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Literary Feminism Research Paper

Literary feminism assumes a set of thoughts and ideals that allude to feminism in the realms of

literature. As such, literature that has assumed a feminist angle seems to suggest and even assign

certain roles within the literature settings and society based on their feminine characteristics and

other related perceptions. Therefore, women would only be deemed fit for certain roles both in

the society and setting within the literature. This paper intends to explore two Flannery

OConnor stories; Good Country People and A Good Man is Hard to Find from the

perspective of literary feminism theories as well as investigate ethical and faith-based aspects

related to them.

Introducing the Literary Feminism Theoretical Frameworks

Modern literary feminism assumes two major theoretical build-ups. The first is called

essentialism, and it means that certain figures and characters in the literature are assigned

distinctly biased characteristics and roles based on what the society assigns to them as ideal. The

author summarizes the issue by stating that what is essential according to certain figures in

society is what literature assigns the characters (Dooling 71). For example, women are ideally

assigned nurture-related roles based on the societys assumption that that is their essential role in

society and life. The second theoretical build-up that will inform our use of literary feminism in

this paper is social constructivism theory. This theoretical build-up assigns characters and roles

in literature based on the socially constructed perceptions (Duvall 104). Therefore, in a feminist
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setting, a woman might be assigned the role of single mother even when there are better and

bigger achievements in her life.

Literary Feminism in Flannery OConnors A Good Man is Hard to Find

Looking at OConnors story using the lens of literary feminism, we find several examples that

satisfy both theoretical build-ups as introduced before. First, essentialist feminist literature

manifests itself in the form of the authors introduction of the grandmother. Getz reflects how the

story makes reference to her as only the grandmother alludes to some feminist bias in that

while she has a name, the author assumes that her title would suffice (82). Therefore, Flannery

OConnor exemplifies essentialist literary feminism in how he mentions the familys matriarch

as just the grandmother. He assumes that making reference to her title would suffice in

introducing her to the story while her roles in the same are major.

Further along OConnors story, we find that once the road trip kicks off, the family finds

themselves having to make a stop at an eatery. While indulging themselves in the food, they

converse with the owner, a man called Red Sammy and his wife. How OConnor makes

reference to the restaurants owners wife as just the wife is a function of the socially

constructed roles that owners of various establishments relate to their wives. In that setting, the

wives are meant to support their husbands from a secondary place where they do not steal the

limelight. This exemplifies socialist constructivist literary feminism perfectly as one cannot

imagine this woman in any other light other than that of the humble, supportive wife whose role

is to stand by her husband (Getz 82). Such portrayals are a good example of modern literary

feminism as one could not even know that the lady might be solely responsible for the

establishment but feminist attitudes could never allow her get into the limelight.
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After resuming their road trip meant to take them from Georgia to Florida, the familys

grandmother has a sudden memory of a certain plantation she knows. How OConnor represents

the scenes as they unfold where the old lady suddenly realized that the plantation is actually in

Tennessee represents some strong literary feminism traits. Paxton states how by portraying her

as a senile old lady who cannot even remember the exact location of a plantation (90) OConnor

exemplifies essentialist and social constructivist literary feminist characteristics. First, the author

representing the familys grandmother as senile and one who seems to have problems

remembering is characteristic of essentialist literary feminism where the relations between

family members and their older grandparents seem to conclude that all memory-related issues

must allude to the older members such as the grandparent.

Further looks into the scene depicting the familys grandmother forgetting that the

plantations she wanted to show the family was actually in Tennessee allude to socialist

constructivism literary feminism. The majority of society has grown to associate memory issues

with their grandmothers, which explains the reason OConnor might have decided to use the

grandmothers forgetfulness as another example of literary feminism (Madsen 56).

After realizing that the plantation is not where the family car is headed, the grandmother

lets her cat out of its enclosure leading to an accident after it distracts the driving father. After the

car crashes into a ditch, with no injuries, OConnor uses another example of essentialist literary

feminism in the form of June Star lamenting to her father for the accident (O'Connor 130). As

the sister, she is portrayed as the one always lamenting and complaining even after it is evident

that the slight accident has left no injuries or deaths. OConnor has used her to define the

essential image that society has of sisters in the family; complainers and loudmouths who lament

about anything and everything. Eventually, as the family seeks help in extracting their stuck car,
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the very man that their grandmother has been talking about the Misfit shows up with his gang

of criminals.

