Grandmother In Flannery O Connor's A Good Man Is Hard To Find
Flannery O’Connor’s A Good Man is Hard to Find follows a peculiar Grandmother as a string of events she is responsible for eventually lead to the death of her loved ones and herself. First and foremost, the grandmother, a manipulative and self-interested lady with no intention of compromising, suggests the family take their vacation through Tennessee rather than Florida, partly in an attempt to avoid a so-called Misfit who appears to be “aloose from the Federal Pen” (3) in Florida. Unfortunately, the Misfit is actually in Tennessee, and thus begins the implausible sequence of events peaking in the murder of the grandmother’s family. Next, the grandmother is aware of her son Bailey’s dislike of her cat, who “didn’t like to arrive at a motel with a cat” (3), and yet
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remains deeply concerned for the cat’s safety should it be left alone in the house. On the morning of the trip, she is the “first one in the car, ready to go, . . . hiding a basket with Pitty Sing, the cat, in it” (3). Had she allowed time and waited for the others to be ready before seating herself in the car, it is possible the family could have found space to put her valise in trunk where it couldn’t get in the way and comforted her that the cat would be fine left alone at home. Little does she know, the fact that the valise and cat are in the front seat with the grandmother cause the devastating car accident that directly precedes the murders. Nevertheless, the family begins their journey. Amidst the many plantations, the grandmother has a sudden wish to visit a supposed house in the neighborhood. The grandmother puts up quite a fuss in her attempt to turn the car around to visit it, amounting to lying about a “secret panel” (7) in order to entice the children. Unfortunately, had the family never turned around, it is unlikely they would have been close enough for the Misfit to stop them. To make matters worse, as a result of the grandmother’s bad memory, she is only later struck with the reality of the house’s location, that it is in Georgia, not Tennessee. Unfortunately, the slightest movement of her foot causes the valise to rattle, and Pitty Sing to spook. In this way, the subsequent accident because of the loose cat’s insistence on “clinging to [Bailey’s] neck” (8) can be observed as a direct consequence of the grandmother’s poor choices. Even worse, when she first makes the connection between the man eventually standing in front of her the pictures of the Misfit she has seen in the past, she hurriedly makes her discovery known to everyone around her (10). Ideally, should have found a way to signal to Bailey privately, or even keep the information to herself entirely. Yet the grandmother’s rash nature and shock makes her speak her mind without analyzing possible consequences. In fact the Misfit replies that “it would have been better for all of you, lady, if you hadn’t of reckernized me” (10). This instance is perhaps the most explicit incident in the text of the ill-fated actions of the Grandmother and their lasting consequences.
Even in her final moments with the Misfit, the grandmother urges that he “pray, pray, . . . pray” (12). Unfortunately, this is the final straw for the Misfit, who is currently questioning his own faith. Clearly, the grandmother is not a stable negotiator, and often says things that may actually be harming her situation. What follows is the bloody massacre of an innocent family, an event that might have been avoidable had the grandmother not been involved.
The protagonist of O’Connor’s story, the grandmother, is quite a complex character whose actions at once seem to both extremely irritate and garner the support of the reader. First and foremost, the grandmother is an obviously flawed woman: in her old age, she has had time to grow attuned to the thoughts and emotions of those around her. However, she chooses to use this understanding in a way that seems to only benefit herself. In short, the grandmother has mastered the art of manipulation and passive aggression: it seems she must find a twisted path through her culprit’s mind until they feel the idea is their own. In this way, the reader is often frustrated with her: if she could simply state what she meant or the true intentions behind her actions, others might be able to point out the flaws in her plans that may prevent her from making poor decisions. The grandmother is truly surreptitious: she appears to bring the cat, Pitty Sing, without Bailey’s knowledge, who “didn’t like to arrive at a motel with a cat” (3). And yet, her manipulative nature is often the most featured of her qualities: she is able to convince the family to drive to Tennessee rather than Florida through a variety of techniques, without actually letting her son know that she would simply like to “visit some of her connections in east Tennessee” (3). Instead, she uses a blend of fear and passive aggression to convince her son that she wouldn’t be able to “answer to [her] conscience” (3) and that she “wouldn’t take [her] children in any direction” (3) where the so-called Misfit was seen, in ‘criminal-ridden’ Florida. In one blow, the grandmother is both able to call out her son’s parenting techniques and justify Tennessee's appeal — “the children have been to Florida before” (3) — without being honest. Nevertheless, that would seem to be sufficient: the family drives to Florida, and the reader glares on at the grandmother’s corrupted morals.
