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CHAPTER 3: THE SOUTHWEST

A heavy focus (almost half of the chapter) on Navajo mythology and cultural psychology, describing a pervasive fear of death in Navajo culture influenced these people to react with awe and respect to vertebrate fossils from the World of Monsters. Contrast with other cultures including Hopi, Zuni, Anasazi, and Apache from this region, who collected fossils as magical objects

CHAPTER TWO: NEW SPAIN

Continuing clockwise around the american continent, landing in South, Central, and southern North America to see the evidence of links between the myths of the Inca, Maya, Aztec, and other cultures and the giant Pliocene, Pleistocene, and Cretaceous vertebrate fossils found in the region. The question is raised regarding the feathered serpent Quetzalcoatl being an interpretation of a pterosaur

CHAPTER 1. THE NORTHEAST

The author recounts oral traditions from Iroquois, Algonquin, Delaware, and other northeastern cultures, which describe ancient monsters who plagued the early people. She then uses historical metadata such as the contemporary relationships between native people and various European factions at the time of fossil discoveries in the region to determine if the myths are rooted in reality.

INTRODUCTION - MARSH MONSTERS OF BIG BONE LICK

Everybody should know by now is that you have to take ANYTHING a white person says regarding any indigenous cultures with a big grain of salt. Accordingly, popular (and actual) historian Adrienne Mayor makes clear from the outset that her goal is to reproduce as faithfully as possible the oral traditions of indigenous americans and their connection to NA fossils.

THE SUMMER PEOPLE (1950)

A fitting last act for the collection, a creepy end-of-summer tale. A slower-paced, unsettling story about the illusion of time standing still in the height of summer, and the danger of underestimating the vast indifference of the universe. 5/5

HOME (1965)

This is a classic contemporary ghost story, and it does its job aptly. A protagonist with an oversized ego, uneasy townsfolk, and some mysterious hitchhikers combine to deliver a spooky tale that actually feels too short. 5/5

The Man in the Woods (2014)

Another one that feels frustratingly unfinished. There a lot of cool pagan/witchy elements being represented here, but they just don't go anywhere. The story gets progressively scarier and more unsettling but we never really get a full plot development or resolution. So far, this one is my favorite in terms of theme, and it's disappointing it never got the full treatment it deserved. 3/5

THE GOOD WIFE (1996)

This one feels a little unfinished, as if the author had the idea for the theme, but hadn't fully fleshed it out yet. Not surprising that this prototype wasn't published on its own. It's got the twist, but it doesn't have the run-up. 2.5/5

A VISIT (aka "The Lovely House) (1950)

Definitely the standout piece of this collection, the main event. By far the longest story in this book, this is a Shirley Jackson short story, but written by the Gothic Novel adept Shirley Jackson. The lines between reality and imagination are thoroughly blurred here, and the dream-like quality will have the reader piqued throughout the story. 4.5/5

FAMILY TREASURES (2015)

This one has the same vibes as The Possibility of Evil: a voluntary recluse moves invisibly and maliciously through society, leaving a wake of destruction. It's definitely the lesser of the two though, without the biting self-indictment of Evil. It seems as if Jackson wasn't finished exploring this theme, but this particular venture was not deemed worthy of solo publication. 3/5

THE BUS (1967)

This is a pretty trippy story that brings to mind the scariest thing I've personally ever experienced, sleep paralysis. It will have the reader questioning where exactly the line between reality and dreams lies, or if there is a solid line at all. High strangeness and off-putting dialog could be used for an episode of X-Files. 5/5.

WHAT A THOUGHT (1996)

A quick review for a very quick story: if you have ever been surprised by and afraid of your own intrusive thoughts, this one will probably freak you out. 5/5

ALL SHE SAID WAS YES (1962)

A change of pace from Jackson's usual brooding, uncomfortable atmosphere, this is a darkly humorous story with a warning about blissful ignorance of incomprehensible dangers. Published during the author's lifetime, unlike many stories in this book, the reader can empathize with Jackson's gleeful bashing and abasement of unlikeable people who can't see past the tip of their own nose. 5/5

THE BEAUTIFUL STRANGER (1968)

This minor work feels kind of slapped together, just a "weird for the sake of weird" story that doesn't really have any sort of beginning or end and serves as a nothing more than a brief glimpse into the psyche of yet another "reality questioning" protagonist. Probably a relatively niche audience: some people might find it relatable, but I found it just drab. 2/5

JACK THE RIPPER (1996)

Another obscure quick one. The anonymous, everyday characters and vague setting help to convey the mood of cold, calculated malevolence passing unnoticed throughout the world. It's as sharp and concise as a knife; if it had been published within Jackson's lifetime, it probably would hold an esteemed post in her gallery. 5/5

THE SORCERER'S APPRENTICE (2015)

This one is very quick and, at first glance, very shallow. An unexpected visitor leads to a screaming confrontation without any apparent cause. The last couple of pages twist into yet another "protagonist questioning their grip on reality" ending, but the story doesn't give it the lead-up necessary for it to really hit. Probably a good reason it was never published on its own. 2/5

THE STORY WE USED TO TELL (1996)

A common theme I've noticed in Shirley Jackson's work is the idea of being chased or trapped by the past. The first story in the collection that I would call a "proper horror" story exemplifies this with the plot revolving around being literally stuck in a painting of a time gone by. Actually a pretty solid mind-bender across 8 pages. The ending is a little dubious. 4/5

THE HONEYMOON OF MRS SMITH

Actually can't find publishing info for this one, or any info, which is sad because I have a lot of questions, but the primary one is: "What is actually happening in this story?" Kind of long-winded, a LOT of circuitous, run-on sentences which make the narrative hard to follow. Not the best story in the book, maybe a 2.5 or 3 out of 5.

PARANOIA (2013)

This posthumously published story follows the development of a panic attack. Starting off low and slow, it eventually builds into a full immersion into the paralyzing fear lurking in the back of the mind: maybe it's NOT in my head, and maybe they ARE out to get me. It was a good day for Jackson fans when this gem was dug up in the Library of Congress papers.

LOUISA, PLEASE COME HOME (1960)

A deftly woven storyline with irresistible narration come together in a kind of contemporary Ship of Theseus subversion: you can always change who you are, but the price might be becoming unrecognizable.

THE POSSIBILITY OF EVIL (1965)
I've read that some consider this to be Shirley Jackson's magnum opus, above The Lottery and The Haunting of Hill House, and I can see where they are coming from. A concise cautionary tale of the dangers of isolation, an attitude of moral superiority, and imposing outdated values on a new generation.

First thought: the copyright page states that the stories in this volume were selected from earlier SJ collections but it WOULD be nice to get some more publishing information of the actual stories 😔