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Though Bloom contends that this indexed volume brings together the "best criticism" available related to O'Connor's fiction, two decades have now passed since its publication, so I will simply say that his collection is, indeed, a good starting point that it has sold so well that it will be found in most college and university libraries.
Comments in the Introduction on O'Connor's "The Violent Bear It Away, "A Good Man Is Hard to Find" and "A View of the Woods," and suggests that a division exists "between O'Connor's stance as a Catholic moralist, and the extraordinary thematic and narrative violence of her characteristic work."
Includes eleven essays, all reprints except for John Burt's:
Asals, Frederick. "The Double," Rpt. from "Flannery O'Connor: The Imagination of Extremity," by Frederick Asals, U of Georgia P, 1982.
Burt, John. "What You Can't Talk About."
Fitzgerald, Robert. "Everything That Rises Must Converge," Rpt. from "Introduction." "Everything That Rises Must Converge," by Flannery O'Connor. New York: Farrar, Straus & Giroux, 1965.
Fitzgerald, Robert. "The Countryside and the True Country," Rpt. from Sewanee Review 70.3 (1962).
Humphries, Jefferson. "Proust, Flannery O'Connor, and the Aesthetic of Violence," Rpt. from "The Otherness Within: Gnostic Readings in Marcel Proust, Flannery O'Connor, and Francois Villon," by Jefferson Humphries, Louisiana State UP, 1983.
Lawson, Lewis. "The Perfect Deformity: Wise Blood,"[Originally titled "Flannery O'Connor and the Grotesque: Wise Blood."] Rpt. from Renascence: Essays on Values in Literature 17.2 (1965).