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Fiction. Short Stories. HTML: Winner of the National Book Award The publication of this extraordinary volume firmly established Flannery O'Connor's monumental contribution to American fiction. There are thirty-one stories here in all, including twelve that do not appear in the only two story collections O'Connor put together in her short lifetime�??Everything That Rises Must Converge and A Good Man Is Hard to Find. O'Connor published her first story, "The Geranium," in 1946, while she was working on her master's degree at the University of Iowa. Arranged chronologically, this collection shows that her last story, "Judgement Day"�??sent to her publisher shortly before her death�??is a brilliantly rewritten and transfigured version of "The Geranium." Taken together, these stories reveal a lively, penetrating talent that has given us some of the most powerful and disturbing fiction of the twentieth century. Also included is an introduction by O'Connor's longtime editor and friend, Robert Gir… (more)
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I was racking my brain to come up with the perfect superlative to describe O'Connor's short stories and nothing fits better. All of the recurring themes—racism, murder, loss, pain, religious fanaticism—are written with an edge that can make you physically wince while reading.
This
Speaking of characters, O'Connor's are larger-than-life yet completely believable. Read one of these stories on a park bench somewhere and you will see the characters stumble past you.
Flawed humanity has never looked so beautiful.
Her general them could be described as dark religious irony. Most of her stories are about the impoverished South. She writes about religion and race, and the sub-classes of people and their perspectives on these topics. The introduction explains how Thomas Merton admired Flannery's writing. It's easy to see the raw spiritual truth that he probably found as well. Perhaps the late 50's needed a literary prophet to point out the racial disparity and religious hypocrisy of that time. Reading it fifty years later, it needs that historical context in order to seem more than the type of ranting cynical college students make during late-night philosophical discussions. Would she get the same accolades today, given that we're less easily shocked and plenty of young writers combine grittiness with rejection of traditional religion?
I preferred some of her earlier stories, such as "The Crop" and "The Turkey" over her more highly acclaimed "Good Country People" and "A Good Man is Hard to Find." In "The Crop," she exemplifies directly the differences between bad and good writing. She also conveys how good content comes from within the writer. "The Turkey" is simple, but it works by building suspense and giving us a very understandable character. "Good Country People" has a good twist but the cynicism itself is too direct. "A Good Man is Hard to Find" is downright morbid.
I read 5 of her stories:
The Enduring Chill
Everything That Rises Must Converge
A Good Man Is Hard to Find
Judgment Day
A View of the Woods
and I think that'll be enough, unless my life begins to go off on such a wild spree of happiness that I need to bring myself down a peg or two.
Flannery O'Connor's short stories are morbid, dark, surprising, edgy and marvelous and uplifting at the same time. Many discriminating readers, including some of my family members
Some people object to her use of old southern vernacular ("n*gg*r" pickaninny"). Similar objections were raised when Mark Twain's The Adventures of Huckleberry Finn was published. If you are a sensitive politically correct type, then definitely avoid her stories. But you will be sadly missing out on some wonderful writing.
Some of my favorites in this collection were: The Geranium, A Late Encounter with the Enemy, The River, The Displaced Person, The Artificial N*gg*r, Good Country People, Greenleaf, A View of the Woods, The Enduring Chill, The Comforts of Home and The Lame Shall Enter First, with the last two being the favorites among the favorites. There were several stories in this book which were later incorporated into her novel Wise Blood. Those were not as compelling. O'Connor's best form was by far the short story.
It was a joy to read these stories, as it was for pure enjoyment this time around. I am thankful to my college profs who introduced me to her writing many years ago.
O'Connor uses the impressive technique of what I like to call "distant narration": the narrator holds the characters at a distance through syntax, resulting in a schism between what the character knows and what the reader knows, and the reader ends up knowing more about the characters and their situations than the characters do themselves. It's because of this technique that I believe we are able to so easily read about such blatant situations of racial and class prejudice: we know the characters are insipid and thus don't take them and their backwards beliefs too seriously.
Flannery O'Connor's thirty-one short stories, written over twenty years until her death in 1964, tackle larger themes such as religion and segregation through the personal dilemmas of single characters. Her approach is direct and unflinching, but without being obvious - I was rather worried about the religious undertone of her writing, but she wasn't trying to correct or instruct, only illustrate. The 'n' word crops up so often that her stories have no doubt been nominated for the banned books list in the US, but the use of racial slurs by that isolated breed of poor ignorant southerners left behind by the twentieth century only insults the narrator, not the reader. I view novels and stories like this not as a continuation or commendation of the past, but as a warning to contemporary readers; nor do I believe that Flannery O'Connor, a native of Georgia, was criticising or stereotyping all southerners as old-fashioned, proud and narrow-minded, but she was probably writing from experience. 'The Geranium', 'The Artificial N*gg*r', and 'Everything That Rises Must Coverge' deal with racial segregation and tensions, but 'Greenleaf' and 'Revelation' are also about social prejudice, and 'The Displaced Person' refers to the Holocaust in Europe.
There is so much hidden depth in this collection, and every story really made me think. My favourites, if it is possibly to choose, are the more 'ordinary' tales - 'A Stroke of Good Fortune', 'A Good Man is Hard to Find' (for the shocking yet oddly satisfying ending), General Sash in 'A Late Encounter with the Enemy', the little boy 'Bevvvuuuul' in 'The River', the horrible children in 'The View of the Woods' and 'The Lame Shall Enter First', and 'The Crop', as a study of the writer at work. Flannery O'Connor also has a talent for similes that I admire - eyes like silver fish caught in a net of red threads, and 'he seemed mute and patient, like an old sheep waiting to be let out'.
Wonderful - a lesson in writing, and a joy to read.
What else can I say about this wonderful woman?
Actually, I would probably invite this lady to my ultimate dinner party.
O'Connor sets her stories in the rural South and populates them with flawed, grotesque,
Pick up a story and read just one paragraph and you will be hooked.
"Asbury's train stopped so that he would get off exactly where his mother was standing waiting to meet him. Her thin spectacled face below him was bright with a wide smile that disappeared as she caught sight of him bracing himself behind the conductor. The smile vanished so suddenly, the shocked look that replaced it was so complete, that he realized for the first time that he must look as ill as he was..."
Absolutely the highest recommendation.
She covers the Grotesque and Sin of Southern life, for some thirty-odd stories. Sin and Grace in a palatable and altering way. Excellent characterization, using the smallest of
Like all good short story collections, not to be consumed in one sitting.