The Complete Stories [Paperback]

Flannery O'Connor (Author)

Book Description

Publication Date: January 1, 1971

Winner of the National Book Award

The publication of this extraordinary volume firmly established Flannery O'Connor's monumental contribution to American fiction. There are thirty-one stories here in all, including twelve that do not appear in the only two story collections O'Connor put together in her short lifetime--Everything That Rises Must Converge and A Good Man Is Hard to Find.

O'Connor published her first story, "The Geranium," in 1946, while she was working on her master's degree at the University of Iowa. Arranged chronologically, this collection shows that her last story, "Judgement Day"--sent to her publisher shortly before her death—is a brilliantly rewritten and transfigured version of "The Geranium." Taken together, these stories reveal a lively, penetrating talent that has given us some of the most powerful and disturbing fiction of the twentieth century. Also included is an introduction by O'Connor's longtime editor and friend, Robert Giroux.

Editorial Reviews

Review

"What we lost when she died is bitter. What we have is astonishing: the stories burn brighter than ever, and strike deeper." --Walter Clemons, Newsweek

About the Author

Flannery O'Connor was born in Savannah, Georgia, in 1925. When she died at the age of thirty-nine, America lost one of its most gifted writers at the height of her powers. O’Connor wrote two novels, Wise Blood (1952) and The Violent Bear It Away (1960), and two story collections, A Good Man Is Hard to Find (1955) and Everything That Rises Must Converge (1964). Her Complete Stories, published posthumously in 1972, won the National Book Award that year, and in a 2009 online poll it was voted as the best book to have won the award in the contest’s 60-year history. Her essays were published in Mystery and Manners (1969) and her letters in The Habit of Being (1979). In 1988 the Library of America published her Collected Works; she was the first postwar writer to be so honored. O’Connor was educated at the Georgia State College for Women, studied writing at the Iowa Writers’ Workshop, and wrote much of Wise Blood at the Yaddo artists’ colony in upstate New York. She lived most of her adult life on her family’s ancestral farm, Andalusia, outside Milledgeville, Georgia.

Product Details

• Paperback: 576 pages
• Publisher: Farrar, Straus and Giroux; First edition, edition (January 1, 1971)
• Language: English
• ISBN-10: 0374515360
• ISBN-13: 978-0374515362
• Product Dimensions: 8.1 x 5.5 x 1.9 inches
• Shipping Weight: 1.8 pounds (View shipping rates and policies)
• Average Customer Review: 4.6 out of 5 stars  See all reviews (86 customer reviews)
• Amazon Best Sellers Rank: #2,697 in Books (See Top 100 in Books)
  • #60 in Books > Literature & Fiction > Short Stories

More About the Author

Flannery O'Connor was born in Savannah, Georgia in 1925, the only child of Catholic parents. In 1945 she enrolled at the Georgia State College for Women. After earning her degree she continued her studies on the University of Iowa's writing program, and her first published story, 'The Geranium', was written while she was still a student. Her writing is best-known for its explorations of religious themes and southern racial issues, and for combining the comic with the tragic. After university, she moved to New York where she continued to write. In 1952 she learned that she was dying of lupus, a disease which had afflicted her father. For the rest of her life, she and her mother lived on the family dairy farm, Andalusia, outside Millidgeville, Georgia. For pleasure she raised peacocks, pheasants, swans, geese, chickens and Muscovy ducks. She was a good amateur painter. She died in the summer of 1964.

Customer Reviews

Most Helpful Customer Reviews

113 of 123 people found the following review helpful:

5.0 out of 5 stars America's Best Short Story Writer, April 2, 2005

By 

Maclen (Hawaii, USA) - See all my reviews
(VINE VOICE)   

This review is from: The Complete Stories (Paperback)

I studied Flannery O'Connor in college and wrote a thesis on her works. Her stories were mesmerizing and riveting, and I have re-read them many times since. She was firmly rooted in the Southern grotesque, but she was able to transcend the stark terrain of the South and present remarkable studies of human foibles and the self searching for meaning and redemption.

