Flannery O'Connor Quotes - Page 8

Quotes about:

• I never understand how writers can succumb to vanity - what you work the hardest on is usually the worst.

  Flannery O'Connor

  Vanity, Worst, Hardest

  Flannery O'Connor (1988). “The Habit of Being: Letters of Flannery O'Connor”, p.200, Macmillan

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• The fiction writer has to engage in a continual examination of conscience. He has to be aware of the freak in himself.

  Flannery O'Connor

  Examination, Fiction, Freak

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• I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing.

  Flannery O'Connor

  Writing, Character, People

  Flannery O'Connor (1969). “Mystery and Manners: Occasional Prose”, p.66, Macmillan

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• It is popular to believe that in order to see clearly one must believe nothing. This may work well enough if you are observing cells under a microscope. It will not work if you are writing fiction. For the fiction writer, to believe nothing is to see nothing.

  Flannery O'Connor

  Believe, Writing, Cells

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• There is no excuse for anyone to write fiction for public consumption unless he has been called to do so by the presence of a gift. It is the nature of fiction not to be good for much unless it is good in itself.

  Flannery O'Connor

  Writing, Fiction, No Excuses

  Flannery O'Connor (1969). “Mystery and Manners: Occasional Prose”, p.81, Macmillan

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• I distrust pious phrases, especially when they issue from my mouth. I try militantly never to be affected by the pious language of the faithful but it is always coming out when you least expect it. In contrast to the pious language of the faithful, the liturgy is beautifully flat.

  Flannery O'Connor

  Issues, Faithful, Trying

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• I feel that discussing story-writing in terms of plot, character, and theme is like trying to describe the expression on a face by saying where the eyes, nose, and mouth are.

  Flannery O'Connor

  Character, Eye, Writing

  Flannery O'Connor (1969). “Mystery and Manners: Occasional Prose”, p.89, Macmillan

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• When using dialect, use it lightly. A dialect word here and there is enough. All you want to do is suggest. Never let it call attention to itself.

  Flannery O'Connor

  Writing, Here And There, Attention

  Flannery O'Connor (1988). “The Habit of Being: Letters of Flannery O'Connor”, p.301, Macmillan

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• I have enough energy to write with and as that is all I have any business doing anyhow, I can with one eye squinted take it all as a blessing.

  Flannery O'Connor

  Eye, Writing, Blessing

  Flannery O'Connor (1988). “The Habit of Being: Letters of Flannery O'Connor”, p.16, Macmillan

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• I am not afraid that the book will be controversial, I'm afraid it will not be controversial.

  Flannery O'Connor

  Book, Controversial, Not Afraid

  Flannery O'Connor (1988). “The Habit of Being: Letters of Flannery O'Connor”, p.358, Macmillan

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• I am much younger now than I was at twelve or anyway, less burdened.

  Flannery O'Connor

  Self Confidence, Twelve

  Flannery O'Connor (1988). “Collected Works”, New York, NY : Library of America : Distributed to the trade in the U.S. and Canada by Viking Press

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• There's many a bestseller that could have been prevented by a good teacher.

  Flannery O'Connor

  Funny, Witty, Teacher

  Mystery and Manners: Occasional Prose "The Nature and Aims of Fiction" (1969)

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• If there is no possibility for change in a character, we have no interest in him.

  Flannery O'Connor

  Writing, Character, Possibility

  Flannery O'Connor (1988). “The Habit of Being: Letters of Flannery O'Connor”, p.199, Macmillan

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• It's easier to bleed than sweat, Mr. Motes.

  Flannery O'Connor

  Sweat, Hardship, Easier

  Flannery O'Connor (2007). “Wise Blood: A Novel”, p.229, Macmillan

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• Woman! Do you ever look inside? Do you ever look inside and see what you are not? God!

  Flannery O'Connor

  Looks

  Flannery O'Connor (2016). “A Good Man is Hard to Find”, p.119, Faber & Faber

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• I am very much afraid that to the fiction writer the fact that we shall always have the poor with us is a source of satisfaction,for it means, essentially, that he will always be able to find someone like himself.

  Flannery O'Connor

  Mean, Fiction, Able

  Flannery O'Connor (1969). “Mystery and Manners: Occasional Prose”, p.131, Macmillan

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• Everything that gave her pleasure was small and depressed him.

  Flannery O'Connor

  Pleasure

  Flannery O'Connor (1965). “Everything That Rises Must Converge: Stories”, p.4, Macmillan

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• ... the man in the violent situation reveals those qualities least dispensable in his personality, those qualities which are all he will have to take into eternity with him.

  Flannery O'Connor

  Men, Afterlife, Personality

  Flannery O'Connor (1993). “"A Good Man is Hard to Find"”, p.59, Rutgers University Press

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• Purity strikes me as the most mysterious of the virtues and the more I think about it the less I know about it.

  Flannery O'Connor

  Happiness, Thinking, Mysterious

  Flannery O'Connor (1988). “Collected Works”, New York, NY : Library of America : Distributed to the trade in the U.S. and Canada by Viking Press

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• Southern culture has fostered a type of imagination that has been influenced by Christianity of a not too unorthodox kind and by a strong devotion to the Bible, which has kept our minds attached to the concrete and the living symbol.

  Flannery O'Connor

  Life, Strong, Imagination

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• Later he saw Jesus move from tree to tree in the back of his mind, a wild ragged figure motioning him to turn around and come off into the dark where he might be walking on the water and not know it and then suddenly know it and drown.

  Flannery O'Connor

  Jesus, Moving, Dark

  Flannery O'Connor (1983). “Three by Flannery O'Connor: Wise blood, The violent bear it away, Everything that rises must converge”, Signet Classics

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• When we look at a good deal of serious modern fiction, and particularly Southern fiction, we find this quality about it that is generally described, in a pejorative sense, as grotesque. Of course, I have found that anything that comes out of the South is going to be called grotesque by the Northern reader, unless it is grotesque, in which case it is going to be called realistic.... Whenever I'm asked why Southern writers particularly have a penchant for writing about freaks, I say it is because we are still able to recognize one.

  Flannery O'Connor

  Writing, Southern, Quality

  "Some Aspects of the Grotesque in Southern Fiction" (1960)

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• I find that most people know what a story is until they sit down to write one.

  Flannery O'Connor

  Writing, People, Stories

  Flannery O'Connor (1969). “Mystery and Manners: Occasional Prose”, p.66, Macmillan

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• Fiction is about everything human and we are made out of dust, and if you scorn getting yourself dusty, then you shouldn't try to write fiction. It's not a grand enough job for you.

  Flannery O'Connor

  Jobs, Writing, Dust

  Flannery O'Connor (1969). “Mystery and Manners: Occasional Prose”, p.68, Macmillan

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• Harcourt sent my book to Evelyn Waugh and his comment was: “If this is really the unaided work of a young lady, it is a remarkable product.” My mother was vastly insulted. She put the emphasis on if and lady. Does he suppose you’re not a lady? she says.

  Flannery O'Connor

  Mother, Book, Ifs And

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