It seems strange to me that only a year or so ago, I had not really read Flannery O’Connor. Sure, I’d studied “A Good Man is Hard to Find” and ” Good Country People”, but I had not truly read her. You need to experience O’Connor’s work in its full depth. One story, even if it is a real gem like “A Good Man” or “Good Country People” , does not really do here justice. I read A God Man is Hard to Find last yearand thoroughly enjoyed it. Having just finished Everything That Rises Must Converge, I believe this is a stronger collection and left my jaw dropped consistently. This is O’Connor at her strongest, touching on Christianity, Southern politics, race, rural life, poverty, and, most especially, the bizarre nature of being human throughout.
For the uninitiated, O’Connor was an American writer who only published two collections of short stories and two novels (Wise Blood and The Violent Bear It Away). She writes what has been called Southern gothic fiction, set mostly in rural areas of America’s south, and often featuring irruptions of the extraordinary or magical. In “Parker’s Back,” Parker, a former Navy-man covered in tattoos who married a woman he does not love, has a revelatory experience when he crashes the tractor he is driving into an old tree in the middle of the field. The sight of the burning tree and tractor scares Parker so much that he immediately goes to a tattoo artist to have a Byzantine Christ portrait painted on his back. He believes that the accident was divine revelation and hopes that putting a religious tattoo on his back will propitiate God. He also hopes that his wife will be pleased, but when she sees it, she throws him out calling him an idolater for putting a picture of God on his back. While it would be easy to join the wife in ridiculing Parker, there is an earnestness in Parker’s response that prevents it. The final sentence of the story (“There he was – who called himself Obadiah Elihue – leaning against the tree, crying like a baby”) reveals a broken and defeated man. The central scene, the accident, is both realistic in the sense that it could have happened but also something else entirely because of the religious tones and epiphanic framing. O’Connor frequently uses these moments, leaving realism behind for a moment and then coming back to it.
The other thing that stood out for me in this collection was O’Connor’s ability to throw a twist in the endings. These are not cheap-tricks but key moments that force readers to re-examine everything that has come before. In “The Enduring Chill,” Asbury believes he is dying from a self-induced existential fever. Readers are invited to see through his self-delusion throughout, but in the final sentences, he has an epiphanic experience of the shape of a dove made in the cracks of the ceiling plaster morphing into the Holy Ghost descending on him. Asbury had invited a Jesuit priest over to spite his mother, but in this ending O’Connor suggests that something more spiritual has happened to him. While it might be easy to see these as imitation Edgar Allan Poe plot twists, they cannot be discounted.
I think it was these more than anything that made Everything a more enjoyable read than A Good Man. The characters of Everything are both despicable and lovingly crafted. We despise them and yet cannot help but see through their eyes. Simply put, Everything That Rises Must Converge is essential reading for any fan of short fiction.
I highly recommend this collection.
O’Connor, Flannery. Everything That Rises Must Converge. New York: Farrar, Straus and Giroux, 1965. Print.