The Freak in Everything That Rises Must Converge by Flannery O´connor

Transformation plays a role in stories meant to scare us by playing with our imagination safety and mood of a story. Imagination appears in both Edgar Allan Poe’s, gothic fiction story “The Fall of the House of Usher,” by Usher’s isolated environment and in Joyce Carol Oates gothic literature story “Where is Here?,” by foreseeing who people are. Transformation also plays a role by it assists knowing our own selves are safe in a scary situation. This is shown in, “ Why do Some Brains Enjoy Fear?,” by Allegra Ringo and in “ House Taken Over,” by Julio Cortazar. Transformation plays with our imagination and our safety it also plays a role in the mood and setting. This appears in , “The Fall of the House of Usher,” and “The Dream Collector,”

Numerous authors and their stories are distinctive, but few authors compare to Flannery O'Connor. What sets O'Connor apart from other authors is her use of religion and violence. A majority, possibly all, of O'Connor’s stories contain some element of religion and/or violence. Not only is O'Connor’s stories unusual, but her characters are also unlike other author’s characters. Flannery O'Connor's unique stories contain characters that have an "evil intelligence determined on its own supremacy" that are often central to the conflict of the story.

She claims to believe in nothing therefore she is a nihilist. However, she is not a true nihilist as she wavers from believing in nothing to comparing people to God. For example, after Mrs. Hopewell commented that a smile never hurt anyone and Hulga states, “Woman! Do you ever look inside? Do you ever look inside and see what you are not? God! [...] Malebranche was right: we are not our own light” (Country People 473). According to Helga’s words she does believe in God because philosopher Malebranche did believe in God and that our “light”-everything that makes humans alive, does come from God. O’Connor has Hulga contradict her own words to show reality is Hulga is confused and deep down inside she does believe in God. Hulga is also a disable person as she has a fake leg. In the short story her leg was stolen leaving her semi-crippled. By doing so O’Connor is attempting to show Hulga’s belief system has always been faulty as she doubted herself from the start. The final stealing of Hulga’s leg makes her realize that without believing in God she is crippled and doesn’t have a strong foundation of belief in

In Everything that Rises Must Converge, Julian and his mother experience a moment of clarity in terms of contemplating on their actions and thoughts. Julian has always hated his mother for her traditional southern beliefs and ways. She even goes as far as to wish that she lived back in the past when she was a girl. She embodies the traditional pre-civil rights southerner who believes in being superior to someone else in terms of race, money, or any other factor. When she sees a black woman on the bus wearing the same hat she is wearing, she realizes that someone regarded as inferior by her standards, a black woman, is suddenly equal to her. She shows great discomfort and disapproval of this new ideal. When the black woman and her son are getting off of the bus, she approaches them and gives the child a penny as a sign of humiliation and inferiority. The black woman then hits her which causes her to fall to the ground. Julian’s mother falling to the ground shows a change in actions and thoughts for both her and Julian (Moore). Julian begins to tell her that she got what she deserved for giving her insulting pennies to black

Unlike Hooper in “A Minister’s Veil,” in “Good Country People,” Hulga is a crippled character who believes in no God. She not only has a wooden leg, she also has poor eyesight and a heart condition. However, Kate Oliver stated these “physical afflictions symbolize her emotional, intellectual, and spiritual impairments.” What Oliver means is that Joy/Hulga’s physical defects represent her misshapened spirit and her broken outlook towards religion. Oliver also stated that “Joy-Hulga revels in her rejection of God. She is a self-proclaimed atheist.” Furthermore, Hulga loved philosophy and this is what she believed in rather than God. She believed in the philosophies that taught that nothing exist outside the self and this belief is another manifestation of her spiritual defects. She chose to believe in this nothing

At the end of the story "Adventure," Anderson writes "began trying to force herself to face bravely the fact that many people must live and die alone, even in Winesburg (Anderson, Sherwood)." The themes of loneliness and isolation are expressed by describing the characters as grotesques. The grotesques are the people who have become obsessed with an idea or mannerism, such that, they have lost contact with their fellow Man. Anderson sets the course for the theme of isolation in the first three chapters, excluding "The Book of the Grotesque."

