At its heart, like so many of Flannery O’Connor’s stories, “A Good Man is Hard to Find” is a story about error at the level of perception, about a confrontation with reality, and the grace that can enter a human heart when a person is stripped down to nothing.
To say that Patricia Lockwood is a lapsed Catholic doesn’t begin to cover it. The poet and author of the memoir Priestdaddy is the daughter of a Catholic priest, either the beneficiary or the victim of a loophole.
The responsibility to organize what we see, to take the randomness of life and reconstruct it into a new form that has meaning, lies squarely with writers and other creative people (scientists and mathematicians alike).
Image, character, language are static, dead things until plot gets a hold of them and makes them move. The more I write, the more I pay attention when I read, the more I understand that I love characters and words and pictures because of the way plot animates them.
There is something about pressure that fascinates me. I never could stand to stick a pin into a balloon, but I would rub one against my head to make my hair stand on end and, in the slow, painstaking process, break the sack of air against my skull.
These narratives depict a South struggling for identity in the middle years of the twentieth century, peopled with crooked Bible salesmen, earnest preachers, escaped convicts, one-armed grifters, and wayward souls seeking salvation, or at least satisfaction.
I learned that I could respond to poetry with a thousand times a thousand micro-emotions. I soon began to wonder what I even meant by “serious” poetry, and what constituted a poem’s artfulness. I reflected upon the fact that those initial ideas were narrow, even elitist, and they are ultimately limiting to both poets and readers.
I learned about character development not by studying it, but by understanding the nature of cartoons. I spent years sculpting superheroes and cartoon characters for DC Comics, Nickelodeon, Pixar, and others. Although the perception is changing, the art world considers cartooning of all kinds to be a distant, lesser cousin to the fine arts, painting…
Munro has spoken about her debt to American writers from the South, including O’Connor, and we can clearly see how “Save the Reaper” is responding to O’Connor’s story by touching on similar themes and even moments, and yet spinning off from the original in true Munro fashion.
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