In Shirley Jackson's eerie gothic novel We Have Always Lived in the Castle, the main character -- an eighteen-year-old named Merricat Blackwood -- lives in the outskirts of an unnamed village in New England that contains echoes of H. P. Lovecraft's Arkham and Dunwich.
Merricat, her reclusive older sister, Constance, and their peculiar old Uncle Julian are distrusted by the villagers, and it takes a while for us to find out why. The behavior of the villagers they meet is certainly odd enough -- from the fawning, almost fearful deference of elderly Mrs. Wright to the outright hostility of tough, swaggering Jim Donell. Merricat is the only member of the family who is willing to leave their decaying mansion in the woods and go into town for necessities, and each time she faces the jeers of the villagers with a dark stoicism. She characterizes her trips on foot for groceries as the movements of a piece on a board game; ugly encounters are the equivalent of "Lose One Turn," while if she makes it past Stella's Café without being spotted and remarked upon, it's "Move Four Spaces Ahead."
But if you're familiar with Jackson's better-known short story "The Lottery," you know that she was a past master at flipping the script when you least expect it, and about a third of the way through the book, you begin to suspect there's more to the story than meets the eye -- in particular, that there may be some justification to how the villagers see the Blackwoods. I won't spoil the end, but suffice it to say that the unsettling truth behind the relationship between the Blackwoods and the villagers shows once again that the world is a complex place, and very few of us have either purely good or purely evil motives.
The story, though, is told entirely from Merricat Blackwood's point-of-view, and she is a classic example of an "unreliable narrator." What the reader gets to see is the world as filtered through Merricat's eyes, ears, and mind. She despises the villagers, so of course she feels completely justified in that hatred. As a result, the reader views the confrontations she has -- such as the verbal bullying from the men in the café she endures early on -- with righteous indignation. The story she tells herself is that they're small, ugly, wicked people, the whole lot of them, and she bears their taunts without snapping back at them because she's better than they are. And for a while we believe her. It's a tribute to Jackson's skill as a writer that we buy into Merricat's view of the townspeople as long as we do.
Reading We Have Always Lived in the Castle left me thinking, though, that it's not just damaged individuals like Merricat, Constance, and Uncle Julian who are unreliable narrators of their own lives; we all are. We view our fellow humans through the lenses of our own experience, and reflect outward to them the parts of us we want them to see.
As Anaïs Nin put it, "We don't see the world as it is. We see the world as we are."
It doesn't always work, though. You can probably think of times that you discovered someone you thought you knew was hiding something you never dreamed of, or -- conversely -- that some part of you you'd preferred remained well-hidden suddenly came to light. But really, we shouldn't be surprised when this happens. Nearly all of us wear masks with others, showing a particular face at work, another with friends, another with strangers we meet in the market, yet another with our significant others.
To be fair, there's a large measure of this that isn't deliberate deception. When I was a teacher, my professional face in the classroom quite rightly took precedence over any turmoil I was experiencing in my private life. We often choose what to show and what to conceal for good reasons. But the problem is, hiding can become a habit, especially for people who (like myself) suffer from mental illness. When the mask slips with people with depression and anxiety , and we unexpectedly show others what we're going through, it's much less likely that we "suddenly went into a tailspin" than that we'd been pretending to be well for months or years.
Explaining why even our nearest and dearest will often say in shock, "I never realized."
The whole thing got me thinking about a conversation between two of my own characters -- the breezy, outgoing Seth Augustine and the introverted, deeply damaged telepath Callista Lee in Poison the Well:
Seth’s mind returned to his earlier thoughts, about Bethany and the few other people who had disliked him, instantly and almost instinctively. “It can be painful to find out the truth.”
“Not nearly as painful as finding out that no one actually knows what the truth is,” Callista said.
When Seth didn’t respond, she continued, with more animation than he’d heard in her voice yet. “Everyone’s just this bundle of desires and emotions and random thoughts, resentment and love and fear and sex and anger and compassion bubbling right beneath the surface—all in conflict, all of the time, only most people aren’t aware of it. They think things, and their mind looks at them and says ‘this is true’—and they don’t realize that they almost always decide that something is true because it soothes the unpleasant parts—the resentment and fear and anger. It’s not because it actually is true. People believe things because their belief makes the demons quieter.”






