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
I love a lot of people, understand none of them...
Mrs. Hopewell had no bad qualities of her own but she was able to use other people's in such a constructive way that she never felt the lack.
All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.
I use the grotesque the way I do because people are deaf and dumb and need help to see and hear.
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.
I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing.
So many people can now write competent stories that the short story is in danger of dying of competence.
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.
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.
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.
You will have found Christ when you are concerned with other people’s sufferings and not your own.
What people don’t realize is how much religion costs. They think faith is a big electric blanket, when of course it is the cross.
I know well enough that very few people who are supposedly interested in writing are interested in writing well. They are interested in publishing something, and if possible in making a "killing." They are interested in being a writer not in writing. . . If this is what you are interested in, I am not going to be much use to you.
It is a good deal easier for most people to state an abstract idea than to describe and thus re-create some object they actually see.