Reviewed by: Flannery: The Storied Life of the Writer from Georgia dir. by Mark Bosco, SJ and Elizabeth Coffman Daniel Moran Flannery: The Storied Life of the Writer from Georgia. Directed by Mark Bosco, SJ and Elizabeth Coffman. USA: Long Distance Productions in association with American Masters, 2020. 97 minutes. Early in Flannery, Richard Rodriguez offers a perfect description of O'Connor's art: "What's happening here is something so remarkable that the profane meets with the sacred, and it's within that comic meeting that the stories operate. This is the way Flannery O'Connor works. You either get it or you don't, and if you don't, then don't go to the carnival." While this remark concerns "A Temple of the Holy Ghost," it applies to O'Connor's entire output. Flannery, directed by Mark Bosco, SJ and Elizabeth Coffman, is an invitation to the O'Connor carnival for readers new to her work and those who have been reading her for years. It's instructive for viewers who get it and viewers who don't, offering the former glimpses of O'Connor's life and work that remind them of what drove them to O'Connor in the first place and the latter an argument about why O'Connor is one of the greatest writers of the twentieth century. Like other carnivals, it's filled with thrills, noise, fun, and occasional freaks. Coffman and Bosco know their way around O'Connor's Georgia and the film is filled with images and sounds of her childhood home in Savannah and her later home at Andalusia, the Milledgeville farm where she lived with her mother. The perfect soundtrack includes Lucinda Williams's "Get Right with God," The Singing Nun's [End Page 47] "Dominique," Bruce Springsteen's "Nebraska," and, of course, Bessie Smith's "A Good Man Is Hard to Find," all of which complement the aspect of O'Connor's life or work under examination. Major players in O'Connor studies (Ralph Wood, Bruce Gentry, William Sessions) offer insights into the fiction; familiar figures from O'Connor's life (Sally Fitzgerald, Mary Gordon, Louise and Frances Florencourt) speak of O'Connor as a friend and relation; celebrities from the screen (Conan O'Brien and Tommy Lee Jones) describe their first encounters with her work; familiar authors (Tobias Wolf, Mary Karr, Alice McDermott) read favorite passages and then look at the camera with expressions that say the same thing O'Connor's readers have been asking for almost seventy years: Can you believe that anyone came up with this? Flannery dutifully walks the reader through the major events of O'Connor's life, guided by biographer Brad Gooch. After the obligatory newsreel of the six-year-old O'Connor and her backwards-walking chicken, the film highlights her residencies at Georgia State College for Women, the Iowa Writers' Workshop, Yaddo (the artists' colony in Saratoga Springs), New York City, and the Fitzgeralds' Connecticut farm—all offered as places from which O'Connor broadened her vision of human nature and became determined to articulate that vision in her art. The directors include a segment on Erik Langkjaer as O'Connor's single (and fruitless) taste of romantic love (and partial inspiration for the devilish Manly Pointer), but this and other events are more changes of address or common experiences than dramatic milestones. In a 1958 letter to Betty Hester, O'Connor said, "There won't be any biographies of me, for only one reason: lives spent between the house and the chicken farm do not make for exciting copy." She was wrong on the first count but right on the second: the real interest in O'Connor's life is not where she lived but how she thought, wrote, and prayed. Her love of God is far more interesting than her crush on a traveling salesman. Coffman and Bosco take great pains to ensure that O'Connor's voice is heard throughout the film. Letters, stories, and essays are quoted frequently, often with accompanying graphics and Mary Steenburgen playing the role of Flannery. The most striking of these quotations is offered by Mary Karr, who reads from...