Revelation by Flannery O’Connor Flannery O’Connor (1925-1964) was an American author born in Savannah, Georgia. She is regarded for her bizarre imagination, Christian moral vision, and superb literary style. Her fiction treats contemporary Southern life in terms of comedy and tragedy and reflects her strong Roman Catholic faith. Revelation by Flannery O'Connor - Free download as PDF File (.pdf) or read online for free. Revelation by Flannery O'Connor - The doctor's waiting room, which was very small, was almost full when the Turpins entred and Mrs. Turpin, who was very large, made it look even smaller by her presence.
Revelation[Name of Student]
[Name of Institute] Revelation
Introduction
'Revelation' is a short story by Flannery O'Connor. It was published in 1965 in her short story collection Everything That Rises Must Converge. O'Connor finished the collection during her final battle with lupus. She died in 1964, just before her final book was published. A devout Roman Catholic, O'Connor often used religious themes in her work.
'All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.'—Flannery O'Connor.
In reality, her writing is filled with meaning and symbolism, hidden in plain sight beneath a seamless narrative
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Revelation Summary O Connor
He discloses their shared outlook in the joke about 'white-faced niggers.'
'Revelation' also abounds in ugliness besides that inner baseness suggested in the Turpins' names. Every paragraph seems to offer a disgusting object, a tangible presence which revolts us. In the doctor's cramped office our attention is drawn to dirty rompers and dirty hands and dirty yellow hair; there are cigarette butts and bloodied cotton wads and lips stained with snuff. Mary Grace is called an 'ugly girl' seven times, and her complexion is described as 'raw,' 'seared,' and 'blue with acne.' The conversation revolves around hogs, which the white-trash woman refers to as 'nasty, stinking things, a-gruntin and a-rootin all over the place.' Mary Grace hurls that horrifying insult, 'you old wart hog,' at Mrs. Turpin. When the scene shifts to the farm, we view the pig parlor up close and see the animals themselves, the archsymbols of disgust. The story is replete with such grotesque elements to underscore the central idea which Ruby Turpin's vision finally enables her to recognize: the inadequacy of her respectability and the shallowness of her values. In the solemn procession to God's judgment seat she follows 'whole companies of white trash . . . bands of black niggers . . . battalions of freaks and lunatics.' Above their shouts of hallelujah she hears the echo of her own question, 'Who do you think you are?'
As her debilitating illness
'Revelation' also abounds in ugliness besides that inner baseness suggested in the Turpins' names. Every paragraph seems to offer a disgusting object, a tangible presence which revolts us. In the doctor's cramped office our attention is drawn to dirty rompers and dirty hands and dirty yellow hair; there are cigarette butts and bloodied cotton wads and lips stained with snuff. Mary Grace is called an 'ugly girl' seven times, and her complexion is described as 'raw,' 'seared,' and 'blue with acne.' The conversation revolves around hogs, which the white-trash woman refers to as 'nasty, stinking things, a-gruntin and a-rootin all over the place.' Mary Grace hurls that horrifying insult, 'you old wart hog,' at Mrs. Turpin. When the scene shifts to the farm, we view the pig parlor up close and see the animals themselves, the archsymbols of disgust. The story is replete with such grotesque elements to underscore the central idea which Ruby Turpin's vision finally enables her to recognize: the inadequacy of her respectability and the shallowness of her values. In the solemn procession to God's judgment seat she follows 'whole companies of white trash . . . bands of black niggers . . . battalions of freaks and lunatics.' Above their shouts of hallelujah she hears the echo of her own question, 'Who do you think you are?'
As her debilitating illness