Analyze how and why individuals, events, or ideas develop and interact over the course of a text.Ĭ.4. Determine central ideas or themes of a text and analyze their development summarize the key supporting details and ideas.Ĭ.3. Read closely to determine what the text says explicitly and to make logical inferences from it cite specific textual evidence when writing or speaking to support conclusions drawn from the text.Ĭ.2. Board of Education Supreme Court case that helped divide the "Old South" from the "New South" and the literary genre known as the "Southern Gothic," or "Southern Grotesque." Guiding QuestionsĬ.1. In this lesson, students will explore these dichotomies-and challenge them-while closely reading and analyzing "A Good Man is Hard to Find." In the course of studying this particular O'Connor short story, students will learn as well about the 1950s South, including evolving transportation in the U.S.-transportation fueled by the popularity of the family car and the development of the U.S. Yet it is through the story's disturbing ending that O'Connor raises fundamental questions about good and evil, morality and immorality, faith and doubt, and the particularly Southern "binaries" of black and white and Southern history and progress. One of O'Connor's most widely read stories, "A Good Man is Hard to Find" (written in 1953), without a doubt is also her most shocking. As O'Connor said herself, her stories "make vision apparent by shock." Whether for their humor, brilliant characterization, local color, or shocking plots, Flannery O'Connor's short stories, "in which the voices of displaced persons affirm the grace of God in the grotesqueries of the world," ( Georgia Women of Achievement, via Internet Public Library) continue to disturb and resonate. Known as both a Southern and a Catholic writer, Flannery O'Connor (1925-1964) wrote stories that are hard to forget. When you can assume that your audience holds the same beliefs you do, you can relax a little and use more normal ways of talking to it when you have to assume that it does not, then you have to make your vision apparent by shock - to the hard of hearing you shout, and for the blind you draw large and startling figures." "The novelist with Christian concerns will find in modern life distortions which are repugnant to him, and his problem will be to make them appear as distortions to an audience which is used to seeing them as natural and he may be forced to take ever more violent means to get his vision across to this hostile audience.
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