For O'Connor—whose characters are some of the most memorable grotesqueries in American literature—the grotesque makes visible hidden "discrepancies" between character and belief. Such images "connect or combine or embody two points; one is a point in the concrete and the other is a point not visible to the naked eye."
According to O'Connor, the South was not so much "Christ-Centered" as "Christ-Haunted." She believed that the most challenging images of Christ were pushed aside in the South in favor of more palatable ones, ones that would allow for the continued separation and inequality between the races. However, these sublimated images eventually return as "fierce and instructive" ghosts, to cast menacing shadows across the landscape. These menacing shadows are the raw material of much Southern literature, from the well-mannered, sober Eudora Welty to the drunken tortured genius of Faulkner. And as Susan Sontag pointed out in her New York Times Magazine essay about Abu Ghraib, "The Pictures Are Us," those same ghosts can be seen in the lynching photos of the late 19th and early 20th century.
Thursday, July 01, 2004
"A good war is hard to find"
Terrific godspy.com article on Flannery O'Connor and her putative take on the symbolic perversions of Abu Ghraib.: