Flannery 0 'Connor 'S Translucent Settings
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Flannery O'connor
ANALYSIS “The Artificial Nigger” (1955) Flannery O’Connor (1925-1964) “I suppose ‘The Artificial Nigger’ is my favorite…. And there is nothing that screams out the tragedy of the South like what my uncle calls ‘nigger statuary.’ And then there’s Peter’s denial. They all got together in that one. You are right about this negativity being in large degree personal. My disposition is a combination of Nelson’s and Hulga’s. Or perhaps I only flatter myself.” O’Connor, Letter (6 September 1955) “Well, I never had heard the phrase before, but my mother was out trying to buy a cow, and she rode up the country a-piece. She had the address of a man who was supposed to have a cow for sale, but she couldn’t find it, so she stopped in a small town and asked the countryman on the side of the road where the house was, and he said, ‘Well, you go into this town and you can’t miss it ‘cause it’s the only house in town with a artificial nigger in front of it.’ So I decided I would have to find a story to fit that.” O’Connor, Symposium, Vanderbilt U (1957) “’The Artificial Nigger’ is my favorite and probably the best thing I’ll ever write.” O’Connor, Letter (10 March 1957) “We begin here with nothing more uncommon than a rustic old man taking his rustic grandson for his first trip to the city. While their backwoodness is a bit grotesque and the old man’s vanity provides touching humor, metaphysical drama doesn’t overturn secular seeming until the man publicly denies his relationship to the boy to escape retribution and to give the humor a new dimension. -
The Significance of the Automobile in 20Th C. American Short Fiction
Georgia Southern University Digital Commons@Georgia Southern Electronic Theses and Dissertations Graduate Studies, Jack N. Averitt College of Spring 2021 The Significance of the Automobile in 20th .C American Short Fiction Megan M. Flanery Follow this and additional works at: https://digitalcommons.georgiasouthern.edu/etd Part of the African American Studies Commons, American Literature Commons, American Material Culture Commons, American Popular Culture Commons, and the United States History Commons Recommended Citation Flanery, Megan M., "The Significance of the Automobile in 20th .C American Short Fiction" (2021). Electronic Theses and Dissertations. 2220. https://digitalcommons.georgiasouthern.edu/etd/2220 This thesis (open access) is brought to you for free and open access by the Graduate Studies, Jack N. Averitt College of at Digital Commons@Georgia Southern. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact [email protected]. THE SIGNIFICANCE OF THE AUTOMOBILE IN 20TH C. AMERICAN SHORT FICTION by MEGAN M. FLANERY ABSTRACT Midcentury American life featured a post-war economy that established a middle class in which disposable income and time for leisure were commonplace. In this socio-economic environment, consumerism flourished, ushering in the Golden Age of the automobile: from 1950 to 1960, Americans spent more time in their automobiles than ever before, and, by the end of the decade, the number of cars on the road had more than doubled. While much critical attention has been given to the role of the automobile in American novels, less has been given to its role in American short stories. -
Region, Idolatry, and Catholic Irony: Flannery O'connor's Modest Literary Vision
