‘‘Lamb to the Slaughter’’ tells of at least one betrayal: Patrick Maloney’s unexplained decision to leave his pregnant wife. This violation of the marriage-vow is obviously not the only betrayal in the story, however. Mary’s killing of her husband is perhaps the ultimate betrayal. Her elaborately planned alibi and convincing lies to the detectives also constitute betrayal. Identity
Dahl plays with the notion of identity both at the level of popular psychology and at a somewhat more philosophical, or perhaps anthropological, level. At the level of popular psychology, Dahl makes it clear through his description of the Maloney household that Mary has internalized the bourgeois, or middle class, ideal of a young mid-twentiethcentury housewife, maintaining a tidy home and catering to her husband; pouring drinks when the man finishes his day is a gesture that comes from movies and magazines of the day. Mary’s sudden murderous action shatters the image that we have of her and that she seems to have of herself. Dahl demonstrates, in the deadly fall of the frozen joint, that ‘‘identity’’ can be fragile. (Once she shatters her own identity, Mary must carefully reconstruct it for protective purposes, as when she sets up an alibi by feigning a normal conversation with the grocer.) In the anthropological sense, Dahl appears to suggest that, in essence, human beings are fundamentally nasty and brutish creatures capable of precipitate and bloody acts. Then there are the police detectives, who pride themslves on their ability to solve a crime, but whom Mary sweetly tricks into consuming the main exhibit. Their identity, or at least their competency, is thrown into doubt. Love and Passion
At the beginning of ‘‘Lamb to the Slaughter,’’ Mary Maloney feels love and physical passion for her husband Patrick. She luxuriates in his presence, in the ‘‘warm male glow that came out of him to her,’’ and adores the way he sits, walks, and behaves. Even far along into her...
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