La lotería

by Miles Hyman (Adaptor, Illustrator), Shirley Jackson, Héctor Arnau (Translator)

Este relato de Shirley Jackson sigue estremeciendo y perturbando al público lector décadas después de su primera publicación, en 1948. Por momentos enigmática y desgarradora, La Lotería plantea cuestiones problemáticas sobre la conformidad, la tradición y la violencia ritualizada que pueden perseguir aún al pueblo más bucólico y pacífico.
Esta adaptación gráfica de Miles Hyman, nieto de Jackson, permite conocer o redescubrir esta historia como nunca antes se ha hecho. Ha creado una inquietante visión de la aldea donde se desarrolla el relato y del inolvidable ritual que ejecutan sus habitantes. Los detallados paneles a todo color de Hyman generan una oscura atmósfera que aporta una nueva dimensión de terror a la historia original.
La Lotería, de Shirley Jackson, es un tributo a la autora, y reimagina su icónico relato como una impresionante narración visual.

Genres: Graphic Novels, Horror, Fiction, Classics, Short Stories, Comics, Graphic Novels Comics

160 pages, Hardcover

First published September 14, 2017

About the author

Miles Hyman attended Wesleyan University, where he studied literature as well as printmaking with David Schorr before moving to Paris to attend the École des Beaux-Arts. Hyman specializes in graphic novels and adaptations of classic literature. His work has been shown in galleries around the world and has appeared in publications such as Le Monde, Libération and The New Yorker.

Reviews

[Julie G · Rating 4 out of 5]

It all started about a week ago.

I was headed out on a walk, and before I even made it to the base of my driveway, I felt someone's foot give a hard shove to my lower back.

I fell onto my knees, sparing my face from hitting the concrete with the palms of my hands, then quickly turned my head to the right, just in time to sense the image of a full-figured gal, walking straight toward the garbage bins.

“Tart,” she sneered, as she blew a lung's worth of smoke out of the left side of her mouth. As she spoke, a bobby pin landed on the driveway, right near my face, bouncing twice before it stopped. When I looked back up, she was gone.

Three nights later, as I lay alone in my room, feeling half terrified by Roald Dahl's Book of Ghost Stories I became aware that someone was. . . chewing on something. I did a quick visual inventory of all three dogs, but I noticed that not one of them had an actual bone in their mouths. As my senses became more alert from fear, I realized what I was hearing was a person crunching on ice. As I looked around the room in a panic, I felt the hot breath of someone laughing on my neck and was greeted with a blast of bourbon.

I risked a squeaky question to the hot air: “Shirley?”

A bobby pin landed with a light tap on the cover of my closed book.

And, last night, as I opened Shirley Jackson's 'The Lottery' The Authorized Graphic Adaptation to the preface from the illustrator, Miles Hyman (Ms. Jackson's grandson), I read:

Visits with my father often include a ceremony, a unique sort of family séance. . . By now even the youngest members of the family know what is afoot: we are about to listen to Grandma Shirley's music box. . . Beyond the haunting nature of the music itself, playing the music box is moving for other reasons. It represents a curious bond to the person who is not there with us, the most notable absence in the room: Grandma Shirley.

And I thought. . . No shit, Miles. It's because she's at my house.

Here I was, planning a séance in Vermont (or maybe Vegas), with cigarettes, booze and bobby pins, all to raise Shirley Jackson from the dead.

But, it appears she's here already, muffin top hanging over her pants, flecks of ice falling from her surly mouth, bobby pins hanging wildly from her hair.

Now I need to perform an exorcism.

Hey! You listen to me, Shirley Jackson. . . have you ever heard the expression Don't bite the hand that feeds you? I mean. . . do you have any idea how many copies of your books I've sold in the past 2 weeks?

It's not like I'm receiving commission, lady.

Besides, a friend of mine just informed me that there's a male ghost up at the Stanley Hotel (45 minutes away, of Stephen King fame) that's fond of performing acts of foreplay on the female guests.

If you have any plans to stay, Shirley, well, sister, you better step up your game.

