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 ...
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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. .
Asals, Frederick. Flannery O'Connor : The Imagination of Extremity. University of Georgia Press; Reissue edition. Athens, Georgia, 2007.
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...
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.
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.
The grandmother, the main character of the story, is manipulative. Her definition of a ‘good man’ refers to the characteristics that a ‘good man’ should possess. She believes that the true definition of a good man is a southern gentleman: respectful, chivalrous, and courageous when necessary. From the beginning, the reader is given the indication that the grandmother is determined to get what she wants and will do whatever she can to do so. And, from the second line of the story, O’Connor suggests that anything the grandmother says might have an alternative motive. “The grandmother didn’t want to go to Florida. She wanted to visit some of her connections in east Tennessee and she was seizing at every chance to change Bailey’s mind” (1284). This is relevant to the theme in that a person may have alternate motives, even if they seem to be doing things selflessly from an outsider’s perspective. When the grandmother mentions that she doesn’t want to go to Florida, her son Bailey assumes it’s because of the Misfit killer who has escaped from prison. However, in actuality, she wanted to visit other family and friends in Tennessee.
Westling, Louise. "Flannery O'Connor's Mothers and Daughters." Twentieth Century Literature 24.4 (Winter, 1978): 510-22. Print.
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.
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.
Flannery O’Connor lived most of her life in the southern state of Georgia. When once asked what the most influential things in her life were, she responded “Being a Catholic and a Southerner and a writer.” (1) She uses her knowledge of southern religion and popular beliefs to her advantage throughout the story. Not only does she thoroughly depict the southern dialect, she uses it more convincingly than other authors have previously attempted such as Charles Dickens and Zora Neale Hurston. In other works, the authors frequently use colloquialism so “local” that a reader not familiar with those slang terms, as well as accents, may have difficulty understanding or grasping the meaning of the particular passage. O’Connor not only depicts a genuine southern accent, she allows the characters to maintain some aspect of intelligence, which allows the audience to focus on the meaning of the passage, rather than the overbearing burden of interpreting a rather “foreign language.”
Friedman, Melvin J. Introduction. Critical Essays on Flannery O’Connor. Ed. Melvin J. Friedman and Beverly Lyon Clark. Boston: G. K. Hall & Co., 1985.
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.
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
...sque, and in Flannery O’Connor’s artistic makeup there is not the slightest trace of sentimentally” (qtd. in Bloom 19). Flannery O’Connor’s style of writing challenges the reader to examine her work and grasp the meaning of her usage of symbols and imagery. Edward Kessler wrote about Flannery O’Connor’s writing style stating that “O’Connor’s writing does not represent the physical world but serves as her means of apprehending and understanding a power activating that world” (55). In order to fully understand her work one must research O’Connor and her background to be able to recognize her allegories throughout her stories. Her usage of religious symbols can best be studied by looking into her religious Catholic upbringing. Formalist criticism exists in “A Good Man is Hard to Find” through Flannery O’Connor’s use of plot, characterization, setting, and symbolism.