Thrown Off Balance

One of the greatest disciples of the twentieth century was neither a priest, nor a religious, nor a married person. She was a celibate, single woman who spent the last 13 years of her life battling lupus while writing some of the best fiction the world has ever known—all while living on a 544-acre dairy farm in Milledgeville, Ga. with her mother, her books, and forty-four peacocks. Her name was Flannery O’Connor.

-Fr. Damian Ference, The Vocation of Flannery O’Connor

Writing that may be dismissed as jarring, acerbic, and too controversial by people who are loathe to sit in the same room with someone who won’t validate their narrative – whether Progressive or Christian – are the short stories of Flannery O’Connor (1925–1964). She didn’t compile fluff for people to sit with the comfortable.

“She believed that story-telling ought to help modern men and women see “things as they are,” cutting through the fog of a culture that tells us that everything can be just the way we’d like it to be.”  -George Weigel, Flannery O’Connor and Catholic realism

O’Connor’s stories are typically set in the rural American South. Her sardonic Southern Gothic style employed the grotesque, the transgressive, and wild, comical and deeply-flawed characters who are often alienated from God and often in violent situations. Because of these traits, her stories may be dismissed by some readers – they do not sense a clear-cut Gospel message in her work or a comforting message.

Faith, for O’Connor, was not something easy or comforting. It involved a struggle with doubt within the seeming randomness and cruelty of life. She understood that struggle as maturing her faith.

In a letter to Lousie Abbot, O’Connor wrote

I think there is no suffering greater than what is caused by the doubts of those who want to believe. I know what torment this is, but I can only see it, in myself anyway, as the process by which faith is deepened. A faith that just accepts is a child’s faith and all right for children, but eventually you have to grow religiously as every other way, though some never do.

What people don’t realize is how much religion costs. They think faith is a big electric blanket, when of course it is the cross. It is much harder to believe than not to believe. If you feel you can’t believe, you must at least do this: keep an open mind. Keep it open toward faith, keep wanting it, keep asking for it, and leave the rest to God.

O’Connor wrote about the world as she found it in the Protestant South and etched her Catholic worldview into her stories. She professed: “I see from the standpoint of Christian orthodoxy. This means that for me the meaning of life is centered in our redemption by Christ and what I see in the world I see in relation to that.” 

Her signature short story, A Good Man is Hard to Find, embodies this. You might recognize yourself and what’s at work in your life upon reading it.

The title of the story is the title of a well-known song of O’Connor’s day, sung by Bessie Smith. But the story doesn’t reference a woman’s hard time with men as the song does. The story would have us look at what it means to be a “good man”. Everyone has their own definition of what it means to be good, as do two characters in the story – the grandmother and the Misfit.

The grandmother values her Southern upbringing and mannerisms. For a road trip, the grandmother is all fancied up, white gloves and all, as is the habit of Southern women. The grandmother thinks goodness is being polite, nice, respectful, and agreeing with her views on things. This is brought out in her conversation with Red Sam, a character as fatuous as the grandmother. He delivers the title’s line that comes across as a cliché dismissive of the real world’s Misfit-type violence.

The escaped-convict Misfit, also steeped in Southern tradition, views the world through an amoral nihilist filter. He is unconcerned with traditional morality or even the value of other people’s lives. He shows up in a big black hearse-like vehicle. By a turn of events, generated by the manipulative grandmother and her cat, they meet. The grandmother, “good” in a decent person sense of good does not appreciate what she is up against. Will she finally grasp what makes a “good man?”

The family members, who shout and argue until someone gives in and behave in petty selfish ways without much reflection or moral thought find themselves in a less-than-good situation. What happens to them?

What does the Misfit say about punishment, the law, and about Jesus and the resurrection?

And what does the story show about the activity of and need for grace and the state of the human condition that refuses it?

I have purposefully not given you a summary of A Good Man is Hard to Find. Reading it first and then listening to podcasts would be the best introduction to her work.

Why do I read Flannery O’Connor?

Her unsentimental gimlet-eyed Kafkaesque realism speaks to me as a writer in our distorted and moronic times.

“Writers who see by the light of their Christian faith will have, in these times, the sharpest eye for the grotesque, for the perverse, and for the unacceptable. To the hard of hearing you shout, and for the almost-blind you draw large and startling figures.” ― Flannery O’Connor

Flannery O’Connor. Photo: Joe McTyre

Her stories move mystical concepts down from a theological mountain into the hands of her characters – the misfits, freaks, and outsiders who reckon with them or don’t. Her ‘parables’ hit home more than all the logical sermons I’ve heard on grace, salvation, goodness, punishment, forgiveness, and moral decay.