However, Flannery O’Connor has such a strong grasp in her story that she is also able to elicit extreme sympathy despite her character’s somewhat intractable personality. In the opening of the story, for example, we are made aware of the grandmother’s desire to appear like a lady, so that “in case of an accident, anyone seeing her dead on the highway would know at once that she was a lady” (4). The grandmother feels she has accomplished this by sporting a variety of genteel attire, complete with “white cotton gloves . . . a navy blue straw sailor hat with a bunch of white violets on the brim . . . a navy blue dress . . . and collars and cuffs [that] were white organdy trimmed with lace” (4). In this way, it becomes apparent that the grandmother is actually quite concerned about the views and opinions of those around her. In particular, her notion that wearing poorer clothes might make her seem less ‘notable’ or ‘qualified’ of sorts, and the fact that this idea truly terrifies her, hints at some of the grandmother’s more likeable and relatable traits. Indeed, it is likely the vast majority of the readers also share a desire to be liked and respected by their peers. The reverse is also true: most people are afraid of being singled out as ‘bizarre’ and therefore do their best to conform to society’s cultural and social norms. In this way, the reader senses a sharp twinge of empathy at the grandmother’s own struggle as she too must attempt to ‘fit in’ to what is expected of her.
Most notably, though, the events the grandmother must experience over the course of the story, particularly witnessing the death of her family members, is positively gruesome and disturbing. Such a scarring situation is unlikely to result in typical or rational behavior. This also sheds new light on some of her rather manipulative acts in the second act of the story: when she attempts to get inside the Misfit’s head by reopening the discussion about his faith, she is using her strengths in an effort to plead for her own life. In this instance, whether or not the grandmother is able to use the very traits that make her hard to love will determine whether she will see another day. The grandmother’s last moments can therefore truly be seen as heart-wrenching and emotional, and garner the sympathy of the reader, who would undoubtedly act in a similar manner when facing such a potentially fatal trauma. In short, O’Connor is able to let the reader live vicariously through her protagonist: she is definitely human, and though her flaws cost her respect at times, they are also what allow the reader to relate to her. The reader is therefore able to envision their own loved one, or even themselves, in the grandmother’s imperfect nature, which allows us to both judge and sympathize with her.
The Misfit is arguably the most sophisticated character in the story. Despite his antagonistic, criminalistic label, his behavior is the most deeply rooted in philosophical ideas of any of the short narrative’s characters. First and foremost, the Misfit is questioning his own faith, and, consequently, seems to be question the world around him.
In his mind, Jesus’ biblical act of raising the dead is the deciding point of mankind’s morality.
In essence, according to the Misfit, the factuality of His supposed actions will dictate whether or not an individual is bound to goodness or free to do as he or she pleases. In this way, he is adamant on knowing whether or not this event actually occurred: if it had, he feels he could have become a better man, and if it hadn’t, his actions will at once be legitimized and pardoned. Thus the most basic philosophical ideas behind the Misfit’s behavior are formed.
However, it is also important to note that the Misfit’s beliefs are far from unbiased. After all, he was most definitely ‘not there to see it’ and his general behavior clearly reflects that belief. But perhaps most significantly are the prior events in his life that have led him to believe that the world is a cold, unforgiving, and often unfair place. The Misfit is convinced he is being punished for a crime he did not commit: namely, the assassination of his father. The Misfit firmly believes his father passed away at an earlier date, due to “the epidemic flu and [that he] never had a thing to do with it” (13). Nevertheless, the mysterious papers “they” (14) seem to have on him — though “they never shown me my papers” (14) — are enough to get him convicted and placed in a penitentiary.
