Flannery O'Connor, whose stories have long filled me with morbid fascination, has fallen victim to "cancel culture." In her case, a dormitory named for her on the campus of Loyola University Maryland was, at the direction of its president, Jesuit Fr. Brian Linnane, rechristened after he received complaints about the "racist perspective" of some of her writings. O'Connor has many defenders, especially among Catholic intellectuals, and not all of them are as frank as Jennifer Frey, a philosopher at the University of South Carolina whose brief for the defense acknowledges the casual racial slurs that adorn O'Connor's personal correspondence. Frey refers also to O'Connor's "disappointing" and "cringeworthy" dismissal of black intellectuals, most notably James Baldwin. I'm pretty sure she must have in mind the following passage from a letter O'Connor wrote on May 21, 1964, about three months before she died, to her friend Maryat Lee:
About the Negroes, the kind I don't like is the philosophizing prophesying pontificating kind, the James Baldwin kind. Very ignorant but never silent. Baldwin can tell us what it feels like to be a Negro in Harlem but he tries to tell us everything else too. [Martin Luther] King I don't think is the age's great saint but he's at least doing what he can do & has to do. Don't know anything about Ossie Davis except you like him but you probably like them all.
The backdrop for these benighted opinions, and of the evident sneer directed at her liberal friend, is of course the civil rights movement in Dixie. O'Connor was born at Savannah in 1925. Her father died of lupus while she was a teenager. After being afflicted with lupus herself as a young woman, she spent the rest of her days—she died at 39—living with her mother on the family farm near Milledgeville, Georgia, a town of about 11,000 a hundred miles southeast of Atlanta. There, from 1953 to 1964, she wrote most of the stories collected in A Good Man Is Hard To Find (1955) and all the stories collected in Everything That Rises Must Converge, which was published posthumously in 1965. Change wrought by the civil rights movement was the principal social fact of her time and place. It seems to have had no part in her early fiction, but in the later stories, such as the title story for Everything That Rises, race is close to the thematic center and her treatment of it cannot fairly be characterized as "racist," though I think "unsentimental" and the overused "ironic" might be apt. Without too much imagination one might even regard the story as a prophetic counterpunch to the jaw of some of her current critics.
It's about a ride on a recently integrated city bus—the half hour before, the ride itself, and a few minutes after it ends. The main character is the mother of an adult son, Julian. She isn't herself named, except the family name very fleetingly, which may suggest that she's intended not as an individual but as a representative specimen of humanity. Once a week she attends a "reducing class" at the Y. But since the buses have been integrated she refuses to ride them alone and has therefore recruited Julian to accompany her to the Y. He resents the imposition, which is the occasion for some comedy as they prepare to depart from her house for the walk to the bus stop.
It's the conversation that's funny—"cringeworthy," you might say. The subject of race is on the mind of the 50-something white lady and she's pleased with her own opinions. She tells Julian—it's a boast—that his great grandfather owned slaves. Irritable and eager to contradict, he points out that there are no longer slaves. She counters that "they were better off when they were" and, as if she thought this might be harsh, elaborates:
"It's ridiculous. It's simply not realistic. They should rise, yes, but on their own side of the fence."
The referent of the recurring "it's" is of course racial integration. The idea that the descendants of slaves should rise on their own side of the fence, regarded by Julian's mom as proof of her “realistic” views, is explicitly denied by the story's vivid title, "Everything That Rises Must Converge." We'll see what comes of that. Meanwhile, as they prepare to depart for the bus stop, there is quite a lot made about a new hat that Julian's mother has bought. Did she pay too much? Should she return it? Wear it to the Y? The hat is clearly unusual and hideous. She decides to wear it, naturally.
Talk, talk, talk, more ridiculous talk—all, one feels sure, perfectly rendered. It doesn't stop when they get on the bus. They take their seats at the front, the side bench that faces the aisle. Julian's mother makes meteorological observations to no one in particular, just to see who she can chat up. She finds a taker, a "thin woman with protruding teeth and long yellow hair." Surveying the other passengers, Julian's mother observes: "I see we have the bus to ourselves." (Meaning, of course: no blacks.) She and the woman with protruding teeth agree that things used to be better as now there is so much crime. The code hasn't changed, or acquired a better disguise. The two women boast of their children. We learn that Julian is a recent college graduate trying to get on his feet. He wants to be a writer but is currently selling typewriters. The lady with the protruding teeth remarks that these occupations are related and that he'll move from the one right into the other. Forced to listen, Julian is beside himself.
