A Quote by David Sedaris
No one writes dialect better than Flannery O'Connor. No one should even try.
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A writer writes what interests him and what he can manage, and what he can make live, as Flannery O'Connor said. So my reaction to someone saying "You must!" or "You should!" or even "Hey, why don't you?" is basically to sort of shrug and politely walk off and do whatever I want to do. It's nobody else's business, really, and even if I happened to agree with one of those "musts" or "shoulds" what would I do about it, if my heart wasn't in it?
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.
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.
I don't want to pretend like I'm some intellectual person who understands Flannery O'Connor.
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.
Flannery O'Connor's brief life and slim output were nonetheless marked by piercing powers of observation.
I like big doses of grief when I read: Richard Yates, Flannery O'Connor, Kenzabaro Oe, Thomas Bernhard.
I've always been drawn to dark stories. I enjoy reading Flannery O'Connor, Patricia Highsmith, and Margaret Mitchell.
'Orthodoxy' is the seminal book of ideas in my life. That book I've read more than any other book. It's the spinal column that leads up to my brain and informs the way I think. Flannery O'Connor is my favorite American writer.
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.
All this is rather pretentious and fey to even talk about, but Flannery O'Connor sat down to write stories. The rest of us, some of us, don't have that kind of wit and genius. We don't do that. We sit down and have some accidents.
The book that first made me want to be a writer is Flannery O'Connor's short story collection 'A Good Man Is Hard To Find.'
Certainly, my exposure in high school to writers like Flannery O'Connor, Shusaku Endo, Fyodor Dostoevsky and Graham Greene was formative.
In college, I had a big fixation with Southern Gothic literature. Flannery O'Connor, I read every word she's ever written.
When I was in high school, I remember writing a research paper, and the teacher said I should write about Langston Hughes. I felt as if I was the only black dude who didn't like Langston Hughes. He didn't seem as dark and layered as someone like Flannery O'Connor.
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