01-logos-jackson-pp13-40 2/8/02 3:51 PM Page 13 Robert Jackson Region, Idolatry, and Catholic Irony: Flannery O’Connor’s Modest Literary Vision Introduction:On Adolescence and Authority,Region,and Religion Writing to his lifelong friend Walker Percy in 1969, the Mis- sissippi novelist and historian Shelby Foote assessed the life and career of their contemporary and fellow Southerner Flannery O’Connor: She had the real clew, the solid gen, on what it’s about; I just wish she’d had time to demonstrate it fully instead of in frag- ments. She’s a minor-minor writer,not because she lacked the talent to be a major one, but simply because she died before her development had time to evolve out of the friction of just living enough years to soak up the basic joys and sorrows. That, and I think because she also didn’t have time to turn her back on Christ, which is something every great Catholic writer (that I know of, I mean) has done. Joyce, Proust—and, I think, Dostoevsky, who was just about the least Christian man I ever encountered except maybe Hemingway....I always had the feeling that O’Connor was going to be one of our big talents; I didn’t know she was dying—which of course logos 5:1 winter 2002 01-logos-jackson-pp13-40 2/8/02 3:51 PM Page 14 logos means I misunderstood her. She was a slow developer, like most good writers, and just plain didn’t have the time she needed to get around to the ordinary world, which would have been her true subject after she emerged from the “grotesque” one she explored throughout the little time she had.1 Foote’s image of O’Connor is striking not only for what it express- es about her life and writings, but perhaps even more so for its imaginative portrait of the person who might have evolved into a very different writer with age and maturity. -
FLANNERY a Life of Flannery O'connor Brad Gooch
FLANNERY A Life of Flannery O’Connor Brad Gooch For Paul Raushenbush CONTENTS Prologue Walking Backwards PART ONE Chapter One Savannah Chapter Two Milledgeville: “A Bird Sanctuary” Chapter Three “M.F.O.C.” Chapter Four Iowa Chapter Five Up North PART TWO Chapter Six The Life You Save Chapter Seven The “Bible” Salesman Chapter Eight Freaks and Folks Chapter Nine Everything That Rises Chapter Ten Revelation Acknowledgments Notes As for biographies, there won’t be any biographies of me for only one reason, lives spent between the house and the chicken yard do not make exciting copy. --Flannery O’Connor PROLOGUE: WALKING BACKWARDS When Flannery O’Connor was five years old, the Pathe newsreel company dispatched a cameraman from their main offices in New York City to the backyard of the O’Connor family home in Savannah, Georgia. The event, as O’Connor wryly confessed in an essay in Holiday magazine in September 1961, almost exactly three decades later, “marked me for life.” Yet the purpose of the visit from “the New Yorker,” as she labeled him, wasn’t entirely to film her, outfitted in her best double-breasted dark coat and light- wool knit beret, but rather to record her buff Cochin Bantam, the chicken she reputedly taught to walk backwards. How a Yankee photographer wound up for a memorable half-day at the bottom of the O’Connors’ steep back stairs isn’t entirely clear. One rumor credits the connections of Katie Semmes, a well-to-do dowager cousin who lived in the grander house next door, and whose tall windows looked down on the yard where the filming took place. -
The Displaced Person
BOOKS BY Flannery O'Connor Flannery O'Connor THE NOV E L S Wise Blood COMPLETE The Violent Bear It Away STORIES STORIES A Good Man Is Hard to Find Everything That Rises Must Converge with an introduction by Robert Fitzgerald NON-FICTION Mystery and Manners edited and with an introduction by Robert and SaUy Fitzgerald The Habit of Being edited and with an introduction by Sally Fitzgerald Straus and Giroux New York ~ I Farrar, Straus and Giroux 19 Union Square West, New York 10003 Copyright © 1946, 194il, 195(l, 1957, 1958, 1960, [()61, Hi)2, 1963, 1964,l()65, 1970, 1971 by [he Estate of Mary Flannery O'Connor. © 1949, 1952, [955,1960,1\162 by Contents O'Connor. Introduction copyright © 1971 by Robert Giroux All rights reserved Distributed in Canada by Douglas & McImyre Ltd. Printed in the United States of America First published in J(171 by Farrar, Straus and (;iroux INTRODUCTION by Robert Giroux Vll Quotations from Inters are used by permission of Robert Fitzgerald and of the Estate and are copyright © 197 r by the Estate of Mary Flannery O'Connor. The ten stories The Geranium 3 from A Good ManIs Hard to Find, copyright © [953,1954,1955 by Flannery O'Connor, The Barber 15 arc used