
Turned on the TV last night, thinking I'd watch some of the Twins game, probably all of it if the score was close, and saw that it had been "postponed." Since they're playing the Angels, and it doesn't rain a lot in Los Angeles, I was sufficiently suspicious to go to espn.com and, what do you know, we're sidelined for COVID: at least four cases among the team's traveling entourage, so not necessarily all ballplayers. No game today, either, and the next series, against the A's in Oakland, is also in doubt. I had recorded some episodes of Jeopardy, which is now airing at 1 in the morning on account of the Chauvin trial, but when trying to delete one I'd already seen I accidentally deleted all of them. Stone sober, I swear, just clumsy and inept. My next choice was a PBS "American Masters" show about Flannery O'Connor that I had also recorded—evidently during a weather event, considering the quality of the recording. Obviously I was determined to watch television.
I've been long interested in O'Connor and have written about her here, here, and here. She only lived to be 39, so it's not hard to read everything she wrote—my edition of The Complete Stories of Flannery O'Connor is 550 pages, in addition to which she wrote two short novels and some essays, collected in Mystery and Manners, that are mostly talks she gave on literary topics in order to get money. (Her fiction didn't sell much till after she was dead.) There is also a collection of her personal letters, published as The Habit of Being, that conveys a vivid personality, smart and funny, confident and opinionated, the confidence like the intelligence making the opinions you disagree with seem especially disagreeable. But frequently laugh-out-loud-while-reading-in-bed-in-an-empty-house funny.
I've read it all, much of it more than once, and am almost embarrassed to say that I found the PBS show not just enjoyable but enlightening. It's impossible not to notice how many of O'Connor's stories feature a foolish, talkative, self-satisfied, older, white, southern woman. Though generally familiar with the details of her biography, I never made what now seems to me an obvious connection. O'Connor's dad died of lupus while she was a teenager. She was then stricken with the same disease at age 25. In her case, the disease was checked with drug treatments that had severe side effects, preeminently anemia and the softening of her bones, which restricted her mobility. In the years between college and the onset of lupus, she had attended graduate school at the University of Iowa, been a resident at the writer's colony Yaddo, lived in an apartment in Manhattan and, later, with literary friends at their house in Connecticut. But at 25 she became suddenly and permanently too ill to live on her own. She moved back to Georgia and lived with her mother on a small farm just outside the town of Milledgeville. Quite a narrowing of her life! She'd been running with the smart set at the Iowa writer's workshop and then at Yaddo and New York City, where her friends included for instance Robert Lowell and his wife Elizabeth Hardwick, and now here she is in rural Georgia, immobilized by illness, her mother her constant companion and caregiver. It's these circumstances that account for The Habit of Being, all the smart and entertaining letters that possess (it now occurs to me) a bit of a sad or plaintive undertone when one considers the recurring themes of "Write to me!" and "Come visit me!" as well as the detailed descriptions she sent to mutual friends of the letters she had received and the visits that did occur.
But here's the thing that I thought of, inexplicably for the first time. That foolish, talkative, self-satisfied, older, white southern woman who appears in story after story, filling it up with her prattle in the build-up to some ambiguous and often violent but also possibly revelatory event of theological import—it's Flannery O'Connor's mom. I mean the general tenor of the conversation, the topics that are discussed and the level of the discourse:
"People are certainly not nice like they used to be," said the grandmother.
"A good man is hard to find," Red Sammy said. "Everything is getting terrible. I remember the day you could go off and leave your screen door unlatched. Not no more."
He and the grandmother discussed better times. The old lady said that in her opinion Europe was entirely to blame for the way things were now. She said the way Europe acted you would think we were made of money and Red Sam said it was no use talking about it, she was exactly right.
Her mother is all over her letters; here is one of the earliest, but by no means unrepresentative, mentions:
My mamma and I have interesting literary discussions like the following which took place over some Modern Library books that I had just ordered.
SHE: Mobby Dick. I've always heard about that.
ME: Mow-by Dick.
SHE: Mow-by Dick. The Idiot. You would get something called Idiot. What's it about?
ME: An idiot.
Flannery was too ill to leave the house and listen to people talk in the cafes and beauty parlors of Milledgeville. It's the voice of her mother, Regina Cline O'Connor, yakking on and on, and on and on and on and on, in those stories she was well enough to write. The daughter was a superb ventriloquist. Did the mother read what the daughter wrote? It seems impossible that she would have been too slow to recognize herself. I think the word the show used to describe their relationship was "difficult," or maybe "complicated." The leading elements of the complicatedness would have been love, dependence, and the grinding of teeth. Here's another passage; I enjoy them and they're not hard to find; just open The Collected Stores almost at random; if it's real close to the end of one, just page back a few and you'll find something like:
Mrs. Hopewell liked to tell people that Glynese and Carramae were two of the finest girls she knew and that Mrs. Freeman was a lady and that she was never ashamed to take her anywhere or introduce her to anybody they might meet. Then she would tell how she had happened to hire the Freemans in the first place and how they were a godsend to her and how she had had them for four years. The reason for her keeping them so long was that they were not trash. They were good country people.
Regina O'Connor ran the farm, which entailed hiring the help.