An extreme act is almost necessary to bring about the true reflection on one’s life and really question whether or not they are worthy of salvation. The most influential person in determining your after life could have not the slightest meaning to you now. Flannery O’Connor’s writing reflects in her own beliefs. Kaplan creates a case that “The Grandmother’s ability to accept such a death is therefore the supreme test of her faith,” (Kaplan 905). This associates to the story well; Flannery O’Connor is also in her own life suffering from a disease that, in some aspects, should take her faith into inquiry. Initially, the conviction of The Grandmother never was about anyone’s needs but her own. She wants people to think she is Christ-like because she wears a nice Sunday dress. The real character is revealed under crisis. The Grandmother is arrogant, materialistic, and always cares about what other people think about her. As they were on the way to Florida The Grandmother makes an insensitive comment about a black boy with no on pants on the street. She seemed to have a lack of sympathy or curiosity about the situation of this boy. This remark is insensitive and shows the reader the viewpoint of The Grandmother. She is in essence an old lady that is set in her ways. She fails to notice anyone’s view point but her own. It isn’t until the very end of the story where even The Misfit notices the change in The Grandmother, which is why he states that she would have been a better woman if someone was there to pull the trigger, her whole life. The Grandmother has never shown compassion about anyone, other than herself. There is also a deeper meaning to what he means; he tries to illustrate that people are not tested until they meet that ... ... middle of paper ... ... Kirk, Connie Ann. Critical Companion to Flannery O'Connor. New York: Facts on File, 2008. eBook Collection (EBSCOhost). Web. 8 Feb. 2014.< http://0-web.b.ebscohost.com.library.acaweb.org/ehost/ebookviewer/ebook/bmxlYmtfXzIyOTQ4MV9fQU41?sid=1836ce9e-26f4-4cc4-af65-eb5e046a6668@sessionmgr110&vid=2&format=EB&rid=1>. Nester, Nancy L. "O'Connor's A Good Man Is Hard to Find." The Explicator 64.2 (2006): 115-8. ProQuest. Web. 8 Feb. 2014. . Shackelford, D. Dean. "O’Connor, Flannery." Critical Survey of Short Fiction: American Writers. Ed. Charles E. May. 4th ed. Vol. 3. Ipswich, MA: Salem Press, 2012. 1256-1264. Gale Virtual Reference Library. Web. 8 Feb. 2014. .
Cofer, Jordan. "Flannery O'connor's Role In Popular Culture: A Review Essay." Southern Quarterly 47.2 (2010): 140-157. OmniFile Full Text Mega (H.W. Wilson). Web. 2 Nov. 2013.
1) O’Connor, Flannery, A Good Man Is Hard to Find (Women Writers: Text & Contexts Series). Rutgers University Press, 1993.
O'Connor, Flannery. "Good Country People." The Complete Stories of Flannery O’Connor. New York: Farrar, 1972. 271-91. Print.
According to Ellen Douglas, the "evil in human hearts, and the possibility of grace, the gift of love, are made terrifyingly and magnificently real" when the grandmother, at gunpoint, admits that The Misfit really is, in her standards, a good man at heart (381). He is better able to express his beliefs about religion, but she has no firm foundation. When he says, "She would [have] been a good woman, if there had been somebody there to shoot her every minute of her life," he is revealing the fact that her pride, instead of her faith, has carried her through life (O'Connor, "A Good Man" 392). She has merely acted out the life of a typical Southern lady of he...
A story without style is like a man without personality: useless and boring. However, Flannery O’Connor incorporates various different styles in her narratives. Dark humor, irony, and symbolism are perhaps the utmost powerful and common styles in her writing. From “Revelation” and “Good Country People” to “A Good Man is Hard to Find,” all of O’Connor’s stories consist of different styles in writing.
Scott, Nathan A., Jr. "Flannery O'Connor's Testimony." The Added Dimension: The Art and Mind of Flannery O'Connor. Ed. Melvin J. Friedman and Lewis A. Lawson. New York: Fordham UP, 1966. 138-56.
Friedman, Melvin J. Introduction. Critical Essays on Flannery O’Connor. Ed. Melvin J. Friedman and Beverly Lyon Clark. Boston: G. K. Hall & Co., 1985.
Flannery O’Connor, undoubtedly one of the most well-read authors of the early 20th Century, had many strong themes deeply embedded within all her writings. Two of her most prominent and poignant themes were Christianity and racism. By analyzing, “A Good Man is Hard to Find” and “Everything that Rises Must Converge,” these two themes jump out at the reader. Growing up in the mid-1920’s in Georgia was a huge influence on O’Connor. Less than a decade before her birth, Georgia was much different than it was at her birth. Slaves labored tirelessly on their master’s plantations and were indeed a facet of everyday life. However, as the Civil War ended and Reconstruction began, slaves were not easily assimilated into Southern culture. Thus, O’Connor grew up in a highly racist area that mourned the fact that slaves were now to be treated as “equals.” In her everyday life in Georgia, O’Connor encountered countless citizens who were not shy in expressing their discontent toward the black race. This indeed was a guiding influence and inspiration in her fiction writing. The other guiding influence in her life that became a major theme in her writing was religion. Flannery O'Connor was born in Savannah, Georgia, the only child of a Catholic family. The region was part of the 'Christ-haunted' Bible belt of the Southern States. The spiritual heritage of the region profoundly shaped O'Connor's writing as described in her essay "The Catholic Novelist in the Protestant South" (1969). Many of her 32 short stories are inundated with Christ-like allusions and other references to her faith.
A common aspect of Flannery O’Connor’s literary works is her use of heavily flawed characters. O’Connor’s characters often exhibit gothic and incongruous characteristics. O’Connor’s short story, “Good Country People,” is no exception to her traditional writing style with characters such as Hulga Hopewell, Mrs. Hopewell, Mrs. Freeman, and Manley Pointer. O’Connor uses gothic characterization and symbolism to produce a great short story about a few ruthless country people.
O’ Connor forces the reader to wonder which characters are “Good Men”, perhaps by the end of the story she is trying to convey two points: first, that a discerning “Good Man” can be very difficult, second, that a manipulative, self-centered, and hollow character: The Grandmother is a devastating way to be, both for a person individually and for everyone else around them. The reader is at least left wondering if some or all of the clues to the irony I provided apply in some way to the outcome of this story.
Westling, Louise. "Flannery O'Connor's Mothers and Daughters." Twentieth Century Literature 24.4 (Winter, 1978): 510-22. Print.
Teachout, Terry. "Believing in Flannery O'Connor." Literary Reference Center. Commentary; Mar2009, Vol. 127 Issue 3, P55-58, 4p, Mar. 2009. Web. 8 May 2012.
Asals, Frederick. Flannery O'Connor : The Imagination of Extremity. University of Georgia Press; Reissue edition. Athens, Georgia, 2007.
Whitt, Margaret. Understanding Flannery O’Connor. Columbia: University of South Carolina Press, 1995. 47-48, 78. Print.
Find, by Flannery O’Connor; We can see a well composed drama story that makes it’s readers