One more from The Presence of Grace

Some of the most interesting parts of the book are hints thrown off in passing which show that attention to the study of archetypes could benefit the Church in some of the acute pastoral problems she faces today. In discussing the prevalent lapse of Catholics brought up in Catholic homes and educated in Catholic schools, Fr. White observes that this is very likely a failure of our sacred images to sustain an adequate idea of what they are supposed to represent. The images absorbed in childhood are retained by the soul throughout life. In medieval times, the child viewed the same images as his elders, and these were images adequate to the realities they stood for. He formed his images of the Lord from, for example, the stern and majestic Pantacrator, not from a smiling Jesus with a bleeding heart. When childhood was over, the image was still valid and was able to hold up under the assaults to belief. Today the idea of religion of large numbers of Catholics remains trapped at the magical stage by static and superficial images which neither mind nor stomach can any longer take. (100 Soul and Psyche)

More from The Presence of Grace

He proposes in the place of that anguish that Gide called the Catholic’s ‘cramp of salvation’ — obsession with personal salvation — an anguish transmuted into charity, anguish for another. Thus for Sartre, ‘hell is other people,’ but for the Christian with Mauriac’s anguish others are Christ. We realize that this way of looking at life was so completely left out of Mauriac’s youthful Catholic education that it has had to come to him as a discovery of later life. (96 - The Son of Man, Mauriac)

From The Presence of Grace

In genuine tragedy and comedy, the definite is explored to its extremity and man is shown to be the limited creature he is, and it is at this point of greatest penetration of the limited that the artist finds insight. Much modern so-called tragedy avoids this penetration and makes a leap toward transcendence, resulting in an unearned and spacious resolution of the work. The principle of this thorough penetration of the limited is best exemplified in medieval scriptural exegesis, in which three kinds of meaning were found in the literal level of the sacred text: the moral, the allegorical,and the anagogical. This is the Catholic way of reading nature as well as scfripture, and it is a way which leaves open the most possibilities to be found in the actual. (94- Christ and Apollo)

Catholics who are not articulate about their love of the Bible are generally those who do not love it, since they read it as seldom as possible, and those who don’t read the Bible do not read it because of laziness or indifference or the fear that reading it will endanger their faith, not the Catholic faith, but faith itself. (25 - The Catholic Companion to the Bible.)
(More here.)

A Review: "Flannery: A Life" by Brad Gooch

Brad Gooch, in his biography of Flannery O'Connor, quotes his subject: "There won't be any biographies of me because, for only one reason, lives spent between the house and the chicken yard do not make exciting copy." But Gooch proves that notion false with an absorbing biography of one of the most fascinating of 20th century writers.

Flannery's wit and sharp sense of humor is ever present despite the sometimes grim subject matter. On a trip to Lourdes she assured Betty Hester that "I am one of those people who could die for his religion sooner than take a bath for it." She went into the waters of the spring anyway, saying that "at least there are no societal trappings along with the medieval hygiene....I saw nothing but peasants and was very conscious of the distinct odor of the crowd."

Gooch builds suspense while deftly handling subjects such as the gradual learning of the nature of her disease and how a potentially serious romantic relationship ended when he married someone else. Betty Hester's loss of faith was another blow, using the plural as a mask for personal pain: "I don't know anything that could grieve us here like this news." Gooch says that she came to blame this loss of faith on Iris Murdoch, whose works she found "completely hollow". Hester grew infatuated with Murdoch in what the author terms a "weird literary battle for Betty's soul."

Reviews and reactions to O'Connor's fiction from the literary world were especially interesting. T.S. Eliot said he was "quite horrified by those [stories] I read. She has certainly an uncanny talent of a high order but my nerves are just not strong enough to take much of a disturbance."

O'Connor was delighted when she came across things that looked as they really were so it was appropriate that it was her eyes that many visitors to Andalasia found remarkable. Her friend Maryat called them "astonishingly beautiful".

She saw suffering as gift, remarking on her illness and literary career:

When she broke the news of her lupus to Robert Lowell, in March 1953, she swore that "I can with one eye squinted take it all as a blessing." Spinning her own life as a parable of a prodigal daughter, forced home against her wishes and finding a consoling gift, she later encouraged the young Southern novelist Cecil Dawkins: "I stayed away [in New York] from the time I was 20 until I was 25 with the notion that the life of my writing depending on my staying away. I would certainly have persisted in that delusion had I not got very ill and had to come home. The best of my writing has been done here."

