Comparing Flannery O 'Connor's' Good Readers And Good Writers

Alice Munro is a Canadian short story writer and Nobel Prize Winner. In her article “What is Real”, Alice Munro discusses the difficulty many of her readers seem to have in telling fact from fiction as she writes about her own fictional works. Her readers, she recounts, often ask her if she writes about real people, or real events, apparently unable to comprehend “the difference between autobiography and fiction” (Munro). However, by the end of her article on the subject, “What Is Real?” Munro admits that the imagination is one she herself often blurs. “Yes,” she writes, “I use bits of what is real, in the sense of being really there and really happening, in the world, as most people see it, and I transform it into something […] in my story” (Munro). In other words, Munro sees her work as a kind of fiction because she uses both reality and fact. This makes her work honest but yet not real at the

In the section “Catholic Novelists and Their Readers,” O’Connor portrays the three properties by describing the duty of a Catholic novelist and what effect their relationship

The twist and turns of “A Good Man Is Hard to Find” leave the reader perplexed and riveted, relaying that the utmost thought went into the outline of the story. The author leaves the readers waiting for good to prevail over evil but never lets them have their intended ending as most stories do which is what gives this story it 's intriguing draw. In “A Good Man is Hard to Find” Flannery O’Connor uses literary techniques such as conflicts, foreshadowing, imagery, simile, and irony to create eccentric characters and a twisted plot.

Over the past 75 years, the American people, while reading either short stories, novels, or longer publications, have been indoctrinated with the idea of modernism. This idea, has been pushed forwards be authors in all ages, and in all forms of publication. Modernism can be described, as looking at society and culture through a lens to find criticisms and critiques of the way that we perceive it. One of the best example of modernism that has been published in the past 75 years was by Flannery O’Conner, during the Civil Rights Movement in the 1950s and her story “A Good Man is Hard to Find.” Flannery O’Connor throughout her short story, uses character’s and phrases to demonstrate the presence of evil in society as well as in each and every one of us.

This chapter states that there is no such thing as a truly original work of literature; books are always based off of works before them. This further develops into the idea that there is only one story,

To the casual reader, the writing of Flannery O'Connor can seem cold and void of emotion. Her storylines are like a misty fog in the dead of winter, enveloping the reader with a harsh even violent atmosphere. Her short stories regularly end in traumatic, freak deaths or, at the very least, a character's emotional destruction. An analysis of “Greenleaf,” “Everything that Rises Must Converge,” or “A Good Man is Hard to Find,” will leave the reader feeling empty. The imagination of the reader is not engaged on any level. There is an under current of anti-religion which is intensified by cruelty. O’Connor’s writing is filled with symbolism which is camouflaged by her writing style. Although her writing style is not considered by experts as

“Fiction is the lie that helps us understand the truth.” This quote by Minnesota author and veteran, Tim O 'Brien, displays his passion for writing stories that make truth come to life. Tim O’Brien is a remarkable man who has positively affected the world through his literary works regarding the Vietnam War. His personal life and authorship through his military experience, have led to making him one of the most influential war authors to date.

Every writer has their own story and because of said story, it has an impact on who they are and how they think. In turn, this leads the writer into unraveling their writing style and, in an artistic way, write out their feelings in the form of a poem or story. We see this in the case of almost every writer, but as of now we 're only going to look at Mary Flannery O '- Connor. A major theme that reoccurs in much of Flannery O 'Connors work is her strong dis- like for the worlds current state, as in the condition of our world 's morality and values. Let 's see some examples in her work that support this thesis.

The main recurring theme in Flannery O’Connor’s stories is the use of violence towards characters in order to give them an eye-opening moment in which they finally realize their true self in relation to the rest of society and openly accept insight into how they should act or think. This theme of violence can clearly be seen in three works by Flannery O’Connor: A Good Man is Hard to Find, Good Country People, and Everything That Rises Must Converge.

Tim O’Brien’s novel, The Things They Carried, the chapter “Spin”, highlights how when a writer formulates their story, certain details will always be intentionally left out, and by stringing together disconnected ideas and memories, O’Brien reveals that distortion is ineluctable. Writing lies on the fundamental principal that writers have the ability to manipulate people into believing what they say by highlighting certain facts and ignoring others.

Flannery O’Connor’s philosophy of writing was directly related to her life and roots as a Southerner, a Catholic, and a woman. One of the Southern traditions that O’Connor used most in her writing was local customs and manners which make people laughable. “Exaggeration of characteristics and of incidents is one cause of our laughter in O’Connor’s stories” (Grimshaw 89). She would regularly expose the hypocrisy of character’s thoughts by exaggerating their ridiculous actions in moments of distress causing readers to feel both horror and humor at the same time. Also present in most of O’Connor’s work, is her Catholic faith with regards to her vision of grace and the devil. Her view of faith was complete in the sense that it had a beginning, middle, and end, but she wrestled with Protestantism and depicted hypocrisy and intolerance when she found them (Grimshaw

To the uninitiated, the writing of Flannery O'Connor can seem at once cold and dispassionate, as well as almost absurdly stark and violent. Her short stories routinely end in horrendous, freak fatalities or, at the very least, a character's emotional devastation. Working his way through "Greenleaf," "Everything that Rises Must Converge," or "A Good Man is Hard to Find," the new reader feels an existential hollowness reminiscent of Camus' The Stranger; O'Connor's imagination appears a barren, godless plane of meaninglessness, punctuated by pockets of random, mindless cruelty.

Each and everyday people are constantly judging one another. There are around 7 around billion people in the world and each and every single one of those people are going to have different opinions on certain aspects of life. So since each person is different in their own ways, once they see somebody that is different from them, the first instinct is to judge that person. The easiest way to judge people are by their appearances, somebody may look at someone else and see that they have on a pair of cheap shoes from Walmart, as well as no name jeans and shirt on from Walmart as well, who drives a used toyota camry. Now you could quickly come to a conclusion and say that they must be poor and are living a miserable life.

The literary realm consists of countless remarkable novels; however, there are a selection of works that are deemed canonical, or worthy of literary merit. Often, the definition of a work that belongs in the canon or qualifies as literary merit is ambiguous due to numerous discrepancies; nevertheless, Harold Bloom has deemed hundreds of works canonical in his criticism, Elegy of the Canon. In his work, Bloom claims that to be admitted to the canon, a work must achieve: aesthetic, timelessness, and innovation. Nabokov’s “Good Readers, Good Writers,” follows a similar set of “rules” to define the superiority of canonical works as having “three points of view”: a storyteller, a teacher, and an enchanter. The parallel between both criticisms revolves around the sophistication within the structure of the works.

“[F]or me, while the nature of fiction or fictionality are things that writers might need to be concerned with to get on with their work, I don’t believe that the nature of fiction is one of the burning issues of the late twentieth century. It’s not one of the things I want to turn to novels and art to find out about.”