Flannery O'Connor
Flannery O'Connor
Mary Flannery O'Connorwas an American writer and essayist. An important voice in American literature, she wrote two novels and 32 short stories, as well as a number of reviews and commentaries. She was a Southern writer who often wrote in a Southern Gothic style and relied heavily on regional settings and grotesque characters. Her writing also reflected her own Roman Catholic faith and frequently examined questions of morality and ethics. Her posthumously-compiled Complete Stories won the 1972 U.S. National Book...
NationalityAmerican
ProfessionNovelist
Date of Birth25 March 1925
CitySavannah, GA
CountryUnited States of America
Unadaptability is often a virtue.
When we look at a good deal of serious modern fiction, and particularly Southern fiction, we find this quality about it that is generally described, in a pejorative sense, as grotesque. Of course, I have found 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.... Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one.
There is no excuse for anyone to write fiction for public consumption unless he has been called to do so by the presence of a gift. It is the nature of fiction not to be good for much unless it is good in itself.
Even a child with normal feet was in love with the world after he had got a new pair of shoes.
Anyone who survives a southern childhood has enough material to last a lifetime.
To the hard of hearing you shout, and for the almost blind you draw large and startling figures.
There is a certain embarrassment about being a storyteller in these times when stories are considered not quite as satisfying as statements and statements not quite as satisfying as statistics; but in the long run, a people is known, not by its statements or its statistics, but by the stories it tells.
The life you save may very well be your own.
Behind the newspaper Julian was withdrawing into the inner compartment of his mind where he spent most of his time. This was a kind of mental bubble in which he established himself when he could not bear to be a part of what was going on around him. From it he could see out and judge but in it he was safe from any kind of penetration from without. It was the only place where he felt free of the general idiocy of his fellows. His mother had never entered it but from it he could see her with absolute clarity.
I am very handy with my advice and then when anybody appears to be following it, I get frantic.
She could never be a saint, but she thought she could be a martyr if they killed her quick.
I am interested in making up a good case for distortion, as I am coming to believe it is the only way to make people see.
...you have to cherish the world at the same time that you struggle to endure it.
People without hope not only don’t write novels, but what is more to the point, they don’t read them. They don’t take long looks at anything, because they lack the courage. The way to despair is to refuse to have any kind of experience, and the novel, of course, is a way to have experience.