Needless to say, the Misfit is suspicious of the justice system and the law; he does not believe it holds the weight needed to govern his actions. In an insightful rant, he questions the grandmother whether it “seem[s] right . . . that one is punished a heap and another ain’t punished at all” (14). Instead, he looks to the only ‘law’ powerful enough to sway his morals: the act of Jesus raising the dead. Unfortunately, he was not there to witness it, and thus cannot be certain of its legitimacy.
In short, the Misfit’s complicated philosophy is the result of his rejection of societal and cultural law in favor of an almighty truth, but, unable to confirm its occurrence, feels liberated to do as he pleases.
The final interaction between the grandmother and the Misfit’s characters is a climactic moment for the entire story.
The Misfit begins by shifting his stance slightly on the factuality of Jesus’ actions. Namely, in the past he had been rather cynical about the event, as if without any proof of it existence he was free to do as he pleased. However, he now seems to accept the fact that he was not there to see Jesus raise the dead, but does not dismiss it as impossible: “I wasn’t there so I can’t say He didn’t” (14).
Next, the Misfit comes to a strange realization: he wishes he could have been there, because if he had he “wouldn’t be like [he is] now” (14). It is as if the Misfit is becoming aware of the man he could have been as he speaks, and more importantly, he appears to desire the different life. The realization hits the reader awkwardly, coming across as out of place and unexpected. This sudden emotional response mimics that of the grandmother, who is able to sense the Misfit’s sudden vulnerability and use it to her advantage. At this moment, the grandmother does something unprecedented: she reaches out to the killer and calls him “one of my babies . . . one of my own children”
(14).
The Misfit, his mind racing, can barely comprehend the flood of emotion, a mix of nostalgia, realization, hope, and intimacy. The grandmother’s familial remarks seem to have awoken the criminal from his daze. Mistaking this for a plea for help, the grandmother moves in and touches his shoulder. Tragically, the Misfit is clearly overwhelmed and silences the feeling as quickly as possible: by shooting the grandmother three times in the chest. Interestingly, the figurative language used to describe his sudden retraction — “as if a snake had bitten him” (14) — is reminiscent of the Bible, and thus creates an additional parallel as the Misfit continues to question his own faith.
remains deeply concerned for the cat’s safety should it be left alone in the house. On the morning of the trip, she is the “first one in the car, ready to go, . . . hiding a basket with Pitty Sing, the cat, in it” (3). Had she allowed time and waited for the others to be ready before seating herself in the car, it is possible the family could have found space to put her valise in trunk where it couldn’t get in the way and comforted her that the cat would be fine left alone at home. Little does she know, the fact that the valise and cat are in the front seat with the grandmother cause the devastating car accident that directly precedes the murders. Nevertheless, the family begins their journey. Amidst the many plantations, the grandmother has a sudden wish to visit a supposed house in the neighborhood. The grandmother puts up quite a fuss in her attempt to turn the car around to visit it, amounting to lying about a “secret panel” (7) in order to entice the children. Unfortunately, had the family never turned around, it is unlikely they would have been close enough for the Misfit to stop them. To make matters worse, as a result of the grandmother’s bad memory, she is only later struck with the reality of the house’s location, that it is in Georgia, not Tennessee. Unfortunately, the slightest movement of her foot causes the valise to rattle, and Pitty Sing to spook. In this way, the subsequent accident because of the loose cat’s insistence on “clinging to [Bailey’s] neck” (8) can be observed as a direct consequence of the grandmother’s poor choices. Even worse, when she first makes the connection between the man eventually standing in front of her the pictures of the Misfit she has seen in the past, she hurriedly makes her discovery known to everyone around her (10). Ideally, should have found a way to signal to Bailey privately, or even keep the information to herself entirely. Yet the grandmother’s rash nature and shock makes her speak her mind without analyzing possible consequences. In fact the Misfit replies that “it would have been better for all of you, lady, if you hadn’t of reckernized me” (10). This instance is perhaps the most explicit incident in the text of the ill-fated actions of the Grandmother and their lasting consequences.
Even in her final moments with the Misfit, the grandmother urges that he “pray, pray, . . . pray” (12). Unfortunately, this is the final straw for the Misfit, who is currently questioning his own faith. Clearly, the grandmother is not a stable negotiator, and often says things that may actually be harming her situation. What follows is the bloody massacre of an innocent family, an event that might have been avoidable had the grandmother not been involved.
