)
- The Flame is Love (1979)
- Screamers (1980)
- The Great Alligator (1980)
- What Waits Below (1983)
- Turtle Diary (1986)
- Beyond the Door 1 (1988)
- Sherlock Holmes - The Crucifer of Blood (1991)
- Duel of Hearts (1992)
- The Marquise (1993)
- Lara Croft: Tomb Raider (2001)
Russ Tamblyn (1934 - ).
Also known as: Rusty Tamblyn.
Occupation: Actor, dancer.
Born as: Russell Tamblyn.
Born: December 30, 1934, Los Angeles, California, USA.
Veteran Hollywood character player and occasional lead since entering films as a 13-year-old in Joseph Losey's The boy with green hair (1948) starring child star Dean Stockwell. Tamblyn proved capable as an eager juvenile in such diverse films as Gun crazy (1949), playing John Dall's irearms-obsessed protagonist as a teen; Cecil B. DeMille's Samson and Delilah (1949); and Vincente Minnelli's Spencer Tracy-Elizabeth Taylor pairings, Father of the bride (1950) and Father's little dividend (1951). He later won acclaim for his remarkably acrobatic dancing ability in such screen musicals as Seven brides for seven brothers (1954), Hit the deck (1955) and West side story (1961). In the latter Tamblyn played Tony's troubleaking friend Riff. The self-taught hoofer also turned up in a number of masculine movies-Westerns, war films, sports pictures. Tamblyn garnered an Oscar nomination in a supporting role as a mama's boy in the hit melodrama Peyton place (1957).
Still boyish in his mid-20s, he proved a terrific Tom thumb (1958) in the lavish George Pal-directed musical fantasy. A five-inch tall Tamblyn was dazzling dancing opposite Pal's animated wooden figures. Tamblyn starred as the new kid in town in the teen exploitation "classic" about the dangers of dope, High school confidential ! (1958). This project would prove prophetic for the course of Tamblyn's career from the mid-60s on. Some bright spots followed: West side story (1961); Pal's The wonderful world of the brothers Grimm (1962); and a memorable turn as a freckle-faced urban hipster confronted by the forces of the supernatural in Robert Wise's classic ghost story The Haunting (1963).
By the mid-60s, Tamblyn's Hollywood career had begun to decline with roles in several less-than-stellar international co-productions. By 1970 he was an exploitation star in films that ran the gamut from good-humoured (Inoshiro Honda's War of the gargantuas, 1966) to risible (Al Adamson's Satan's sadists, 1970) to inexplicable (Dennis Hopper's oddity The last movie, 1971). Tamblyn, who had once acted for such major Hollywood directors as Minnelli and Stanley Donen, was now favoured by fringe genre auteurs like Al Adamson (Dracula vs. Frankenstein; The female bunch, both 1971) and Fred Olen Ray (Commando squad, 1987; The phantom empire, 1989). He was also involved with Human highway (1982), a very strange feature project directed by veteran rocker Neil Young, both as an actor and co-writer (with Young, Stockwell and several others).
A bearded and nearly unrecognizable Tamblyn made a minor comeback with a recurring role on "Twin Peaks" (ABC 1990-91) as oddball psychiatrist Dr. Lawrence Jacoby, professional confidant (and secret paramour) of the slain Laura Palmer. The cult series from David Lynch also reunited Tamblyn with Richard Beymer, West side story's Tony. He had a small but memorable role in Cabin boy as Chocki, a half-man/half-shark creature who takes a liking to Chris Elliott.
