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Contributions by Lindsay Alexander, Alison Arant, Alicia Matheny Beeson, Eric Bennett, Gina Caison, Jordan Cofer, Doug Davis, Doreen Fowler, Marshall Bruce Gentry, Bruce Henderson, Monica C. Miller, William Murray, Carol Shloss, Alison Staudinger, and Rachel Watson The National Endowment for the Humanities has funded two Summer Institutes titled "Reconsidering Flannery O’Connor," which invited scholars to rethink approaches to Flannery O’Connor’s work. Drawing largely on research that started as part of the 2014 NEH Institute, this collection shares its title and its mission. Featuring fourteen new essays, Reconsidering Flannery O’Connor disrupts a few commonplace assumptions of O’Connor studies while also circling back to some old questions that are due for new attention. The volume opens with “New Methodologies,” which features theoretical approaches not typically associated with O’Connor’s fiction in order to gain new insights into her work. The second section, “New Contexts,” stretches expectations on literary genre, on popular archetypes in her stories, and on how we should interpret her work. The third section, lovingly called “Strange Bedfellows,” puts O’Connor in dialogue with overlooked or neglected conversation partners, while the final section, “O’Connor’s Legacy,” reconsiders her personal views on creative writing and her wishes regarding the handling of her estate upon death. With these final essays, the collection comes full circle, attesting to the hazards that come from overly relying on O’Connor’s interpretation of her own work but also from ignoring her views and desires. Through these reconsiderations, some of which draw on previously unpublished archival material, the collection attests to and promotes the vitality of scholarship on Flannery O’Connor.
This collection shows Flannery O'Connor's extraordinary versatility and expertise as a practitioner of the essayistic form. The book opens with "The King of the Birds", her famous account of raising peacocks. There are three essays on regional writing, two on teaching literature, and four on the writer and religion. Essays such as "The Nature and Aim of Fiction" and "Writing Short Stories" are gems, and their value to the contemporary reader -- and writer -- is inestimable. Copyright © Libri GmbH. All rights reserved.
A literary treasure of over one hundred unpublished letters from National Book Award-winning author Flannery O'Connor and her circle of extraordinary friends. Flannery O’Connor is a master of twentieth-century American fiction, joining, since her untimely death in 1964, the likes of Hawthorne, Hemingway, and Faulkner. Those familiar with her work know that her powerful ethical vision was rooted in a quiet, devout faith and informed all she wrote and did. Good Things Out of Nazareth, a much-anticipated collection of many of O’Connor’s previously unpublished letters—along with those of literary luminaries such as Walker Percy (The Moviegoer), Caroline Gordon (None Shall Look Back), Katherine Anne Porter (Ship of Fools), Robert Giroux and movie critic Stanley Kauffmann. The letters explore such themes as creativity, faith, suffering, and writing. Brought together, they form a riveting literary portrait of these friends, artists, and thinkers. Here we find their joys and loves, as well as their trials and tribulations as they struggle with doubt and illness while championing their beliefs and often confronting racism in American society during the civil rights era. Praise for Good Things Out of Nazareth “An epistolary group portrait that will appeal to readers interested in the Catholic underpinnings of O'Connor's life and work . . . These letters by the National Book Award–winning short story writer and her friends alternately fit and break the mold. Anyone looking for Southern literary gossip will find plenty of barbs. . . . But there’s also higher-toned talk on topics such as the symbolism in O’Connor’s work and the nature of free will.”—Kirkus Reviews “A fascinating set of Flannery O’Connor’s correspondence . . . The compilation is highlighted by gems from O’Connor’s writing mentor, Caroline Gordon. . . . While O’Connor’s milieu can seem intimidatingly insular, the volume allows readers to feel closer to the writer, by glimpsing O’Connor’s struggles with lupus, which sometimes leaves her bedridden or walking on crutches, and by hearing her famously strong Georgian accent in the colloquialisms she sprinkles throughout the letters. . . . This is an important addition to the knowledge of O’Connor, her world, and her writing.”—Publishers Weekly
In the years following its publication, there was a constant and heavy demand for copies of this issue of Esprit until the run was exhausted. So in 1994, the 30th anniversary of her death, Fr. Quinn, now Professor Emeritus in the English Department, decided that the time was appropriate to reissue this tribute to Flannery O'Connor. The present volume, then, is basically a reprint of the material contained in that original issue modified only by some light editing and the addition of some recent essays at the end.
