Wise Blood was the first of Flannery O’Connor’s novels to be published. It bears some marks of the writer’s learning her way, but it also contains many of the elements that mark O’Connor’s mature fiction—her strong sense of character and voice, her comic vision, and her concern with religious themes.
It is in the novel’s structure that some scholars have seen Wise Blood as suffering from O’Connor’s apprenticeship. Although the early scenes of Hazel Motes on the train, his confrontations with the passengers, and his first day in Taulkinham begin to establish Hazel’s character, they seem not to be tied securely to the novel’s main narrative. The same might be said for O’Connor’s disposal of Enoch Emery and his retreat into the world of beasts. It may be an appropriate conclusion for a character like Enoch, but it seems detached from the novel’s central concerns. Concerns about minor failures of structure seem insignificant, however, in the light of the novel’s successes, particularly in its characters and their language. Hazel is one of many of O’Connor’s Christ-haunted characters. Inarticulate, uneducated, unsophisticated, and distrustful of sophistication (and rightly so, O’Connor implies), he nevertheless is able to focus on one of life’s most important concerns—the gospel’s message of salvation. Hazel’s attempt to reject that message is the central action of the novel, and the fact that it cannot be rejected is O’Connor’s chief theme. Even after he tries to create an antichurch, after he distracts himself with the world in the form of his car and Sabbath Lily, Hazel is still left with his sense that Jesus is hunting him down. Hazel’s murder of the person he calls the false prophet, Solace Layfield, is in some ways the crisis of the novel. Layfield is hired to mimic Hazel’s preaching; he even dresses like Hazel. In killing him, Hazel seems to be killing himself. Only after the murder does Hazel take on the penances he acts out at the end of his life.
(The entire section is 840 words.)