Sally Fitzgerald Sources and Resources: The Catholic Imagination of Flannery O'Connor The subject of Flannery O'Connor's Catholic imagination is obviously a large enough challenge in itself,but as though that were not enough, when I first proposed to write sometiiing on die subject I proceeded to compound die problem by prematurely attaching an extravagant title to my as yet unwritten remarks—one that implicitly promised to touch upon not only its more or less direct sources, but on die developmental resources by which diat genial imagination was nurtured and instructed. By describing it as genial, I don't mean to suggest tiiat Flannery O'Connor's imagination was entirely affable, mild, or sunny. I use the word here in its fourth dictionary meaning (its primary meaning in the Italian language, which keeps closer to the meaning of the Latin root): that is, as touched, or marked, by genius—which is to say tiiat, by Benedetto Croce's definition, hers was a truly human imagination. The excerpts from O'Connor's notebooks are exclusive to diis issue of Logos. Quotations from them are strictly prohibited. Logos 1:1 1997 The Catholic Imagination of Flannery O'Connor It was sheer hubris in me, I now see, to dunk tiiat I could cover so muchgroundin a single paper. Suchan overreachtowarddioroughness did lead me, however, in die first instance, into closer consideration of material recentiy made accessible to me, andnotyetpublished in any of its parts. I knew the documents to be extremely important in diemselves ,but had not yet realized how much direct light diey would shed on die struggles ofan extraordinary young woman in her attempt not only to formulate a reliable understanding ofherselfjôr herself, and to gain an increasingly solid footing in her faith, but to comprehend (despite persistentself-doubt) a steadilygrowingsense ofdienature and demands of her unmistakable gifts, which seemed to be directing her firmlyto a closelyrelatedliteraryvocation. Inher case,shewasbrought to recognize a vocation in which all three components—die personal, die religious, and die literary—were not only inextricably bound togedier and interactive but were in tiiemselves profoundly Catiiolic, not only by reason ofa lifelongpersonal and religious formation, butby her own will and intent, and ensuing deep commitment to excellence in all tiiree areas, as she approached and reached aduldiood. Early glimpses, provided by herself in her own scrawl, of Flannery O'Connor in two different stages ofemerging self-awareness and growth are to be found in two ordinary school notebooks, mottled black and white, in which she put down her tiioughts. Not for publication, but for her own consideration and re-consideration. The first was written when she was an eighteen-year-old undergraduate at die College in Milledgeville, still living at home with her mother and extended family.Apparently she intended to keep such a record thenceforth, but tiiis first resolve seems to have lasted only a little over a month (celebrated as an "anniversary"when she had persevered even diat long). She is still clearly a schoolgirl, a little worried about her looks, her lack of social ease, and what otiier people tiiink of her, but grown-up enough to be reassured by die pleasure and satisfaction she finds in what she can do well, and by a sense of essential ^vulnerability to emotional derailment. She daydreams 79 80 Logos aloud of fame, of die independence she would like to win for her motiier and herself, ofriches, and ofeventual love. But for every adolescent fantasy, there is a countering glimpse of an evolving O'Connor more familiar to us, who supplies an antidote ofcool realism to delusions, great or small, by an astringent analysis of herself and of her truest sentiments and aspirations, within the universal context ofwhich she never at any point lost sight. At die same time, impatience with herself and laments over her own perceived shortcomings ofpersonality and performance are opposedby a sometimes astonishing self-regard,inwhich she frankly declares tiiather love for herself, and for her motiier, supersedes any odier she might lose—as she is about to lose, to a wartime reassignment, the companionship and reassuring admiration ofthe young Marine for whom she admits, in diese self-examinations...
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