OConnors final scenes in this story portray several instances of both essentialism

literary feminism and socialist constructivist literary feminism. First, when the grandmother

recognizes the criminal, she begins a campaign to beseech him portraying him as the self-

appointed savior of her family. OConnor demonstrates how in most scenarios that depict a

matriarch, she has to stand up to potential harm which is literary feminism in the sense that the

family has a man who should stand up to protect both his mother and family (131). The last

instance of literary feminism in the story depicts Misfit and his gang killing the family. They

decidedly shoot the old women last even as she beseeches them to consider turning their lives

around. Their actions are another demonstration by OConnor of socialist constructivist literary

feminism since they assume she is the weakest, therefore, might deserve the last death. Even the

Misfits last words echo this fact.

Ethical and Faith Issues in Flannerys A Good Man is Hard to Find

To be both a misfit and a good man is a contradiction in terms for the grandmother, who has

never considered the possibility of a social order in which one might be ethically required to

deviate from the norm. The latent injustice such conditions bring to bear on the poor and

marginalized has been incorporated, whether real or perceived, into The Misfits very identity.

His name itself reflects his conviction that he lives in precisely that environment. As he explains

to the grandmother, I call myself The Misfitbecause I cannot make what all I done wrong fit

what all I gone through in punishment (OConnor 132). In choosing that name for himself, The

Misfit openly challenges the grandmothers faith in her community. This aspect of her faith

manifests itself again when she assures The Misfit, You could be honest too if youd only try

(OConnor 132). Perhaps her most optimistic assertion, it completely disregards whatever
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constraints The Misfit professes to be struggling under in favor of an exquisitely simple reward

system, in which the effort one puts into living well translates directly into a moral way of life.

Were The Misfit to follow her advice, he would soon find himself imprisoned for his past

offenses, and he knows it. As such, he and the grandmother remain at an impasse on this as on

other issues, the former zealously denying the latters equally impassioned affirmations.

Although the pairs explicit disagreements spring up primarily around social justice,

Christianity affords the grandmother and The Misfit a subsidiary front across which to do battle.

The grandmother begins on a typically hopeful note: If you would pray,Jesus would help

you(OConnor 131). In response to The Misfits refusal, she tries to say Jesus will help

you,an even stronger expression of faith, but all that comes out is Jesus, Jesus,as if she

might be cursing (pg 131). Her garbled words meet with more success than her intended would:

The disastrous road trip recounted in Flannery OConnors A Good Man Is Hard to Findends

in tragedy largely because of the grandmothers childlike lack of self-restraint, but her familys

demise does vindicate her initial resistance to their destination, one of the many questionable

stances she takes that OConnor defends at least partially throughout the narrative.

With regards to faith-based stances, the most far-reaching of these may be her absolute

faith in the natural order (O'Connor and McGee 128). Over the course of their climactic

dialogue, the grandmother and The Misfit address a wide range of variations on that theme, with

The Misfit ably representing the skeptic point of view. As their subject wanders from universals

(social justice and religion) to extreme particulars (each other and themselves), both characters

stand by their overarching principles, ultimately suggesting a correlation OConnor wishes to

draw between the doctrines one deliberately subscribes to and the automatic reactions with

which one greets a change in circumstances (O'Connor 132).

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Furthermore, he places greater importance on the Gospels historical accuracy than on its

moral wisdom. He even goes so far as to say, It is not right, I was not there [when Jesus raised

the dead] because if I had of been there I would of known (pg.132). The Misfits grievance lies

not with the spiritual awakening he would have experienced had he been present, but instead

with the baser confirmation he desires as to Jesustrue divinity. Were The Misfit to practice

Christianity, in other words, faith would be allowed no part in it. The kind of certainty without

knowledge enjoyed by the grandmother is as foreign to him as are his doubts to her are.

Yes I am,The Misfit said as if he agreed (pg.131). He has yet to state it outright, but

OConnor leaves no doubt as to The Misfits attitude toward Jesus. Even after the grandmother

has jettisoned The Misfits control over the matter and promised Jesus help regardless of prayer

or lack thereof, The Misfit prefers to curse Jesus than turn to him for guidance. He eventually

puts his distaste into words: If He did what He said, then its nothing for you to do but throw

away everything and follow Him, and if He didnt, then its nothing for you to do but enjoy the

few minutes you got left the best way you can(OConnor 132). To throw away everything

(O'Connor 133) is an acrid enough definition of religious faith to have sufficed on its own; taken

as a whole, the statement ferociously repudiates the grandmothers beliefs. The Misfit reduces

piety to a blind acceptance of specific miraculous events. He posits that, said acceptance reached,

sincere Christians cannot help but devote themselves to Jesus teachings, convinced as they are

of His truth and others falsity.

