Flannery O’Connor
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date published 28/10/2007
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SummaryFlannery O’Connor was the unmitigated master of her particularly esoteric craft of assaulting the all-devouring gray spaces of the humanistic spectrum. To those who merely make a skeletal browsing of her work or simply are first time readers may find her to be unnaturally grotesque in her stark portrayal of the often heinously morally and socially contaminated characters featured in her stories. Nevertheless, her tough-minded short stories give staggering cultural and spiritual commentary when one takes heed of the profuse blend of the serious and ironic in her work. She does not in fact, stringently admonish the inherent faults of her characters but brings them to fruition in order to expose and enervate these faults with her belief in the rather morbid preternatural tool of grace. For this reason, the protagonists, or often times, jaded Christ figures in her works who seem the farthest from being deemed spiritually or socially “good” are the characters who are given redemption most frequently by those characters who are supposedly socially seamless. Although her writing is exponentially filled with her spiritual and cultural awareness, the mundane and dialectic styling of her prose allows for a very neutral and unbiased body of work. It is only when the reader regards the symbolism behind the seemingly blatant grotesqueries in her work that they begin to grasp the fundamental themes of hypocrisy, prejudice, and arrogance that are so thickly elucidated in each story.
Table of Contents
- The titles of each of O'Connor's stories are unfailingly the very embodiment of the irony and absolute truth that is about to unravel and expunge itself in her thematic design.
- Another story, which shares this all-encompassing knowledge of the dispassionate and ironic thread between the righteous and wicked, is 'Good Country People?.
- Joy has not truly matured and essentially acts like an overgrown child, theatrically and heavily stomping around with her wooden leg quoting Malebranche in her swollen sense of intellectualism.
- Yet another story in which the unfortunate and erroneous characters only discover absolute truth when it is too late is 'Everything that Rises Must Converge?.
- This unraveling of the preternatural truth and denial of a solely naturalistic and sterile world can also be found in the story 'Greenleaf?.
- In nearly all of her stories, Flannery makes it clear that it is perfunctory to raze the self-constructed hero of the self and attempt to realize the otherness of humanity and realize what is reality.
- Ultimately, O'Connor's treatment of her characters may seem unnaturally cruel or morbid, but in her writing this treatment is what allows her characters to discover divine truth and bring them back to reality in the face of the inevitable.
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