The Story is about an old lady named Mrs. She has two boys named Wesley and Scofield. May owns a farm and has a man named Mr. Greenleaf working on it for her.
In story after story, she brings her characters to a moment when it is no longer possible for them to continue in their accustomed manner. The proud are repeatedly humbled, the ignorant are repeatedly enlightened, the wise are repeatedly shown that "the wisdom of this world is foolishness with God," and the materialists are repeatedly forced to recognize that the treasures of this world are theirs to possess for a short time only.
Most frequently, as we have seen in the stories, the characters gain their new awareness as a result of having undergone an epiphanal experience.
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. The reader may not see them but they have their effect on him nonetheless.
This is the way the modern novelist sinks, or hides, his theme. It is this same attitude which may well explain her tendency to deal with grotesque figures. Thus, when faced with a reminder of his condition, he finds it intolerable.
As she notes, "it is only in these centuries when we are afflicted with the doctrine of the perfectibility of human nature by its own efforts that the freak in fiction is so disturbing. The only time he should be disturbing to us is when he is held up as a whole man.
Her insistence that a work of literature must have "value on the dramatic level, the level of truth recognizable by anybody," has made it possible for her to produce a body of literature which contains some stories capable of standing with the best literature written during her era.
In her best stories, then, O'Connor's characters are presented with such fidelity that they become — even when they act in the most outrageous of manners — thoroughly believable. Their actions are those which one would expect from them. Part of her success must be attributed to her ability to select those details and environments which are appropriate to each character.
Part, at least, must be attributed to her fine ear for natural dialogue and to her ability to sketch a character with a few deft strokes. In the majority of her stories, the reader is left with the impression that each character — even if one omits the religious aspect of the story — receives exactly what he deserves.
The inclusion of the dogma involved provides, as she herself argues, an added dimension to the stories.Your analysis is excellent, particularly how you compare Hulgas increasing arrogance with the physicality of her sight.
your thesis and themes are very clear. Things . The grandmother in Flannery O’Connor’s story “A Good Man Is Hard to Find” becomes a central character. Upon analyzing her character it is obvious to the reader that she is a manipulating, deceiving, self-serving woman who desires to live in the past.
The grandmother’s character traits remain the same throughout the story. Flannery O'Connor's Stories note includes: *A biography of Flannery O'Connor * An in-depth summary and analysis of her stories, including A Good Man is Hard to Find and Good Country People * A short summary * A character list and related descriptions * Suggested essay questions and answers * Quotes and analysis * A list of themes * A glossary Author: Meghan Joyce.
Mar 31, · Flannery O'Connor's Complex, Flawed Character In its painstaking honesty, Brad Gooch's Flannery: A Life of Flannery O'Connor is both a gift and a curse to O'Connor's . An introduction to Flannery O'Connor, The Heath Anthology of American Literature.
McGill, Robert James.
"Flannery O'Connor." An extended introduction to Flannery O'Connor from the Literary Encyclopedia 8 Nov. [subscription service]. literary criticism. Religious Vision and Free Will in Flannery O'Connor's Novel Wise Blood STEPHEN SPARROW Compared with the early music compositions of child prodigies like Mozart or Camille Saint-Saëns; the novel Wise Blood by Flannery O'Connor, was an impressive literary feat.