The Lottery--Shirley Jackson
"The Lottery" (1948)
by Shirley Jackson
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.
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The Lottery--Shirley Jackson
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 twentyseventh 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?"
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The Lottery--Shirley Jackson
"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.
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The Lottery--Shirley Jackson
"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."
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The Lottery--Shirley Jackson
"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."
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The Lottery--Shirley Jackson
"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.
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The Lottery--Shirley Jackson
"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.
•••••••••••••••••••••••••••••••••
Discussion Questions:
1. Were you surprised by the ending of the story? If not, at what point did you know what was going to happen? How does
Jackson start to foreshadow the ending in paragraphs 2 and 3? Conversely, how does Jackson lull us into thinking that this is
just an ordinary story with an ordinary town?
2. Where does the story take place? In what way does the setting affect the story? Does it make you more or less likely to
anticipate the ending?
3. In what ways are the characters differentiated from one another? Looking back at the story, can you see why Tessie
Hutchinson is singled out as the "winner"?
4. What are some examples of irony in this story? For example, why might the title, "The Lottery," or the opening description
in paragraph one, be considered ironic?
5. Jackson gives interesting names to a number of her characters. Explain the possible allusions, irony or symbolism of some
of these:
●
●
●
●
●
Delacroix
Graves
Summers
Bentham
Hutchinson
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The Lottery--Shirley Jackson
●
●
Warner
Martin
7. Take a close look at Jackson's description of the black wooden box (paragraph 5) and of the black spot on the fatal slip of
paper (paragraph 72). What do these objects suggest to you? Why is the black box described as "battered"? Are there any other
symbols in the story?
8. What do you understand to be the writer's own attitude toward the lottery and the stoning? Exactly what in the story makes
her attitude clear to us?
9. This story satirizes a number of social issues, including the reluctance of people to reject outdated traditions, ideas, rules,
laws, and practices. What kinds of traditions, practices, laws, etc. might "The Lottery" represent?
10. This story was published in 1948, just after World War II. What other cultural or historical events, attitudes, institutions, or
rituals might Jackson be satirizing in this story?
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The Ones Who Walk Away From Omelas
From The Wind's Twelve Quarters: Short Stories
by Ursula Le Guin
With a clamor of bells that set the swallows soaring, the Festival of Summer came to the
city Omelas, bright-towered by the sea. The rigging of the boats in harbor sparkled with flags. In
the streets between houses with red roofs and painted walls, between old moss-grown gardens
and under avenues of trees, past great parks and public buildings, processions moved. Some were
decorous: old people in long stiff robes of mauve and grey, grave master workmen, quiet, merry
women carrying their babies and chatting as they walked. In other streets the music beat faster, a
shimmering of gong and tambourine, and the people went dancing, the procession was a dance.
Children dodged in and out, their high calls rising like the swallows' crossing flights, over the
music and the singing. All the processions wound towards the north side of the city, where on the
great water-meadow called the Green' Fields boys and girls, naked in the bright air, with mudstained feet and ankles and long, lithe arms, exercised their restive horses before the race. The
horses wore no gear at all but a halter without bit. Their manes were braided with streamers of
silver, gold, and green. They flared their nostrils and pranced and boasted to one another; they
were vastly excited, the horse being the only animal who has adopted our ceremonies as his own.
Far off to the north and west the mountains stood up half encircling Omelas on her bay. The air
of morning was so clear that the snow still crowning the Eighteen Peaks burned with white-gold
fire across the miles of sunlit air, under the dark blue of the sky. There was just enough wind to
make the banners that marked the racecourse snap and flutter now and then. In the silence of the
broad green meadows one could hear the music winding through the city streets, farther and
nearer and ever approaching, a cheerful faint sweetness of the air that from time to time trembled
and gathered together and broke out into the great joyous clanging of the bells.
Joyous! How is one to tell about joy? How describe the citizens of Omelas?
They were not simple folk, you see, though they were happy. But we do not say the
words of cheer much any more. All smiles have become archaic. Given a description such as this
one tends to make certain assumptions. Given a description such as this one tends to look next
for the King, mounted on a splendid stallion and surrounded by his noble knights, or perhaps in a
golden litter borne by great-muscled slaves. But there was no king. They did not use swords, or
keep slaves. They were not barbarians. I do not know the rules and laws of their society, but I
suspect that they were singularly few. As they did without monarchy and slavery, so they also
got on without the stock exchange, the advertisement, the secret police, and the bomb. Yet I
repeat that these were not simple folk, not dulcet shepherds, noble savages, bland utopians. They
were not less complex than us. The trouble is that we have a bad habit, encouraged by pedants
and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual,
only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and
the terrible boredom of pain. If you can't lick 'em, join 'em. If it hurts, repeat it. But to praise
despair is to condemn delight, to embrace violence is to lose hold of everything else. We have
almost lost hold; we can no longer describe a happy man, nor make any celebration of joy. How
can I tell you about the people of Omelas? They were not naive and happy children – though
their children were, in fact, happy. They were mature, intelligent, passionate adults whose lives
were not wretched. O miracle! but I wish I could describe it better. I wish I could convince you.
