In the indistinct darkness, they seemed to be drowning into the ground, to be about half-submerged already. The city hung in front of them on the side of the mountain as if it were a larger part of the same pile, not yet buried so deep. The fire had gone out of it and it appeared settled into its unbreakable parts. Death is not the only one of the Last Things present in the O'Connor stories; Judgment is there, too. On the pride of contemporary man, in particular on flying as his greatest achievement, Tarwater in The Violent has a prophet's opinion:
"I wouldn't give you nothing for no airplane. A buzzard can fly."
Christ the tiger, a phrase in Eliot, is a force felt in O'Connor. So is the impulse to renounce the blessed face, and to renounce the voice. In her work we are shown that vices are fathered by our heroism, virtues forced upon us by our impudent crimes, and that neither fear nor courage saves us (we are saved by grace, if at all, though courage may dispose us toward grace). Her best stories do the work that Eliot wished his plays to do, raising anagogical meaning over literal action. He may have felt this himself, for though he rarely read fiction I am told that a few years before he died he read her stories and exclaimed in admiration at them.
VI
The title of the present book comes from Teilhard de Chardin, whose works Flannery O'Connor had been reading at least since early 1961 when she recommended them to me. It is a title taken in full respect and with profound and necessary irony. For Teilhard's vision of the "omega point" virtually at the end of time, or at any rate of a time-span rightly conceivable by paleontologist or geologist alone, has appealed to people to whom it may seem to offer one more path past the Crucifixion. That could be corrected by no sense of life better than by O'Connor's. Quite as austere in its way as his, her vision will hold us down to earth where the clashes of blind wills and the low dodges of the heart permit any rising or convergence only at the cost of agony. At that cost, yes, a little.
The better a poem or piece of fiction, the more corrective or indeed destructive it is likely to be of any fatuous happiness in abstractions. "Rising" and "convergence" in these stories, as the title story at once makes clear, are shown in classes, generations, and colors. What each story has to say is what it shows. If we are aware that the meaning of the stories is to be sought in the stories and well apprehended in the stories alone, we may try a few rough and cautious statements about them. Thus the title story shows, amid much else in a particular action of particular persons, young and old and black and white to be practically sealed off against one another, struggling but hardly upward or together in a welter of petty feelings and cross purposes, resolved only slightly even by the tragic blow. "Slightly," however, may mean a great deal in the economy of this writer. The story is one of those, like "The Artificial Nigger" in her first collection and "Revelation" in this, in which the low-keyed and calibrated style is allowed a moment of elevation.
What is wrong in this story we feel to be diffused throughout the persons and in the predicament itself, but in at least two of the stories, and those among the latest and most elaborate, the malign is more concentrated in one personage. I do not mean il maligno, as the Italians call the devil. There are few better representations of the devil in fiction than Tarwater's friend, as overheard and finally embodied in The Violent; but in these two stories, "The Comforts of Home" and "The Lame Shall Enter First," the personage in question is not quite that. He need not be, since the souls to be attacked are comparatively feeble. Brainless and brainy depravity are enough, respectively, to bring down in ruin an irritable academic and a self-regarding do-gooder. The latter story is clearly a second effort with the three figures of the novel, Tarwater, Rayber and Bishop, who are here reworked, more neatly in some respects, as Johnson, Shepard and Norton.
Other similarities link various stories to one another and to earlier stories. There is a family resemblance between Julian in the title story, Wesley in "Greenleaf," Ashbury in "The Enduring Chill" and Thomas in "The Comforts of Home." The Wellesley girl in "Revelation" is related to all these and to the girl in "Good Country People." In the various mothers of the stories there are facets of Mrs. Mclntyre in "The Displaced Person." Parker in "Parker's Back" has some of the traits of a latter-day Hazel Motes. The critic will note these recurrent types and situations. He will note too that the setting remains the same, Southern and rural as he will say, and that large classes of contemporary experience, as of industry and war and office work and foreign travel, are barely touched if touched at all. But in saying how the stories are limited and how they are not, the sensitive critic will have a care. For one thing, it is evident that the writer deliberately and indeed indifferently, almost defiantly, restricted her horizontal range; a pasture scene and a fortress wall of pine woods reappear like a signature in story after story. The same is true of her social range and range of idiom. But these restrictions, like the very humility of her style, are all deceptive. The true range of the stories is vertical and Dantesque in what is taken in, in scale of implication. As to the style, there is also more to say.
She would be sardonic over the word ascesis, but it seems to me a good one for the peculiar discipline of the O'Connor style. How much has been refrained from, and how much else has been cut out and thrown away, in order that the bald narrative sentences should present just what they present and in just this order! What counts is the passion by which the stories were formed, the depth, as Virginia Woolf said of Milton, at which the options were taken. Beyond incidental phrasing and images, beauty lies in the strong invention and execution of the things, as in objects expertly forged or cast or stamped, with edges, not waxen and worn or softly moulded.
If we look for pleasure of a secondary kind such as we take in the shadings and suffusions of Henry James, I suggest that this is given in these stories by the comedy. There is quite a gamut of it, running from something very like cartooning to an irony dry and refined, especially in the treatment of the most serious matters. John Crowe Ransom was the first reader known to me to realize and say that Flannery O'Connor was one of our few tragic writers, a fact that we will not miss now in reading "The Displaced Person" in the first volume or "The Comforts of Home" in this. But it is far from the whole story. On the tragic scene, each time, the presence of her humor is like the presence of grace. Has not tragicomedy at least since Dante been the most Christian of genres?
I do not want to claim too much for these stories, or to imply that every story comes off equally well. That would be unfaithful to her own conscience and sense of fact. Let the good critic rejoice in the field for discrimination these stories offer him. Before I turn them over to him and to the reader, I should like to offer a reflection or two on the late masterpiece called "Revelation." One of its excellences is to present through a chance collection in a doctor's waitingroom a picture of a whole "section"-realized, that is, in the human beings who compose it, each marvelously and irreducibly what he or she is. For one example of the rendering, which is faultless, consider this:
A grotesque revolving shadow passed across the curtain behind her and was thrown palely on the opposite wall. Then a bicycle clattered down against the outside of the building. The door opened and a colored boy glided in with a bay from the drug store. It had two large red and white paper cups on it with tops on them. He was a tall, very black boy in discolored white pants and a green nylon shirt. He was chewing gum slowly, as if to music. He set the tray down in the office opening next to the fern and stuck his head through to look for the secretary. She was not in there. He rested his arms on the ledge and waited, his narrow bottom stuck out, swaying slowly to the left and right. He raised a hand over his head and scratched the base of his skull. Not only do we see this boy for the rest of our lives; for an instant we hear him think. But the greater excellence of the story is to bring about a rising and a convergence, a movement of spirit in Buby Turpin that is her rising to a terrible occasion, and a convergence between her and the violent agent of this change.