O'Connor had the uncanny gift to describe people, surroundings and life with astonishingly spare prose. Her genius was that she could reveal the mystery and manners in us all. Of particular note are "Revelation" and "A Good Man is Hard to Find." You must read this collection, and I promise that her stories will speak to you for years to come.

70 of 77 people found the following review helpful:

5.0 out of 5 stars Lessons to be learned here--O'Connor was no fool, March 25, 2002

By 

SEP "sepowe" (Texas) - See all my reviews

This review is from: The Complete Stories (Paperback)

I read this collection during college, in my senior literature seminar. I find O'Connor's stories to be the best, most brutally honest, thought-provoking and attitude-altering work out there. One piece deserving of mention are the classic "A Good Man is Hard to Find", the last line of which reasonates long after the reader closes the book. O'Connor craftily delivers messages about racism, elitism and other problems of the deep South in her stories, and beautifully maintains the Southern Gothic texture in each one. I can't recommend this book any more enthusiastically!

22 of 22 people found the following review helpful:

5.0 out of 5 stars The Devil's In The Details, May 21, 2008

By 

Mark Eremite "This Is A Display Model Only" (Seoul, South Korea) - See all my reviews
(VINE VOICE)   

This review is from: The Complete Stories (Paperback)

"Grace changes us, and change is painful."

O'Connor, a delicate Southern Catholic who lived a third of her life ravaged by lupus, was certainly acquainted with pain. Her stories reveal this much. Many readers and reviewers may wonder if she doesn't take a bit of artistic license with her definition of "grace," though. Considering her religious ideologies (which aren't hard to figure out, even after reading just one of these deliciously dark little tales), her unsubtle brutality isn't so unexpected. Look God directly in the face, the Bible says, and it completely and utterly destroys you.

It's safe to say that even if her characters don't always get an unobstructed view of their Creator, they all at least catch a glimpse. O'Connor is not shy about her beliefs, and in fact, her unswerving social sensibilities are part of what make her writing so delectable. Read closely, because every single detail is important and potent. And just like the Bible she adheres to so fervently, the endings to her stories are forecasted unapologetically by every word that comes before them.

This in no way ruins the power of those conclusions. Read a hundred interviews with a hundred writers, and I guarantee you that many of them will mention, as inspiration, "A Good Man Is Hard To Find." Sit down for twenty minutes with the hilarious and heart-breaking "River," and ask yourself if your foreknowledge didn't rob the final lines of their shuddering ferocity. Visit "A Displaced Person," meet "Enoch and the Gorilla," stay for awhile with "Greenleaf," and take a good long look at "A View of the Woods." You may find yourself wondering if there is any compassion and hope in O'Connor's world, but you'll never doubt that it is full of meaning, full of necessity, and full of heavenly fire.

There's a legitimate beef some may have with this collection. "O'Connor has written an amazing story," one of my friends once said. "I just don't know why she chose to write it thirty-one times." It's fair to say that O'Connor doesn't stray much from her predictably gruesome formula. But while her themes never change much (purification through fire, self-knowledge gained via self-destruction, and the immolations brought on by racism and doubt), her telling of them is so fine and so stark, the details themselves are what really showcase her writing's true brilliance and beauty.

This collection is arranged in chronological order, and it is part of the treat to see her ideas age as she does. Her final story, the aptly titled "Judgement Day" is a revision of her first story, "The Geranium." The differences between the two show most openly where O'Connor hides the hope and faith and love that many feel is missing from all the works between. O'Connor, like the God in which she believed, seems too ready to expose her characters to an amazing amount of pain and degredation. But if you look close enough, if you read every sentence carefully, you'll see that she makes necessary every sacrifice, every drop of blood, every harsh, scalding ray of sun. In an era now where authors tend to shock for shock's sake, O'Connor stands out as a timeless reminder that as senseless and vicious as life's stories may sometimes seem, there is still the chance that behind it all lies a deeper, knowable truth. That truth may come at some great costs, but, O'Connor seems to say, it is better to buy with your flesh something lasting and real, than to sell your soul for even a whole world of lies.