Omelas sounds in my words like a city in a fairy tale, long ago and far away, once upon a time.
Perhaps it would be best if you imagined it as your own fancy bids, assuming it will rise to the
occasion, for certainly I cannot suit you all. For instance, how about technology? I think that
there would be no cars or helicopters in and above the streets; this follows from the fact that the
people of Omelas are happy people. Happiness is based on a just discrimination of what is
necessary, what is neither necessary nor destructive, and what is destructive. In the middle
category, however – that of the unnecessary but undestructive, that of comfort, luxury,
exuberance, etc. -- they could perfectly well have central heating, subway trains,. washing
machines, and all kinds of marvelous devices not yet invented here, floating light-sources,
fuelless power, a cure for the common cold. Or they could have none of that: it doesn't matter.
As you like it. I incline to think that people from towns up and down the coast have been coming
in to Omelas during the last days before the Festival on very fast little trains and double-decked
trams, and that the train station of Omelas is actually the handsomest building in town, though
plainer than the magnificent Farmers' Market. But even granted trains, I fear that Omelas so far
strikes some of you as goody-goody. Smiles, bells, parades, horses, bleh. If so, please add an
orgy. If an orgy would help, don't hesitate. Let us not, however, have temples from which issue
beautiful nude priests and priestesses already half in ecstasy and ready to copulate with any man
or woman, lover or stranger who desires union with the deep godhead of the blood, although that
was my first idea. But really it would be better not to have any temples in Omelas – at least, not
manned temples. Religion yes, clergy no. Surely the beautiful nudes can just wander about,
offering themselves like divine souffles to the hunger of the needy and the rapture of the flesh.
Let them join the processions. Let tambourines be struck above the copulations, and the glory of
desire be proclaimed upon the gongs, and (a not unimportant point) let the offspring of these
delightful rituals be beloved and looked after by all. One thing I know there is none of in Omelas
is guilt. But what else should there be? I thought at first there were no drugs, but that is
puritanical. For those who like it, the faint insistent sweetness of drooz may perfume the ways of
the city, drooz which first brings a great lightness and brilliance to the mind and limbs, and then
after some hours a dreamy languor, and wonderful visions at last of the very arcana and inmost
secrets of the Universe, as well as exciting the pleasure of sex beyond all belief; and it is not
habit-forming. For more modest tastes I think there ought to be beer. What else, what else
belongs in the joyous city? The sense of victory, surely, the celebration of courage. But as we did
without clergy, let us do without soldiers. The joy built upon successful slaughter is not the right
kind of joy; it will not do; it is fearful and it is trivial. A boundless and generous contentment, a
magnanimous triumph felt not against some outer enemy but in communion with the finest and
fairest in the souls of all men everywhere and the splendor of the world's summer; this is what
swells the hearts of the people of Omelas, and the victory they celebrate is that of life. I really
don't think many of them need to take drooz.
Most of the processions have reached the Green Fields by now. A marvelous smell of
cooking goes forth from the red and blue tents of the provisioners. The faces of small children
are amiably sticky; in the benign grey beard of a man a couple of crumbs of rich pastry are
entangled. The youths and girls have mounted their horses and are beginning to group around the
starting line of the course. An old woman, small, fat, and laughing, is passing out flowers from a
basket, and tall young men, wear her flowers in their shining hair. A child of nine or ten sits at
the edge of the crowd, alone, playing on a wooden flute. People pause to listen, and they smile,
but they do not speak to him, for he never ceases playing and never sees them, his dark eyes
wholly rapt in the sweet, thin magic of the tune.
He finishes, and slowly lowers his hands holding the wooden flute.
As if that little private silence were the signal, all at once a trumpet sounds from the
pavilion near the starting line: imperious, melancholy, piercing. The horses rear on their slender
legs, and some of them neigh in answer. Sober-faced, the young riders stroke the horses' necks
and soothe them, whispering, "Quiet, quiet, there my beauty, my hope. . . ." They begin to form
in rank along the starting line. The crowds along the racecourse are like a field of grass and
flowers in the wind. The Festival of Summer has begun.
Do you believe? Do you accept the festival, the city, the joy? No? Then let me describe
one more thing.
In a basement under one of the beautiful public buildings of Omelas, or perhaps in the
cellar of one of its spacious private homes, there is a room. It has one locked door, and no
window. A little light seeps in dustily between cracks in the boards, secondhand from a
cobwebbed window somewhere across the cellar. In one corner of the little room a couple of
mops, with stiff, clotted, foul-smelling heads, stand near a rusty bucket. The floor is dirt, a little
damp to the touch, as cellar dirt usually is. The room is about three paces long and two wide: a
mere broom closet or disused tool room. In the room a child is sitting. It could be a boy or a girl.
