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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.
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