Wednesday, August 29, 2012

The Letters of Flannery O’Connor



The Misfit:


The Letters of Flannery O’Connor




Originally Published on About.com’s Classic Literature Page




A white, southern, conservative Catholic who published in a largely liberal and secular literary milieu, Flannery O’Connor was one of the most misunderstood writers of the twentieth century. Her fiction is inhabited by haunted prophets, holy fools, and brutalized innocents, but because her bizarre subject matter and wickedly penetrating eye appeal greatly to northern agnostics who have very little religious context, she’s often taken to be a freethinking anarchist whose “carnivalesque” worlds are a critique of the very religion and tradition that rooted her work. Even readers who know of her religious leanings often interpret her fictions as ironic mockeries of religion in general—or, because of her Catholicism, specifically of southern Protestantism, evangelism, and homegrown prophecy, which are the kinds of religion most often found in her work. O’Connor constantly railed against these interpretations, and although she declined to give simple explanations for her rich and complex writing, she knew the kind of audience she was facing and was often exasperated at how readers could look into her crystalline works and only see an opaque mirror of their own imagining. All the gnashing of teeth and rending of garments found in her fiction may seem outlandish to a secular audience, but as we read in her letters, O’Connor saw the secular viewpoint as completely off center, and she refused to give in to the expectations of her readership—a sticking point that made her hammer away at the same tedious point about accepting Christ’s call in her two novels, making both Wise Blood (1952) and The Violent Bear it Away (1960) suffer artistically, but that in many of her stories offered moving examples of true grace. O’Connor was as compulsive a correspondent as she was a fiction writer, and her letters reveal much that lies in plain sight in her fiction. Her friend Sally Fitzgerald collected her letters in the decades after her death and published them in 1979 as The Habit of Being—and then expanded the collection of letters for the Library of America’s 1988 Collected Works—and these letters are as sharp and funny and relentless as her fiction, offering not just a key to her stories and novels, but also one of the most profound and moving portraits of any writer of the past century.

The first collected letter is from 1948, an inquiry from the twenty-three-year-old O’Connor to New York literary agent Elizabeth McKee, who would represent O’Connor’s literary output until the author’s early death in 1964. The O’Connor of the early letters is already spirited, headstrong, and uncompromising, and when she finds her life radically curtailed by the onset of lupus just a few years later, she’s humbled in a physical sense, but her sense of purpose is undefeated, and her continued correspondence reveals a spirit filled with wit, willfulness, aspiration, and devotion, and all of it bound together with an actively engaged concern for the real lives and souls of her friends and family.

Although O’Connor can be intensely thorny, she reaches out in her letters for true connection, and some of her closest friendships arise when she responds to letters from sensitive readers of her fiction. Her most involved and personal correspondence is with a woman only identified as “A” (a friend who stipulated that she remain anonymous when she submitted her collection of O’Connor’s letters for publication), and the ups and downs of their friendship are the stuff of literary legend. “A” was attracted to O’Connor’s fiction both for its artistic quality and for its religious significance, and in the early years O’Connor fed her friend books and articles on Catholicism and even stood as a kind of sponsor for her baptism into the Church. Eventually “A” loses her faith and takes up a kind of ecstatic pantheism that grieves and annoys O’Connor and affects not just their spiritual correspondence, but their discussions of everything from literary matters to their daily lives. The strain on their friendship can be quite distressing, but O’Connor holds her friends dear, even when she doesn’t understand them, and in her waning years of sickness she and “A” draw close and focus on the love and care that transcend their differences.

One of the most fascinating and entertaining things about O’Connor’s letters is that each correspondence reveals wildly different aspects of her personality, and one correspondent who brought out the most varied and engaging responses from O’Connor was Maryat Lee, a playwright who held widely diverging ideas and beliefs from O’Connor but whose unconventional attitudes and playful wit prompted O’Connor’s most inventive and inspired expressions of self. O’Connor’s letters to Lee are simply hilarious, and their differences—especially about race issues and religion—serve as a binding agent rather than as a divider, their comical ribbing of each other opening up a field of play between the two that remained animated until the end.

