Introduction
Few writers inspire as many controversial thoughts as Flannery O’Connor does. Yet, the sense of controversy is exactly what distinguished her writing. O’Connor wrote stories that were filled with violence, despair, and loss. These themes are not accidental, as she viewed violence as having the capacity to uncover the hidden layers of her characters. Three of her stories, in particular, show how violence forces characters to acknowledge their real beliefs, values, and flaws.
A Good Man Is Hard to Find
A Good Man Is Hard to Find is an exemplary story showcasing how O’Connor uses the theme of violence to uncover the deeper side of her characters. In this story, a South American family goes on a trip to the state of Florida. As they prepare to depart, the grandmother warns the family of an escaped conflict known as The Misfit, who also goes to Florida. Nevertheless, the family still decides to travel, taking three children with them. While on the road, the grandmother persuades the family to change direction, which leads to a road accident. The family survives it, but at this point, The Misfit, with his criminal followers, appears. As the grandmother recognizes The Misfit, she attempts to plead for his sense of good. However, the Misfit proceeds to slaughter the entire family, after which the grandmother still tries to convince him to pray. The story ends with the Misfit shooting her and objecting to one of his follower’s comments that it was fun.
The two main characters in the story are the Misfit and the grandmother, both of whom have their own moments which showcase their true nature. The grandmother is presented as a caring woman with a strong faith in Jesus Christ. Yet, her actions in the face of violence may be interpreted as egoistic. The moment she recognizes The Misfit is the first situation when violence serves as a plot tool uncovering the depths of the characters. When The Misfit confirms his identity, the first words of the grandmother are highly egoistic considering there are children nearby: “You wouldn’t shoot a lady, would you?” (Mays 477). For a woman whose grandchildren are in danger of being shot, this is an extremely selfish phrase. As she is left alone with The Misfit, her last words can be interpreted in two ways. It is possible that she tries to manipulate The Misfit into sparing her by calling to his righteous side. Yet, it is also possible to suggest that she foregoes her selfish nature as she states that The Misfit is one of her children.
The Misfit also expresses his side that, on the surface, is not visible. Initially, he is perceived as a violent killer. However, it becomes evident that The Misfit is a morally ambiguous individual with a complex life. As the family father and son are shot, The Misfit engages in a philosophical discussion, overviewing his life. He starts to ponder his actions, his motivation, and why he became a criminal. As the rest of the family is shot, The Misfit delves further into discussion, talking about Jesus. The final moment of his inner revelation comes as he shoots the grandmother. He notes her final act of compassion that happened precisely because she was threatened: “She would have been a good woman if it had been somebody there to shoot her every minute of her life” (Mays 481). His criticism of his partner’s appraisal of violence showcases The Misfit’s real displeasure of violence.
Good Country People
Good Country People is another story in which O’Connor uncovers character depth through violence. The story revolves around Joy, who is an atheist cripple living with a prosthetic leg. Joy also has a bachelor’s degree in philosophy, which is a point of contention between her and her mother. At some point, a Bible salesman appears and dines with Joy and her mother despite Joy’s family’s reluctance to buy Bible. Even though the salesman appears to be highly religious, Joy finds him attractive. The next day Joy and the salesman meet for a date. As Joy engages in flirting with the salesman, he convinces her to show her leg to him. Once he gets hold of the prosthetic leg, Joy realizes his true intentions. The salesman admits that her leg is his goal and leaves her alone.
In this story, violence again forces the characters to showcase their true nature. Up until the moment, Joy realizes that a salesman is a con man, she behaves differently. Joy believes herself to be smart and claims that she is an atheist. She also claims to value honesty as she states to the salesman that “there mustn’t be anything dishonest between us” (Mays 493). Yet, immediately she lies about her age, thus devaluing her commitment to honesty. Joy is extremely manipulative as she dreams of seducing the salesman on the day before the date (Mays 490). However, when she realizes that her prosthetic leg is in his possession, her behavior changes. She becomes straightforward, stating exactly what she wants and thinks. She demands her leg back and calls him Christian because his actions do not align with his statements: “you’re just like them all—say one thing and do another” (Mays 495). However, this is exactly what Joy does, as she manipulates him and her mother.
The salesman’s revelation directed at Joy may be interpreted as a moment of grace for her born in the face of violence. Two salesman’s phrases signify weaknesses of Joy’s character, which she has to acknowledge. First, joy is proud of her education and intellect, yet neither one helps her recognize the salesman’s deception. He specifically states this flaw to her: “you ain’t so smart” (Mays 495). However, his next phrase is also eye-opening for Joy: “I been believing in nothing ever since I was born” (Mays 495). Joy has no line of text after this, indicating that she realizes her flaw. She claims to be an atheist who believes nothing, yet it becomes apparent she values honesty and hard work when she emotionally asks in disbelief: “aren’t you just good country people?” (Mays 494). The salesman replies, “I’m as good as you any day in the week” (Mays 494). As such, the moment of grace stems from Joy’s realization of her own incongruence.
Everything That Rises Must Converge
Everything That Rises Must Converge opens up with two white people Julian and his mother, making way for a reduced class. In order to reach their destination, they have to use the bus, which can now be used by both white and black Americans. Julian is critical of his mother, who is nostalgic for the times when slavery was still legal in America. The conflict of ideas intensifies when the bus is boarded by black people. First, Julian tries to make contact with a black man trying to showcase his apparent antiracism to his mother. Then, a black mother and child enter the bus, the latter of whom appeals to Julian’s mother. Julian tries to prevent his mother from giving money to the child, which leads to the child’s mother hitting her. Julian starts to chastise his mother, saying that she deserves it. However, his mother experiences serious physical fatigue, which causes Julian to panic and seek help.
Both characters are not what they seem to be on the surface. Julian’s mother lives in the past, preferring old ways of treating black people. Yet, at the same time, she is also open to admitting even black people into her life. First, she remembers her black nurse Caroline stating that “there was no better person in the world” (Mays 498). Second, she seems to be genuinely attracted to the black child on the bus and tries to give him the penny not out of racism but of affection. The problem with Julian’s character is that he is racist himself. His real goal is “to teach her a lesson that would last her a while” (Mays 501). All his subsequent interaction is done out of the desire to prove that his mother is wrong. The only reason why he communicates with the black person on the bus is his desire to get attention. However, when he realizes his mother’s life is threatened, he faces the consequences of his hypocrisy. In essence, he managed to teach his mother the desired lesson, which may actually lead to him losing her.
Conclusion
Altogether, it should be evident that violence does indeed have the capacity to uncover the hidden depths of fictional characters. Only after facing abuse do the grandmother and Joy stop being manipulative due to the threat posed by The Misfit and the salesman, respectively. Similarly, Julian’s mother’s moment of grace comes as she realizes their beliefs about segregation led her to the showdown with the woman on the bus. Only after he realizing that he might lose his mother does Julian himself transform. Ultimately, O’Connor’s writing showcases that any personal inconsistencies and flaws become apparent in the face of violence and loss.
Work Cited
Mays, Kelly. J. “The Author’s Work as Context: Flannery O’Connor.” The Norton Introduction to Literature, edited by Kelly. J. Mays, W.W. Norton, 2016, pp. 467–518.