In many of the stories, the epiphanal moment is accompanied by violence and destruction. In ten of the nineteen stories which appear in her two short-story collections, the death of one or more of the characters is used to produce the epiphany.
This reinforces O'Connor's comment, "I'm a born Catholic and death has always been a brother to my imagination. I can't imagine a story that doesn't properly end in it or in its foreshadowings. In none of the stories, however, is the violence used as anything but a logical extension of the action of the story.
Never is it used for its own sake. Even more noteworthy, perhaps, is the degree of restraint which O'Connor uses in presenting scenes of violence which, in the hands of a lesser writer, could have been capitalized on for mere shock effect. This same tendency to underplay the violence and to accentuate the positive result of the violence on the character is illustrated in the goring to death of Mrs.
May in the story "Greenleaf. O'Connor's tendency to repeat her basic themes with variations from story to story eliminates the possibility that anyone who is familiar with a number of her works is apt to misread them even though she frequently relies on a rather personal system of symbolism and color imagery to conceal them from the casual reader. That she does so is not unusual given her view of literature. In "The Nature and Aim of Fiction," she argues "that for the fiction writer himself, symbols are something he uses as a matter of course.
Properly, you analyze to enjoy, but it's equally true that to analyze with any discrimination, you have to have enjoyed already, and I think that the best reason to hear a story read is that it should stimulate that primary enjoyment.
I don't have any pretensions to being an Aeschylus or Sophocles and providing you in this story with a cathartic experience out of your mythic background, though this story I'm going to read certainly calls up a good deal of the South's mythic background, and it should elicit from you a degree of pity and terror, even though its way of being serious is a comic one.
I do think, though, that like the Greeks you should know what is going to happen in this story so that any element of suspense in it will be transferred from its surface to its interior. I would be most happy if you had already read it, happier still if you knew it well, but since experience has taught me to keep my expectations along these lines modest, I'll tell you that this is the story of a family of six which, on its way driving to Florida, gets wiped out by an escaped convict who calls himself the Misfit.
The family is made up of the Grandmother and her son, Bailey, and his children, John Wesley and June Star and the baby, and there is also the cat and the children's mother. The cat is named Pitty Sing, and the Grandmother is taking him with them, hidden in a basket. Now I think it behooves me to try to establish with you the basis on which reason operates in this story. Much of my fiction takes its character from a reasonable use of the unreasonable, though the reasonableness of my use of it may not always be apparent.
The assumptions that underlie this use of it, however, are those of the central Christian mysteries. These are assumptions to which a large part of the modern audience takes exception. About this I can only say that there are perhaps other ways than my own in which this story could be read, but none other by which it could have been written. Belief, in my own case anyway, is the engine that makes perception operate. The heroine of this story, the Grandmother, is in the most significant position life offers the Christian.
She is facing death. And to all appearances she, like the rest of us, is not too well prepared for it. She would like to see the event postponed. I've talked to a number of teachers who use this story in class and who tell their students that the Grandmother is evil, that in fact, she's a witch, even down to the cat.
One of these teachers told me that his students, and particularly his Southern students, resisted this interpretation with a certain bemused vigor, and he didn't understand why. I had to tell him that they As a narrative stylist, Flannery O'Connor belongs, however peripherally, to a Pauline or Augustinian tradition extending from Langland to Bunyan and Hawthorne.
Her tastes for gothicism, allegory, and regional setting derive from that special admiration for The House of the Seven Gables evident in so many important Southern writers from Faulkner to Truman Capote. The mingled scorn and sorrow with which Hawthorne faced I'm going to preach there was no Fall because there was nothing to fall from and no Redemption because there was no Fall and no Judgment because there wasn't the first two.
Nothing matters but that Jesus was a liar. In the following excerpt, she compares The Misfit to other violent characters in Southern literature. While, from a statistical point of view considering annual income, national origin, and religion, some of O'Connor's heroes could wander into [Faulkner's fictional setting of] Yoknapatawpha, one senses they would find it totally alien. Faulkner and Styron build their countries out of the South's greatest literary virtue: The opening page of the story describes the grandmother's attempt to get the family to go to Tennessee instead of Florida on their vacation; this serves as a kind of brief prologue to the rest of the tale, all of which takes place the following day as the family begins its fatal trip to Florida.
