A Quote by Ron Rash
Like Flannery O'Connor, McCorkle's genius is to give us both philosophical speculation and a riveting narrative filled with unforgettable characters. Great writing, poignancy, humor, wisdom-all are in abundance here. Jill McCorkle is one of the South's greatest writers; she is also one of America's.
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You will stay up all night reading this brilliant and devastating novel the way you might have with a new best friend in junior high-one whose revelations thrilled and terrified you, and whose raw, hard-earned wisdom remade the way you saw the world. It evokes the genius of Angela Pneumans canonical progenitors: Flannery O'Connor, Katherine Anne Porter, Walker Percy. Lay It on My Heart is a gorgeous, riveting, and unforgettable book.
The Night Journal received two awards that I'm terribly proud of - -the Spur from Western Writers of America, and the Willa Literary Award from Women Writing the West. Both these groups are filled with great writers and good people.
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 never got too specialized but did like the Southern Gothic writers like William Faulkner and Flannery O'Connor.
Flannery O'Connor is my creative hero. I think she's the greatest American writer. Her book, 'Mystery and Manners,' is my creative bible.
Certainly, my exposure in high school to writers like Flannery O'Connor, Shusaku Endo, Fyodor Dostoevsky and Graham Greene was formative.
Some major writers have a huge impact, like Ayn Rand, who to my mind is a lousy fiction writer because her writing has no compassion and virtually no humor. She has a philosophical and economical message that she is passing off as fiction, but it really isn't fiction at all.
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.
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.
I learned to be a regional writer by reading people like Flannery O'Connor. She was a huge influence.
I love Truman Capote, Tennessee Williams, Flannery O'Connor. I read a lot of American writers.
Let's stop reflexively comparing Chinese writers to Chinese writers, Indian writers to Indian writers, black writers to black writers. Let's focus on the writing itself: the characters, the language, the narrative style.
The shimmering, lucid tones and silver melancholy of I'll Be Right There give readers a South Korea peopled with citizens fighting for honor and intellectual freedom, and longing for love and solace. Kyung-Sook Shin's characters have unforgettable voices-it's no wonder she has so many fans.
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.
I don't want to pretend like I'm some intellectual person who understands Flannery O'Connor.
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