American Gargoyles: Flannery O'Connor and the Medieval Grotesque.

1994 ◽  
Vol 66 (3) ◽  
pp. 607
Author(s):  
Jill Pelaez Baumgaertner ◽  
Anthony Di Renzo
Keyword(s):  
Flannery O'connor

Flannery O'Connor : Un paon pour ange gardien

1988 ◽  
Vol 39 (1) ◽  
pp. 39-48
Author(s):  
Marie-Claire Pasquier
Keyword(s):  
Flannery O'connor

The Christian Humanism of Flannery O'Connor.

1973 ◽  
Vol 45 (1) ◽  
pp. 137
Author(s):  
Irving Malin ◽  
David Eggenschwiler
Keyword(s):  
Flannery O'connor ◽  
Christian Humanism

The Pruning Word: The Parables of Flannery O'Connor.

1976 ◽  
Vol 48 (3) ◽  
pp. 409
Author(s):  
John Ditsky ◽  
John R. May
Keyword(s):  
Flannery O'connor

A Southern Drawl from beyond the Grave

1966 ◽  
Vol 12 ◽  
pp. 99-101
Author(s):  
Rene Jordan
Keyword(s):  
Short Stories ◽  
Flannery O'connor ◽  
Pulitzer Prize ◽  
New Yorker ◽  
Book Award ◽  
National Book

The bell has finally tolled for Flannery O'Connor. The National Book Award and the Pulitzer Prize have both passed up the opportunity to honor her posthumous collection of short stories, Everything that Rises Must Converge. Still, you can't help wondering what best-sellerdom could have done to a book like this. Few will read it through and most of those who stop at the halfway mark will become rabid anti-O'Connorites. Of all the first-rate American writers of the century, she is the easiest to put down. Her characters are self-conciously larger than life, her prose laden with portent in every semi-colon, her plotting so relentlessly tragic that every sentence is like a step – inevitable and often predictable – toward a witches' brew of a Grand Guignol finale. Impatient readers will feel Flannery is getting nowhere pretty slow. After some stirring and simmering of emotions, they'll quit and stop reading short of the climax, with the worst possible results. An O'Connor story is not one of those “New Yorker” Flirtations that ramble charmingly and stop coquettishly: Flannery O'Connor is no playful, teasing minx.

scholarly journals Flannery O'Connor: la violencia y la gracia

2017 ◽  
Vol 19 ◽  
pp. 169-177
Author(s):  
Marina Fe
Keyword(s):  
Flannery O'connor

Este artículo es resultado de la lectura de algunos relatos de Flannery O’Connor desde la perspectiva del llamado “gótico americano”. El propósito es explorar el tema de la violencia que predomina en la narrativa de esta autora acompañado de su idea de la gracia, en el sentido cristiano del término. O’Connor era una escritora profundamente católica y en sus cuentos busca que la gracia llegue no sólo a sus personajes sino también a sus lectores. Se trata de una suerte de revelación que puede tener lugar en su conciencia a partir de una experiencia terrible que lostransforma.

scholarly journals Shattered Legs, Softened Hearts:

Lumen et Vita ◽  
2019 ◽  
Vol 10 (1) ◽  
pp. 1-8
Author(s):  
Michael Infantine
Keyword(s):  
Short Story ◽  
Human Life ◽  
Flannery O'connor ◽  
Comparative Case Study ◽  
Her Family ◽  
The One ◽  
God's Grace ◽  
Working Out ◽  
Looking Back

What does it look like to cooperate with God’s grace, and what does it look like to hide from it? In 1521, Ignatius of Loyola, an ambitious and promising young soldier in the Spanish army, is shot in the leg and suffers a career-ending injury that sparks his eventual conversion to Christianity. It would appear, looking back on this event, that grace came for Ignatius in a form that could only be recognized at the time as tragedy and senseless suffering. Four hundred thirty four years later, Flannery O’Connor, a young novelist from Georgia, writes the short story of a woman named Hulga who, after losing a leg in a shooting accident as a young girl, recedes into isolation and naked contempt for all those closest to her until one day a mysterious visitor knocks at the door of her family home. For Hulga too, grace may be out to find her in the place she might least expect. This paper will hold up the figures of St. Ignatius and Hulga as a comparative case study in which to examine the working out of God’s grace in the economy of a human life. Ignatius, through his humility and loyalty to Christ in the wake of his injury, is an icon of God’s grace and the conversion to which it calls him. Hulga, in her obstinate scorn and self-proclaimed superiority over all those who seek relationship with her, is the epitome of the one who resists the love of the Other. Even still, there may be hope for Hulga yet by the story’s end.

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