This is funny enough so that one might not notice that the story is turning. The neighborhood is shabby. The mother is unmarried, doesn't drive, relies on public transportation. Yet Julian has been to college. Sacrifices have been made. It seems all that is true, too. A black man boards and takes a seat on the opposite bench beside a white woman, who immediately rises and moves to a seat farther back. Julian then rises to take the seat she vacated beside the black man. When his mother looks straight ahead, she now sees her son sitting next to a black man on the integrated bus. She hates it, which is why Julian loves it. He knows it will be worse if he strikes up a conversation with the black man, so he asks for a light. But in his eagerness he has failed to think things through. When the man produces a light, Julian remembers he has no cigarettes—he had recently quit smoking because he can't afford it. The man repockets his matches with an annoyed look. We are told that he's nicely dressed and carries a briefcase but not whether he is aware of being a prop in the white man's drama.
Something like this happens again and again in O'Connor's stories. You laugh and laugh and think you know who the joke is on—and then the joke widens. Frustrated by his failure to commune with a black person, Julian falls into a reverie. They are almost to the Y. What if, when his mother rose to disembark, he remained seated, and when she told him they were at their stop he stared blankly at her as if they were strangers? Morally, they are strangers, since his superiority is to himself so evident. What if he knew a black professor or lawyer and brought him back to the house for dinner? Better yet, a beautiful black woman? "There's nothing you can do about it," he'd say to his mother. He's jolted back to reality when the bus stops and an actual black woman boards.
The new rider has a young kid with her and is enormous. To Julian's annoyance, she wedges in beside him. Her clothes are ridiculous, perhaps because she's limited by what she can fit into. The narration of events is interrupted to describe her fully. Is there an element of racial caricature? No, I think the point to make is that the gigantic black woman is the second person in the story meriting a physical description. The first had been the white woman with protruding teeth and long yellow hair. The two are united in their grotesquery. Something about the black woman seems familiar to Julian. She is an imposing, threatening, scowling presence, a real eyeful, and it takes a minute for him to realize that she's wearing the same hideous hat as his mother.
Her little boy sits across the aisle, next to Julian's mother. You won't be surprised to hear that she thinks children are all cute, especially black children. But before she can force her generosity on the boy the bus arrives at the stop for the Y. She's pleased when the enormous black woman is going to get off with her kid at the same stop and determines to give the youngster a coin. Julian sees her digging in her purse as the boy and his mom walk away on the sidewalk and the bus pulls away. Maybe he comprehends the racial condescension inherent in the act, maybe he doesn't want to hear from his mother for the next weeks and months about her kindliness toward a black child. Anyway, he tries to stop her, but too late. The black woman is insulted. She shouts that her son doesn't take anyone's pennies and, swinging her big arm, strikes Julian's mother in the face with her pocketbook. She falls to the ground, injured and dazed, her customary self-satisfaction erased. Everything that rises must converge! Thwack! That's the end of the story but for a modulated denouement in which, in the last sentence, Julian, stunned by his mother's disorientation, becomes disoriented himself and is jerked from complacency:
The tide of darkness seemed to sweep him back to her, postponing from moment to moment his entry into the world of guilt and sorrow.
What to make of this? I mentioned that from a sufficient altitude O'Connor told this story again and again. A critic might say she's a bit of a one-trick pony. In another story, maybe her most famous one, the idle chatter of self-satisfied talkers yammering about the golden days of yesteryear includes the parties' agreement that, nowadays, "A good man is hard to find." The old lady who says this soon comes face to face with appalling evil and I think the reader is meant to perceive that her platitude is actually an expression of the Christian doctrine of original sin. To say that the characters in "Everything That Rises," black and white, are "united in grotesquery" tends in the same direction. Reading the story over again, one notices small flourishes, sort of like angels hovering in the corner of an otherwise realistic painting, such as when in the opening Julian impatiently waiting for his mother is compared to Saint Sebastian waiting for the arrows to begin piercing his flesh: a signal, however humorous, that more than ordinary verisimilitude might be at stake.
For O'Connor, the only significance is religious significance. Social issues are just emblems of theological ones. "Everything That Rises" will probably seem to most readers more congenial, less disturbing, than most of her others. For example, it can be enjoyed by anyone who might appreciate quite a devastating cartoon of a "woke" young person, too hip to be decent to his mother. Estelle Parsons reads the story, here.