Flannery O’Connor, self-portrait, 1953
O’Connor’s other correspondents ranged from a who’s who of mid-century literati—including Robert Lowell, Robert and Sally Fitzgerald, Elizabeth Bishop, John Hawkes, and Walker Percy—to religious figures to just about any reader who reached out to her with a question or a word of praise. Her letters reveal a mind engaged—and often in battle—with the real life of her times, and her varied correspondents often elicited strong opinions from the writer who proudly stood as the most deeply conservative member of her family of religious white landowners living in the apartheid American south. She had no sympathy for the Ku Klux Klan, but she unapologetically touted herself as xenophobic, anti-intellectual, religiously intolerant, and fiercely impatient with the integrationist movement. One of the most heartbreaking moments in her letters occurs when a friend offers to arrange a meeting with black American writer James Baldwin and O’Connor refuses because that’s something that’s simply not done in Jim Crow Georgia.

Reading everything in context, of course, it’s clear that O’Connor was merely a product of her time and place, like all of us, and shouldn’t be expected to transcend the mindset that she inherited and that was so deeply entrenched around her. Her contrary nature wasn’t aimed at her own upbringing—the way that, for instance, James Joyce’s was toward Catholic Ireland—but rather at the northern secular intellectuals who she felt were trying to rationalize away her beliefs and traditions. What’s fascinating is that she was something of a misfit on her own turf as well. While she was unquestioningly orthodox in all the articles of the Catholic faith, she had no patience for what she saw as the inane pieties of the average Catholic believer—and especially of the Catholic press that so thoroughly exasperated her. Just being a writer made her an object of curiosity and confusion in her hometown, and her devotion to aesthetics insured that she would never produce anything “nice” that any of the good country people could easily digest. Thus, she was a misfit to almost everyone who didn’t know her personally: an enigma to northern readers who loved her work and something of a bizarre embarrassment to her fellow southerners, who by O’Connor’s own admission were not her target audience.

Humanizing all of these intense polemics and keeping them subservient to the things that really matter, O’Connor’s correspondence revels most often—and most enjoyably—in the day-to-day activities of writing, making a living, raising birds, and living with her mother. Regaling her friends with ongoing accounts of her ducks and geese and swans and peafowl, as well as of her family’s ever-evolving farm, with its epically embattled tenants and servants, O’Connor’s letters remind us that great writers are merely human and that they spend most of their time just trying to get by. O’Connor’s relentless battle with lupus is an especially brutal and heartbreaking reminder of her daily struggle, and as we wade through letter after letter, sifting through ideas and beliefs that aren’t always easy to digest, what rises above all else is O’Connor’s simple humanness. Her voice is addictive and impossible to forget, and what haunts us in her letters is not so much the dazzling chamber of horrors that she channeled into her books, but the luminous presence of her brief life among friends and family who were more real to her than any mere book or idea. Like “A”, we may have profound differences with Flannery O’Connor, but her voice draws us in keeps us close until the end.

—David Wiley



Wednesday, August 15, 2012

Italo Calvino’s Cosmicomics



New Spaces in Space:


Italo Calvino’s Cosmicomics




Originally Published on About.com’s Classic Literature Page




The author of such dazzling fictional inventions as Invisible Cities and If on a winter’s night a traveler, Italian writer Italo Calvino has often been cited as one of the first true postmodernists. Like nearly all the postmodernists of the 1960s—Thomas Pynchon, Cynthia Ozick, Gabriel García Márquez, etc.—Calvino was profoundly influenced by the new fictional forms created by the Argentinian short-story writer and essayist Jorge Luis Borges, but of all these writers, Calvino followed this new thread of genre-bending to the farthest extremes and spun his literary pursuits into the most fantastical and fabulous fictional webs.

Calvino began his literary career in the 1940s as a realist, with World War II and its political backdrop as his main subject and influence, but he eventually grew disillusioned with the limits of conventional narrative, which didn’t allow him to express his true artistic talents and desires. In the 1950s he published The Cloven Viscount and The Baron in the Trees, both of which were marked steps into a stranger and more warped fictional territory, and by the 1960s his works were mapping their own unique terrain around themselves and exploring the limits of fiction by exploring the limits of our collective ability to explore. While all this exploration would culminate in 1979, just a few years before his death, with the brilliantly exhaustive meta-fiction If on a winter’s night a traveler, in 1965 Calvino set his sights on the universe itself with his short-story collection Cosmicomics.

