Flannery O'Connor American Literature Analysis
O’Connor always saw herself as writing from an explicitly Christian point of view; indeed, given her convictions, that was the only way she could consider writing. She saw her religion as liberation and considered it a vocation in much the way one might be called to the priesthood. At the same time, she resented the sentimental expectations that people frequently hold toward what they might call “religious” fiction—maudlin stories about deathbed conversions and inspirational saints’ lives.
O’Connor undermined those expectations by her use of humor; she avoided pious characters and conventionally “churchy” settings. Instead, she drew her characters and settings from the rural South she knew so well. Those characters were sometimes labeled grotesques by critics and scholars, but she rejected the term, feeling that it originated with writers who understood the South as little as they understood Christianity, a condition of ignorance she intended to remedy. She understood that she was writing to a secular world, and she intended to instruct it in the Christian understanding of grace and redemption as the elements most central to human life. At the same time, O’Connor recognized the dangers of becoming a sermonizer instead of an artist (she talked about that issue in some of her addresses), although the satiric humor in her style, the violence in her plots, and her strange characters made it unlikely that she would fall into that difficulty....
(The entire section is 6502 words.)
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