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Briefly traces the life and career of the Southern writer, describes the influence of religion on her work, and discusses her novels and major short stories

Part of the Quoizel Naturals collection, Flannery exemplifies modern bohemian style. The antique white finish is adorned with natural seagrass shades, adding a touch of coastal style to the soft silhouette. Choose the five-light chandelier, perfect over a kitchen table or in a breakfast nook - or add easy style to any hallway or bathroom with the Flannery wall sconce.

Part of the Quoizel Naturals collection, Flannery exemplifies modern bohemian style. The antique white finish is adorned with natural seagrass shades, adding a touch of coastal style to the soft silhouette. Choose the five-light chandelier, perfect over a kitchen table or in a breakfast nook - or add easy style to any hallway or bathroom with the Flannery wall sconce.

Posh and polished, this contemporary mid-century bench is de rigueur for the tasteful interior. Ideal as impromptu seating or a tray of rose, it's designed with luxurious dark blue velvet upholstery and gorgeous dark brown wood with warm brass capped legs. This is a great addition to your home whether in the country side or busy city. Color: Dark Blue/Dark Brown.

This wallpaper is imbued with the luxurious texture of animal fur. Each creamy white square is detailed with raised inks to mimic the look and feel of fur, creating a subtle diamond design where 4 squares converge. Flannery is an unpasted, non woven fabric backed vinyl wallpaper.

Animal fur detailing gives this simple geometric wallpaper unexpected texture. Each brown square has been detailed with raised inks to create the look and feel of animal hide, the fur grain creating a subtle diamond where four squares converge. Flannery is an unpasted, non woven fabric backed vinyl wallpaper.

About the brand: Home furnishings made with quality, craftsmanship, and style. Color/ finish: cream Measures 67in long x 24in wide x 21in high Made from wood / fabric / metal Fiber/finish: teak / mahogany / 71% viscose / 17% polyester / 12% linen Imported

About the brand: Finely-crafted home furnishings with a unique flair. Design details: Posh and polished, this contemporary mid-century bench is de rigueur for the tasteful interior. Ideal as impromptu seating or a tray of rosZ, it's designed with luxurious dark blue velvet upholstery and gorgeous dark brown wood with warm brass capped legs. Color/pattern: Dark Brown Measurements: 62.99in x 19.69in x 17.71in Seat height: 63in x 19in x 18in Wood, Fabric Upholstery Care: To prevent overall soiling, frequent vacuuming or light brushing is recommended. Cushions and pillows should be turned on a weekly basis. Down filled cushions should be brushed rather than vacuumed. Spot clean using a mild, water free solvent or dry cleaning the product. Only a professional cleaner should undertake a complete overall cleaning. The use of steam or water based cleaners may cause excessive shrinking or staining. Wood Care: Always use felt pads under all articles to prevent discoloration or softening of the lacquer. Plastic and rubber bases on items can discolor wood. Wipe up spills immediately and avoid common hazards such as hot dishes, harsh solvents, and abrasives. Cleaning should be done with a soft lint free cotton cloth dampened with water. Assembly required Imported

A simple geometric pattern is given unexpected texture with the look of animal hide. Each tan section has been lined with raised inks to mimic the look and feel of fur, creating both texture and a subtle diamond design where four squares meet. Flannery is an unpasted, non woven fabric backed vinyl wallpaper. Color: Brown.

Enjoy the soft texture of animal fur with this geometric wallpaper. Each square of brown-grey is treated with raised inks that mimic the look and feel of fur and arranged to create a subtle diamond pattern when 4 squares meet. Flannery is an unpasted, non woven fabric backed vinyl wallpaper. Color: Green.

An essential book for critical study of the works of Flannery O’Connor. “The best study of one of the best writers”―Robert Fitzgerald

The writings and life of Flannery O’Connor (1925–1964) have enjoyed considerable attention both from admirers of her work and from scholars. In this distinctive book, Susan Srigley charts new ground in revealing how O’Connor’s ethics are inextricably linked to her role as a storyteller, and how her moral vision is expressed through the dramatic narrative of her fiction. Srigley elucidates O'Connor's sacramental vision by showing how it is embodied morally within her fiction as an ethic of responsibility. In developing this argument Srigley offers a detailed analysis of the Thomistic sources for O’Connor’s understanding of theology and art. Srigley contends that O’Connor’s ethical vision of responsibility opens a fruitful path for understanding her religious ideas as they are expressed in the lives and loves of her fictional characters. O’Connor’s characters show that responsibility is a living moral action not an abstract code of behavior. For O’Connor, ethical choices are not dictated by religious doctrine, but rather are an engagement with and response to reality. Srigley further argues that O’Connor’s ethics are not systematic, formulaic, or prescriptive. As a storyteller, she explores the moral complexities of life in their most concrete and dramatic form. Behaviors that appear in her fiction such as racism, sexism, or nihilism are exposed as inherently irresponsible. Approaching O’Connor’s fiction from a moral perspective often better illuminates the dramatic struggle of a story, not because it offers a religious solution to a particular issue, but because the choices each character makes reveal a vision of reality that is either meaningful and sustainable or narrow and destructive. Flannery O'Connor's Sacramental Art reveals O’Connor’s role as a prophetic novelist whose moral questions speak to the modern world with rare force. It will be welcomed by anyone who appreciates the moral or religious dimensions of her writing.

