A Quote by Jeff Feuerzeig

In college, I had a big fixation with Southern Gothic literature. Flannery O'Connor, I read every word she's ever written. — © Jeff Feuerzeig
In college, I had a big fixation with Southern Gothic literature. Flannery O'Connor, I read every word she's ever written.
I never got too specialized but did like the Southern Gothic writers like William Faulkner and Flannery O'Connor.
I like big doses of grief when I read: Richard Yates, Flannery O'Connor, Kenzabaro Oe, Thomas Bernhard.
Love so sprang at her, she honestly thought no one had ever looked into it. Where was it in literature? Someone would have written something. She must not have recognized it. Time to read everything again.
Flannery O'Connor was a revelation for me. When I read her, I was very young, and I didn't understand what she was doing. I didn't see the - any of the Catholicism or any of the social stuff.
Flannery O'Connor was a revelation for me. When I read her, I was very young, and I didn't understand what she was doing. I didn't see any of the Catholicism or any of the social stuff.
I am very indebted to southern writers and not just Flannery O'Connor. Also Harry Crews, Larry Brown, Tennessee Williams, Barry Hannah and William Gay.
I love Truman Capote, Tennessee Williams, Flannery O'Connor. I read a lot of American writers.
I learned to be a regional writer by reading people like Flannery O'Connor. She was a huge influence.
In 1964, at the age of 39, Flannery O'Connor died from complications of lupus. She had lived with this autoimmune disease for 14 years, primarily confined to her mother's farm, Andalusia, in Milledgeville, Ga.
As Flannery O'Connor says, a person can choose what she writes but she can't choose what she makes live. Some people are really acoustic writers and so for them the secret revision is sound. Other people may revise in terms of the way a paragraph feels. There's a million ways to do it.
Flannery O'Connor is my creative hero. I think she's the greatest American writer. Her book, 'Mystery and Manners,' is my creative bible.
I'm really influenced by Southern novelists, not many movie people. More like John Faulkner, William Faulkner, Erskine Caldwell, Flannery O'Connor, John Steinbeck, and people like that.
The phrase the violent bear it away fascinated the 20th century Irish-American storyteller Flannery O'Connor, who used it as the title of one of her novels. O'Connor's surname connects her to an Irish royal family descended from Conchobor (pronounced Connor), the prehistoric king of Ulster who was foster father to Cuchulainn and husband of the unwilling Derdriu. In the western world, the antiquity of Irish lineages is exceeded only by that of the Jews.
But if you read Jane Austen, you know that she had a wicked sense of humor. Not only was she funny, but her early writing was very dark and had a gothic tone to it.
My mother, Southern to the bone, once told me, “All Southern literature can be summed up in these words: ‘On the night the hogs ate Willie, Mama died when she heard what Daddy did to Sister.’” She raised me up to be a Southern writer, but it wasn’t easy.
In my teaching, I try to expose my students to the widest range of aesthetic possibilities, so I'll offer them stories from Anton Chekhov to Denis Johnson, from Flannery O'Connor to A.M. Homes, and perhaps investigating all that strange variation of beauty has rubbed off on me. Or perhaps that's why I enjoy teaching literature.
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