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Stylistic analysis in literature
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Critical Analysis Essay on The Violent Bear It Away
Thesis Statement: Flannery O’Connor was an extraordinary writer, but despite the fact that she only lived to be thirty-nine because of lupus. It did not stop her from writing The Violent Bear It Away which has a religious approach on explaining two different worldviews. Within the novel O’Connor dives into a confused boy’s head and his battle between choosing Christianity and a more American, secular, and science based lifestyle. Throughout the Novel it is to believe that Christianity has been tamed by America. What being Christian means is being nice and respectful of others, not drinking and not over-indulging into sensations. O’Connor wants to paint a picture of Christianity to the audience
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“…The Violent Bear It Away –was not only an artistic concern of her but a theological one as well” (Peters). Old Man Tarwater raises Young Tarwater is all based on belief, the belief that God is real and proceeds to warn Young Tarwater that he will be tempted by the devil and he will need forgiveness. These viewpoints seem rather similar to the stranger’s voice and what Rayber has to say to young Tarwater. Old Man Tarwaters education revolves around setting Young Tarwater up for the real world whereas Raybers education is a denial of the real world. He denies the human necessity for God. Although Christianity may not seem blissful to some, the question still stands is which one is higher on the pedestal. On the contrary to Rayber being a good example of a typical American; Old Man Tarwater isn’t to be considered a person with an American point of view noting at the fact that he thinks some people were chosen by God having an advantage over others instead of us all being equal. “Ironically, the old man has assumed a God-Like position over the boy, by telling the boy that there is no question about young Tarwater’s future duties to God.”(Holm). This is because Old Man Tarwater does not care about the progression of mankind; he does not care about social and economic status. He cares about the soul and more importantly for example, “But no matter how little they had now, his uncle said, their reward in the end was the Lord Jesus Himself, the bread of life!” (O’Connor 62). This basically states that Old Man Tarwater is more focused salvation and not really caring about any evolution of
Some works show their true colors right away. Gene Edward Veith’s book, Reading Between The Lines, addresses philosophical ideas, literary sub genres, and reader criticisms in order to ascertain a Christian’s role in literature. He also goes through various historical periods and examines their more prominent works and schools of thought. While a select few of his conclusions about Christianity in relation to the arts have merit, others contain more damaging implications. Specifically, his statements regarding television represent inaccurate and offensive thinking.
The story of Chris McCandless is a long story that is complex to tell in its entirety. This essay will analyze Jon Krakauer’s book, Into The Wild, in an attempt to pursued you that Krakauer did a magnificent job telling McCandless’ story up to his death.
“’She would of been a good women, ‘The Misfit said, ‘if it had been somebody there to shoot her every minute of her life’”(6). Flannery O’Connor grew up in southern Georgia where she was raised in a prominent Roman Catholic family. O’Connor endured hard times in life when her father died of lupus erythematous, which she was diagnosed with later in life. These life events influence her writing greatly. She uses her religion and gothic horror in her writings to relay a message to people that may be on the wrong path, in an attempt to change it. The author wrote during the late 1940’s and early 1950’s. Flannery O’Connor wrote “Everything That Rises Must Converge” and “A Good Man Is Hard To Find”.
Raiger, Michael. “’’Large and Startling Figures’: The Grotesque and the Sublime in the Short Stories of Flannery O’Connor.’” Seeing into the Life of Things: Essays on Literature and Religious Experience (1998): 242-70. Rpt. in Short Story Criticism. Ed. Janet Witalec.
Religion is a pervasive theme in most of the literary works of the late Georgia writer Flannery O'Connor. Four of her short stories in particular deal with the relationship between Christianity and society in the Southern Bible Belt: "A Good Man Is Hard to Find," "The River," "Good Country People," and "Revelation." Louis D. Rubin, Jr. believes that the mixture of "the primitive fundamentalism of her region, [and] the Roman Catholicism of her faith . . ." makes her religious fiction both well-refined and entertaining (70-71). O'Connor's stories give a grotesque and often stark vision of the clash between traditional Southern Christian values and the ever-changing social scene of the twentieth century. Three of the main religious ingredients that lend to this effect are the presence of divine meanings, revelations of God, and the struggle between the powers of Satan and God.
The novelist with Christian concerns will find in modern life distortions which are repugnant to him, and his problem will be to make them appear as distortions to an audience which is used to seeing them as natural; and he may be forced to take ever more violent means to get his vision across to this hostile audience. When you can assume that your audience holds the same beliefs you do, you can relax a little and use more normal ways of talking to it; when you have to assume that it does not, then you have to make your vision apparent by shock to the hard of hearing you shout, and for the blind you draw large and
Flannery O’Connor believed in the power of religion to give new purpose to life. She saw the fall of the old world, felt the force and presence of God, and her allegorical fictions often portray characters who discover themselves transforming to the Catholic mind. Though her literature does not preach, she uses subtle, thematic undertones and it is apparent that as her characters struggle through violence and pain, divine grace is thrown at them. In her story “Revelation,” the protagonist, Mrs. Turpin, acts sanctimoniously, but ironically the virtue that gives her eminence is what brings about her downfall. Mrs. Turpin’s veneer of so called good behavior fails to fill the void that would bring her to heaven. Grace hits her with force and their illusions, causing a traumatic collapse exposing the emptiness of her philosophy. As Flannery O’Connor said, “In Good Fiction, certain of the details will tend to accumulate meaning from the action of the story itself, and when this happens they become symbolic in the way they work.” (487). The significance is not in the plot or the actual events, but rather the meaning is between the lines.
