Breaking O'Connor Open
When I first read some of Flannery O'Connor's short stories I was baffled and a little disturbed by them. This book helps the reader to gain a deeper appreciation of O'Connor's craft, of her use of the grotesque, and how she exercises her art. To read O'Connor merely on the surface is to do it all wrong. There are many levels on which she is writing and on which she can be read. These essays not only serve as a guide for those seeking to understand O'Connor and her art, but in a more general way they serve for all readers and writers alike, by providing insights on the craft of writing.
amazing book!
My husband purchased this book, but I'm going to write a review for it. He loves it, BUT...read the other books referenced in this book first, otherwise there may be some spoilers in this book. My husband only read part of it and then ordered one of the other books before he reads the essay about it in this book.
an excellent read
Flannery O'Connor has offered a challenging call for Christian artists to be good at what they do. She has reminded the church that beauty, the senses, and art must not be neglected.
" O'Connor's School For Writers"
The recurrent subject in this first-rate collection of essays and occasional pieces is the business of writing. O'Connor was scrupulous in her insistence that the writer begin with the humblest of materials, the sights, sounds and smells of the concrete world. She found unreadable, apparently, those writers who had nothing to offer but one abstract psychological insight after another. At the same time she recognized that writers skilled only in giving the world's body a fond description would never transcend mere competence. And of writers merely competent, she asserted that there was in her time a glut. What distinguished the writer of the first rank, always a rare bird, she maintained, was vision, vision of a sort, allied with the aforementioned competence, that enabled such a writer to reveal through concrete events something of the mystery of our existence and experience on this odd planet. Such vision, she consistently held, was a gift that could not be learned in creative writing classes. Therefore, when asked if she thought such classes for writers stifled many talented practitioners, she quipped in her memorable style that such classes, unfortunately, "didn't stifle enough of them."
The distinct, distinguished Catholic voice from the South
I haven't read anything by Flannery O'Connor since "All Things That Rise Must Converge." I fell in love with her stories. There is so much life in them. I read this work to get an idea about her "sitz im leben", her life-situation, her milieu. A lot of it is correspondence, and there are some presentations as well. I am wondering if it speaks to the modern would-be novelist as much as it spoke to writers of her time and place. She says that one needs to write out of the context of where you are: the place, the people, the geography. This is mandatory, not optional.
This book is for writers. I appreciate her writing about how to be Catholic in the South, a very small minority. She has contributed much to finding faith in the stories of life, even violent and brutal stories. I look forward to my next work of hers.
