Top 275 Quotes & Sayings by Flannery O'Connor - Page 3

When you leave a man alone with his Bible and the Holy Ghost inspires him, he's going to be a Catholic one way or another, even though he knows nothing about the visible church. His kind of Christianity may not be socially desirable, but will be real in the sight of God.

When you can state the theme of a story, when you can separate it from the story itself, then you can be sure the story is not a very good one.

Dogma can in no way limit a limitless God.

Success means being heard and don't stand there and tell me that you are indifferent to being heard. You may write for the joy of it, but the act of writing is not complete in itself. It has to end in its audience.

If there were no hell, we would be like the animals. No hell, no dignity.

We lost our innocence in the Fall, and our turn to it is through the Redemption which was brought about by Christ's death and by our slow participation in it. Sentimentality is a skipping of this process in its concrete reality and an early arrival at a mock state of innocence, which strongly suggests its opposite.

The way to despair is to refuse to have any kind of experience.

Not-writing is a good deal worse than writing.

When the peacock has presented his back, the spectator will usually begin to walk around him to get a front view; but the peacock will continue to turn so that no front view is possible. The thing to do then is to stand still and wait until it pleases him to turn. When it suits him, the peacock will face you. Then you will see in a green-bronze arch around him a galaxy of gazing, haloed suns.

If you're a Catholic you believe what the Church teaches and the climate makes no difference.

The type of mind that can understand good fiction is not necessarily the educated mind, but it is at all times the kind of mind that is willing to have its sense of mystery deepened by contact with reality, and its sense of reality deepened by contact with mystery.

There won't be any biographies of me because, for only one reason, lives spent between the house and the chicken yard do not make exciting copy.

Well, if it's a symbol, to hell with it.

... Simone Weil is a mystery that should keep us all humble, and I need it more than most. Also she's the example of the religious consciousness without a religion which maybe sooner or later I will be able to write about.

Writing is a good example of self-abandonment. I never completely forget myself except when I am writing and I am never more completely myself than when I am writing.

Art never responds to the wish to make it democratic; it is not for everybody; it is only for those who are willing to undergo the effort needed to understand it.

There may never be anything new to say, but there is always a new way to say it, and since, in art, the way of saying a thing becomes a part of what is said, every work of art is unique and requires fresh attention.

If it's just a symbol, then to hell with it !

There is a certain embarrassment about being a storyteller in these times when stories are considered not quite as satisfying as statements and statements not quite as satisfying as statistics; but in the long run, a people is known, not by its statements or its statistics, but by the stories it tells.

The fact is that anybody who has survived his childhood has enough information about life to last him the rest of his days. If you can't make something out of a little experience, you probably won't be able to make it out of a lot.

I write any sort of rubbish which will cover the main outlines of the story, then I can begin to see it.

In the greatest fiction, the writer's moral sense coincides with his dramatic sense, and I see no way for it to do this unless his moral judgement is part of the very act of seeing, and he is free to use it. I have heard it said that belief in Christian dogma is a hindrance to the writer, but I myself have found nothing further from the truth. Actually, it frees the storyteller to observe. It is not a set of rules which fixes what he sees in the world. It affects his writing primarily by guaranteeing his respect for mystery.

If you live today, you breath in nihilism ... it's the gas you breathe. If I hadn't had the Church to fight it with or to tell me the necessity of fighting it, I would be the stinkingest logical positivist you ever saw right now.

You ought to be able to discover something from your stories. If you don't, probably nobody else will.

...free will does not mean one will, but many wills conflicting in one man. Freedom cannot be conceived simply.

I am interested in making up a good case for distortion, as I am coming to believe it is the only way to make people see.

The black sky was underpinned with long silver streaks that looked like scaffolding and depth on depth behind it were thousands of stars that all seemed to be moving very slowly as if they were about some vast construction work that involved the whole universe and would take all time to complete. No one was paying attention to the sky.

I'm going to preach there was no Fall because there was nothing to fall from, and no Redemption because there was no Fall, and no Judgment because there wasn't the first two. Nothing matters but that Jesus was a liar.