VII, Autumn, , pp. When I see these stories described as horror stories I am always amused because the reviewer always has hold of the wrong horror. She felt deeply informed by the sacramental and by the Thomist notion that the created world is charged with God. Yet she would not write apologetic fiction of the kind prevalent in the Catholic literature of the time, explaining that a writer's meaning must be evident in his or her fiction without didacticism.
She wrote ironic, subtly allegorical fiction about deceptively backward Southern characters, usually fundamentalist Protestants, who undergo transformations of character that, to her thinking, brought them closer to the Catholic mind.
The transformation is often accomplished through pain, violence, and ludicrous behavior in the pursuit of the holy. However grotesque the setting, she tried to portray her characters as open to the touch of divine grace. This ruled out a sentimental understanding of the stories' violence, as of her own illness. She also had a deeply sardonic sense of humor, often based in the disparity between her characters' limited perceptions and the awesome fate awaiting them.
Another source of humor is frequently found in the attempt of well-meaning liberals to cope with the rural South on their own terms. O'Connor used such characters' inability to come to terms with disability, race, poverty, and fundamentalism, other than in sentimental illusions, as an example of the failure of the secular world in the twentieth century. However, in several stories O'Connor explored some of the most sensitive contemporary issues that her liberal and fundamentalist characters might encounter.
Despite her secluded life, her writing reveals an uncanny grasp of the nuances of human behavior. O'Connor gave many lectures on faith and literature, traveling quite far despite her frail health. Politically, she maintained a broadly liberal outlook in connection with her faith, voting for John F. Kennedy in and supporting the work of Martin Luther King Jr. By the summer of , O'Connor was diagnosed with systemic lupus erythematosus lupus ,  as her father had been before her.
Her daily routine was to attend Mass, write in the morning, then spend the rest of the day recuperating and reading. Despite the debilitating effects of the steroid drugs used to treat O'Connor's lupus, she nonetheless made over sixty appearances at lectures to read her works.
O'Connor completed more than two dozen short stories and two novels while suffering from lupus. She died on August 3, , at the age of 39 in Baldwin County Hospital. In , Betty Hester , an Atlanta file clerk, wrote O'Connor a letter expressing admiration for her work. O'Connor was a devout Catholic. From through , she wrote more than one hundred book reviews for two Catholic diocesan newspapers in Georgia: The Bulletin , and The Southern Cross.
A prayer journal O'Connor had kept during her time at the University of Iowa was published in O'Connor frequently used imagery of birds, and her enjoyment of birds was regarded as an eccentricity. When she was six, living in a house still standing now preserved as the Flannery O'Connor Childhood Home , O'Connor experienced her first brush with celebrity status. I was in it too with the chicken. I was just there to assist the chicken but it was the high point in my life.
Everything since has been an anticlimax. In high school, when the girls were required to sew Sunday dresses for themselves, O'Connor sewed a full outfit of underwear and clothes to fit her pet duck and brought the duck to school to model it. As an adult at Andalusia, she raised and nurtured some peafowl. Fascinated by birds of all kinds, she raised ducks, ostriches, emus, toucans, and any sort of exotic bird she could obtain, while incorporating images of peacocks into her books.
She described her peacocks in an essay entitled "The King of the Birds". O'Connor's Complete Stories won the U. National Book Award for Fiction  and, in a online poll, was named the best book ever to have won the National Book Awards. From Wikipedia, the free encyclopedia. Morality Catholicism grace transcendence. Writing a Theology of Disabled Humanity. Archived from the original on April 17, Retrieved May 12, Retrieved March 4, Archived from the original on March 15, Retrieved May 13, Archived from the original on March 16, Archived from the original on March 14, National Public Radio Interview.
Flannery O'Connor - essays, papers, and reports on Flannery O'Connor - critical essays.
Free O’Connor Flannery papers, essays, and research papers.
Essays and criticism on Flannery O'Connor - Critical Essays. Flannery O'Connor’s Stories Questions and Answers The Question and Answer section for Flannery O'Connor’s Stories is a great resource to ask questions, find answers, and discuss the novel. How does Mrs. Hopewell, before she hires her, plan to .
Free Essay: To many critics, Flannery O’Connor was a“very devout catholic, [of the] (thirteenth century, [O’Connor described] herself),” suggests Mark Bosco. Free Essays from Bartleby | Flannery O’Connor was born on March 25, , in Savannah, Georgia. She was an American writer. O’Connor wrote two novels and