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
...the only thing that makes the Church endurable is that it is somehow the body of Christ and that on this we are fed. It seems to be a fact that you have to suffer as much from the Church as for it but if you believe in the divinity of Christ, you have to cherish the world at the same time that you struggle to endure it.
Many of my ardent admirers would be roundly shocked and disturbed if they realized that everything I believe is thoroughly moral, thoroughly Catholic, and that it is these beliefs that give my work its chief characteristics.
But learned people can analyze for me why I fear hell and their implication is that there is no hell. But I believe in hell. Hell seems a great deal more feasible to my weak mind than heaven. No doubt because hell is a more earth-seeming thing. I can fancy the tortures of the damned but I cannot imagine the disembodied souls hanging in a crystal for all eternity praising God.
That's the trouble with you preachers," he said. "You've all got too good to believe in anything," and he drove off with a look of disgust and righteousness.
She was a good Christian woman with a large respect for religion, though she did not, of course, believe any of it was true.
If you're a Catholic you believe what the Church teaches and the climate makes no difference.
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.
One of the awful things about writing when you are a Christian is that for you the ultimate reality is the Incarnation, the present reality is the Incarnation, and nobody believes in the Incarnation; that is, nobody in your audience. My audience are the people who think God is dead. At least these are the people I am conscious of writing for.
I think there is no suffering greater than what is caused by the doubts of those who want to believe.
One of the effects of modern liberal Protestantism has been gradually to turn religion into poetry and therapy, to make truth vaguer and vaguer and more and more relative, to banish intellectual distinctions, to depend on feeling instead of thought, and gradually to come to believe that God has no power, that he cannot communicate with us, cannot reveal himself to us, indeed has not done so, and that religion is our own sweet invention.
It is popular to believe that in order to see clearly one must believe nothing. This may work well enough if you are observing cells under a microscope. It will not work if you are writing fiction. For the fiction writer, to believe nothing is to see nothing.
There is a question whether faith can or is supposed to be emotionally satisfying. I must say that the thought of everyone lolling about in an emotionally satisfying faith is repugnant to me. I believe that we are ultimately directed Godward but that this journey is often impeded by emotion
It was not right to believe anything you couldn't see or hold in your hands or test with your teeth.
I believe the teacher's work is largely negative, that it is largely a matter of saying, "This doesn't work because ..." or "This does work because ..." The because is very important. The teacher can help you understand the nature of your medium, and he can guide you in your reading.