- The boy with green hair (1948)
- Gun Crazy (1949)
- Father of the Bride (1950)
- Father's Little Dividend (1951)
- As Young As You Feel (1951)
- Retreat, Hell! (1952)
- The Winning Team (1953)
- Seven Brides for Seven Brothers (1954)
- The Last Hunt (1956)
- Fastest Gun Alive (1956)
- Peyton Place (1957)
- Tom Thumb (1958)
- High School Confidential! (1958)
- Cimarron (1960)
- West Side Story (1961)
- The Haunting (1963)
- The Long Ships (1964)
- Satan's Sadists (1969)
- The Female Bunch (1969)
- War of the Gargantuas (1970)
- The Last Movie (1971)
- Dracula Vs. Frankenstein (1971)
- Win, Place or Steal (1975)
- Captive, The - The Longest Drive II (1976)
- Black Heat (1976)
- Running Mates (1986)
- Necromancer (1988)
- Hecromancer - Satan's Servant (1988)
- Blood Screams (1988)
- Aftershock (1988)
- Phantom Empire (1989)
- B.O.R.N. (1989)
- Cabin Boy (1993)
- Desert Steel (1994)
- Human Highway (1995)
- Attack of the 60-Foot Centerfold (1995)
- Wizards of the Demon Sword (1996)
- My Magic Dog (1997)
- Johnny Mysto: Boy Wizard (1997)
- Invisible Mom (1997)
Shirley Jackson (1919 - 1965). Shirley Jackson was born in San Francisco, California in 1919. Raised in Rochester, New York. Jackson graduated from Syracuse University in 1940 and married the American literary critic Stanley Edgar Hyman. They settled in North Bennington in 1945. Life Among the Savages (1953) and Raising Demons (1957) are witty and humorous fictionalized memoirs about their life with their four children. Their light, comic tone contrasts sharply with the dark pessimism of Jackson's other works, whose general theme is the presence of evil and chaos just beneath the surface of ordinary, everyday life. "The Lottery," a chilling tale whose meaning has been much debated, provoked widespread public outrage when it was first published in The New Yorker in 1948. Jackson's six finished novels, especially The Haunting of Hill House (1959) and We Have Always Lived in the Castle (1962), further established her reputation as a master of gothic horror and psychological suspense. She died in 1965.
Sometimes the heart of darkness can be found inside a minivan.
"...I have always loved to use fear, to take it and comprehend it and make it work and consolidate a situation where I was afraid and take it whole and work from there...I delight in what I fear". - From an unsent letter to poet Howard Nemerov by Shirley Jackson
We're all expected to be multiple personalities these days. Nurturing mom, supportive wife, hard driving on the job and carpool driving off. Or maybe we can create a great souffle while whipping up a new novel. If we've opted for a family we have to somehow be several people at once.
My mother-in-law once told me that after she graduated from an Ivy League college and immediately married it never occurred to her, despite her education, to pursue a career. She and her sorority sisters in the fifties were all having babies and the occasional bridge party. "That", she said, "was what we were supposed to do!" Of course nobody told them what to do once the kids went to college. Some of that generation recreated themselves in new careers or fulfilling pursuits. Some re-invented feminism. Others drank a lot.
Shirley Jackson was an anomaly in her generation. In the fifties, the same fifties inhabited by my mother-in-law, Jackson was a professional writer and drove carpools. Now, 30 years after Jackson's death, two of the kids she drove to lessons have grown up, reached middle age, and reminded us of their mother's writing talents by producing a new book of her uncollected stories, Just an Ordinary Day.
The collection includes the variety of stories Jackson wrote - light domestic pieces and lighter romances along with her dark fiction. But Jackson has always been noted for her truly terrifying tales. These masterful stories are often populated with women and children or set in supposedly safe small towns and politely ordered society. As an author, she instilled fear by taking the rational and inserting the irrational, by having the unfamiliar intrude into the familiar. The duality of her life provided not only the basis of her fiction, but a grounding of stability that allowed her to wander deeply into the realms of darkness, evil, and terror - sure to be pulled back to safety by the constant needs of her small children. Her life was as much baking cupcakes as making up stories. Each balanced and enhanced the other.
Writers often feed their creativity through several coexisting personalities. Horror writers, when you meet them, are a pretty nice bunch. They can breathe the stench of evil, reach out and touch wickedness, because there is good and innocence in their lives to counter it. In fact, I suspect there's more freedom to explore the depths of depravity if you know the siren call of the soccer field will demand you drive the goalkeeper to it and then wash his uniform later. Without a lifeline forged of balance, responsibility, and the need to find shin pads to bring you back from the abyss, you might never venture close enough to the edge to know its monstrous depths.
Shirley Jackson had the lifeline and knew the abyss. Her best known work, "The Lottery", still disturbs us deeply even though it has been required reading in American schools for at least two generations. In the story the people of a small New England town gather for an annual ritual, a lottery. This festive event is smoothly run according to tradition by the town fathers. As with any traditional event, there is some grousing that "It's not the way it used to be", but it seems that it pretty much is. A winning family is announced and then its members go through yet another lottery. The family's mother is democratically selected and, as she feebly protests, is methodically murdered as the community and her own family stone her to death.
It remains the most controversial piece of fiction The New Yorker ever published. The magazine received hundreds of letters when the story was published in 1948; letters of, as Shirley Jackson later phrased it in a lecture, "bewilderment, speculation and plain old-fashioned abuse".
