O’Connor’s fictional world is a severe, hilarious, violent place. However many times you read “A Good Man Is Hard to Find,” “The Life You Save May Be Your Own,” “The Artificial Nigger,” and “Good Country People,” you will not be able to figure out the source of their enormous power in fact, they will become increasingly mysterious to you as the years go by. Indeed, their value lies precisely in that hardness, that strangeness. That O’Connor’s pearls are among the most luminous and valuable we have in all of American literature does not detract in any way from their strangeness and hardness.

Familial and social disapproval evidently spurred this writer on, enabling her to form a pearl around each painful speck of grit. But we should not be entirely sorry about that. This was the sort of understanding and encouragement that surrounded Mary Flannery O’Connor from her earliest years in Savannah to her death at the age of thirty-nine in the Milledgeville area. “I thought to myself that character who dies in the last chapter could have done the world a great favor by dying in the first chapter instead,” she told the same reporter. Even then, it was obvious she was a genius,” said Miss Katherine Scott, Flannery O’Connor’s freshman-composition teacher, speaking to a reporter many years later about her most famous student-“warped, but a genius all the same.” The teacher no doubt focused on the warped part when the seventeen-year-old Catholic girl with the spectacles and the searing wit took her writing class at Milledgeville’s Georgia State College for Women in the summer of 1942 and it was the warped part she noticed some ten years later, when she read O’Connor’s first book, Wise Blood, and flung it across the room.

Flannery by Brad Gooch