Although Flannery O’Connor didn’t even live to see her 40th birthday, her fiction endures to this day. In “A Good Man is Hard to Find” and “Everything that Rises Must Converge,” O’Connor effectively deals with the two huge themes (topics) of religion and racism. These two themes are crucial to understanding much of O’Connor’s great works and are relevant to all readers of O’Connor throughout all ages.
Within many people, there lies a fascination that cannot be quenched unless people explore it to their hearts’ content. This zealotry devours the mind, leaving behind a maddening obsession that takes complete control. In Jon Krakauer's nonfiction work, Into the Wild, the main character, Chris McCandless, displays such a yearning as he travels to Alaska’s countryside, ignoring the advice of others, obsessively seeking to free himself from the chains that hold a materialistic world center. McCandless exists as a zealot searching for the wilderness, fanatically pursuing its fruits of spirituality and blessings of liberty.
Wright grew up in the Jim Crow South where everything about his life was socially and culturally inferior to the white masses. In Bloom’s Modern Critical Views Richard Wright, Qiana J. Whitted wrote about Wright’s life as a kid, shedding light on how his grandmother forced him to partake in religious in order to be saved from “religious execution” (123). It was this type of religious interpretation held by his grandmother, that was a “cultural marker” for Wright, reminding us, “that in his life, as in his writing, Richard Wright wrestled with his faith” (122). This struggle can be seen in Wright’s male character, Big Boy, in Big Boy Leaves Homes. Big Boy and his friends go to swimming creek where they see and are saw by a white woman. With the woman, was a white man who shot at Big Boy and his friends. Big Boy wrestles with Jim over the gun and ends up shooting and killing him. In panic, he runs home to retell the story of the murder he committed and the ones he witnessed. As he tells the story, his father sends for some of the religious members in the community. During this time Big Boy’s mother calls out several times for mercy, “Lawd Gawd in Heaven, have mercy on us all!” (36). The religious community members become a fist around Big Boy and come up with a plan for saving his life. In the midst of this Big Boy experiences an internal conflict with his actions and how they look in the eyes of God.
In the Flannery O’Connor’s great book, “Wise blood”, Hazel motes, the main character of the literature, is a hero struggling against his prophetic vocation, yet turning out to be a Christian martyr at the end of his long and futile ordeals. The development of the literature centers around the protagonist’s struggle to run away from Jesus, who poses Jesus as “something awful,” and his final return to him. Hazel’s movement throughout the literature, therefore, may be seen as a journey: a modern man’s progress from rebellion against God, to penance, and to return to him through the painful recognition of his sinful and fallen nature. The shrill thesis of the literature is stressed by its circular journey pattern of escape from and return to God.
At the end of Baldwin's 1952 novel Go Tell It on the Mountain, John Grimes, the young protagonist, has an epiphany or what is more commonly referred to as a visionary conversion experience, a staple of American religious life. He embraces Jesus and endures a state of ecstatic mysticism in which he experiences "his drifting soul ... anchored in the love of God" (204). John's rebirth in Christ, his being "saved," is an affirmation of one of the strongest bulwarks in the African American community during slavery, and especially since its abolition: the black church. (2) Baldwin has said that "everything in Black history comes out of the church." It is "not a redemptive force but a `bridge across troubled water,'" Kalamu ya Salaam interviewing Baldwin responded. "It is how we forged our identity" (Pratt and Stanley 182). The church is the African American's inheritance. Black writers and the characters they create are not so easily divested of it, nor should they be. Though John Grimes's commitment to Christ is representative of black assimilation into American (white) culture, this adoption of Christian beliefs not only helped the community forge a stronger connection to their country and society, but it also enabled slaves and then emancipated Africans to shore up their sense of self-worth and value. African American literature, according to Abena P. A. Busia, "has therefore become a drive for self-definition and redefinition, and any discussion of this drive must recognize this, its proper context: We are speaking from a state of siege" (2). John Grimes's journey over the course of Go Tell It on the Mountain mirrors this movement from imprisonment to freedom, from a vague sense of self to a greater consciousn...
The reader encounters the first “Flawed Christ” in the form of Benji Compson, formerly Maury, who is widely held to be Christ the loving. Faulkner makes it explicitly clear that Benji is Christ by not only making him 33, (traditionally held to be Christ’s age at the time of the crucifixion), but also by setting his narrative on Holy Thursday; in addition to this, the case can be made that Benji’s fixation with trees is intended to remind the reader of the tree that Jesus himself died on. In the same way that Benji was linked to Christ, he has even more importantly linked to love- he never attempts any form of violence, or even engages in any malicious acts during his narrative. The loving Christ Benji has been linked to is the Christ seen in John 8:7 (“Let he who has not sinned cast the first stone”), or Matthew 19:14 (“let the children come to me”). However, Benji is a flawed Christ; he is too overwhelmed by his Christ-like love and emotion to do anything meaningful with his time aside from gathering flowers, miss his lost family members, and wander about. This, of course, could be attributed to the character’s mental disability, but it could also be the cause of his mental disability; Faulkner le...
The main recurring theme in Flannery O’Connor’s stories is the use of violence towards characters in order to give them an eye-opening moment in which they finally realize their true self in relation to the rest of society and openly accept insight into how they should act or think. This theme of violence can clearly be seen in three works by Flannery O’Connor: A Good Man is Hard to Find, Good Country People, and Everything That Rises Must Converge.
In this book review I represent and analyze the three themes I found the most significant in the novel.