Carter W. Martin - The true country: themes in the fiction of Flannery OConnor

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Page i The True Country

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title	:	The True Country : Themes in the Fiction of Flannery O'Connor
author	:	Martin, Carter W.
publisher	:	Vanderbilt University Press
isbn10 | asin	:
print isbn13	:	9780826512499
ebook isbn13	:	9780585101668
language	:	English
subject	O'Connor, Flannery--Themes, motives, Women and literature--Southern States--History--20th century, Southern States--In literature.
publication date	:	1969
lcc	:	PS3565.C57Z77 1969eb
ddc	:	813/.5/4
subject	:	O'Connor, Flannery--Themes, motives, Women and literature--Southern States--History--20th century, Southern States--In literature.

Page ii Flannery O'Connor and self-portrait

Page iii The True Country Themes in the Fiction of Flannery O'Connor by Carter W. Martin VANDERBILT UNIVERSITY PRESS

Page iv The author and publisher gratefully acknowledge permission to quote from the following copyrighted material: A Good Man Is Hard to Find and Other Stories, copyright 1953, 1954, 1955 by Flannery O'Connor. Reprinted by permission of Harcourt, Brace & World, Inc. Wise Blood, copyright 1949, 1952, 1962 by Flannery O'Connor. The Violent Bear It Away, copyright 1955, 1960 by Flannery O'Connor. Everything That Rises Must Converge, copyright 1956, 1957, 1958, 1960, 1961, 1962, 1964, 1965 by the Estate of Mary Flannery O'Connor. "The Partridge Festival," copyright 1961 by the Estate of Mary Flannery O'Connor. Reprinted with the permission of Farrar, Straus & Giroux, Inc. The Living Novel: A Symposium, edited by Granville Hicks, The Macmillan Company 1957. "The Church and the Fiction Writer," America, March 30, 1957, American Press, Inc., 1957. "Flannery O'Connor's Devil," by John Hawkes, The Sewanee Review, LXX, 3, The University of the South, 1962. Photograph by Joe McTyre, Atlanta Journal-Constitution. Reproduced by permission. For Jane, Carter, and Douglas Copyright 1968, 1969 by Carter W. Martin Library of Congress Catalogue Card Number 68-29047 Printed in the United States of America International Standard Book Number 0-8265-1132-5 Second printing, 1970 First Paperback Edition 1994 96 97 4 3 2 ISBN 0-8265-1249-6

Page v Contents Preface to the Paperback Edition xi Introduction 3 1 The True Country: Flannery O'Connor's Sacramental View 10 2 The Countryside: Corruptions of the Spirit 28 3 The Presence of Grace 83 4 Manifestations of God's Grace 104 5 Symbols of Spiritual Reality 137 6 The Gothic Impulse 152 7 Comic and Grim Laughter 189 8 Technique as Theme: Satire and Irony 215 Bibliography 243 Index 249

Page vi Acknowledgments I gratefully acknowledge the help given me by Professor Thomas Daniel Young and Professor Herschel Gower, of Vanderbilt University, who advised and encouraged me throughout my work on this book; Mrs. Frank Owsley, who directed me to several letters from Flannery O'Connor to Andrew Lytle; Mr. Lytle himself, who gave his permission for me to quote from the letters; the library staff at the University of Alabama in Huntsville, who borrowed books and journals for me through interlibrary loans; and Miss Janice Daniel, who typed for me skillfully and patiently. C. W. M. HUNTSVILLE, ALABAMA AUGUST 1968

Page vii Preface to the Paperback Edition As I read The True Country twenty-four years after its first publication, I am struck by my confident, unapologetic use of words like heathen, redemption, atheist, faith, sin, and all the other specifically Christian terms. They remind me of Hemingway's priest in A Farewell to Arms when he asks Frederick Henry to go to the Abruzzi, his home in the cold, high mountains: "There in my country it is understood that a man may love God. It is not a dirty joke." At Vanderbilt in 1955, I had read A. J. Ayer's Language, Truth, and Logic, my introduction to logical positivism, a system I found quite inadequate for my critical purposes. Many of my peers, either convinced or frightened by that approach, went to great lengths to invent new language for old spirituality. Looking back now, I am pleased I did not choose circumlocutions for my own traditional vocabulary. My youth and innocence are evident in this book. There is an inevitable bluntness about straightforward thematic analysis compared to sophisticated theoretical

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