More than just a bibliography, this catalog of Flannery O'Connor's library is an invitation to better understand the ideas, passions, and prejudices of the extraordinarily observant and creative author of Wise Blood and The Violent Bear It Away. Noting all the passages O'Connor marked in her books, transcribing many of the passages, and showing all references to specific books in O'Connor's published letters and book reviews, Arthur F. Kinney gives readers the opportunity to hear the intellectual dialogue between O'Connor and the authors of the books in her library--authors as diverse as Carl Jung, Henry James, and Nathaniel Hawthorne. A rich assembly of books on philosophy, theology, literature, literary criticism, and other subjects, O'Connor's personal library was collected while she lived at the family farmhouse near Milledgeville, Georgia. Now housed at Georgia College and State University, it shows signs of her frequent use. Passages that aroused such emotions as joy, wrath, and mockery are marked with her stars, checks, numbers, and often more extensive comments. Providing a general intellectual context for understanding O'Connor's work, the markings and notations offer in some cases a direct guide to specific facets of her work. Helpful to anyone seeking to understand O'Connor, Flannery O'Connor's Library will prove indispensable to future study and criticism of one of the most complex and elusive twentieth-century American writers.
In any age, humans wrestle with apparently inexorable forces. Today, we face the threat of global terrorism. In the aftermath of September 11, few could miss sensing that a great evil was at work in the world. In Flannery O’Connor’s time, the threats came from different sources—World War II, the Cold War, and the Korean conflict—but they were just as real. She, too, lived though a “time of terror.” The first major critical volume on Flannery O’Connor’s work in more than a decade, Flannery O’Connor in the Age of Terrorism explores issues of violence, evil, and terror—themes that were never far from O’Connor’s reach and that seem particularly relevant to our present-day setting. The fifteen essays collected here offer a wide range of perspectives that explore our changing views of violence in a post-9/11 world and inform our understanding of a writer whose fiction abounds in violence. Written by both established and emerging scholars, the pieces that editors Avis Hewitt and Robert Donahoo have selected offer a compelling and varied picture of this iconic author and her work. Included are comparisons of O’Connor to 1950s writers of noir literature and to the contemporary American novelist Cormac McCarthy; cultural studies that draw on horror comics of the Cold War and on Fordism and the American mythos of the automobile; and pieces that shed new light on O’Connor’s complex religious sensibility and its role in her work. While continuing to speak fresh truths about her own time, O’Connor’s fiction also resonates deeply with the postmodern sensibilities of audiences increasingly distant from her era—readers absorbed in their own terrors and sense of looming, ineffable threats. This provocative new collection presents O’Connor’s work as a touchstone for understanding where our culture has been and where we are now. With its diverse approaches, Flannery O’Connor in the Age of Terrorism will prove useful not only to scholars and students of literature but to anyone interested in history, popular culture, theology, and reflective writing.
This book offers a unique twist to the Who’s Who of midcentury writers, editors, and artists Much is made of Flannery O’Connor’s life on the Georgia dairy farm, Andalusia—a rural setting that clearly influenced her writing. But before she lived on that farm, before she showed signs of having lupus, before she became dependent on her mother and then succumbed to the disease at thirty-nine, O’Connor lived in the northeast. She stayed at the artists’ colony Yaddo in 1948 and early 1949 and lived in Connecticut with good friends from fall of 1949 through all of 1950. But in between those experiences, and perhaps more importantly, O’Connor lived in Manhattan. In her biographies, little is said of her time in Gotham; in some sources, this period gets no more than one sentence. But little is said because little has been known. In Flannery O’Connor’s Manhattan, the author’s goal is to explore New York City from O’Connor’s point of view. To do this, the author consults not just letters (both unpublished and published) and biography, but five personal address books housed in Emory’s Stuart A. Rose Manuscript, Archives and, Rare Book Library. The result is a book of interest to both the O’Connor fan and the O’Connor scholar, not to mention those interested in midcentury Manhattan. Flannery O’Connor’s Manhattan is part guide to the who-was-who and who-lived-where of New York from roughly 1948 to 1964, at least those as they mattered to O’Connor. It also acts as a window to the writer’s experiences in the city, whether she was coming into town for a series of meetings or strolling down Broadway on her way to lunch. In the end, it is the combination of the who-she-knew and the what-she-did that formed O’Connor’s personal view of what is arguably the most famous of American cities.