Jordan Cofer examines the influence of the Bible upon Flannery O'Connor's fiction. While there are many studies exploring how her Catholicism affected her fiction, this book argues that O'Connor is heavily influenced by the Bible itself. Specifically, it explicates the largely undocumented ways in which she used the Bible as source material for her work. It also shows that, rhetorically, many of O'Connor's stories (and/or characters) are based upon biblical models. Furthermore, Cofer explains how O'Connor's stories engage their biblical analogues in unusual, unexpected, and sometimes grotesque ways, as her stories manage to convey essentially the same message as their biblical counterparts. Throughout O'Connor's work there are significant biblical allusions which have been neglected or previously undiscovered. This book acknowledges her biblical source material so readers can understand the impact it had on her fiction. Cofer argues that readers can better appreciate her work by examining how her stories are often grounded in specific biblical texts, which she similarly distorts, exaggerates, and subverts, in order to shock and teach readers. Simply put, O'Connor doesn't merely reference these biblical stories, she rewrites them.

The National Endowment for the Humanities has funded two Summer Institutes titled "Reconsidering Flannery O'Connor", which invited scholars to rethink approaches to Flannery O'Connor's work. Drawing largely on research that started as part of the 2014 NEH Institute, this collection shares its title and its mission. Featuring fourteen new essays, Reconsidering Flannery O'Connor disrupts a few commonplace assumptions of O'Connor studies while also circling back to some old questions that are due for new attention. The volume opens with "New Methodologies", which features theoretical approaches not typically associated with O'Connor's fiction in order to gain new insights into her work. The second section, "New Contexts", stretches expectations on literary genre, on popular archetypes in her stories, and on how we should interpret her work. The third section, lovingly called "Strange Bedfellows", puts O'Connor in dialogue with overlooked or neglected conversation partners, while the final section, "O'Connor's Legacy", reconsiders her personal views on creative writing and her wishes regarding the handling of her estate upon death. With these final essays, the collection comes full circle, attesting to the hazards that come from overly relying on O'Connor's interpretation of her own work but also from ignoring her views and desires. Through these reconsiderations, some of which draw on previously unpublished archival material, the collection attests to and promotes the vitality of scholarship on Flannery O'Connor.

The National Endowment for the Humanities has funded two Summer Institutes titled "Reconsidering Flannery O'Connor", which invited scholars to rethink approaches to Flannery O'Connor's work. Drawing largely on research that started as part of the 2014 NEH Institute, this collection shares its title and its mission. Featuring fourteen new essays, Reconsidering Flannery O'Connor disrupts a few commonplace assumptions of O'Connor studies while also circling back to some old questions that are due for new attention. The volume opens with "New Methodologies", which features theoretical approaches not typically associated with O'Connor's fiction in order to gain new insights into her work. The second section, "New Contexts", stretches expectations on literary genre, on popular archetypes in her stories, and on how we should interpret her work. The third section, lovingly called "Strange Bedfellows", puts O'Connor in dialogue with overlooked or neglected conversation partners, while the final section, "O'Connor's Legacy", reconsiders her personal views on creative writing and her wishes regarding the handling of her estate upon death. With these final essays, the collection comes full circle, attesting to the hazards that come from overly relying on O'Connor's interpretation of her own work but also from ignoring her views and desires. Through these reconsiderations, some of which draw on previously unpublished archival material, the collection attests to and promotes the vitality of scholarship on Flannery O'Connor.

Jordan Cofer examines the influence of the Bible upon Flannery O'Connor's fiction. While there are many studies exploring how her Catholicism affected her fiction, this book argues that O'Connor is heavily influenced by the Bible itself. Specifically, it explicates the largely undocumented ways in which she used the Bible as source material for her work. It also shows that, rhetorically, many of O'Connor's stories (and/or characters) are based upon biblical models. Furthermore, Cofer explains how O'Connor's stories engage their biblical analogues in unusual, unexpected, and sometimes grotesque ways, as her stories manage to convey essentially the same message as their biblical counterparts. Throughout O'Connor's work there are significant biblical allusions which have been neglected or previously undiscovered. This book acknowledges her biblical source material so readers can understand the impact it had on her fiction. Cofer argues that readers can better appreciate her work by examining how her stories are often grounded in specific biblical texts, which she similarly distorts, exaggerates, and subverts, in order to shock and teach readers. Simply put, O'Connor doesn't merely reference these biblical stories, she rewrites them.