"I very much dislike writing about myself or my work, and when pressed for autobiographical material can only give a bare chronological outline which contains no pertinent facts"
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Self-erasure can be its own kind of performance, and Shirley Jackson knew it. That opening admission of dislike isn’t just modesty; it’s a controlled refusal. Jackson, whose fiction thrives on social pressure, ritual, and the violence hiding inside polite rooms, treats autobiography the same way she treats a small town in her stories: as a place where the “pertinent facts” are never the ones people ask for.
The sentence is engineered like a trapdoor. “When pressed” suggests an outside force - publishers, interviewers, the nosy public - insisting on a version of the author that can be packaged. Her answer is to comply in the most useless way possible: a “bare chronological outline,” the resume as deadpan sabotage. Chronology is what institutions want because it’s easy to file. Jackson offers it precisely because it’s meaningless, a timeline that refuses interpretation. The kicker is “contains no pertinent facts,” a sly assertion that what matters about a person isn’t legible in dates, schools, marriages, or moves. It also implies that the truly pertinent material is either private, too messy, or too psychologically revealing to hand over on demand.
Context sharpens the edge. Jackson was a public figure in a domestic frame - marketed as the suburban wife-mother who also wrote horror. This line pushes back against that flattening. She’s telling you: you can have my outline, not my interior. If you want the “pertinent facts,” read the stories and pay attention to what they make you feel.
The sentence is engineered like a trapdoor. “When pressed” suggests an outside force - publishers, interviewers, the nosy public - insisting on a version of the author that can be packaged. Her answer is to comply in the most useless way possible: a “bare chronological outline,” the resume as deadpan sabotage. Chronology is what institutions want because it’s easy to file. Jackson offers it precisely because it’s meaningless, a timeline that refuses interpretation. The kicker is “contains no pertinent facts,” a sly assertion that what matters about a person isn’t legible in dates, schools, marriages, or moves. It also implies that the truly pertinent material is either private, too messy, or too psychologically revealing to hand over on demand.
Context sharpens the edge. Jackson was a public figure in a domestic frame - marketed as the suburban wife-mother who also wrote horror. This line pushes back against that flattening. She’s telling you: you can have my outline, not my interior. If you want the “pertinent facts,” read the stories and pay attention to what they make you feel.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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