by special arrangement with Harcourt Hrace Jovanovich, Inc Wildcat 20 The Crop 33 of Congress catalog card number; 72'171492 The Turkey 42 Paperback ISBN: 0-374-51536-0 The Train 54 The Peeler 63 Designed by Herb Johnson The Heart of the Park ~h A Stroke of Good Fortune 95 Enoch and the Gorilla lOS A Good Man Is Hard to Find II7 55 57 59 61 62 60 58 56 A Late Encounter with the Enemy 134 The Life You Save May Be Your Own 14'5 The River 157 A Circle in the Fire 175 The Displaced Person 194 A Temple of the Holy Ghost The Artificial Nigger 249 Good Country People 27 1 You Can't Be Any Poorer Than Dead 292 Greenleaf 311 A View of the Woods 335 v The Displaced Person / I95 them. -
The Displaced Person” (1955)
ANALYSIS “The Displaced Person” (1955) Flannery O’Connor (1925-1964) “The peacock, which is indisputably the most sumptuous of the domestic birds in our clime, offered a ‘ready-made’ symbol. Its incorruptible flesh, its plumage reappearing in the spring, permitted making it an image of the Savior, who had escaped the corruption of the tomb and who was reborn each year in the spring in a dazzling burst of splendor.” Henry LeClerq “Peacock” Dictionnaire D’Archeologie Chretienne et de Liturgie (1937) “’The displaced person did accomplish a kind of redemption in that he destroyed the place, which was evil, and set Mrs. McIntyre on the road to a new kind of suffering, not Purgatory as St. Catherine would conceive it (realization) but Purgatory at least as a beginning of suffering. None of this was adequately shown and to make the story complete it would have had to be—so I did fail myself. Understatement was not enough. However, there is certainly no reason why the effects of redemption must be plain to us and I think they usually are not. This is where we share Christ’s agony when he was about to die and cried out, ‘My God, why have You forsaken Me?’ I needed some instrument to get this across that I didn’t have. As to the peacock, he was there because peacocks might be found properly on such a place but you can’t have a peacock anywhere without having a map of the universe. The priest sees the peacock as standing for the Transfiguration, for which it is certainly a most beautiful symbol. -
A Journey to Convergence in Flannery O'connor's Stories 2001년 서강대
A Journey to Convergence in Flannery O’Connor’s Stories 2001년 서강대학교 대학원 영어영문학과 박 주 영 A Journey to Convergence in Flannery O’Connor’s Stories 지도교수 노 재 호 이 논문을 문학석사 학위 논문으로 제출함 2002년 6월 12일 서강대학교 대학원 영어영문학과 박 주 영 논 문 인 준 서 박주영의 영어영문학 석사학위 논문을 인준함 2002년 6월 12일 주심 장 영 희 [印] 부심 노 재 호 [印] 부심 Artem Lozynsky [印] A Journey to Convergence in Flannery O’Connor’s Stories Joo Young Park A Thesis Presented to the Faculty of the Graduate School of Sogang University in Partial Fulfillment of Requirement for the Degree of Master of Arts 2001 Acknowledgements I am deeply grateful for the faculty of Sogang University. Especially, Prof. Roh Jae-ho has always encouraged me with his kind advice, which was the most helpful for my thesis. Also, I wish to give my special thanks to Prof. Chang Young- hee who has impressed me with her teaching as well as her warm heart. I much owe thanks to Prof. Lozynsky who inspired me to study about Flannery O’Connor. He taught me how to think and write in a literary way, and gave me an opportunity to discover many writers less known to us. I greatly appreciate to meet those respectable teachers while I was in Sogang. I also send my thanks to everyone and everything that encouraged me to endure the times for my thesis: My mom & dad, who always care for me with their special love. Jieun & Steve, you are so great to me. -
Flannery O'connor