Cited as a breakthrough influence by the American postmodernist John Barth—who writes that when he discovered Calvino he was “much under the spell” of Borges—Cosmicomics takes on the farthest reaches of humanity’s knowledge of the universe and spins a series of twelve stories that each riff off of a different aspect of how our cosmos seems to be composed. While all the stories shape themselves around scientific concepts that in 1965 were held to be more-or-less factual, they’re also fantastically inhabited by living beings and consciousnesses that try to understand themselves and their environment—with a sentient and ever-changing being named Qfwfq narrating most of the stories (a clear reference to Kafka, and to Borges’ reference to Kafka in his story “The Library of Babel”)—and it’s the relationship between scientific understanding and living experience that gives these stories their poignancy and purpose.

In “The Aquatic Uncle” Qfwfq recalls the generational differences that sprang up when most of his family moved from the seas to the mainland. His great-uncle N’ba N’ga chose to stay in the water rather than make the shift from amphibian to reptile, and although Calvino’s anthropomorphization of this choice is scientifically spurious, when the interests and allegiances of Qfwfq’s girlfriend Lll come into play, the story resounds with the sadness and yearning that we all recognize when faced with diverging life-paths. Similarly, in “The Form of Space” Qfwfq falls endlessly through the empty cosmos alongside both a beautiful woman named Ursula H’x and his rival for Ursula, Lieutenant Fenimore, the story playing on the inner machinations and feelings of isolation that can arise when paralysis allows a simple love triangle to become infinitely complex. Qfwfq dreams of a universe coming into existence that will somehow impose a new form on space and bring him into contact with Ursula—and into probable conflict with the Lieutenant—but in the meantime he must continue falling and waiting and thinking, possibly forever.

A few years after the publication of Cosmicomics Calvino would befriend French semiotician Roland Barthes (not to be confused with John Barth, who took great exception to Barthes’ conception of “the death of the author”), and two of the stories in Cosmicomics play on the idea of signs in a way that correlates to some of the postmodern theory that Barthes and other French theoreticians were exploring at the time. In “A Sign in Space” Qfwfq leaves a sign in a specific point in his revolving galaxy to mark where he was and to serve as a reference point for all other spaces. When the galaxy turns full circle again and again, however, he finds his sign missing, or altered, or effaced, or copied, or mimicked, so that he loses his bearings in a universe where significance is elusive and relationships are relative to the point of meaninglessness. Like much of the theory it reflects, this story is little more than a self-conscious word game, but it bends the space that a short story can inhabit and enlarges the form in exciting and novel ways.

In the collection’s more successful story about signs, “The Light Years,” an unnamed narrator looks through his telescope and sees a sign that says, “I SAW YOU.” Calculating the time that it would take for the light to get to him from the sign’s location, he then calculates back and discovers in his diary that whoever posted the sign saw him on the very day that he’d done something that he didn’t want anyone to know about. This inaugurates a campaign of signs between the narrator and a universe full of observers and interlocutors who all have something to say about the subject. The narrator’s sense of shame and fear of being observed recalls some of Kafka’s most memorable characters, and as in “A Sign in Space,” the story’s compulsive thoroughness weaves a Kafka-like web of nightmare that its isolated narrator can’t escape.

Any comparison to Kafka and Borges in no way diminishes Calvino’s accomplishments, but instead points out his power to expand upon their innovations and to create new spaces for himself, which is no mean feat among such company. Like Borges especially, Calvino has the ability to run with a theme and expand upon it to seemingly infinite degrees. In his 1972 novel of interrelated sketches, Invisible Cities, he would take the theme-and-variation technique to his highest and most personal level, with each of the book’s city-states perhaps signifying a concurrent version of his beloved Venice, the book standing alongside If on a winter’s night a traveler in both innovation and fully realized achievement. Cosmicomics may not succeed to such a marvelous extent as Calvino’s later works, which are dizzying, but as with humanity’s understanding of the universe, this book’s reach exceeds its grasp in ways that profoundly compel and that lead to self-discovery for its readers and its writer alike.


—David Wiley