When asked that exact same question O’Connor insisted on the fact that a short story was not a joke, an anecdote, a lyrical rhapsody in prose, a case history or a reported incident for it has an extra dimension that occurs when the writer puts us (the readers) in the middle of some human action and shows it as it is, illuminated and outlined by mystery (May, 6). A short story, Flannery O’Connor’s in particular, more than often focus on a character who is confronted with the world of spirits which then challenges his or her conceptual framework of reason and social experience (May 14). Story after story, she brings her characters at times and situations when and where it is impossible for them to continue to act as they would normally do. The primary focus of this r...
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...ian poet, and storyteller as well, is like the blind man whom Christ touched, who looked then and saw men as if they were trees but walking” (Kinney, 115).
She was an incarnational writer for whom the greatest possibility of art, its greatest mystery and appeal, was the reification of the prototypical incarnation: the awareness that all of us are, actually or potentially, temples of the Holy Ghost. A central principle of O’ Connor’s catholic theology expressed by St. Thomas Aquinas and other theologians, is that evil has no being, evil always appears good to the one that commits it (Desmond, 144). Despite the overwhelming presence of religion in her writing, she was still able to write compelling stories. Spreading the Gospel by using both biblical narratives as well as literacy and theological texts, giving the reader room to interpret the stories (Srigley, 29).
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