Flannery O'Connor Quote
I don’t know how to cure the source-itis except to tell you that I can discover a good many possible sources myself for Wise Blood but I am often embarrassed to find that I read the sources after I had written the book. I have been exposed to Wordsworth’s Intimation ode but that is all I can say about it. I have one of those food-chopper brains that nothing comes out of the way it went in. The Oedipus business comes nearer home. Of course Haze Motes is not an Oedipus figure but there are the obvious resemblances. At the time I was writing the last of the book, I was living in Connecticut with the Robert Fitzgeralds. Robert Fitzgerald translated the Theban cycle with Dudley Fitts, and their translation of the Oedipus Rex had just come out and I was much taken with it. Do you know that translation? I am not an authority on such things but I think it must be the best, and it is certainly very beautiful. Anyway, all I can say is, I did a lot of thinking about Oedipus.
I don’t know how to cure the source-itis except to tell you that I can discover a good many possible sources myself for Wise Blood but I am often embarrassed to find that I read the sources after I had written the book. I have been exposed to Wordsworth’s Intimation ode but that is all I can say about it. I have one of those food-chopper brains that nothing comes out of the way it went in. The Oedipus business comes nearer home. Of course Haze Motes is not an Oedipus figure but there are the obvious resemblances. At the time I was writing the last of the book, I was living in Connecticut with the Robert Fitzgeralds. Robert Fitzgerald translated the Theban cycle with Dudley Fitts, and their translation of the Oedipus Rex had just come out and I was much taken with it. Do you know that translation? I am not an authority on such things but I think it must be the best, and it is certainly very beautiful. Anyway, all I can say is, I did a lot of thinking about Oedipus.
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About Flannery O'Connor
O'Connor was a Southern writer who often wrote in a sardonic Southern Gothic style. She relied heavily on regional settings and grotesque characters, often in violent situations. In her writing, an unsentimental acceptance or rejection of the limitations, imperfections or differences of these characters (whether attributed to disability, race, crime, religion or sanity) typically underpins the drama.
O'Connor's writing often reflects her Catholic faith, and frequently examines questions of morality and ethics. Her posthumously compiled Complete Stories won the 1972 U.S. National Book Award for Fiction and has been the subject of enduring praise.