Flannery O Connor Critical Analysis

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A critical study has been carried out in the earlier chapters to explore Flannery O'Connor's fictional works with respect to the study of human relationships and the nuances of the truth-seeking concerns exemplifying interesting realities. The study recorded in this thesis illustrates that there is a repetition of retreat patterns in human relationships on the canvas of the familial, societal and spiritual altitudes. In O’Connor’s fiction, human relationships are understood to be perverted and strange. As a result, the characters in her intact fiction are unable to create any deep and lasting ties or find glee and accomplishment in the cheerful matrimonial relationships. Through the adoption of the bizarre method which is her line of attack,…show more content…
If one responds to this rhetorical problem for Flannery O’Connor, one is but to slap the reader in the face with mystery and awe all through grotesquerie, violence and extremely demonic states of existence. Her fictional patterns lean away from archetypal social patterns towards mystery and the unpredicted. She is pretty aware that many do not share her beliefs, so she often must make an event to carry enough mystery and awe to jolt the reader into some emotional acknowledgment of its significance. The imagery surrounding the baptism in The Violent Bear It Away is an object-lesson of distortion and exaggeration towards such a purpose. O’Connor does not hesitate to distort appearance in order to show a hidden truth for an ultimate change. It so happened that when contemporary literary criticism hoisted objections to the grotesque nature of her fiction, faulting her lack of tenderness or compassion, O’Connor reminded them of her being incredibly judgemental God – a God who recognizes sin as such. She says that if one believes in Faith at all, sees it as something which can be a device of instant upliftment, then it is through compassion. But then by bestowing pity, one loses moral vision much to the loss of spiritual purity on one’s
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