Readers reacted as if a bomb had exploded in their living rooms. Over the years, "The Lottery" has been interpreted as a modern myth, an attack on institutionalized prejudice, an indictment of the Holocaust, a Marxist-feminist analogy. But more than anything it is just a story written by a gifted and contradictory woman who understood how caring people could also throw stones. A mum who cooked, washed, kept the hectic schedule of Little League and music lessons. A mom who wrote in age when moms didn't work "regular jobs", let alone do something as odd as write. A woman who lived in a small town in Vermont, but was always an outsider. Rumored to be a witch as well as a writer, she was married to a Jew, friend and hostess to New York types and even "Negroes". A woman who fit no more easily into the liberal, academic, supposedly less prejudiced college world (where she was expected to assume the role of faculty wife) than she did with the working class God-fearing townspeople.
Shirley Jackson's stories and books arose out of the complex, sad, and joyous magic of her life. The odd, plain daughter of an upwardly mobile suburban mother to whom appearance and social acceptance was all important, Jackson struggled to both fulfill and deny her restrictive upbringing. According to biographer Judy Oppenheimer in her 1988 book, Private Demons, Jackson saw below the social surface to a grimmer reality even as a child.
Her husband, Stanley Edgar Hyman, an almost stereotypical fifties Jewish intellectual, encouraged her rebellion against propriety and supported her writing. He also encouraged her to become an eccentric iconoclast who smoked too much, ate too much, and quaffed prescription drugs - uppers and downers - on a daily basis.
Stanley had nothing to do with the day-to-day maintenance of their four children, remaining even more distant than the average fifties father, who wasn't supposed to change diapers. He provided, however, a detached, logical rationality that balanced Jackson's deeply involved but emotionally erratic parenting. Bountifully affectionate, understanding, imaginative, a "good" but quirky mother, she did not fit the fifties mommy motif. The children may have been strictly disciplined, dinner on the table on time, but Jackson's house was not exactly clean or orderly, and she regularly sent her daughters off to school with unwashed hair matted in tangles.
As much as she disliked the narrow-mindedness and prejudices of small town life, she appreciated New England's timelessness, basic character, and respect for privacy. But Jackson never tried to fit in. A large, messy woman given to wearing red and purple, she used no makeup and pulled her stringy hair back with rubber bands. She stood out among the townspeople just as she did in gatherings of slender, well-groomed faculty wives.
As with all gifted writers, Jackson's duality is reflected in her fiction. She wrote primarily for the popular magazines of the fifties like Good Housekeeping, Woman's Day, McCall's, Harpers, The New Yorker and Charm, often offering droll stories based on her own family or slick little formulaic romances. These stories are competent, professional, and suited for the periodicals they appeared in; they are also utterly forgettable. It is when she wrote with the dark pessimism of the quiet evil that pervades ordinary life that Shirley Jackson's writing became memorably magical. In the fictional world that she weaves best, true darkness stems from the split psychology and culture of the most seemingly ordinary folk.
Although not as well known as her memorable The Haunting of Hill House, another novel, We Have Always Lived in the Castle, is, perhaps, her most brilliant work. In Castle she writes of two women: Merricat (bold, mischievous, perhaps demonic) and Constance (sensitive and afraid, who never wants to leave home). They are, in many respects, two halves of a single person, and, in aggregate, the summation of Jackson herself.
Indeed, Jackson wrote Castle during a period of psychosis. Like the sisters in the book, the author felt persecuted by the citizens of the small town of North Bennington in which she lived. The fears that plagued her, however, were a source of her creativity. In an unsent letter to poet Howard Nemerov, She wrote, "...I have always loved to use fear, to take it and comprehend it and make it work and consolidate a situation where I was afraid and take it whole and work from these...I delight in what I fear. The 'Castle' is not about two women... it is about my being afraid and afraid to say so, so much afraid that a name in a book can turn me inside out".
But by the time the book was finished, Jackson had lost her delight in her fears and succumbed to them, retreating from the world. Beset by physical as well as emotional problems, she refused to leave her house for nearly three months. Even though helped by psychotherapy, she continued taking both tranquilizers and dexedrine. The drugs may have exacerbated her condition.
