Everything That Rises Must Converge
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Authors: Flannery O'Connor
Flannery O'Connor
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Contents
Everything That Rises Must Converge
Introduction
BY
R
OBERT
F
ITZGERALD
I
She was a girl who started with a gift for cartooning and satire, and found in herself a far greater gift, unique in her time and place, a marvel. She kept going deeper (this is a phrase she used) until making up stories became, for her, a way of testing and defining and conveying that superior knowledge that must be called religious. It must be called religious but with no false note in our voices, because her writing will make any false note that is applied to it very clear indeed. Bearing hard upon motives and manners, her stories as moralities cut in every direction and sometimes go to the bone of regional and social truth. But we are not likely to state what they show as well as they show it. We can stay on the safe side by affirming, what is true and usefully borne in mind, that making up stories was her craft, her pleasure and her vocation, that her work from first to last is imaginative writing, often comic writing, superbly achieved and always to be enjoyed as that. We had better let our awareness of the knowledge in her stories grow quietly without forcing it, for nothing could be worse than to treat them straight off as problems for exegesis or texts to preach on.
II
The new severely cut slab of marble bearing her name and the dates March 25, 1925âAugust 3, 1964 lies in the family plot on a bare elevated place in the Milledgeville cemetery, beside another slab of identical shape marking the grave of her father, but his has also a soldier's headstone for Edward F. O'Connor, Jr., Lt. 325th Infantry, 82nd Division, who died February 1st, 1941. I have been out there with her mother to note it all and to say my heart's prayer as I should, though generally I feel as I gather Flannery felt about cemeteries, that they and all they contain are just as well left in God's keeping and that one had better commune with persons, living or dead, than with gravestones and the silent earth. Milledgeville on a mild winter day without leafiness or bloom suggests no less remarkably than in the dogwood season (when I came before) the strict amenity of the older South, or at least this is what I make of there being so many pillared white houses. It was, after all, the capital of Georgia until after the War Between the States.
At the Cline house in town I have been out on the front porch, hatless and coatless in the sun, between the solid handcarved columns, fluted and two stories high, that were hoisted in place when the house was built in 1820 and the slaves, they say, were making by hand the bricks for the house and the openwork walls around the garden. Peter Cline acquired this place in 1886. He was a prominent man, in our American phrase, for many years mayor of the town, and he married successively two sisters, Kate L. and Margaret Ida Treanor. By the former he had seven children and by the latter nine, of whom Regina, Flannery's mother, was the seventh. All of these people were old Georgia Catholics. The first Mass in Milledgeville had been celebrated in the apartment of Hugh Treanor, father of Kate and Ida, in the Newell Hotel in 1847. Mrs. Hugh Treanor gave the plot of ground for the little church that was built in 1874.
From the house in town to the farm called Andalusia is about five miles on the Eatonton-Atlanta highway. A quarter of a mile off the road on rising ground, the white farmhouse looks narrow and steeply roofed with a screen porch across the front of it and a white watertank on very tall stilts behind. The driveway cuts through a red clay bank and curves gently uphill until it swerves around back of the house where there is a roof running out from over the kitchen door to make a broad shelter, and beyond this there are three cedar trees, one with a strong straight bough about eight feet off the grass. The grass is sleeted white by droppings from the peacocks that roost at night on the bough. In the background off to the left is the low darkly weathered clapboard house with a low open porch where the Negroes live and beyond it the barn with farm machinery in the yard. From the carport you see geese going by in single file and there are swans preening in the middle distance; you also see the peacocks proceeding sedate and dainty through the shrubbery to denude it of berries and through the flowerbeds to denude them of buds. There are maybe a dozen or twenty peacocks in sight, fabulous in throat and crest, to say nothing of the billowy tensile train behind. Between the fowls of this farmyard and the writings of Flannery O'Connor, who bought and cared for them and loved to look at them, I do not at all mind drawing a certain parallel, to wit, that if you miss the beauty of plain geese the peacocks will knock your eye out.
I have been in the dining-room looking at old photographs with Regina. There is a big one of Flannery at about two, in profile, sitting crosslegged on a bed and frowning at a large book with an elegantly curled page lit within by reflected light. There is another of her father, a robust amused young man, looking very much the Legion Commander that he was, sitting like the hub of a wheel with his five gay younger brothers beside and behind him. They were a Savannah family, the O'Connors, and Ed, as Flannery always called him, had been in the real estate business there, and Flannery was born and lived her childhood there in a tall narrow brownstone house, going to St. Vincent's parochial school and later to the Sacred Heart. There is a studio photograph of the child at five or six, standing on a bench beside her mother, who is an absolute beauty with a heart-shaped face and large grey eyes and dark hair smoothly drawn down from the part. That would be about 1930 or '31 in Savannah. They moved to the Cline house in Milledge-ville toward the end of the decade when Mr. O'Connor was ill with a fatal disease called lupus for which no effective treatment was then known. Flannery in her turn would suffer it and die of it or its consequences.
