“A Good Man is Hard to Find”: Comparing Flannery O’Connor’s Literary Technique to Grotesque Medieval Literature
Upon initially reading Flannery O’Connor’s work, one would have no problem recognizing her use of shocking, violent, or despairing themes. It may not be as easy, however, to completely accept or understand her style. According to Patrick Galloway, one must be “initiated to her trademarks when reading any of her two novels or thirty-two short stories (1).In many of her works, she paradoxically uses styles that are grotesque and brutal to illustrate themes of grace and self-actualization. As O’Connor herself says, “I have found that violence is strangely capable of returning my characters to reality and preparing them to
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in Enjolras 14).Therefore, despite the violence and death, O’Connor does the grandmother a favor by allowing her a moment of self-understanding and grace (Galloway 3-4).
Author Anthony Di Renzo notes the effectiveness of O’Connor’s use of thematic revelation.Rather than opposing one another, good and evil instead exist as “equally odd, equally absurd, and equally shocking” (122).The good and evil ironically converge to relay the message of grace, common throughout her works. O’Connor wanted her stories “to reach the unbelieving reader,” and the shocking aspect of the grotesque was the most effective way to reach him/her (Hawkins 28-29).
In “A Good Man,” even the physical appearance of the characters contributes to this grotesque reality.In Flannery O’Connor’s Characters, Laurence Enjolras analyzes the fictitious personalities O’Connor has created.His chapter entitled “Physical Portrait: The Ugly Human Body” looks specifically at characters in “A Good Man” (5). Enjolras emphasizes that O’Connor does not present glamorous, idealized characters.Instead, she depicts the “ordinary” human being, notwithstanding flaws or deformity
She truly wishes to paint a picture with her words and really does want readers to see her image but only the “right” way. O’Connor is vigorous in the way she writes and only the most grotesque readers will truly understand this and appreciate her work; and why foreshadow helped bring to life a piece of work such as A Good Man Is Hard To Find.
Flannery O’Connor has long been criticized for her blatant incorporation of religious symbols into sinister, dark stories. In the short story “A Good Man Is Hard To Find,” the dark and apathetic Misfit is said to portray, in an allegorical sense, a Christ-like figure. However, through the interpretation of the inversions of divine characteristics, his repulsion of Christ’s very existence, and the denial of any powers beyond the observable realm, we find that the Misfit is actually representative of the Anti-Christ.
The Power Of Good And Evil in Flannery O'Connor's A Good Man is Hard to Find
In the short story A Good Man Is Hard to Find, written by Flannery O’Connor, the theme that the definition of a ‘good man’ is mysterious and flawed is apparent. The reader must realize that it is difficult to universalize the definition of a good man because every person goes through different experiences. Thus, these experiences affect his or her viewpoint and in turn flaw ones view on a good man. O’Connor conveys this theme through her excellent use of diction, imagery, foreshadowing, and symbolism as well as through a creative use of repetition and an omniscient point of view.
Flannery O’Connor was an American author who often wrote about characters who face violent situations. These situations force the characters into a moment of crisis that awakens or alters their fate. Her short stories reflect her Roman Catholic faith and frequently discuss questions of morality and ethics. O’Connor’s Catholic upbringing influenced most of her short stories, often accumulating criticism because of her harsh portrayal of religion. O’Connor incorporates the experience of a moment of grace in her short stories to contribute to the meaning of her works and to represent her faith.
“A Good Man is Hard to Find” retells a story of all the evil in this world and how hard it is to find a good person. By creating strong characters and using figurative language and literary techniques, O’Connor leaves the reader
In “A Good Man is Hard to Find”, Flannery O’Connor uses grotesque and flawed characters to reflect her own faith on the Roman Catholic Church. Set in the rural South during the 1950s, O’Connor takes readers on a journey from a satiric family comedy to a brutal cold blooded murder. An analysis of O’Connor’s use of religious symbolism and foreshadowing through characters and setting will be conducted in order to better understand her views and faith of the Catholic Church. This paper will also argue the belief that religious wisdom is the key for moral guidance.
