Everything That Rises Must Converge: Stories (FSG Classics)

I confess I had never heard of Flannery O'Connor until recently perusing a list of National Book Award winners (for her posthumous 1972 collection, 'The Complete Stories'). I wasn't even sure if Flannery was a man or a woman, American or Irish. After reading just one of her short stories I became a devoted follower. Flannery O'Connor is one of great American writers of the 20th century, a Southern Gothic stylist of the first order. O'Connor sets her stories in the rural South and populates them with twisted characters - this is not the imagined noble, glorious, and chivalric South, but rather the real South of the poor and middling whites of the 1950's (race is mostly in the background). She catches the nuances of human behavior. Her stories have powerful, unexpected and disturbing endings. Pick up a story and read just one paragraph and you will be hooked. "Asbury's train stopped so that he would get off exactly where his mother was standing waiting to meet him. Her thin spectacled face below him was bright with a wide smile that disappeared as she caught sight of him bracing himself behind the conductor. The smile vanished so suddenly, the shocked look that replaced it was so complete, that he realized for the first time that he must look as ill as he was..." Absolutely the highest recommendation.

My copy of _Everything That Rises Must Converge_ has been shouting at me from high up on my bookshelf for several years now. I don't know when I picked up this book; in the dark ages, I suppose, back when I appreciated no book more than the Bible, and most books less than Louis L'Amour's _Sackett's Land_. But my book keeps yelling. "Hey ...!" it says. "I'm getting booklice up here! What are you reading that [book] for ...?"--Don't be too alarmed. All of O'Connor's books shout at readers that way.Do you want to know something, though? The book has a pretty good reason to shout. Although it's been months since I finally read the collection, it hasn't quieted down. Moreover, I've grown appreciative of its company._Everything that Rises..._ was released after O'Connor's death. The hallmark story leads a parade of nine others, a veritable Mardi-Gras of intellectuals, petulants, vindictives, intolerants, and misconceivers, all down a path toward redemption, and thankfully, all with their shirts _on_ (except for that one guy with the tattoo, of course)."Theology--ugh. Stop saying 'redemption'," some readers holler. Fortunately, O'Connor's theology is well-masked. In fact, I had to read her biography, look at her essays, and dig with a backhoe before I located any theology. But I found it. It was hiding there in plain sight, and once I saw it, I wondered that I had ever missed it. I had trouble locating her theology because O'Connor has a habit of flaying peoples' minds to reveal their darker side. And when you flay somebody's mind, well, to quote Lady Macbeth, "Who would have thought the old man to have had so much blood in him?" Wait now--before you shout "Violence--ugh. Stop saying 'flay'," I need to tell you about her work.O'Connor uses no words of mystery. That woman was club-thumping blunt. If you prefer stories that wash down pleasantly with watercress sandwiches and Darjeeling, then you'd better find your authors elsewhere. However, if you need something that brands your soul, and if you want the burn to last a long, long time, then read this collection.O'Connor was passionate about two things in her life (well, three things actually, if you count large domesticated birds, but that's for another review): she loved her religion, and she loved the South. Her writing feels the effects of both. If the South provides the actual meat and potatoes of the story, then her Catholicism provides the salt, without which her stories truly might have been intolerable. The South is not just a home for O'Connor. The south looms over her writing like a half-ton gorilla. But in a good way. Her region gives her work location, yes, but more importantly a sense of history, and of direction. She was fiercely unrepentant of her Southern heritage, at least in terms of its importance to her craft. Her collection of essays asserts that her Southern characters were grotesque because of their bad manners, yet to her, "bad manners are preferable

I nearly fell out of my chair when I began reading this collection. I then read it cover-to-cover in a single sitting. It is difficult to describe O'Connor's style, simply because it is so infinitely unique. "Visceral" is a start, but it falsely suggests an explicit rendering of detail and emotion. Rather, the stories are written with an odd, and even ethereal, detachment. Each story surprises and frightens you; and, as you finish one, you find that you must read the next. It is a strange spell. The characters seem so exaggerated, yet palpable and familiar. I do wonder why Flannery O'Connor isn't read more. Her writing is so taut and finely tuned; her stories disturbing, haunting, and ineffably sad.

What's the difference between a good and bad story? One will cause you to ponder its message long after you read it while the other will do nothing more than fill time. I did my share of pondering after reading each of Flannery's stories in this collection. The stories, for the most part, take place in the rural South, where we hear the bleating of sheep, the snorting of pigs, and the mooing of cows. There is a narrow, but effective, variety of characters portrayed, from landowner to squatter, from black to white. The stories simmer with a religious flavor, and those who are religious seem to be either haughty and self-righteous or hopelessly naive. The religious bigots think their medicine is best and should be taken by everyone, while they themselves are really the ones "in need of a physician." The intellectuals weave throughout a story or two, and like some of the religious ones, they treat those around them with disdain and downright viciousness. The characters seldom remain unscathed, however. Divine justice usually swoops down and executes revenge upon them, either directly or indirectly. This revenge often tends toward the grotesque, and I often finished a story with my jaw hanging open. Now I can't wait to digest her complete collection.