Flannery O Connor-A Violent Illumination Of Salvation

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A Violent Illumination of Salvation

Flannery O'Connor uses violence to return characters to reality and prepare them to accept their moment of grace. The New Encyclopedia Britannica defines grace as the "spontaneous, unmerited gift of the divine or the divine influence operating in man for his regeneration and sanctification" (401). At any cost, a soul must find salvation. O'Connor states, "In my own stories I have found that violence is strangely capable of returning my characters to reality and preparing them to accept their moment of grace" (qtd.in Bain 407). Dorothy
Walters, Associate Professor of English at Wichita State University, believes
O'Connor's single theme is the battle between God and the devil "dueling …show more content…

O'Connor portrays two varieties of sinners who possess either excessive pride or aggressive evil traits. The price of redemption is high. O'Connor violently shocks her characters, illuminates their shortcomings, and prepares them for redemption as seen in: "A Good Man is Hard to Find," "Revelation," "The River," and "The Lame Shall Enter First."

Walters reasons, "The instruction of pride through lessons of humility is, in each story, the means by which the soul is prepared for its necessary illumination by the Holy Spirit" (73). The grandmother in "A Good Man is Hard to
Find" and Rudy Turpin in "Revelation" is each convinced that she is a lady of elevated status. When threatened by superior beings, their self-imposed facades fall. Inherent human weaknesses are not tolerated and the faulty soul is damned or violently returned to reality (Walters 72). In The Habit of Being, O'Connor emphasizes: "My devil has a name . . . His name is Lucifer, he's a fallen angel, his sin is pride, and his aim is destruction of the Divine plan" …show more content…

Walters suggests that although Rufus' actions are destructive, he struggles against "an insistent pull toward salvation." He steals a Bible to teach Norton basic religious principals, demonstrating that he has not forsaken
God. His "devouring" of the pages validates his faith (102). Walters further implies that without God, Rufus will continue his life of crime and be damned; with God, Rufus may become a preacher. He must choose (104).

Dorothy McFarland, editor and critic points out that the Misfit's actions are more terrifying than Rufus's, because he remains well-mannered while committing sinister acts against society (19). He politely apologizes to the grandmother for appearing before her without a shirt and asks if she would "mind calling the children" (O'Connor, A Good 21). The fugitive Misfit "cannot find salvation or meaning to life" because he is aware of his "fallen condition" in a society of people oblivious to their faults. Without God, a "good man" doesn't exist and with God, he knows that he is a "sinner" (Masterpieces

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