[emma · Rating 3 out of 5]

i read this at the peak of graphic novel season: the end of the year. shoutout reading challenges.

this is beautiful and eerie but it's impossible for anyone to pack the same punch (and build the same dread) shirley jackson can.

also weird content.

bottom line: see you next december, graphic novels!

[Rosh · Rating 1 out of 5]

In a Nutshell: Recommended ONLY if you wish to see great sketches. Reading the original short story is a must before you attempt this.

If you have not read Shirley Jackson’s The Lottery, stop reading this review and go to it pronto! It is one heck of a horror short. Horror not with paranormal or scary elements but in a shocking ‘leaves-you-speechless’ kind of way.

My daughter read the story and loved it. While looking up resources online, she happened to discover this book and got me to read it with her. That’s the only reason why I attempted this graphic novel. Having read it confirms my initial suspicion - this is NOT a story to be read in the graphic format.

The visual artist – Miles Hyman – is author Shirley Jackson’s grandson. This book was published to coincide with Jackson’s centennial. The sentiment is great, the result isn’t.

What you should know about this book:
☠ You need to know the original story to better appreciate the content.

☠ The artwork dominates the text. There is hardly any content. The two of us completed this 160-page book within about 10 minutes (excluding the time for the preface.)

☠ While the art is mostly brilliant in its quality, I didn’t understand the need for frontal nudity to be included in a few of the panels. It seems to have become a trend to include at least one page of nudity in serious graphic novels. When it is not relevant to the story, what’s the need for it? Does a story have a greater impact only when skin is revealed? (Needless to say, this was even more irritating to me as I was reading it with my child, who was equally horrified to see the unexpected. It caught us both unawares.)

☠ The famous ending scene isn’t as gruesome as I had expected it to be. But that also reduces the shock factor. As such, this graphic version doesn’t have the same impact as the story.

Usually graphic novel versions of classics help bring newer readers to the original, but in this case, the adaptation does a huge disservice by stressing so much on the art that the gravitas of the original story gets diluted.

A strong NO from me except for the illustrations. Please read the original 1948 story instead.

1 star, all for the artwork. (In contrast, Jackson’s story was a 5 star experience for me.)

Luckily, this title is available online on the Internet Archive and I borrowed it from the below link:
https://archive.org/details/shirleyja...



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[Jon Nakapalau · Rating 5 out of 5]

This GN adaptation of The Lottery by Shirley Jackson is done by her grandson, Miles Hyman. Very happy to have found this GN; The Lottery is one of the most important and impactful short stories in America literature. Would be happy to see more adaptations by Miles Hyman - his art is wonderfully sharp and chilling.

[Caroline · Rating 2 out of 5]

***NO SPOILERS FOR THE SOURCE MATERIAL***

Shirley Jackson's short story masterpiece The Lottery has gotten the graphic-novel treatment from, coincidentally, her grandson, Miles Hyman. With lots of scowling faces and coloring in tan and brown shades, Hyman did his best to get across the story's ominous tone, but his work is not a replacement for the original. He gave priority to illustration, including only enough text and speech to communicate the general gist. This was a mistake. With so little text, this adaptation lacks The Lottery's power, particularly as that story culminates in an unpredictable, shocking ending.

The story's gravity and dread is felt in Hyman's pacing and in his figures' stiff stances and frozen faces. Nevertheless, his artwork, although exceptional, may not be ideal for a graphic novel because it's reminiscent of flip-book art; to really see the scenes, I found it best to view each panel in quick succession.

As an enthusiastic fan of The Lottery, I felt let down by this adaptation. Even though I'm positive Hyman recognizes the genius behind his grandmother's most famous short story, he didn't make that genius obvious to readers. Part of the problem, though, is that Jackson's short story doesn't lend itself well to illustration. Because suspense builds and builds until finally breaking on the last page, this story is more about atmosphere than visuals. It would be a shame if those yet to read her short story decided to read this adaptation instead. It's a companion work and only a companion work.