But Jackson found the strength to fight her fears, struggling and surviving to begin the novel, Come Along With Me. It reflected the newer, lighter world that Jackson, with the help of psychotherapy, had created. The main character, Angela Motorman, was her age (44) and her size (heavy). Mrs. Motorman "dabbled in the supernatural" with her psychic ability, an ability Jackson always claimed and others often acknowledged. It moves along with energy, wit and a triumphal air. But Come Along was left unfinished. As her mental health improved, her physical health deteriorated. She died of cardiac arrest during her afternoon nap at age 48.
Four months after her death, The Saturday Evening Post published her "last" story, "The Possibility of Evil". Although it won an Edgar award (her second) from the Mystery Writers of America, it was not prime Jackson. Still, it is a final revelation of sorts.
In the story a Miss Strangeworth - Jackson had never used such an unsubtle character name before - lives on Pleasant Street in one of the author's typical small towns. Ladylike, elderly, and respected, Miss Strangeworth secretly writes anonymous letters and wreaks havoc in her neighbor's lives.
Miss Strangeworth never concerned herself with facts; her letters all dealt with the more negotiable stuff of suspicion...Miss Chandler, the librarian and Linda Stewart's parents would have gone unsuspectingly ahead with their lives, never aware of the possibility of evil lurking nearby, if Miss Strangeworth had not sent letters to open their eyes. Miss Strangeworth would have been genuinely shocked if there had been anything between Linda Stewart and the Harris boy, but, as long as evil existed unchecked in the world, it was Miss Strangeworth's duty to keep her town alert to it. It was far more sensible of Miss Chandler to wonder what Mr. Shelley's first wife died of than to take a chance on not knowing. There were so many wicked people in the world and only one Strangeworth left in town.
Shirley Jackson did not bring dismay or ruin lives with poison-pen letters, but her stories do send a "message of evil" to the world. Like her character, Jackson saw herself as someone securely ensconced above the small-town world, sending her stories as "letters" to the world; disturbing us by making us face "the possibility of evil".
Now, after Jackson's voice, to a large extent, had been reduced in the last 30 years to the single voice of "The Lottery", we are presented with the story "The Possibility of Evil" as the end piece in a posthumous volume, "Just An Ordinary Day". It was assembled by two of her children, Laurence Jackson Hyman and Sarah Hyman Stewart, from a "carton of cobwebbed files discovered in a Vermont barn", copies of old magazines, and 26 cartons of Jackson's papers in the Library of Congress. The collection includes some worthwhile eerie tales and a variety of her more mundane work. The inclusion of the latter provides a glimpse of the "other" Jackson, the one acclimated to the needs of her time and culture. Here I found the working mom who wrote with competence to suit a market and make money to pay the credit card bills.
But I did not find genius.
In many ways I wish the kids had left the dust on that attic box undisturbed. If only Laurence and Sarah and their siblings, Joanne and Barry, all now over age 45, had taken the time to tell me more about this double creature, this woman of brilliance and fierce maternity, their mother. What was it like to have her in their lives, and what became of them once she was gone? As for giving me this volume of unremarkable, common and, for the most part, trivial fiction - I can find that anywhere. From Shirley Jackson I require the magical, the horrific. I need her as a touchstone to push me past the PTA, to unleash my seat-belted psyche and offset the banal, workaday world. Thank goodness I had already found exactly what I needed in Shirley Jackson's previously published and glorious "terrible messages to the world".
written by Paula Guran, editor of DarkEchoan
- 'The Bird's Nest'. New York: Farrar, Straus, 1954.
- 'The Hangsaman'. New York: Farrar, Straus, 1950.
- 'The Haunting of Hill House'. New York: Viking,1959.
- 'The Road Through the Wall'. New York: Farrar, Straus, 1948.
- 'The Sundial'. New York: Farrar, Straus, 1958.
- 'We Have Always Lived in the Castle'. New York: Viking, 1962.
- 'Come Along With Me': Part of a Novel, Sixteen Stories, and Three Lectures. Ed. by Stanely Edgar Hyman. New York: Viking, 1968.
- 'Just an Ordinary Day', Ed. by Laurence Jackson Hyman and Sarah Hyman Stewart. New York: Bantam, 1995. This collection contains 54 stories, some that were unpublished, the others simply uncollected. They were found in the family's barn in VT with 49 other stories that have yet to be published.
- 'The Lottery and Other Stories', New York: Farrar, Straus, 1949
- 'The Magic of Shirley Jackson', Ed. by Stanley Edgar Hyman. New York: Farrar, Straus, 1966.
- 'Life Among the Savages'. New York: Farrar, Straus, 1953.