Anecdotes abound, such as this tidbit of what captured her attention on a trip to the Metropolitan Museum of Art at the Cloisters in New York:

In the soft light of the Early Gothic Hall...she was drawn to a four-foot-high statue of Virgin and Child, with both parties "laughing; not smiling, laughing."...What chiefly pixilated her in the sculpture was its artistic sensibility. As she wrote to a friend, "Back then their religious sense was not cut off from their artistic sense.' Embodying a profound spirituality that could accommodate humor, even outright laughter - a recipe she was working toward in her own novel - the statue...was living proof of Maritain's writings on the breadth of expression possible in religious art."

And on the issue of faith and mystery, Flannery writes in response to a friend who worried about the challenge of secular learning:

"At one time, the clash of different world religions was a difficulty for me. Where you have absolute solutions, however, you have no need of faith." Instead she suggested a respect for 'mystery,' a term she first applied to illness, but which was increasingly key to her theology. As for the conundrum of predestination and God's punishment, she offered a literary answer: "Even if there were no Church to teach me this, writing two novels would do it. I think the more you write, the less inclined you will be to rely on theories like determinism. Mystery isn't something that is gradually evaporating. It grows along with knowledge."

Two nitpicks: the author suggests that her final two stories display a development in O'Connor's vision, a development which doesn't appear to be explicitly defined other than a quote referring to a critic saying there was a "mellowing" in her fiction. More on that theme would've been helpful. Also O'Connor's reaction against Communism during the late '40s was labeled as "shrill" and apocalyptic though given the level of death, both spiritual and physical in Stalin's U.S.S.R., her response seems proportionate.

But Gooch has given us a great treat in this excellent and fair-minded biography of a story-teller who once said that it "requires considerable courage not to turn away from the story-teller."

From "Habit of Being"

Anyway, don't think I am suggesting you read the Office everyday. It's just a good thing to know about, I say Prime in the morning and sometimes I say Compline at night but usually I don't. But anyway I like parts of my prayers to stay the same and part to change. So many prayer books are awful, but if stick with the liturgy, you are safe.

From Notre Dame lecture on Southern Fiction

Compassion is a word that sounds good in anybody's mouth...It's a quality that no one can put his finger on in any exact critical sense, so the word is always safe for anybody to use. Thomas Mann has said that the grotesque is the true anti-bourgeois style, but I think the kind of hazy, compassion demanded of the writer now makes it difficult for him to be anti-anything.

From Brad Gooch biography of O'Connor

I went to St. Mary's as it was right around the corner and I could get there practically every morning. I went there three years and never knew a soul in that congregation or any of the priests, but it was not necessary. As soon as I went in the door I was at home.

Flannery's Voice...Literally

Here is a lecture given at Notre Dame a year before her death.

"Nobody with a good car needs to be justified."

-- excerpt from "Wise Blood"

It is more than usual to find the attitude among Catholics that since we possess the Truth in the Church, we can use this Truth directly as an instrument of judgment on any discipline at any time without regard for the nature of that discipline itself...The Catholic fiction writer, as fiction writer, will look for the will of God first in the laws and limitations of his art and will hope that if he obeys these, other blessings will be added to his work.

--Flannery quoted by John R. Traffas in 8/24/08  National Catholic Register (also here)

From Quotations Page

Everywhere I go I'm asked if I think the university stifles writers. My opinion is that they don't stifle enough of them. There's many a best-seller that could have been prevented by a good teacher.

More from "The Church and the Fiction Writer"

When fiction is made according to its nature, it should reinforce our sense of the supernatural by grounding it in concrete observable reality. If the writer uses his eyes in the real security of his Faith, he will be obliged to use them honestly and his sense of mystery and his acceptance of it will be increased. To look at the worst will be for him no more than an act of trust in God...A belief in fixed dogma cannot fix what goes on in life or blind the believer to it...If the Catholic writer hopes to reveal mysteries, he will have to do it by describing truthfully what he sees from where he is. An affirmative vision cannot be demanded of him without limiting his freedom to observe what man has done with the things of God...It is popular to suppose that anyone who can read the telephone book can read a short story or a novel, and it is more than usual to find the attitude among Catholics that since we possess the Truth in the Church, we can use this Truth directly as an instrument of judgment on any discipline at any time without regard for the nature of that discipline itself. Catholic readers are forever being scandalized by novels that they don't have the fundamental equipment to read in the first place, and often these are works that are permeated with a Christian spirit. It is when an individual's faith is weak, not when it is strong, that he will be afraid of an honest fictional representation of life.