[Dave Schaafsma · Rating 4 out of 5]

"Tradition!" Tevye, Fiddler on the Roof

Hyman is Jackson's grandson. He was three when she died. The main thing he knows about her is her writing, chief among which is one high school freshman English staple for the past few decades, "The Lottery," which illustrator Hyman did not illustrate for more than thirty years of knowing about it. Too big a mountain to climb, maybe. One day it just came to him how to do it. The story is not just something from the canon, though, it is a much deserved classic, truly disturbing on some deep psycho-sociological level.

The art is beautifully done, reflecting the rural New Hampshire town where the events take place. It looks idyllic, though there is something almost too pristine about this beauty, and there's a kind of underlying darkness to the casting of images. And many pages are wordless, helping convey the silent horror that is all too present. Lovely, lovely love letter to Grandma, Miles. And nice contribution of your own to literature and our deeper understanding of this story.

And as most of you know, not much does take place in this story. The lottery takes place, as it must every year. So muted, so minimal, and less is more, for sure, as so much unsaid creates the horror.

There's something else that Hyman shares in his lovely preface to the volume: Each year the family sits around Jackson's hand-me-down Victorian music box, and they listen to the ornate Italian music emanating from it. There is something somewhat creepy about that, like a seance, but maybe I am just reading into that since it is Jackson's music box, and she does creepy really well. So does Hyman, as it turns out.

[Theo Logos · Rating 4 out of 5]

The Lottery was Shirley Jackson’s most iconic and disturbing story. Anyone who has read it will not be able to forget it. To commemorate Jackson’s centennial year, her grandson, artist Miles Hyman, adapted this classic tale into a striking graphic novel. The art is strong, capturing the tradition bound, New England town and its citizens with an American Gothic-esque style. He allows the artwork to do most of the work, with stark text — just enough to allow the story to make sense. Anyone who has read Jackson’s chilling tale should appreciate this graphic adaptation, but I wouldn’t recommend it to those who still have not discovered The Lottery. This makes a nice addendum to the story, but is no substitute for Shirley Jackson’s original genius.

[Cristina Leitón · Rating 5 out of 5]

Leí el relato de Shirley en la universidad y, a pesar de haber conocido muchas obras posteriores que beben de ella antes de leer la "original", por así decirlo, me sorprendió igualmente al llegar al final. La dureza de la historia y la crítica al concepto de "tradición" y todo lo que comporta me dejó un poquito trastocada y replanteándome muchas cosas. Esta adaptación a novela gráfica me ha parecido acertada a muchos niveles: respeta el texto original y, además, le añade el extra de las imágenes, que acompañan a la perfección la atmósfera que se va creando en la historia. El dibujo es sobrio y no desentona, lo cual no me sorprende, ya que el ilustrador es, si mal no recuerdo, el nieto de la autora. Una bonita edición y adaptación para un clásico que debería estudiarse y conocerse más, ya que permite conocer un poquito mejor el mundo en el que vivimos.

[Fátima Linhares · Rating 4 out of 5]

Já tinha lido o conto há uns tempos e é realmente perturbador pensar que as pessoas continuam a fazer certas coisas, embora erradas, só porque é tradição. E como está tudo bem, até nos tocar a nós a lotaria.

Esta adaptação, feita pelo neto de Shirley Jackson, tem pouquíssimo texto, mas imagens poderosas. A maldade das pessoas está muito bem espelhada nos seus rostos, assim como o desespero do vencedor do prémio.

[Kristina Horner · Rating 4 out of 5]

I randomly stumbled across this graphic novel in an airport and read the whole thing in the store, standing up, between flights.

I first read 'The Lottery' back in high school and was completely taken with the story, so I was excited to experience it in this new way many years later. I thought the art style was aptly bland in all the right ways, letting the story's quiet beginning sneak up on you as tension rises. It definitely embodied "Random Town, USA". I liked how casual everyone looked to match the general apathy around the ritual. I loved the "just another day" feeling it captured.

But I thought the font choice for the text bubbles was a little off - it felt cartoony in an otherwise serious, simple and old-fashioned aesthetic. The nudity didn't really add anything for me. It was sometimes hard to tell people apart, but then again maybe that was intentional.

