Out this week from The Folio Society is their limited edition of The Lottery and Other Dark Tales, which “presents a definitive selection of Shirley Jackson’s most unsettling works, including ‘The Lottery’ – the story that scandalized readers in 1948 and remains one of the most famous in American fiction.”
Limited to just 250 copies, this collector’s edition features illustrations by Angie Hoffmeister, bringing Jackson’s haunting visions to life. We spoke with Hoffmeister about the new collection and how the illustrator approached the work.
STARBURST: How familiar were you with Shirley Jackson’s work before this project?
Angie Hoffmeister: Before the first project, The Haunting of Hill House, I hadn’t read any of Shirley Jackson’s books. However, I watched the 1999 movie The Haunting a couple of times when I was around 13 or 14, and I really loved it at the time. My perspective changed significantly after revisiting it in preparation for illustrating the first Folio Society Jackson book. The book is much more subtle in its social commentary, and I feel the movie is only loosely based on it – it lacks many of the elements that make the book so unique.
After reading that first Jackson novel, I immediately got Hangsman and We Have Always Lived in the Castle, and over time, I’ve read almost all of her works. I really enjoy them, which makes the illustration process even more meaningful. It also adds pressure, though, because when you love an author’s work, you want to do it justice. I constantly find myself asking, “Would Shirley Jackson approve of my creative decisions?” Working with The Folio Society provides a lot of freedom and opportunities, so there are many important choices to be made.
What are the challenges of illustrating such well-known stories?
The more people are familiar with a book, the more diverse the preexisting expectations and interpretations become. As an illustrator, I want to bring my own vision to life while creating an edition that both the author and the readers will love. This makes it crucial to work closely with the art director and publisher. When immersed in a book project and torn between different anticipated expectations, the pressure can sometimes feel overwhelming. Professional communication really helps to manage that and keep things on track.
Where did you start your process?
I began with a lot of research, particularly gathering visual references. Since I live in Germany and have never been to the United States, it was important to me to get a sense of the world Shirley Jackson inhabited in order to better understand her vision. After that, it involved a lot of reading, rereading, taking notes, and sketching.
Who do you hope to reach with your work in this project?
I hope this third project resonates with every devoted Shirley Jackson reader, as well as those who appreciate special and limited editions. I also want to reach anyone interested in themes such as gothic literature, psychological horror, female madness, and the disintegration of the self. Let’s be honest – women today face many political and economic issues that can drive you mad. I think this is one reason Shirley Jackson’s books are so much more than just ‘horror’, even though they’re often labelled as such.
What is the appeal in making new art for classic tales?
I find it fascinating to see and compare different editions of the same story from various time periods. As an illustrator, I’m influenced by my surroundings and my own reality, which inevitably shapes how I perceive the book I’m illustrating. I think this applies to any illustrator. So, different editions of a book offer more than just the story – they reflect the era in which they were created. Even if subtly, these editions make a statement about the time, which is something I find particularly interesting.
Shirley Jackson’s The Lottery & Other Dark Tales is out now from the Folio Society.