13 CRITICS DISCUSS Wise Blood (1952) Flannery O’Connor (1925-1964) “This is the first novel of a twenty-six-year-old Georgia woman…. An important addition to the grotesque literature of Southern decadence.” John W. Simons Review of Wise Blood Commonweal (1952) “When the contemporary literary imagination, in all the anxious sensitivity and honesty of youth, explores the problem of what has happened in the modern world to belief, the result is likely to be bizarre, oblique, tortured, and ambiguous. A deeply tragic sense of the human condition will wear the mask of an irresponsibly sportive nihilism. Compassion will wield a whip. Awareness of the need for grace will vent itself in the evocation of obscenity and violence. So it seems to be in Miss O’Connor’s first novel…. Like many first novels, [this is] pretty obviously derivative…. Miss O’Connor has perhaps followed too many and too diverse models for her own salvation. Onto the naturalistic farce of Erskine Caldwell she has grafted the satire of Evelyn Waugh…. Her sharp-eyed and saucy similes and metaphors indicate she may have been reading Raymond Chandler as well as Caldwell. Her allegory is Kafkaesque…. Farce, satire, and allegory are all modes that sacrifice empathy to detachment, that involve radical distortions and simplifications of character, reality, and experience, and that impose on the writer the most rigorous requirements of tonal consistency. It takes the maturest skill to combine their effects into a sustained unity. Miss O’Connor’s skill is not yet that mature, although she makes a good run for the money.” Joe Lee Davis Review of Wise Blood Kenyon Review (1953) “In Flannery O’Connor’s Wise Blood (1952), the hero is a young revivalist preacher, founder of the Church Without Christ. -
HON 3010.002 Revelations of Grace: the Fiction of Flannery O'connor
HON 3010.002 Revelations of Grace: The Fiction of Flannery O’Connor Spring 2015, Wednesday 2:00-4:40, Honors C309 – (C-L in EN and GS) I. Course Description This is a single author course on the fiction of Mary Flannery O’Connor (1925-64). We will examine over half of O’Connor’s short stories (about two per week) and her two novellas, Wise Blood and The Violent Bear it Away. Class discussions will involve, at least, O’Connor’s treatment of such topics as private divine revelations of God’s grace, the problem of faith, the social structures of the mid-twentieth century rural American South, Catholicism in the American South, and the effective use of southern dialect in her fiction. I am particularly interested in how O’Connor uses animated nature as a possible vehicle for delivery of grace in stories such as The River, A View of the Woods, Greenleaf, and Revelation. Students’ interests may guide class discussion as the course develops. IIa. Required Texts O’Connor, Mary Flannery. The Complete Stories. 1971. New York: Noonday Press. ISBN 0374515360 ---. Wise Blood. 1949. (1990). New York: Noonday Press. ISBN 0374505845 ---. The Violent Bear It Away. 1955. (1988). New York: Noonday Press. ISBN 0374505241 ---. The Habit of Being. 1988. New York: Farrar, Strauss and Giroux. ISBN 0374521042 ---. A Prayer Journal. 2013. New York: Farrar, Strauss and Giroux. ISBN 0374236917 Kimmel, Haven. 2002. The Solace of Leaving Early. Various publishers. ISBN 1400033349 IIb. Optional Texts O’Connor, Flannery. Mystery and Manners. 1969. New York: Farrar, Strauss and Giroux. -
FITZGERALD, SALLY. Sally Fitzgerald Papers, Circa 1930-2000
FITZGERALD, SALLY. Sally Fitzgerald papers, circa 1930-2000 Emory University Stuart A. Rose Manuscript, Archives, and Rare Book Library Atlanta, GA 30322 404-727-6887 [email protected] Descriptive Summary Creator: Fitzgerald, Sally. Title: Sally Fitzgerald papers, circa 1930-2000 Call Number: Manuscript Collection No. 1101 Extent: 34.75 linear feet (72 boxes) and 1 oversized papers box (OP) Abstract: Papers of Sally Fitzgerald, writer and editor of several volumes of Flannery O'Connor's letters and works, including original O'Connor letters and manuscripts. Also included are Fitzgerald's own correspondence and research files. Language: Materials entirely in English. Administrative Information Restrictions on Access Series 6: Collected materials - Some materials (Boxes 62-67) are closed to researchers. Terms Governing Use and Reproduction The collection contains some copies of original materials held by Georgia College Special Collections; these copies may