Literary Feminism in Flannery OConnors Good Country People

The first instance of literary feminism in OConnors second story is Mrs. Hopewells act of

gossiping in the kitchen after putting on the heaters. She gossips with her employee Mrs.
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Freeman. As the employer, she assumes the socially constructed role of gossiper while her

employee listens on carefully. This portrayal is the product of the social belief that female

employers go the kitchen to catch up on gossip with their employees, which is a strong literary

feminist trait.

Further along the story, OConnor introduces the reader to the Mrs. Freemans two

daughters. He states how one is married and pregnant while the other is not. This difference

alludes to some socialist constructivist literary feminism where some daughters are lucky enough

to find life partners while the rest languish in solitude. This demonstration by OConnor is a

common aspect of literary feminism where society is perceived as being choosy in deciding who

gets married and who struggles.

Eventually, Flannery OConnor also makes mention of Joy, who is Mrs. Hopewells sick

daughter. The fact that she lost her leg in a shooting accident almost screams literary feminism as

women are perceived to be useless with regards to guns. This form of literary feminism is

essentialism-based where the essential roles that govern female roles in society depart them in

many cases from all use of guns. Additionally, she has a wooden peg that predisposes her to

Manleys sexual advances. He thinks that the beautiful girl with a wooden leg is more prone to

his advances than most others especially in instances where he takes the leg from her.

Ethical and Faith-based issues in Flannerys Good Country People

We meet several versions of this character throughout O'Connor's stories, but Hulga is perhaps

the most memorable, with her PhD in philosophy, her defiant atheism, her wooden leg, and her

weak heart that keeps her living at home. In some ways she's a bit like O'Connor herself, who

because of her failing health returned to life with her devoted but not literarily sensitive mother

on the family farm in Milledgeville, Georgia. This story is anything but a railing against Mrs.

Freeman and Mrs. Hopewell, unseeing as they are. It's Hulga who most clearly needs and
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experiences the moment of seeing, given to her in the most painful (for her) and bizarre (for the

reader) way.

The majority of the story takes place before the moment of seeing, building up to it. In

the process we don't experience any one perspective so much as the juxtaposition of Hulga's with

the others'. What defines Hulga is her violent contempt for the world of her mother and her

mother's hired help. Hulga (who changed her given name, Joy) considers herself released from

religious delusions and inhabiting a more intellectual world, in which her eyes have been opened

to the philosophy of nihilism and from which she looks with scorn on good country people.

What precipitates the story's climactic moment is the arrival of Manley Pointer, the Bible

salesman with black suitcase, bright blue suit, and yellow socks, perfectly playing the part of

good country people who earnestly seek a life of Christian service.

Many critics take Hulga's plot to seduce Manley as a desire to emancipate this young

believer from his religious delusions. Indeed, she envisions herself as his liberator. I have always

seen in Hulga a suppressed desire to connect with true faith like that of a childfor she is utterly

taken in by the young man's earnest show. She is drawn to him. Perhaps both desires are at work,

on different levels.
 Works Cited

Dooling, A. D. Women's literary feminism in twentieth-century China. Palgrave

Macmillan, 2005, p. 71.

Duvall, J. N. The Cambridge companion to American fiction after 1945. Cambridge

University Press, 2012, p. 104.

Getz, L. M. Flannery O'Connor, literary theologian: The habits and discipline of being. E.

Mellen Press, 2000, p. 82.

Madsen, D. L. Feminist theory and literary practice. Pluto Press, 2000, p. 56.

O'Connor, F. A good man is hard to find, and other stories. Harcourt, Brace, 1953, pp. 130-

133.

---. A good man is hard to find, and other stories. Harcourt, Brace, 1955, pp. 131-133.

O'Connor, F., and R. M. Magee. Conversations with Flannery O'Connor. University Press of

Mississippi, 1987, p. 128.

Paxton, V. A. A good woman is hard to find: Discovering the voice of the woman satirist in

Flannery O'Connor's Wise Blood. 2009, p. 90.