And, like Jesus, she’s “thrown everything off balance.”

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The Great Books Podcast: ‘A Good Man Is Hard to Find’ Flannery O’Connor

The Great Books Podcast: ‘A Good Man Is Hard to Find’ Flannery O’Connor | National Review

A Good Man is Hard to Find BONUS episode

A Good Man is Hard to Find BONUS episode (1517.org)

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Bishop Barron Presents | Ethan and Maya Hawke – Understanding Flannery (youtube.com)

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Further on Flannery:

Flannery O’Connor Reads ‘A Good Man is Hard to Find’ in Rare 1959 Audio | Open Culture

A Good Man Is Hard to Find by Flannery O’Connor — HCC Learning Web (hccs.edu)

How Flannery O’Connor and Cormac McCarthy Helped to Invent the South – By Nick Ripatrazone | The Marginalia Review of Books

The Complete Stories (archive.org)

Flannery O’Connor Reads ‘A Good Man is Hard to Find’ in Rare 1959 Audio | Open Culture

Flannery | American Masters | PBS

The Vocation of Flannery O’Connor – Word on Fire

Flannery O’Connor Reads “A Good Man Is Hard to Find” (1959) (youtube.com)

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(Cormac McCarthy (1933 – 2023) had a several influences including O’Connor. Georgia-born O’Connor wrote in Southern Gothic mode and Tennessee-born McCarthy in Appalachian Gothic mode.  Both, with grim-humor, created grotesque characters and nihilistic settings – O’Conner to reveal the possibility of divine grace and lapsed Catholic McCarthy to wonder about the meaning of life. Both writers use violence in their stories. McCarthy to the extreme (Anton Chigurh, No Country for Old Men.)

Flannery O’Connor on Why the Grotesque Appeals to Us, Plus a Rare Recording of Her Reading “A Good Man Is Hard to Find”:

In these grotesque works, we find that the writer has made alive some experience which we are not accustomed to observe every day, or which the ordinary man may never experience in his ordinary life. We find that connections which we would expect in the customary kind of realism have been ignored, that there are strange skips and gaps which anyone trying to describe manners and customs would certainly not have left. Yet the characters have an inner coherence, if not always a coherence to their social framework. Their fictional qualities lean away from typical social patterns, toward mystery and the unexpected. It is this kind of realism that I want to consider.

All novelists are fundamentally seekers and describers of the real, but the realism of each novelist will depend on his view of the ultimate reaches of reality.

Nothing More Than Alright

A short story . . .

My father, on the nights when my mother goes to bridge club, makes creamed chipped beef with peas on toast for supper. He told me one time that in the military it’s called “shit on a shingle” or SOS for short. He makes me eat it even though I can’t stomach peas or the dried beef or the gravy and I’m not a soldier. Tonight again, my mother is at bridge club and I’m sitting here with SOS.

After looking at my plate for a long time, I move the peas out of the gravy, off the toast and onto the plate with my knife. I’m hoping I won’t have to eat them. The kitchen phone rings and I jump to answer it. My best friend Janey wants to know if I want to go with her and her boyfriend Nick to watch West Side Story at the Sky-Hi Drive-In. I say I sure do and hang up. My father doesn’t want me on the phone during supper.

The peas are cold and clammy now and I say I they’re cold and clammy and I can’t eat them. My father tilts his head down and tells me to eat them. I want to say no but I need his okay to go to the movie. So, I stab some peas with my fork and swirl them in the flour gravy and then I eat the green-grey mush with a bite of toast. I gag. I drink some milk and wash it down. My father lifts his head and says “alright”. I clear the dishes and wash them. I’ve done what he wanted, so now I can ask him about Friday night. But I wait until he’s sitting in front of the TV.

An hour later, my father is in the basement watching TV. I sit with him and ask about his movie. He says troops have been ordered to risk their lives and retake a hill that’s not important in the battle. I ask him why. He says it shows the enemy their resolve to continue to fight if an agreement is not reached in negotiations.

A Marlboro commercial comes on and I ask him about Friday night. He wants to know about the movie. I tell him it’s a musical about people fighting, dancing and falling in love and he says “Okay. Ask your mother when she come home from playing bridge.”

My mother finally gets home and I tell her about Friday night. She says she knows the movie. “Saw it with a friend when it came out in ’61,” she says. She knows Janey and Nick and she says it’s okay with her that I go.

Saturday night Nick’s car pulls into the driveway. He honks the horn and I yell “They’re here”. My father yells from the basement “Have a good time honey. Call if there is a problem.” Mom, on the phone with someone, yells for me to come straight home after the movie. I yell back “I will.”

I get in the back seat of Nick’s Chevy and we drive off – but not in the direction of the Sky-Hi. I ask where we’re going. Janey turns to me and says that Nick asked his friend Tom to come along. He had nothing to do, Nick says. I immediately panic. I wonder if I look alright.

I have a face full of pimples and a bony nose that’s too big for my face. I wonder if I used enough concealer. The green top I’m wearing is wrinkled. It was at the bottom of my closet. And the jeans I’m wearing are worn thin. I was expecting to sit in the dark and watch a movie with Nick and Janey.

We pull up to a ranch house on the other side of town. Nick honks the horn. A skinny blonde-haired guy walks out the front door and down the front walk. “Here’s Tom,” Janey says.

Tom gets in the back seat. Janey introduces Tom. I don’t know him from school. I give him a quick smile and then give Janey a stare. She just winks back at me. She knows I don’t have a boyfriend.

Tom is neatly dressed. He’s wearing a button-down shirt, khaki pants and loafers. His boxy glasses make him look like a bookworm. In junior high school he’d be called “a climber” and Nick “a greaser.”

The Twin Theater Sky-Hi Drive In is on the west end of our town. On the way we listen to the AM radio. A Chicago station plays Born to Be Wild and I Will Always Think About You. Tom and I sit quietly in the back. I suck in my lips and look out my window. The cloudy sky looks like flour gravy.

We arrive at Sky-Hi and pay for our tickets. Nick drives over to a center spot in the East Theater. Nick and Tom say they’re going to the concession stand. They ask what we want. Janey and I ask for Cokes and popcorn. I hand Nick some money and they head off. The guys return after twenty minutes just as the coming attractions start. I roll down my window and Tom hands me the Coke and popcorn. I say thank you. He gets into the back seat on the other side of the car.

Janey’s been sitting next to Nick the whole time he’s been driving. Now Nick puts his arm around Janey’s shoulder and they snuggle together. Janey asks “are you guys okay back there?” I say I have to move over to see the screen. I look at Tom and he gives me a nod that says it’s okay. I scooch over to the middle of the back seat and put my legs to the left side of the floor hump. “That’s better,” I say.

Finally, the movie begins. There’s an overture and then the Jets sing about being a Jet and beating up other gangs. The Jets and the Sharks want to fight each other for control of the streets. But first they go to a dance. It’s a musical, so I guess it doesn’t have to make sense.

At the dance, Tony of the Jets meets Maria, Bernardo’s sister. Bernardo is the head of the Puerto Rican Shark gang. Tony and Maria fall in love at first sight. Nobody is happy about that except Tony and Maria. Tony’s half in half out about the gang stuff but he’s all in on Maria. He wants to run away with her.

Tony and Maria start singing Tonight and I stop eating popcorn. I put my hand down on the car seat so I can lean forward and hear what’s coming from the speaker. My little finger touches Tom’s little finger. He takes my hand into his. We stay this way, looking at the movie and holding hands, until the movie ends and headlights turn on.

It’s past midnight when we leave Sky-HI. Nick says he’ll drive me home first. I go back and sit behind Nick. Tom looks out his window. Everyone is quiet. Nick turns on the radio. Ain’t Nothing Like the Real Thing comes on. I suck in my lips and look out my window. On the way home I see a car with one headlight and say “perdiddle.”  Janey and Nick kiss.

At home I get out of the car and say thanks to Janey and Nick and goodnight to Tom. Tom says good night looking at Nick and Janey.

I go inside and hear the TV on in the basement. I walk down the hallway to my bedroom. My mother is sitting in her bed reading her magazines. She sees me and asks “Susan, how was it?” I poke my head into the room and tell her it was alright.

“Just alright? Nothing more?” she asks.

“Nothing more than alright” I say.

“Okay,” she says. “Now go to bed. It’s late. Tomorrow’s another day.”

As I walk away she reminds me that she has bridge club again tomorrow night. I say okay.

In my room I take the ticket stub out of my jeans pocket. I find a pen and write on the back of the stub West Side Story Tom. I pull my keepsake box out from under the bed and put the ticket stub inside along with the Valentine cards from third grade and my second-place medals from clarinet solo contests and some poems I wrote. I close the box and put it back.

I go to bed thinking about the movie and Tom and peas on my plate.

©Jennifer Ann Johnson, Kingdom Venturers, 2024, All Rights Reserved