Subject of her stories; Plot of her works; Character analysis of her novels. Vision function in the collections of short stories; Characteristics of the eye in conflict between individual perception and truth; Synthesis of the dynamics of vision operative in the story 'Revelation'.
Classroom Issues and Strategies My students have trouble dealing with the horror that O'Connor evokes--often they want to dismiss the story out of hand, while I want to use it to raise questions.
Another problem pertains to religious belief: Either students lack any such belief which might make a kind of sense of O'Connor's violence or else, possessing it, they latch onto O'Connor's religious explications at the expense of any other approach.
I like to start with students' gut responses--to start with where they already are and to make sure I address the affective as well as the cognitive.
In particular, I break the class into groups of five and ask students to try to build consensus in answering study questions. In general, the elusiveness of O'Connor's best stories makes them eminently teachable--pushing students to sustain ambiguity, to withhold final judgments.
It also pushes me to teach better--to empower students more effectively, since I don't have all the answers at my fingertips. My responses to O'Connor are always tentative, exploratory. I start, as do most of my students, with a gut response that is negative. For O'Connor defies my humanistic values--she distances the characters and thwarts compassion.
Above all, O'Connor's work raises tantalizing questions. Is she, as John Hawkes suggests, "happily on the side of the devil"? Or, on the contrary, does the diabolical Misfit function, paradoxically, as an agent of grace? We know what O'Connor wants us to believe.
The most useful source here is O'Connor's own essays and lectures, which often explain how to read her works as she would have them read.
Certainly O'Connor's pronouncements have guided much of the criticism of her work. I'll summarize some of her main points: She states that the subject of her work is "the action of grace in territory held largely by the devil" Mystery and Manners She tries to portray in each story "an action that is totally unexpected, yet totally believable"often an act of violence, violence being "the extreme situation that best reveals what we are essentially" Through violence she wants to evoke Christian mystery, though she doesn't exclude other approaches to her fiction: In general O'Connor explains that she is not so much a realist of the social fabric as a "realist of distances" 44portraying both concrete everyday manners and something more, something beyond the ordinary: She admits too that her fiction might be called grotesque, though she cautions that "anything that comes out of the South is going to be called grotesque by the northern reader, unless it is grotesque, in which case it is going to be called realistic" And she connects her religious concerns with being southern, for, she says, "while the South is hardly Christ-centered, it is most certainly Christ-haunted" I also find it important to address the question of racism in the story.
Is the story racist? Is the grandmother racist, in her comments on cute little pickaninnies and her use of "nigger"? Does the narrator endorse the grandmother's attitude? And what do we make of her naming a cat Pitty Sing--a pseudo-Japanese name that sounds less like Japanese than like a babytalk version of "pretty thing"?
Is O'Connor simply presenting characteristically racist attitudes of not particularly admirable characters? I find Alice Walker's comments helpful here, on O'Connor's respectful reluctance to enter the minds of black characters and pretend to know what they're thinking.
Comparisons, Contrasts, Connections O'Connor is usually compared to writers who are southern or gothic or Catholic or some combination thereof: What qualities of the grandmother do you like?
What qualities do you dislike? How did you feel when The Misfit killed her? How would you characterize the other members of the family? What is the function of images like the following: How does O'Connor foreshadow the encounter with The Misfit?
What does the grandmother mean by a "good man"? Whom does she consider good people? What are other possible meanings of "good"? Why does she tell The Misfit that he's a good man? Is there any sense in which he is? What is the significance of the discussion of Jesus?Splendidly illuminating both O'Connor herself and the American mind, Wood's Flannery O'Connor and the Christ- Haunted South will inform and fascinate a wide range of readers, from lovers of literature to those seriously engaged with religious history, cultural analysis, or the American South.
In Flannery O’Connor’s “Good Country People,” the character Hulga is a person that wants to maintain control in every aspect of her life good or bad. To Hulga it seems she is in constant control of her surroundings and her life. Flannery O'Connor Homework Help Questions.
What is the "abysmal life-giving knowledge" that Mrs. Turpin discovers in Revelation? “Revelation,” like much of Flannery O’Connor’s fiction. Flannery O'Connor's 'Revelation' / Active Voice [ send me this essay ] This 3 page essay discusses a specific passage from Flannery O'Connor's Revelation (pp.
) that illustrates active voice and uses language to convey meaning and mood. Klaus retaining and without manifesting an analysis of the ethical dilemma of the indian burial controversy his point an analysis of revelation by flannery oconnors of view of shipowner and an analysis of the topic of descartes philosophy invalid despotically.
Symbolism in Flannery O’Connor’s “Revelation” Flannery O’Connor belongs to the school of writing called American Southern Gothic.
Her fiction revolves around people from the South and the volatile relationships fermenting in their society.