The feelings were all there though, so I appreciated the graphic novel for what it is: a pretty decent companion to the original story. I would recommend everyone reads the original version first, however. I just think that's how it's meant to be absorbed. This graphic novel merely added a new layer.

[destiny ♡ howling libraries · Rating 5 out of 5]

"No use making a fuss about something that don't need fixin'."

The Lottery is considered by most to be Shirley Jackson's masterpiece, and I think most people are familiar with it from assigned reading in school, but this story was actually brand new to me—in a sense. I read the short story in a collection of classics back on June 27th of this year (Lottery Day, of course), and was absolutely amazed, but decided to save my review and combine my thoughts when my library hold for this graphic adaptation came in.

First of all, I can easily see why this story is so highly lauded: it's an incredibly powerful piece of fiction that packs a massive punch, but it's also a masterclass in short story writing. I read a lot of short stories, and it's rare that an author can create so much depth with so few pages.

Now, when I said this story was new to me in a sense, what I meant is that I knew exactly what was going to happen, not because anyone had spoiled it for me, but because it is such an influential story that I feel it impacted the worlds of horror and dystopian literature forever! I've read and watched so many pieces of media that might not exist today if not for The Lottery, and that's really an incredible testament to its longevity.

As far as the graphic adaptation is concerned, I thought this was a fantastic rendition and I loved that it was created by Shirley's own grandson. The art suited the setting and mood of the story well, and I enjoyed how some of the panels paused to reflect on things like the kids rounding up stones, and the way most of the townsfolk treat it like it's an everyday thing until it's their family pulling the dot. It really makes you think about how normalized the Lottery is in this town and how obsessed with tradition these people are, even at such a high cost.

✨ Content warnings for: violence, public stoning, implied death

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[Cyndi · Rating 4 out of 5]

Of course the story is chilling, but so is the art. Jackson's grandson is the artist and it is obvious that he respected her talent. The story was originally written in 1948, so it is the threshold of more stories like it. When you read it you'll think of movies, tv shows and novels that used this formula.

[Elene Figuer · Rating 3 out of 5]

Cumple su función... No es que me impresionara ni de lejos. Perturbador y dado a la reflexión, pero todo cediendo la responsabilidad al lector.

[Teresa · Rating 4 out of 5]

Miles Hyman, Shirley Jackson’s grandson, has written a memorable five-page preface to his adaptation of her famous story. In it he recounts a ceremonial family tradition of the playing of Jackson’s ornate Victorian music box. Since I recently reread The Lottery, it was easy for me to immediately catch the contrasts I believe he was making with the ritual of the plain wooden box in his grandmother’s story.

As he also explains in the preface, he has retold The Lottery faithfully but in “an entirely new language,” knowing he couldn’t improve on Jackson’s tightly structured story. The words in his adaptation are minimal; his illustrations are the effective wordless language. Jackson’s story is more than capable of standing on its own, but her talented grandson's artistic rendering is a successful elaboration.

[Chasity · Rating 3 out of 5]

The illustrations really captured the original story. Tense and unsettling. The text, however, was quite lacking.

[Brierly]

I'm going to go ahead and give this one high marks because I love it as a project. Grandson provides graphic novel adaptation of his grandmother's writing . . . in this case, grandmother is Shirley Jackson. I am admittedly a huge fan of Jackson, especially my favorite We Have Always Lived in the Castle.

Don't just read this. Read "The Lottery" several times and fall in love with the understated atmosphere. Then, read Hyman's beautiful tribute to the grandmother who passed away when he was three years old.

Also, read the preface to understand more of Hyman's writing style. This is the best "rewrite" that I've ever read. I love how many pages there are with just images and no words at all. I think it fits the tone of "The Lottery" perfectly.

[Negin · Rating 1 out of 5]

It’s October and I figured that I’ve never read anything for Halloween, so I decided to give this a try. I haven’t read the original short story, “The Lottery” by Shirley Jackson. This version is a graphic novel adaptation created by her grandson. I was looking so forward to reading this, having heard so much about her books. Since I haven’t read the original, I cannot compare the two, but honestly, I thought this book was mundane and really quite boring.