I have also been in the front room on the other side of the house, Flannery's bedroom, where she worked. Her aluminum crutches, acquired in 1955, are standing against the mantel. The bed is narrow and covered by a plain spread. It has a tall severe wooden headboard. At the foot is one of those moveable tray stands used in hospitals. On the low table to the right of the bed there is a small pile of books covered in black leather, three books in all, on top a Sunday missal, below that a breviary, below that a Holy Bible. To the left of the bed is her work desk, facing away from the front windows, facing the back of a wardrobe that is shoved up against it, no doubt to give her as nearly as possible nothing to look at while she worked. Behind it on a table under the window is a new electric typewriter still unused, still in the corklight plastic box it came in. There are a lot of books in plain bookcases of various sizes around the interior walls. Her painting of a rooster's angry head, on a circular wooden plaque, glares from the top of the tallest bookcase.
In the hall, in the dining-room, and in the comfortable small living-room of the “addition” they built in 1959, the paintings on the walls are all Flannery's, all done during the last thirteen years when she lived, in more or less infirmity, at the farm. They are simple but beautiful paintings of flowers in bowls, of cows under trees, of the Negro house under the bare trees of winter. I use this word “beautiful” with all possible premeditation. Once when I was working at a university I was asked with a couple of my friends who taught there to take part in a symposium on Flannery's work, a symposium which I expected would be favorable if critical, but it turned out that one of my friends didn't like her work at all because he thought it lacked a sense of natural beauty and human beauty. Troubled by this, I looked in the stories again and took a sentence from “A Good Man Is Hard to Find” to say what I felt she perceived not only in natural things but in her characters: “The trees were full of silver-white sunlight and the meanest of them sparkled.” Surely even the meanest of them do. I observed that in the same story the least heroic of the characters was able, on his way to be shot, to shout a reassurance to his mother (though supporting himself against a tree) and that his wife, asked if she would like to follow him, murmured “Yes, thank you,” as she got up with her baby and her broken shoulder. These were beautiful actions, I argued, though as brief as beautiful actions usually are.
To come back to the paintings, they are not only skilled in the application of paint but soundly composed and bold and sensitive in color and revelatory of their subjects, casual as the whole business was for her. She went deeper in this art as well. I know because I have looked through a sheaf of drawings she made before she was twenty when she was going to the Georgia Woman's College in Milledgeville and doing linoleum cut cartoons for the college paper,
Colonnade.
In one of the sketches one fish is saying to another, “You can go jump out of the lake,” an idea in which I can hear, already, the authentic O'Connor humor. In the linoleum cuts the line was always strong and decisive with an energy and angularity that recall the pen drawings of George Price, drawings that in fact she admired. For the yearbook,
Spectrum,
for 1945, when she graduated, she tried a rounder kind of comic drawing, not so good. She was editor of the literary magazine,
The Corinthian,
that year and so clearly on her way to being a writer that one of her teachers took the initiative in getting her a fellowship to the Writers' Workshop at the University of Iowa. She began to publish before she got her M. A. there in 1947. After one more year at Iowa, she worked on her writing at Yaddo and in New York.
III
My wife and I met her early in 1949 when she was not yet twenty-four. A friend of ours brought her to our apartment in New York to bear him out in something he had to tell, and she did this with some difficulty, frowning and struggling softly in her drawl to put whatever it was exactly the way it was. She sat facing the windows and the March light over the East River. We saw a shy Georgia girl, her face heart-shaped and pale and glum, with fine eyes that could stop frowning and open brilliantly upon everything. We had not then read her first stories, but we knew that Mr. Ransom had said of them that they were
written.
Before she left that day we had a glimpse of her penetration and her scornful humor, and during the spring we saw her again and saw the furnished room where she lived and worked in a drab apartment hotel on the upper West Side. Among the writing people who were our friends Flannery, as a devout Catholic, was something of a curiosity (they were curiosities to her, too). She could make things fiercely plain, as in her comment, now legendary, on an interesting discussion of the Eucharistic Symbol: “If it were only a symbol, I'd say to hell with it.”