In the introduction to the book Weird Fiction by S. T. Joshi, different aspects of the weird tale are examined. Joshi states that “the weird tale…did not (and perhaps does not now) exist as a genre but as the consequence of a world view” (1). This quote refers to the fact that weird literature stems from a desire to display a certain view of the world to readers, not just take them on a flight of detached fancy. Another point that Joshi makes about weird literature, is seen through a quote on the last page of his introduction, “In every case we shall see that each writers entire output is a philosophical unity, changing as the author’s conception of the world changes”

Flannery O’Connor, undoubtedly one of the most well-read authors of the early 20th Century, had many strong themes deeply embedded within all her writings. Two of her most prominent and poignant themes were Christianity and racism. By analyzing, “A Good Man is Hard to Find” and “Everything that Rises Must Converge,” these two themes jump out at the reader. Growing up in the mid-1920’s in Georgia was a huge influence on O’Connor. Less than a decade before her birth, Georgia was much different than it was at her birth. Slaves labored tirelessly on their master’s plantations and were indeed a facet of everyday life. However, as the Civil War ended and Reconstruction began, slaves were not easily assimilated into Southern culture. Thus, O’Connor grew up in a highly racist area that mourned the fact that slaves were now to be treated as “equals.” In her everyday life in Georgia, O’Connor encountered countless citizens who were not shy in expressing their discontent toward the black race. This indeed was a guiding influence and inspiration in her fiction writing. The other guiding influence in her life that became a major theme in her writing was religion. Flannery O 'Connor was born in Savannah, Georgia, the only child of a Catholic family. The region was part of the 'Christ-haunted ' Bible belt of the Southern States. The spiritual heritage of the region profoundly shaped O 'Connor 's writing as described in her essay "The Catholic Novelist in the Protestant South" (1969). Many

Hulga did not care about anyone else but herself. She lived in self-pity. There are many disabled kids, adults and veterans in the world. There are professional runners and people without limbs that work and do amazing things. Even though she had these issues she thought she was better and too good for everyone else. Mrs. Hopewell states that Hulga, “was brilliant but she didn’t have a grain of sense.”(O’Connor 558) Hulga even

"Everything That Rises Must Converge" also uses its setting to explore place and heritage to give us better insight into the actions and feelings of the characters. Julian, living in a poor neighborhood with his mother, shortly after the integration of blacks to public transportation, struggles to get his mother to understand that the world has changed. No longer are there huge plantations with hundreds of slaves, in fact "there are no more slaves." Once fashionable neighborhoods, like the one in

Flannery O 'Connor 's short story "Everything that Rises Must Converge" finds the change in structure between a mother and an adolescent in the midst of a period in history when white quality was to an incredible degree, going to pieces. To scratch-off being completely separate from generations, the idea of discrimination divides the more youthful eras from those of the more seasoned eras. In this connection, O 'Connor offers us what is fundamentally a methodology of age in the story. Julian, who sees himself as "socialized" must depict himself by a standard other than the one he has been understanding the value, total, or nature of himself against that of his mother. Mrs. Chestny 's stroke, which may in itself be much the same as an issue level identity or phrenic vehicle, comes as an issue energized or up and about state than in the recent past, to her, and to Julian. It makes him comprehend that he can never again be subject for his mother based cash or as some single individual to weigh against himself, anticipating that it would be an advantage and horrendous. O 'Connor shows this dumbfounded familial relationship wonderfully all throughout the story by executing a few surprising and bizarre looking machines: the third individual urged storyteller, unforeseen, odd reality, captivating copy, typical setting, and placing pictures into your psyche. Julian and his mother had an extraordinarily

“Everything That Rises must converge”, by Flannery O’ Connor is sometimes considered a comical but also serious tale of a grown man named Julian, who lives with mother, who happens to be your typical southern woman. The era unfolds in a couple years after integration begins. Throughout the story, O’Connor impresses us with her derived message in which people often resist to growing away from bigotry towards self-awareness and love for all humankind, which is so necessary for life to converge in equality. O’Connor has a distinctive style of writing that expresses this message through characterization, conflict and literary devices.

Author Anthony Di Renzo notes the effectiveness of O’Connor’s use of thematic revelation.Rather than opposing one another, good and evil instead exist as “equally odd, equally absurd, and equally shocking” (122).The good and evil ironically converge to relay the message of grace, common throughout her works. O’Connor wanted her stories “to reach the unbelieving reader,” and the shocking aspect of the grotesque was the most effective way to reach him/her (Hawkins 28-29).

Flannery O 'Connor’s works are nothing short of extraordinary. They frequently step into the realm of the extreme to make a statement or prove a point. The result is that her messages are stark and vivid, and O 'Connor is able to make bold positions on controversial subjects. She achieves this effect through a number of means, which consist primarily of Christian symbolism, character foils, and literary irony. Combined, they create rich, intense environments in which radical events push and twist characters. As a result of this stress, the characters are defined more clearly. In many instances, they achieve a kind of self realization, and their revelations usually come with an ironic factor or consequence. O 'Connor’s stories, notably

Readers can find that “ Everything That Rises Must Converge” and “A Good Man is Hard to Find” are Southern American literature. “Everything That Rises Must Converge” was written in the midst of the movement of American Civil rights. In the story, the settings such as ” bulbous liver-colored monstrosities of a uniform ugliness” and the “dying violet sky” make people feel moody and uncomfortable. The main character Julian’s mother has an unchangeable opinion of racism and refuses to accept the racial integration