[Sandra · Rating 4 out of 5]

El nieto de la autora del relato hace una adaptación muy buena, es increíble como puede transmitir tanto, por otro lado las ilustraciones son muy adecuadas, y me encanta que especifique al principio los personajes, gracias al comic, me acerque a leer a esta autora que siempre tenía pendiente por su temática

[Elizabeth A · Rating 2 out of 5]

I love the original short story, and I knew better, but was intrigued. The author is Shirely Jackson's grandson, and the introduction where he talks about the family traditions was an interesting read. However. I really liked the art in this, the colors, the ambiance, were all good, but somehow it did not work in toto. It might be because it lacks the punch of the original story, and something is lost in the adaptation. If you have yet to read the original, skip this and read that.

[Rodolfo Santullo · Rating 3 out of 5]

Hay autores que regresan de repente, a años de su mayor pico de popularidad, y aparecen en todas partes. Por distintas razones, se ponen más «de moda» que nunca y uno tiene la impresión de que los encuentra hasta en la sopa. Tal fue el caso hace unos años de Patrick Süskind y su perfume, José Saramago sobre el final de su vida y, desde hace un año aproximadamente, Shirley Jackson. Ya sea porque se cumplió algún tipo de aniversario, porque se reeditó gran parte de su obra o porque se adaptó a cine y TV con bastante trascendencia —La maldición de Hill House fue uno de los grandes fenómenos recientes en Netflix y hasta este año se estrenó una biopic sobre la propia escritora, protagonizada por Elizabeth Moss—, Jackson volvió y tomó por asalto las bateas de todas las librerías, los espacios culturales y los sitios de reseñas. Y, cómo no podía ser menos, volvió también en forma de historietas.

Admito mi completa ignorancia sobre la obra de la escritora. Nunca había leído nada de ella y esta adaptación de su más popular relato —según asegura este propio libro— era una buena manera de empezar. Además, se da el curioso caso de que dicha adaptación corre a cargo del nieto de la misma Jackson, Miles Hyman, lo que le agrega al asunto unas cuantas notas al margen —y de color— enriquecedoras, al respecto de su relación con la misma autora.

La lotería, publicado originalmente en 1948, nos presenta un tranquilo y bucólico pueblo que se prepara, justamente, para celebrar una lotería. Aunque nunca se habla específicamente de detalles, nos queda claro que dicha lotería es regular, que se realiza hace más tiempo del que nadie puede recordar y que se rige por una serie de reglas que el pueblo sigue más por fe (o costumbre) que por verdadero convencimiento. ¿Cuál es el fin de dicha lotería? Quizá para el lector de 1948 la revelación final fuera una sorpresa, pero para el avezado lector (u espectador: este es un argumento manido a lo largo de muchos años también en cine) queda claro desde las primeras páginas del libro. Aún así, y en pro de un lector acaso más puro, no lo develaremos aquí. Sí decir que el relato analiza y desnuda los rituales incomprensibles que tenemos por completo incorporados a lo cotidiano, sin importar cuan violentos puedan ser. Acaso una crítica a los rituales más hondos de las sociedades humanas —religión, política: ustedes elijan—, La lotería representa aquello que no es justo, pero está incorporado; cómo mantener un statu quo importa más que el statu quo mismo.

En cuanto a la adaptación de Hyman se puede decir que no es especialmente arriesgada. El artista —más un autor pictórico que un historietista, con una fuerte influencia de los míticos trabajos de Edward Hooper— narra con austeridad y corrección el famoso relato de su abuela. Hyman es un especialista en adaptaciones y, no en vano, en su —breve— currículum asoma la adaptación de La dalia negra (sobre la novela de James Ellroy) o el thriller político The Prague Coup (con guion de Jean-Luc Fromental). La adaptación que nos ocupa no descolla, pero tampoco entorpece. Acaso —tal y cómo lo confiesa en el prólogo, cuando habla sobre el respeto a la obra de la escritora y el peso que significa adaptarla— prefiere no alterar demasiado el resultado, no inclinarse por dejar que sea, antes que nada, una historieta, y queda en un casi cuento ilustrado, que sirve sin embargo —cómo no— para que neófitos cómo quien firma se adentren, así sea por primera vez, en la obra de Shirley Jackson. Y esta primera vez no será la última.

