Conversations with Flannery O'Connor

Conversations with Flannery O'Connor

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by Rosemary M. Magee
     
 

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ISBN-10: 087805264X

ISBN-13: 9780878052646

Pub. Date: 02/01/1987

Publisher: University Press of Mississippi

Flannery O'Conner says

I write every day for at least two hours, and I spend the rest of my time largely in the society of ducks.

If you want to write well and live well at the same time you better arrange to inherit money.

My advice is to start reading and writing and looking and listening. Pay less attention to yourself than to what is outside you and if you

Overview

Flannery O'Conner says

I write every day for at least two hours, and I spend the rest of my time largely in the society of ducks.

If you want to write well and live well at the same time you better arrange to inherit money.

My advice is to start reading and writing and looking and listening. Pay less attention to yourself than to what is outside you and if you must write about yourself, get a good distance away and judge yourself with a stranger's eyes and a stranger's severity.

Mine is a comic art, but that does not detract from its seriousness.

Don't be alarmed if you hear something that sounds like 'Help!' It is only the peacocks.

The disease is no consequence to my writing, since for that I use my head and not my feet.

Product Details

ISBN-13:
9780878052646
Publisher:
University Press of Mississippi
Publication date:
02/01/1987
Series:
Literary Conversations Series
Pages:
146
Product dimensions:
6.22(w) x 9.18(h) x 0.64(d)

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Conversations with Flannery O'Connor 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
If, like me, you are so entranced by the fiction of Flannery O¿Connor that you must read everything else of hers, you have two options. First: the lectures and many pungent letters in her one-volume collected works from the Library of America. These shed real light on her thoughts and craft and make an essential companion to her fiction. Second: this book, ¿Conversations with Flannery O¿Connor¿ (1987), compiling interviews, panel discussions, and TV and radio appearances. Here we discover that Flannery spoke ad lib pretty much as she wrote: tart, thoughtful, dryly witty, proudly regional, and skeptical of nearly everything except her Roman Catholic faith. Some Flannery samples: --Doesn¿t she want a large audience? ¿I can wait. A few readers go a long way when they¿re the right kind. There are so many of the other kind. The writer is only free when he can tell the reader to go jump in the lake. You want, of course, to get what you have to show across to him, but whether he likes it or not is no concern of the writer.¿ --¿One reason I like to publish short stories is that nobody pays any attention to them. In 10 years or so they will begin to be known but the process is not obnoxious. When you publish a novel, the racket is like a fox in the hen house.¿ --¿Everywhere I go I¿m asked if I think universities stifle writers. I think they don¿t stifle enough of them. The kind of writing that can be taught is the kind you then have to teach people not to read.¿ --¿The Christian novelist¿s basic problem is that he is trying to get the Christian vision across to an audience for whom it is meaningless....His work will have to have value on the dramatic level, the level of truth recognizable by anybody.¿ --¿Words should be an intense pleasure in themselves, just as leather is to a shoemaker.¿ --What is integration doing to the culture of the South? ¿I don¿t think it is doing anything to it. White people and colored people are used to milling around together in the South, and this integration only means that they are going to be milling around together in a few more places. No basic attitudes are being changed. Industrialization is what changes the culture of the South, not integration.¿ (1963) --¿The uneducated Southern Negro is not the clown he¿s made out to be. He¿s a man of very elaborate manners and great formality which he uses superbly for his own protection and to insure his own privacy....The [white] Southerner has enough sense not to ask for the ideal but only for the possible, the workable.¿ (1963) --¿Southern history has reinforced what the fiction writer...has to show the world...that the human situation is a good deal more complex and cross-purposed than ideals and abstractions allow for. This is...a function of art, but the South knows it better than the rest of the country....The best American writing has always been regional. But to be regional in the best sense you have to see beyond the region.¿