I first came across the name Flannery O’Connor when I was in high school idly scanning the spines of books in my parents’ living room. I read a couple of the stories — “The Lame Shall Enter First” …
I first came across the name Flannery O’Connor when I was in high school idly scanning the spines of books in my parents’ living room. I read a couple of the stories — “The Lame Shall Enter First” and “Everything That Rises Must Converge” — and became intrigued by the fact that my mother ranked O’Connor with the likes of William Faulkner and Tennessee Williams when it came to conjuring the white, post-Civil War, Southern persona.
Maya first performed the journal entries for the family in our kitchen one freezing winter night seven years ago. We were completely blown away. And then when she was accepted, I think she interpreted it as a kind of nod from the universe that she was on the right track. Flannery became a kind of touchstone.
Turns out, scholars have been examining O’Connor’s relationship to race since the 1970s. Alice Walker movingly describes O’Connor’s legacy in her essay “Beyond the Peacock: The Reconstruction of“Essential O’Connor is not about racism at all,” Walker writes, “which is why it is so refreshing, coming, as it does, out of such a racial culture.
O’Donnell’s study was closely followed by Elie’s New Yorker piece, which led to a profusion of rejoinders in various publications. Mark Bosco, the Jesuit director of the 2020 documentary, “Flannery,” described O’Connor’s stories as written “for what we might callracists — those who always need reminding of their white privilege. O’Donnell shows that O’Connor would include herself in that group, as could many white people today.
After speaking at length, the conversation closed with both of us laughing as we took turns quoting her back and forth:
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