Book is in NEW condition. 1.09

Flannery O'Connor is one of America's most unique Southern authors. Shortly after she began her writing career she was diagnosed with lupus. Despite her illness, O'Connor authored more than two dozen short stories and two novels. Her highly regionalized Southern Gothic stories often involve grotesque characters.Literature critic and theologian Timothy J. Basselin consults O'Connor's life and work to illustrate the profound connections existing between the theme of the grotesque and Christian theology. O'Connor's own disability, Basselin argues, inspired a theology that leads readers toward greater recognition of God's activity in a sinfully grotesque world. By combining disability studies, literary critique, and theological reflection, Basselin discovers a new vision for approaching the disabled, the grotesque, and the other in society. Flannery O'Connor reignites O'Connor's own critiques of the modern affinity for perfection, self-sufficiency, and a clear separation between "good" and "bad."

Unread book in perfect condition.

My book aims to help readers understand and appreciate O'Connor's novels and short stories. It weaves together her place-Milledgeville, Georgia; her purpose-to write a good story; and her preoccupations-belief, death, grace, and the devil. I explicate the influences that give depth to her fiction: her understanding and respect for the mores of the South ( including relationships between races), the books she read and marked that reveal links to her own philosophy and literary skill, and her deep religious convictions. Today, our encounters with the other,the different one, elicit fear and lead to violence from us, as individuals and as nations. For O'Connor, the otheris a distorted image of God. Her stories show how this distortion calls forth God's grace, and the violence in her stories enables her characters to discover their true selves. Her unique blend of talent and convictions allows her to create stories with long extensions of meaning. In our era of quick reads,O'Connor's fiction leads us to a more contemplative mode of reading. When we finish one of her stories, we have experienced the intellectual pleasure of a finely-wrought artifact, and we also have much to think about: belief, death, grace, and the devil. Not a bad combination, that!

Flannery O'Connor was only the second twentieth-century writer (after William Faulkner) to have her work collected for the Library of America, the definitive edition of American authors. Forty years after her death, O'Connor's fiction still retains its original power and pertinence. For those who know nothing of O'Connor and her work, this new study by Ralph C. Wood offers one of the finest introductions available. For those looking to deepen their appreciation of this literary icon, it breaks important new ground.Unique to Wood's approach is his concern to show how O'Connor's stories, novels, and essays impinge on America's cultural and ecclesial condition. He uses O'Connor's work as a window onto its own regional and religious ethos. Indeed, he argues here that O'Connor's fiction has lasting, even universal, significance precisely because it is rooted in the confessional witness of her Roman Catholicism and in the Christ-haunted character of the American South.These are some of the engaging moral and religious questions that Wood explores: the role of religious fundamentalism in American culture and in relation to both Protestant liberalism and Roman Catholicism; the practice of racial slavery and its continuing legacy in the literature and religion of the South; the debate over Southern identity, especially whether it is a culture rooted in ancient or modern values; the place of preaching and the sacraments in secular society and dying Christendom; and the lure of nihilism in contemporary American culture.

The landscape of American literature was fundamentally changed when Flannery O'Connor stepped onto the scene with her first published book, Wise Blood, in 1952. Her fierce, sometimes comic novels and stories reflected the darkly funny, vibrant, and theologically sophisticated woman who wrote them. Brad Gooch brings to life O'Connor's significant friendships--with Robert Lowell, Elizabeth Hardwick, Walker Percy, and James Dickey among others--and her deeply felt convictions, as expressed in her communications with Thomas Merton, Elizabeth Bishop, and Betty Hester. Hester was famously known as "A" in O'Connor's collected letters, The Habit of Being, and a large cache of correspondence to her from O'Connor was made available to scholars, including Brad Gooch, in 2006. O'Connor's capacity to live fully--despite the chronic disease that eventually confined her to her mother's farm in Georgia--is illuminated in this engaging and authoritative biography.

Despite her early death from lupus at 39, Flannery O'Connor has left a remarkable literary legacy. Written for high school students and undergraduates, this biography is a concise, accessible overview of O'Connor's life and achievements. Included are chapters on her youth and early literary career, the decline of her health and her return to her hometown, her maturation as an author, her identity as a Southern writer, and her final years. The volume also provides a timeline and closes with a bibliography of books, articles, and electronic sources for student research.Despite her early death from lupus at 39, Flannery O'Connor has left a remarkable literary legacy. She emerged as one of America's most controversial, misunderstood, and promising young writers. Though she published only two novels, a collection of short stories, and various other prose works, she forcefully conveyed her Catholicism to a wide audience. She frequently created grotesque Southern characters, depicted violent situations, and wrote with acerbic wit. This biography discusses her fascinating life and literary career.Written especially for high school students and undergraduates, this volume is a concise and accessible guide to O'Connor's achievements. Included are chapters on her youth and early works, the decline of her health and her return to her hometown, her maturation as an author, her identity as a Southern writer, and her final years. The volume also presents a timeline and bibliography of books, articles, and electronic sources for student research.

These ten essays, seven of which are previously unpublished, reflect the broadening of critical approaches to Flannery O'Connor's work over the past decade. The essays offer both new directions for, and new insights into, reading O'Connor's fiction. Some essays probe issues that, until recently, had been ignored. Others reshape long-standing debates in light of new critical insights from gender studies, rhetorical theory, dialogism, and psychoanalysis. Topics discussed include O'Connor's early stories, her canonical status, the phenomenon of doubling, the feminist undertones of her stories' grotesqueries, and her self-denial in life and art. Commentary on O'Connor has most often centered on her regional realism and the poetics of her Catholicism. By regarding O'Connor as a major American writer and focusing on the variety of critical approaches that might be taken to her work, these essays dispel the earlier geographic and religious stereotypes and point out new avenues of study.