- 'Raising Demons'. New York: Farrar, Straus, 1957.
- 'The Bad Children': A Musical in One Act for Bad Children. Music by Allan Jay Friedman. Chicago: Dramatic Publishing, 1959.
- 'Famous Sally'. Illustrated by Charles B. Slackman. New York: Harlin Quist, 1966.
- 'The Witchcraft of Salem Village'. New York: Random House, 1956. Children's non-fiction.
- '9 Magic Wishes'. Illustrated by Lorraine Fox. A Modern Masters Book for Children. New York: Crowell-Collier, 1963.
Original Publications of Short Stories
- 'About Two Nice People', Ladies Home Journal, July 1951.
- 'Account Closed', Good Housekeeping, April 1950.
- 'After You, My Dear Alphonse', New Yorker, Jan 1943.
- 'Afternoon in Linen', New Yorker, Sept 4, 1943.
- 'All the Girls Were Dancing', Collier's, Nov 11, 1950.
- 'All She Said Was Yes', Vogue, Nov 1, 1962.
- 'Alone in a Den of Cubs', Woman's Day, Dec 1953.
- 'Aunt Gertrude', Harper's, April 1954.
- 'The Bakery', Peacock Alley, Nov 1944.
- 'Birthday Party', Vogue, 1 Jan 1963.
- 'The Box', Woman's Home Companion, Nov 1952.
- 'Bulletin', Magazine of Science Fiction and Fantasy, Mar 1954.
- 'Call Me Ishmael', Spectre, Fall 1939 v1 n1.
- 'A Cauliflower in Her Hair', Mademoiselle, Dec 1944.
- 'Charles', Mademoiselle, July 1948.
- 'The Clothespin Dolls', Woman's Day, Mar 1953.
- 'Colloquy', New Yorker, Aug 5, 1944.
- 'Come Dance with Me in Ireland', New Yorker, May 15, 1943.
- 'Concerning...Tomorrow', Syracusan, Mar 1939 v4 n6.
- 'The Daemon Lover ['The Phantom Lover']', Woman's Home Companion, Feb 1949.
- 'Daughter, Come Home', Charm, May 1944.
- 'Day of Glory', Woman's Day, Feb 1953.
- 'Don't Tell Daddy', Woman's Home Companion, Feb 1954.
- 'Every Boy Should Learn to Play the Trumpet', Woman's Home Companion, Oct 1956.
- 'Family Magician', Woman's Home Companion, Sept 1949.
- 'A Fine Old Firm', New Yorker, Mar 4, 1944.
- 'The First Car is the Hardest', Harper's, Feb 1952.
- 'The Friends', Charm, Nov 1953.
- 'The Gift', Charm, Dec 1944.
- 'A Great Voice Stilled', Playboy, Mar 1960.
- 'Had We but World Enough', Spectre, Spring 1940 v1 n3.
- 'Happy Birthday to Baby', Charm, Nov 1952.
- 'Home', Ladies Home Journal, Aug 1965.
- 'The Homecoming', Charm, April 1945.
- 'The House', Woman's Day, May 1952.
- 'An International Incident', New Yorker, Sept 12, 1943.
- 'The Island', New Mexico Quarterly Review, 1950 v3.
- 'It Isn't the Money', New Yorker, Aug 25, 1945.
- 'It's Only a Game', Harper's, May 1956.
- 'Journey with a Lady', Harper's, July 1952.
- 'Liaison a la Cockroach', Syracusan, April 1939 v4 n7.
- 'Little Dog Lost', Charm, Oct 1943.
- 'A Little Magic', Woman's Home Companion, Jan 1956.
- 'Little Old Lady', Mademoiselle, Sept 1944.
- 'The Lottery', New Yorker, June 26, 1948.
- 'Louisa, Please', Ladies' Home Journal, May 1960.
- 'The Lovely Night', Collier's, 8 April 1950.
- 'Lucky to Get Away', Woman's Day, Aug 1953.
- 'Men with Their Big Shoes', Yale Review, Mar 1947
- 'The Missing Girl', Magazine of Fantasy and Science Fiction, Dec 1957.
- 'Monday Morning', Woman's Home Companion, Nov 1951.
- 'The Most Wonderful Thing', Good Housekeeping, June 1952.
- 'Mother is a Fortune Hunter', Woman's Home Companion, May 1954.
- 'Mrs. Melville Makes a Purchase', Charm, Oct 1951.
- 'My Friend', Syracusan, Dec 1938 v4 n4.
