It is because most of her protagonists are labelled as ‘different’ that they are made vulnerable. The ‘horror’ within Jackson’s stories is experienced by her characters. Most of her stories follow a woman’s ‘quest’ to find or maintain her identify. Jackson seems to magnify the way in which traditions and societal expectations threaten one’s individuality and creativity. They reality they presents us with seems off. Her narratives often feature emotionally disturbed women who are trapped within Kafkaesque worlds. Yet, I find it difficult to pigeonhole Jackson as a Horror writer. Modern readers now see Jackson as a central figure of the America Gothic as much of her fiction paints a fascinating-if not disturbing-portrait of postwar America. The fact that the Gothic and Horror genres-long regarded as cheap and sensational-are no longer considered ‘lowbrow’ fiction has also contributed to this reassessment of Jackson’s oeuvre. Perhaps because of Netflix’s adaptation of The Haunting of Hill House or possibly thanks to contemporary authors (such as Donna Tartt, Neil Gaiman, and Stephen King) who have credited Jackson as their inspiration, enhancing her reputation, and prompting a reappraisal of her work. In recent years Shirley Jackson has experienced a kind of renascence. “Bow all your heads to our adored Mary Katherine.”
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