Flannery O'Connor was a writer of extraordinary power and virtuosity. Her strong supple prose blends humor, pathos, satire, and grotesquerie which leads the reader to the evil at the center of the self's labyrinth. There, she confronts that evil with originality and power, pulling the reader into consideration of the terrifying dependencies of love in the recesses of the heart. This study focuses on Flannery O'Connor's sense of the coincidence of the eternal and cosmic with worldly time and place—"the eternal crossroads"— and how that sense controls and infuses her fiction. From an examination of various influences upon Miss O'Connor's work—Pierre Teilhard de Chardin, Mauriac, Nathaniel West, and Hawthorne—the authors consider her novels and stories, as well as several stories never collected. Their textual analysis shows that her structures, images, motifs, and symbols became vehicles for anagogical meaning as she progressed from early promise to artistic fulfillment. Considering Miss O'Connor's own comments on her writing, the authors illuminate some frequently misunderstood features of her work, such as her "grotesques" and her stress on death and violence. In so doing they make an important contribution to our understanding of how Flannery O'Connor arrived at "the eternal crossroads."

An essential book for critical study of the works of Flannery O'Connor. "The best study of one of the best writers"--Robert Fitzgerald

Despite Flannery O'Connor's brief life, her work, comprising novels, short stories, essays, and articles, has had a great impact on American literature and to some extent popular culture, of the twentieth and twenty-first centuries. Her writing has become well loved, well read, and often studied. This book reprints complete book reviews and excerpts from review essays on the works of Flannery O'Connor that appeared in newspapers and periodicals during the author's writing life (1945-64) and after her early death. The more than four hundred edited reviews are prefaced with a substantial Introduction that situates O'Connor within the critical milieu of post-war American letters and Southern literary tradition, and provides an overview of contemporary critical responses to her collected stories, novels, and occasional pieces. An important resource for scholars of O'Connor and of Southern literature generally, this volume reveals much about her early reception and the continuing relevance of her work.

The first chronological overview of O'Connor criticism from the publication of her first novel, Wise Blood, in 1952 to the present.

In Flannery O'Connor's Dark Comedies, Carol Shloss moves from biographical, thematic, and theological approaches and instead focuses her criticism on the successes and failures of O'Connor as a rhetorician. This valuable study of O'Connor's style uses reader-response theory to dissect the author's use of hyperbole, distortion, allusion, analogy, the dramatization of extreme religious experience, the manipulation of judgment through narrative voice, and direct address to the reader. Schloss aims to return Flannery O'Connor to her readers on fathomable terms, to offer a rhetorical, rather than theological, perspective from which to understand the country preachers, square-jawed farm wives, wise rubes, foolish intellectuals, huckster Bible salesmen, killers, and other "good country people" who populate O'Connor's fiction.

Reclaims Flannery O'Connor's Catholic identity and culture as the key to interpreting her stories and novels.