- 'My Life in Cats', Spectre, Summer 1940 v1 n4.
- 'My Life with R.H. Macy', New Republic, 22 Dec 1941.
- 'My Son and the Bully', Good Housekeeping, Oct 1949.
- 'Nice Day for a Baby', Woman's Home Companion, July 1952.
- 'Night We All Had Grippe', Harper's, Jan 1952.
- 'Nothing to Worry About', Charm, July 1953.
- 'The Omen', Magazine of Fantasy and Science Fiction, Mar 1958.
- 'On the House', New Yorker, Oct 30, 1943.
- 'One Last Chance to Call', McCall's, April 1956.
- 'One Ordinary Day, With Peanuts', Magazine of Fantasy and Science Fiction, Jan 1955.
- 'The Order of Charlotte's Going', Charm, July 1954.
- 'Pillar of Salt' Mademoiselle, Oct 1948.
- 'The Possibility of Evil', The Saturday Evening Post, Dec 18, 1965.
- 'Queen of the May', McCall's, April 1955.
- 'The Renegade', Harper's, Nov 1949.
- 'Root of Evil', Fantastic, March-April 1953.
- 'The Second Mrs. Ellenoy', Reader's Digest, July 1953.
- 'Seven Types of Ambiguity', Story, 1943.
- 'Shopping Trip', Woman's Home Companion, June 1953.
- 'The Sneaker Crisis', Woman's Day, Oct. 1956.
- 'So Late on Sunday Morning', Woman's Home Companion, Sept 1953.
- 'The Strangers', Collier's 10 May 1952.
- 'Strangers in Town', Saturday Evening Post, 30 May 1959.
- 'The Summer People', Charm, 1950.
- 'The Third Baby's the Easiest', Harper's, May 1949.
- 'The Tooth', The Hudson Review, 1949 v1 n4.
- 'Trial by Combat', New Yorker, Dec 16, 1944.
- 'The Villager', The American Mercury, Aug 1944.
- 'Visions of Sugarplums', Woman's Home Companion, Dec 1952.
- 'When Things Get Dark', New Yorker, Dec 30, 1944.
- 'Whistler's Grandmother', New Yorker, May 5, 1945.
- 'The Wishing Dime', Good Housekeeping, Sept 1949.
- 'Worldly Goods', Woman's Day, May 1953.
- 'Y and I', Syracusan, Oct 1938 v4 n2.
- 'Y and I and the Ouija Board', Suyracusan, Nov 1938 v4 n3.
- 'The Case for Dinner-Table Silence', Good Housekeeping, March 1960.
- 'Comment' (upon the death of Leonard Brown [1904-1960]. Syracusan, March 1960 v10 n3.
- 'Experience and Fiction' (from Come Along with Me). The Writer, Jan 1969 v82 n1.
- 'Fame', Writer, August, 1948.
- 'Go Down, Faulkner (in the Throes of William Faulkner's Go Down, Moses)', In The Best of Bad Faulkner, ed. by Dean Faulkner Wells.
- 'San Diego' Harcourt, 1991.
- 'How to Enjoy a Family Quarrel', McCall's, Sept 1957.
- 'Karen's Complaint', Good Housekeeping, November 1959.
- 'The Life Romantic', Good Housekeeping, Dec 1949.
- 'List Found in Coat Pocket', Vogue. 15 April 1953.
- 'A Little Test for Mothers', Good Housekeeping, October 1960.
- 'Look Ma, We're Moving', Good Housekeeping, February 1952.
- 'The Lost Kingdom of Oz', Reporter, 10 December 1959.
- 'Mother, Honestly!' Good Housekeeping, September 1959.
- 'No, I Don't Want to Go to Europe', Saturday Evening Post, 6 June 1964.
- 'On Being a Faculty Wife', Mademoiselle, Dec 1956.
- 'Out of the Mouths of Babes', Good Housekeeping, July 1960.
- 'The Pleasures and Periles of Dining Out with Children', McCall's, March 1957.
- 'Questions I Wish I'd Never Asked', Good Housekeeping, March 1961.
- 'Santa Claus, I Love You', Good Housekeeping, December 1956.
- 'Special Delivery: A Useful Book for New Mothers', by Shirley Jackson et al. Boston: Little Brown, 1960 (republished as And Baby Makes Three. New York: Grosset and Dunlap, 1960).
- 'What I Want to Know Is, What Do Other People Cook With?' Good Housekeeping, July 1961.