[Jena · Rating 5 out of 5]

I already consider The Lottery a perfect short story, and these illustrations just made it all the better

[Steph · Rating 3 out of 5]

This is a nicely-done little graphic novel. But I have to admit, I preferred the brief preface to the adaptation itself. Having read Shirley (a historical thriller about Shirley Jackson and her family), I'm enchanted by the idea of eccentric Shirley Jackson and Stanley Hyman living in their cozy home at the campus of Bennington College in rural Vermont, hosting other artists and making art.

No one knew it then, but these were members of a disappearing tribe, an endangered species in the American cultural ecosphere: smoking, drinking, hard-partying midcentury intellectuals who were passionate about politics and ideas, art and literature, sports and good food.

I loved hearing Hyman's descriptions of his grandmother's life and legacy. The more I learn about Shirley Jackson, the more I appreciate her work.

[Andrew · Rating 5 out of 5]

I have always loved the Haunting of Hill house for as long as I can remember but it has taken me so long (or should that be too long) to get around to reading more of Shirley Jacksons work - which is a terrible thing considering how influential her work is.

So as I started my exploration of her body of work I discovered references to a short story called the Lottery - a dark and disturbing tale - one which I will not give any spoilers of here. So the irony is not lost on me that with in weeks of finishing the short story (and the book of collected work it was in) I discover that there was also a graphic novel of the same.

So yes I had to get it and I have to say it is amazing - there are very few words but if anything the number and quality of images used I would argue it probably took as long if not longer to create than the original work. There is something timeless about both story and art which combined capture and era but at the same time have a feel that suggested it was lifted from any time in our modern history and scarily even resonates to today.

So yes this book speaks to me in several ways- the story, the artist and the brutal acceptance of some traditions. This is an incredible book and one I think has been long over looked

[Megan · Rating 3 out of 5]

I liked this graphic novel as a nod to the short story, but the lack of text took away from the emotional tugs I wanted, even the suspense. The art is lovely, but it doesn't tell the story. I needed more. More of what they were feeling, their anxieties, their nervous excited energy for what's about to come. I could clearly see fear and apprehension, but that's it. I was hoping this graphic novel would give me a more well-rounded perspective on the town. Alas.

Some have called this dystopian, but it's not dystopian. It's not set in the future, but rather in an alternative reality to today. It's almost a "what if" world. What if we hadn't established the democracy we have today? What if this was how we dealt with population control? What if we used organized murder to keep citizens in line?

I think this could make a great topic of conversation for students when comparing it to the original short story.

[Michelle Morrell · Rating 3 out of 5]

A quiet and affecting version of The Lottery, written and illustrated by Shirley Jackson's grandson. The art is quite lovely, just a little too much repetitive standing and gazing. Definitely worth a read.

[Phrodrick slowed his growing backlog · Rating 4 out of 5]

I am of two minds about Shirley Jackson's "The Lottery": The Authorized Graphic Adaptation artwork by Miles Hyman. The graphics novel is a form unto itself and this is a fine experiment in converting a story into a graphic re-telling. The wonderful, dark American Gothic artwork is wonderful. And kiddies, being Gothic is not about black dyed off center haircuts, and pierced anything and everything. Take up this book and learn.

The problem is that almost every page acts as a spoiler. In general spoilers do not bother me. Often enough the real novel can be about so much more than who did what to whom that many a novelist gives you the ending in the first chapter. In the case of the lottery, the point is to build to something. Guide the reader into something that slowly changes tone, puts you on guard than, drops you into the just barely perceived almost natural next and most likely ending.