It looks about six, but actually is nearly ten. It is feeble-minded. Perhaps it was born defective or
perhaps it has become imbecile through fear, malnutrition, and neglect. It picks its nose and
occasionally fumbles vaguely with its toes or genitals, as it sits haunched in the corner farthest
from the bucket and the two mops. It is afraid of the mops. It finds them horrible. It shuts its
eyes, but it knows the mops are still standing there; and the door is locked; and nobody will
come. The door is always locked; and nobody ever comes, except that sometimes-the child has
no understanding of time or interval – sometimes the door rattles terribly and opens, and a
person, or several people, are there. One of them may come and kick the child to make it stand
up. The others never come close, but peer in at it with frightened, disgusted eyes. The food bowl
and the water jug are hastily filled, the door is locked, the eyes disappear. The people at the door
never say anything, but the child, who has not always lived in the tool room, and can remember
sunlight and its mother's voice, sometimes speaks. "I will be good," it says. "Please let me out. I
will be good!" They never answer. The child used to scream for help at night, and cry a good
deal, but now it only makes a kind of whining, "eh-haa, eh-haa," and it speaks less and less often.
It is so thin there are no calves to its legs; its belly protrudes; it lives on a half-bowl of corn meal
and grease a day. It is naked. Its buttocks and thighs are a mass of festered sores, as it sits in its
own excrement continually.
They all know it is there, all the people of Omelas. Some of them have come to see it,
others are content merely to know it is there. They all know that it has to be there. Some of them
understand why, and some do not, but they all understand that their happiness, the beauty of their
city, the tenderness of their friendships, the health of their children, the wisdom of their scholars,
the skill of their makers, even the abundance of their harvest and the kindly weathers of their
skies, depend wholly on this child's abominable misery.
This is usually explained to children when they are between eight and twelve, whenever
they seem capable of understanding; and most of those who come to see the child are young
people, though often enough an adult comes, or comes back, to see the child. No matter how well
the matter has been explained to them, these young spectators are always shocked and sickened
at the sight. They feel disgust, which they had thought themselves superior to. They feel anger,
outrage, impotence, despite all the explanations. They would like to do something for the child.
But there is nothing they can do. If the child were brought up into the sunlight out of that vile
place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were
done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and
be destroyed. Those are the terms. To exchange all the goodness and grace of every life in
Omelas for that single, small improvement: to throw away the happiness of thousands for the
chance of the happiness of one: that would be to let guilt within the walls indeed.
The terms are strict and absolute; there may not even be a kind word spoken to the child.
Often the young people go home in tears, or in a tearless rage, when they have seen the
child and faced this terrible paradox. They may brood over it for weeks or years. But as time
goes on they begin to realize that even if the child could be released, it would not get much good
of its freedom: a little vague pleasure of warmth and food, no doubt, but little more. It is too
degraded and imbecile to know any real joy. It has been afraid too long ever to be free of fear. Its
habits are too uncouth for it to respond to humane treatment. Indeed, after so long it would
probably be wretched without walls about it to protect it, and darkness for its eyes, and its own
excrement to sit in. Their tears at the bitter injustice dry when they begin to perceive the terrible
justice of reality, and to accept it. Yet it is their tears and anger, the trying of their generosity and
the acceptance of their helplessness, which are perhaps the true source of the splendor of their
lives. Theirs is no vapid, irresponsible happiness. They know that they, like the child, are not
free. They know compassion. It is the existence of the child, and their knowledge of its existence,
that makes possible the nobility of their architecture, the poignancy of their music, the profundity
of their science. It is because of the child that they are so gentle with children. They know that if
the wretched one were not there snivelling in the dark, the other one, the flute-player, could
make no joyful music as the young riders line up in their beauty for the race in the sunlight of the
first morning of summer.
Now do you believe in them? Are they not more credible? But there is one more thing to
tell, and this is quite incredible.
At times one of the adolescent girls or boys who go to see the child does not go home to
weep or rage, does not, in fact, go home at all. Sometimes also a man or woman much older falls
silent for a day or two, and then leaves home. These people go out into the street, and walk down
the street alone. They keep walking, and walk straight out of the city of Omelas, through the
beautiful gates. They keep walking across the farmlands of Omelas. Each one goes alone, youth
or girl man or woman. Night falls; the traveler must pass down village streets, between the
houses with yellow-lit windows, and on out into the darkness of the fields. Each alone, they go
west or north, towards the mountains. They go on. They leave Omelas, they walk ahead into the
darkness, and they do not come back. The place they go towards is a place even less imaginable
to most of us than the city of happiness. I cannot describe it at all. It is possible that it does not
exist. But they seem to know where they are going, the ones who walk away from Omelas.
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