Brundtland’s definition of sustainability is the ability to “meet the needs of the present<br/>without compromising the ability of future generations to meet their needs” (IISD, 2021). But<br/>what if there are no future generations? Social sustainability, the sector of sustainability that<br/>foregrounds the well-being and livelihoods of people (and thereby continuation of humanity), is<br/>included in definitions within the sustainability field, but less developed in sustainability<br/>practice. In an effort to bridge this gap of knowledge, 14 U.S. cities and over 100 sustainability<br/>policies were analyzed for their social sustainability performance. An eight-item analytical<br/>framework that deals with differing areas of social equity guided the analysis. Results found that<br/>most cities’ sustainability departments fell short of truly addressing social sustainability<br/>concerns. Out of the eight items, the most frequently addressed were housing security and racial<br/>and gender equality whereas few, if any, cities addressed the more specific social concerns of<br/>immigration, technology and media, or arts/cultural preservation. Future research is<br/>recommended to gain a better understanding of the ways existing cities can improve in this area.

In this essay, I set out to explore and analyze how Shirley Jackson’s The Haunting of Hill House, and the character of Eleanor Vance in particular, disrupts and redefines the traditional conventions of the Female Gothic within the context of the 20th century. I utilize Tania Modleski's gendering of Freud's theory of psychoanalysis in her exploration of the ‘Female Uncanny,’ arguing that the source of the Uncanny in the Female Gothic can be found in the "fear of being lost in the mother." I argue that Jackson's complex personal life, including her fraught relationship with her mother and her difficult marriage with literary critic Edgar Hyman, color her fiction and the primary motivations of her protagonist, Eleanor Vance. I also outline the traditional structure of the Gothic novel and the heroine's journey. With the necessary context provided, I then explain how Eleanor Vance’s character rejects these Gothic traditions and ushers in a new era of Female Gothic fiction.