characters Flannery O'Connor Walker Percy and the Aesthetic of Revelation
With his Walker Percy PDF #10003 mastery of modernist techniue and his depictions of characters obsessed with the past Nobel laureate William Faulkner raised the bar for southern fiction writers But the work of two later authors shows that the aesthetic of memory is not enough Confederate thunder fades as they turn to an explicitly religious source of meaning According to John Sykes the fiction of Flannery O’Connor and Walker Percy provides occasions for divine revelation He traces their work from its common roots in midcentury southern and Catholic intellectual life to Flannery O'Connor PDF or show how the two adopted different theological emphases and rhetorical O'Connor Walker Percy and the Epubstrategies O’Connor building to climactic images Percy striving for dialogue with the reader as a means of uncovering the sacramental foundation of the created order Sykes sets O’C
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Onnor and Percy against the background of the Southern Renaissance from which they emerged showing not only how they shared a distinctly Christian notion of art that led them to see fiction as revelatory but also how their methods of revelation took them in different directions Yet despite their differences in strategy and emphasis O'Connor Walker Percy MOBI #238 he argues that the two are united in their conception of the artist as “God’s sharp eyed witness” and he connects them with the philosophers and critics both Christian and non Christian who had a meaningful influence on their work Through sustained readings of key texts particularly such O’Connor stories as “The Artificial Nigger” and “The Geranium” and Percy’s novels Love in the Ruins and The Second Coming Sykes focuses on the intertwined themes of revelation sacrament and community He views their work in relation to the the
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Ological difficulties that they O'Connor Walker Percy and the Epubwere not able to overcome concerning community For both writers the uestion of community is further complicated by the changing nature of the South as the Lost Cause and segregation lose their holds and a new form of prosperity arises By disclosing how O’Connor and Percy made aesthetic choices based on their Catholicism and their belief that fiction by its very nature is revelatory Sykes demonstrates that their work cannot be seen as merely a continuation of the historical aesthetic that dominated southern literature for so long Flannery O’Connor Walker Percy and the Aesthetic of Revelation is theoretically sophisticated without being esoteric and is accessible to any reader with a serious interest in these writers brimming with fresh insights about both that clarify their approaches to art and enrich our understanding of their work