[Simone Weil's] life is almost a perfect blend of the Comic and the Terrible, which two things may be opposite sides of the same coin. In my own experience, everything funny I have written is more terrible than it is funny, or only funny because it is terrible, or only terrible because it is funny.

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

If you do the same thing every day at the same time for the same length of time, you'll save yourself from many a sink. Routine is a condition of survival.

The Church's stand on birth control is the most absolutely spiritual of all her stands and with all of us being materialists at heart, there is little wonder that it causes unease. I wish various fathers would quit trying to defend it by saying that the world can support 40 billion. I will rejoice the day when they say: This is right whether we all rot on top of each other or not, dear children, as we certainly may. Either practice restraint or be prepared for crowding.

The dead don't bother with particulars.

I don't think you should write something as long as a novel around anything that is not of the gravest concern to you and everybody else and for me this is always the conflict between an attraction for the Holy and the disbelief in it that we breathe in with the air of the times.

There was a time when the average reader read a novel simply for the moral he could get out of it, and however na?ve that may have been, it was a good deal less na?ve than some of the limited objectives he has now. Today novels are considered to be entirely concerned with the social or economic or psychological forces that they will by necessity exhibit, or with those details of daily life that are for the good novelist only means to some deeper end.

Even a child with normal feet was in love with the world after he had got a new pair of shoes.

A story has to have muscle as well as meaning, and the meaning has to be in the muscle.

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

Where there is no belief in the soul, there is very little drama . . . . Either one is serious about salvation or one is not. And it is well to realize that the maximum amount of seriousness admits the maximum amount of comedy. Only if we are secure in our beliefs can we see the comical side of the universe.

The Catholic writer, in so far as he has the mind of the Church, will feel life from the standpoint of the central Christian mystery; that it has, for all its horror, been found by God to be worth dying for.

The old woman was the kind who would not cut down a large old tree because it was a large old tree.

The only way to the truth is through blasphemy.

Behind the newspaper Julian was withdrawing into the inner compartment of his mind where he spent most of his time. This was a kind of mental bubble in which he established himself when he could not bear to be a part of what was going on around him. From it he could see out and judge but in it he was safe from any kind of penetration from without. It was the only place where he felt free of the general idiocy of his fellows. His mother had never entered it but from it he could see her with absolute clarity.

I once received a letter from an old lady in California who informed me that when the tired reader comes home at night, he wishes to read something that will lift up his heart. And it seems her heart had not been lifted up by anything of mine she had read. I think that if her heart had been in the right place, it would have been lifted up.

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.

The beginning of human knowledge is through the senses, and the fiction writer begins where the human perception begins. He appeals through the senses, and you cannot appeal through the senses with abstractions.

The life you save may very well be your own.

Dear God, I don't want to have invented my faith to satisfy my weakness. I don't want to have created God to my own image as they're so fond of saying. Please give me the necessary grace, oh Lord, and please don't let it be as hard to get as Kafka made it.

The two worst sins of bad taste in fiction are pornography and sentimentality. One is too much sex and the other too much sentiment.

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.

The novelist is required to open his eyes on the world around him and look. If what he sees is not highly edifying, he is still required to look. Then he is required to reproduce, with words, what he sees.

A story is a way to say something that can’t be said any other way, and it takes every word in the story to say what the meaning is.

The truth is not distorted here, but rather a distortion is used to get at truth.

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.

I don't think literature would be possible in a determined world. We might go through the motions but the heart would be out of it. Nobody could then 'smile darkly and ignore the howls.' Even if there were no Church to teach me this, writing two novels would do it. I think the more you write, the less inclined you will be to rely on theories like determinism. Mystery isn't something that is gradually evaporating. It grows along with knowledge.

I feel that whatever virtues the novel may have are very much connected with the limitations you mention. I am not writing a conventional novel, and I think that the quality of the novel I write will derive precisely from the peculiarity or aloneness, if you will, of the experience I write from.

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.

I write to discover what I know.

The trees were full of silver-white sunlight and the meanest of them sparkled.

I was a very ancient twelve; my views at that age would have done credit to a Civil War veteran. I am much younger now than I was at twelve or anyway, less burdened. The weight of the centuries lies on children, I'm sure of it.