As much as I have to enjoy the wonderful illustrations and a very legitimate experiment in the graphic novel, The ending is pretty obvious by page 35and the who by the same moment. For the rest it is a matter of waiting for it.
What a visual artist chooses to show you is an alert. What is shown more than once is a deliberate tell. Every image carries a dark foreboding tone, telling you this is not a comedy. Shadowed faces and the emphases on one person tell you even more. If this cannot have a happy ending, then winning The Lottery is emphatically not a consummation devoutly to be wished.

The original author, Shirley Jackson, may have intended this as a commentary about small towns and the power of traditions and the need to question them. Or it may just have been a dark, campfire, side, flashlights under the chin tale. The trade off seems to be mood building verses fine graphics.

[Michael · Rating 4 out of 5]

Miles Hyman hat einen unverwechselbaren Stil (gleich auf der ersten Seite von THE LOTTERY erkannte ich den Stil wieder, der mir schon von seiner Umsetzung von Elroys BLACK DAHLIA als Graphic Novel bekannt war). Die Artwork gefällt mir sehr gut, ist liebevoll koloriert und liefert ein detailgetreues Abbild der 40er und 50er Jahre - jedenfalls soweit ich es zu beurteilen vermag. Die Bilder zeichnen eine ländliche Idylle, in der die Welt noch in Ordnung ist - sofern man einmal von der Lotterie absieht, die alljährlich stattfindet.
Im Kontrast zu den bukolischen Bildern entfaltet sich langsam und subtil das Grauen, der unfassbare Skandal (einer von vielen, an denen das 20. Jahrhundert so erschreckend reich war). Natürlich kann jeden das "große Los" treffen, aber faktisch trifft es hier eine Frau, und ich denke, dass Shirley Jackson damit auch ein Abbild des Lebensgefühls und der Situation der Frau in den Fünfzigern präsentiert, das ihr Enkel nun als "Bilderbuch" bearbeitet hat. Schockierend war die Story damals und sie ist es auch heute noch, auch als Graphic Novel.
Beunruhigend, unfassbar, zeitlos ist die Story, und auch wenn man sie kennt, lohnt es sich, sie in der Fassung als Graphic Novel noch einmal, und neu, zu lesen.

[Aida Lopez · Rating 5 out of 5]

Basada en el estremecedor relato de #shirleyjackson y adaptado gráficamente por su nieto Miles Hyman.
📚La historia sucede en una pequeña ciudad de EEUU de apenas 300 habitantes.

🖋La lotería se celebra todos los años el 26 de junio.Participan todas las familias.

📌Es un relato duro,muy duro.Trata sobre la conformidad,las costumbres y la enajenación.

📌Es difícil explicar lo que sentí,solo me había pasado una vez algo parecido ,salvando las diferencias (habló de sensaciones)y fue con la película.

🎥 “La tumba de las luciérnagas “...no quieres seguir viendo...leyendo ,es duro.Pero a la vez quieres conocer el desenlace .

🖍El dibujo va de la mano del relato a la perfección,el color,los sentimientos que transmite a través de los rostros y las expresiones corporales 👏🏻👏🏻👏🏻

📌Como recomendación si pese a la premisa de que es una historia “desagradable “os animáis a leerlo,os recomiendo que estéis lo menos “informados”posible,que os vayáis dejando llevar por la sorpresa ...os garantizo que no os va dejar indiferentes,todavía le sigo dando vueltas...a lo que hizo la propia familia de una de las protagonistas.

[Rod Brown · Rating 2 out of 5]

It's been twenty years since I've read The Lottery and Other Stories and The Haunting of Hill House, and frankly neither work really left much of an impression on me. This workmanlike adaptation does nothing to really fire up my enthusiasm. It makes the story come off like a so-so episode of The Twilight Zone. The adaptation suffers from page after page of characters frowning and way too much pencil shading. This might have looked better with inks and some true black contrast.

[George Ilsley · Rating 2 out of 5]

A spare rendering of a classic short story by the author's grandson. It takes about 15 minutes to read. This graphic adaptation does not enhance the original, or contribute anything to it.

Best suited to someone who has never read the original short story and never intends to.

Otherwise—read the original Shirley Jackson (The Lottery)! It’s very short, it’s a classic, and will haunt you.