Characters
O'Connor often crafts characters who possess such overwhelming confidence in their moral beliefs that they act on these convictions, only to realize they were gravely mistaken. The protagonist of "Parker's Back" exemplifies this human flaw. In an effort to earn his wife's respect, Parker decides to have an image of Christ tattooed on his back, adding to the collection of body art he has accumulated since his military service. When questioned by the pool-hall patrons about his decision, Parker initially reacts with anger, only to be thrown out into the alley where he begins:
Examining his soul. He saw it as a tangled web of truths and falsehoods that held little significance to him but seemed necessary despite his views. The eyes now permanently on his back were eyes to be heeded. He was as certain of this as anything else. Throughout his life, grumbling, sometimes cursing, often fearful, and once in ecstasy, Parker had followed whatever instinct of this nature came to him.
His attempt to reach his wife's moral standards, only to be labeled an idolater, is not the story's greatest irony. His wife's purportedly higher moral standards seemingly exclude true Christian humility and compassion, as she beats his back and scornfully watches him "leaning against the tree, crying like a baby."
One of O'Connor's most effective techniques for revealing the superficiality of her characters is to highlight their banal assumptions about the world, which they unknowingly share in their everyday conversations. Often, these trite phrases are followed by further assumptions. For instance, in "The Comforts of Home," Thomas's mother remarks, "We don't know how the other half lives," and then makes several assumptions about how she believes black people or "poor white trash" live and think. This kind of characterization frequently occurs when the characters feel threatened. The younger children in the stories seem to recognize this hypocrisy but are not saved by it.
The belated remorse of spoiled, disdainful adult children follows. The most striking example of this generational conflict is the interaction between Julian and his mother in the title story as he escorts her on the bus. His mocking laughter and manipulations to underscore the changing racial dynamics drive her toward death. In "The Comforts of Home," Thomas agonizes over the disruptions in his routine as he grapples with his mother's desire to shelter the unfortunate. Thomas is so morally rigid in his convictions about how the world should function that he detests the very existence of this young woman. When Sarah Ham discovers the gun he planted in her purse, "At that instant Thomas damned not only the girl but the entire order of the universe that made her possible." He indeed creates a permanent change in his world by killing his mother during his struggle with Sarah:
The explosion sounded like it was meant to vanquish all evil from the world. Thomas perceived it as a noise that would silence the laughter of immoral people until all screams were smothered, leaving nothing to disrupt the tranquility of perfect order.
As his mother plunges to her death, Thomas clings to the seductive influence she introduced into his life. This contradictory situation is observed by the sheriff, who "was accustomed to encountering scenes less severe than he had expected, but this one met his expectations."
In numerous stories, parents either try to shield their child from harsh realities they themselves wish to avoid, or they neglect their sacred duty to protect their children. In "The Lame Shall Enter First," Sheppard becomes so preoccupied with assisting the "unfortunate child," Rufus Johnson, that he neglects his...
(This entire section contains 945 words.)
Unlock this Study Guide Now
Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.
Already a member? Log in here.
own son until it's too late. He realizes that one child takes advantage while the other suffers. When Sheppard can no longer ignore Rufus' deceitful ways and faces an unexpected revelation, he tries to console himself with, "I have nothing to reproach myself with," but the truth hits hard:
Slowly, his face lost all color, turning almost grey beneath the white halo of his hair. The sentence echoed in his mind, each syllable like a heavy blow. His mouth twisted, and he closed his eyes against the revelation. . . His heart tightened with a self-loathing so intense that he gasped for air. He had filled his own emptiness with good deeds like a glutton. He had neglected his own child to sustain his self-image. . . . His self-perception shriveled until everything went black before him. He sat there, paralyzed and horrified.
O'Connor's characters vividly illustrate that one can so misinterpret moral codes, including Scripture, that they lose their way. In "The Lame Shall Enter First," it's evident that those who are physically lame may not be the ones most in need of protection.
An individual who refuses to yield to the wishes of others, even loved ones, is most starkly depicted in "A View of the Woods." Mary Fortune's grandfather unwittingly kills his most cherished family member out of fear that she will not perfectly align with his desires, which are indeed threatened by potential vulnerability.
Without exception, characters who face death exhibit a foreboding sense of impending doom. Some, like Asbury in "The Enduring Chill," experience this repeatedly. Others, such as Thomas in "The Comforts of Home," channel their energy to combat this feeling: "The girl had caused a disturbance in the depths of his being, somewhere out of the reach of his power of analysis. He felt as if he had seen a tornado pass a hundred yards away and had an intimation that it would turn again and head directly for him." Sometimes, it manifests as a sudden flash of recognition, catching the character completely off guard, as it does with Mrs. Mays in "Greenleaf."
Characters
Caroline
Caroline was Julian’s mother's nanny during her childhood. Julian's mother calls her an "old darky" but also insists, "there was no better person in the world." Caroline is the last person Julian's mother calls for before she passes away, indicating a return to her childhood and a true closeness with Caroline.
Carver
Carver is a young African-American boy who boards the bus with his mother. He sits next to Julian's mother, who does not view black children with the same distrust she has for adults. She finds him adorable and regains her composure by playfully interacting with him. She offers him a penny, thinking it a polite gesture.
Colored Woman
An African-American woman boards the bus with her son and ends up sitting next to Julian. She is wearing the same hat as Julian's mother—a hat Julian’s mother deemed too costly—symbolizing the rise of African-Americans in Southern society. Julian finds a bitter irony in the identical hats and their seating arrangement, which he sees as a symbolic "swapping" of sons.
The African-American woman is blunt and assertive, lacking the genteel manners and subtle condescension of Julian’s mother. She resents Julian’s mother for trying to ingratiate herself with her son and slaps her when she offers him a penny.
Julian
Julian is the main character in "Everything That Rises Must Converge." A young white man in his early twenties, he has recently graduated from college and lives with his mother, contributing minimally by selling typewriters.
The story centers on his complicated relationship with his mother and his rejection of her outdated, racist beliefs. Although he appreciates her financial and emotional support, Julian prides himself on seeing her objectively and not being controlled by her.
Race relations ignite a significant conflict between mother and son. Julian views himself as liberal and progressive because he rejects his mother’s racist views; however, it becomes evident his stance is more about antagonizing his mother than having a thoughtful perspective. He has an "evil urge to break her spirit," and when he finally succeeds, he is filled with deep regret.
Julian’s Mother
Julian’s mother is a traditional Southern lady. Coming from a prestigious, wealthy family, she is now nearly destitute. Nearly all her money goes to her beloved son, Julian, enabling him to finish college and pursue a writing career.
Julian’s mother holds outdated racist views: she staunchly supports segregation, believes blacks were better off as slaves, and blames civil rights legislation for her declining social and economic status. Despite this, she clings to her ideals of gentility and grace, as she believes a Southern lady should.
‘‘Everything That Rises Must Converge’’ delves into the complicated and strained relationship between Julian and his mother. Julian attempts to challenge her prejudiced views while they are on an integrated bus, aiming to educate her on race relations, justice, and contemporary society.
The tension from Julian's confrontational behavior worsens when she is physically attacked, leading to a stroke. As she nears death, she gazes at her son with an unrecognizing look and calls out for her childhood nurse, a black woman.
Negro Man
To make a statement about his beliefs on racial integration and to provoke his mother, Julian chooses to sit next to a well-dressed African-American man. Julian tries to start a conversation by asking the man for a light, but the man shows no interest in engaging with him.