not be reproduced without the permission of the owner of the originals. Source Purchase from Caterina Fitzgerald, Ughetta Lubin, and M.J. Fitzgerald, 2008. Additions were purchased from Fitzgerald, Lubin, and Fitzgerald in 2014. Louise Florencourt donated an addition to the collection in 2013. Custodial History Caterina Fitzgerald, Ughetta Lubin, and M.J. Fitzgerald are daughters of Sally Fitzgerald. Louise Florencourt is Flannery O'Connor's cousin. Emory Libraries provides copies of its finding aids for use only in research and private study. Copies supplied may not be copied for others or otherwise distributed without prior consent of the holding repository. Sally Fitzgerald papers, circa 1930-2000 Manuscript Collection No. 1101 Citation [after identification of item(s)], Sally Fitzgerald papers, Stuart A. -
Free Indirect Discourse and Epiphany in the Stories of Flannery O'connor
Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2006 The am nner of mystery: free indirect discourse and epiphany in the stories of Flannery O'Connor Denise Hopkins Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the English Language and Literature Commons Recommended Citation Hopkins, Denise, "The am nner of mystery: free indirect discourse and epiphany in the stories of Flannery O'Connor" (2006). LSU Master's Theses. 877. https://digitalcommons.lsu.edu/gradschool_theses/877 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE MANNER OF MYSTERY: FREE INDIRECT DISCOURSE AND EPIPHANY IN THE STORIES OF FLANNERY O’CONNOR A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The Department of English by Denise Hopkins B.A., Spring Hill College, 2004 May 2006 Table of Contents Abbreviations.............................................................................................................. iii Abstract...................................................................................................................... -
Truncated Families, Dysfunctional Relationships, Defective Communication an Intersubjective Approach to Flannery O’Connor’S Fiction
Eötvös Loránd Tudományegyetem Bölcsészettudományi Kar Doktori Disszertáció Tézisek Szokonya István Péter Truncated Families, Dysfunctional Relationships, Defective Communication An Intersubjective Approach to Flannery O’Connor’s Fiction Irodalomtudományi Doktori Iskola Dr. Lukács István DSc, egyetemi tanár Amerikanisztika Doktori Program Dr. Frank Tibor CMHAS, egyetemi tanár A bizottság elnöke: Dr. Frank Tibor CMHAS, egyetemi tanár Opponensek: Dr. Hegyi Pál PhD, egyetemi adjunktus Dr. Kállay G. Katalin PhD, egyetemi docens A bizottság titkára: Dr. Szabó Éva Eszter PhD, egyetemi adjunktus A bizottság tagjai: Dr. Vöő Gabriella PhD, habilitált egyetemi docens Dr. Benczik Vera PhD, egyetemi adjunktus Dr. Dragon Zoltán PhD, egyetemi adjunktus Témavezető: Dr. Bollobás Enikő DSc, egyetemi tanár, az MTA tagja Budapest, 2017 Szokonya 2 1. Research Goals Flannery O’Connor’s fiction features abundant depiction of complex family relationships, unresolved family conflicts, and personal life crises. Truncated families and their ineffective functioning often bring about important turns in the plots, and in many cases the dysfunctionalities are related to defective communication between the family members. This dissertation focuses on how unsuccessful communication and conflict resolution affects family relationships in O’Connor’s short stories. In the research I investigate whether the conflicts are caused entirely by the lack of effective communication or whether there are other interpersonal issues that need to be taken into account in analyzing the role of communication in O’Connor’s representations of family dynamics. In the research I focus on three different types of family relationships: mother and daughter, mother and son, male parental figure and child or grandchild. In the dissertation I analyze short stories that are widely presented in the American literary canon and I also work on pieces of writing that are not very well-known even in academic circles.