Flannery O’Connor was a short story author from Savannah, Georgia. She has produced many critically acclaimed pieces and has won several awards for them. Two distinct pieces she wrote are titled The Life You Save May Be Your Own and Good Country People. While both of her stories are unique, the underlying storyboard and character creation process that O’Connor used is the same throughout her stories. Her stories usually involve one or more self-centered woman, a younger person who become the victim of egregious crime, and a conniving male driven by his own motives. Good Country People and The Life You Save May Be Your Own do not stray from this rule. In either story, the narrative is driven around a shocking tragedy that is very unexpected. Even though in the tragedies committed in the book always have a belligerent and a victim, it is not easy to discern who amongst the two are the antagonist and the protagonist. In either of these narratives, the tragedy that occurred within the stories blurs the line between antagonist and protagonist.
The short story "Greenleaf" shows us some of the central themes of Flannery O'Connor's literary work.
With the shock of coming face-to-face with death, she starts to let go of her power-hungry and deceptive behavior and decides to act out of love and humility. Her head has become clear, and more than ever she becomes aware of the situation. All her shallow and hypocritical thoughts seemed to have dissipated, and she sees the Misfit as a child of God just. The grandma notices a voice crack in the Misfit’s voice and thought he was about to cry; she murmurs, “Why you're one of my babies. You're one of my own children” (O’Connor 458-459)! The grandmother calls the Misfit one of her kids despite the crimes he has already committed; God’s spirit may have entered the grandmother and is attempting to offer redemption to the Misfit since she has now accepted it. The still figure of the grandmother is described as “her legs crossed under her like a child’s and her face smiling up at the cloudless sky” (459). God has given the grandma salvation now, and her spirit has a journey to heaven via the cloudless sky. O’Connor shows the protagonist to be hypocritical, but the protagonist found salvation and appeared happy after accepting God and feeling love towards the Misfit; the Misfit appeared to reject God when he shot the grandmother in the chest after she was trying to lend him a hand. The grandmother was able to find salvation through the violence the Misfit brought.
O’Connor borrowed these characteristics from her life and used them in the complex characters she would later create. Her Catholic faith is another point that drove O’Connor’s writing, especially given that she grew up in a Protestant-majority region. “Flannery O'Connor put much conscious thought into her dual role of Catholic and fiction writer” (Galloway). Her devout faith plays a huge role in her writing, as most of her characters grapple with salvation and grace. O’Connor’s influences in life were so powerful, they became the same topics that impacted her philosophy in writing.
Flannery O’Connor and William Faulkner refuse to surrender to the temptation of writing fanciful stories where the hero defeats the villain and everyone lives happily ever after. Instead, these two writers reveal realistic portrayals of death and the downfall of man. Remarkably, O’Connor and Faulkner’s most emotionally degraded characters fail to believe that an omnipotent deity controls their fate. This belief directly correlates to the characters’ inability to follow a strict set of morals or value human life. On the other hand, one might expect Faulkner and O’Connor’s “Christian” characters to starkly contrast the vile heathens who deny the existence of God.
To the uninitiated, the writing of Flannery O'Connor can seem at once cold and dispassionate, as well as almost absurdly stark and violent. Her short stories routinely end in horrendous, freak fatalities or, at the very least, a character's emotional devastation. Working his way through "Greenleaf," "Everything that Rises Must Converge," or "A Good Man is Hard to Find," the new reader feels an existential hollowness reminiscent of Camus' The Stranger; O'Connor's imagination appears a barren, godless plane of meaninglessness, punctuated by pockets of random, mindless cruelty.
Many had their own opinions of O 'Connor 's work. "The literary works of Flannery O 'Connor often contend that religious belief can only be consummated by direct confrontation with evil and for those uncommitted and unprepared, tragedy seems inevitable." (Cook Online). Many of the early critics never realized that O 'Connor 's worked with revelation, which at the time, others did not (Reagan Online). As Frederick Asals once said, "Conflict, often violent conflict, is the very center of Flannery O 'Connor 's fiction"(93). Although O 'Connor 's work was awarded greatly, it was also often "dismissed" because of its "Gothic Violence" (Reagan Online). I have to agree with Dorothy Walters when she says, "...nothing is more striking than her remarkable capacity to blend the comic and the serious in a single view of reality." (13).
This story has focused on the story’s extreme violence. O’Connor herself justified the use of terror to shock spiritually complacent modern readers: “To the hard of hearing you shout and for the almost blind you draw large and startling figures.” While many critics accept this rationalization, others are less comfortable with the story’s abrupt descent into brutality. (178)