The protagonist of O’Connor’s story, the grandmother, is quite a complex character whose actions at once seem to both extremely irritate and garner the support of the reader. First and foremost, the grandmother is an obviously flawed woman: in her old age, she has had time to grow attuned to the thoughts and emotions of those around her. However, she chooses to use this understanding in a way that seems to only benefit herself. In short, the grandmother has mastered the art of manipulation and passive aggression: it seems she must find a twisted path through her culprit’s mind until they feel the idea is their own. In this way, the reader is often frustrated with her: if she could simply state what she meant or the true intentions behind her actions, others might be able to point out the flaws in her plans that may prevent her from making poor decisions. The grandmother is truly surreptitious: she appears to bring the cat, Pitty Sing, without Bailey’s knowledge, who “didn’t like to arrive at a motel with a cat” (3). And yet, her manipulative nature is often the most featured of her qualities: she is able to convince the family to drive to Tennessee rather than Florida through a variety of techniques, without actually letting her son know that she would simply like to “visit some of her connections in east Tennessee” (3). Instead, she uses a blend of fear and passive aggression to convince her son that she wouldn’t be able to “answer to [her] conscience” (3) and that she “wouldn’t take [her] children in any direction” (3) where the so-called Misfit was seen, in ‘criminal-ridden’ Florida. In one blow, the grandmother is both able to call out her son’s parenting techniques and justify Tennessee's appeal — “the children have been to Florida before” (3) — without being honest. Nevertheless, that would seem to be sufficient: the family drives to Florida, and the reader glares on at the grandmother’s corrupted morals.
However, Flannery O’Connor has such a strong grasp in her story that she is also able to elicit extreme sympathy despite her character’s somewhat intractable personality. In the opening of the story, for example, we are made aware of the grandmother’s desire to appear like a lady, so that “in case of an accident, anyone seeing her dead on the highway would know at once that she was a lady” (4). The grandmother feels she has accomplished this by sporting a variety of genteel attire, complete with “white cotton gloves . . . a navy blue straw sailor hat with a bunch of white violets on the brim . . . a navy blue dress . . . and collars and cuffs [that] were white organdy trimmed with lace” (4). In this way, it becomes apparent that the grandmother is actually quite concerned about the views and opinions of those around her. In particular, her notion that wearing poorer clothes might make her seem less ‘notable’ or ‘qualified’ of sorts, and the fact that this idea truly terrifies her, hints at some of the grandmother’s more likeable and relatable traits. Indeed, it is likely the vast majority of the readers also share a desire to be liked and respected by their peers. The reverse is also true: most people are afraid of being singled out as ‘bizarre’ and therefore do their best to conform to society’s cultural and social norms. In this way, the reader senses a sharp twinge of empathy at the grandmother’s own struggle as she too must attempt to ‘fit in’ to what is expected of her.
Most notably, though, the events the grandmother must experience over the course of the story, particularly witnessing the death of her family members, is positively gruesome and disturbing. Such a scarring situation is unlikely to result in typical or rational behavior. This also sheds new light on some of her rather manipulative acts in the second act of the story: when she attempts to get inside the Misfit’s head by reopening the discussion about his faith, she is using her strengths in an effort to plead for her own life. In this instance, whether or not the grandmother is able to use the very traits that make her hard to love will determine whether she will see another day. The grandmother’s last moments can therefore truly be seen as heart-wrenching and emotional, and garner the sympathy of the reader, who would undoubtedly act in a similar manner when facing such a potentially fatal trauma. In short, O’Connor is able to let the reader live vicariously through her protagonist: she is definitely human, and though her flaws cost her respect at times, they are also what allow the reader to relate to her. The reader is therefore able to envision their own loved one, or even themselves, in the grandmother’s imperfect nature, which allows us to both judge and sympathize with her.
The Misfit is arguably the most sophisticated character in the story. Despite his antagonistic, criminalistic label, his behavior is the most deeply rooted in philosophical ideas of any of the short narrative’s characters. First and foremost, the Misfit is questioning his own faith, and, consequently, seems to be question the world around him.
In his mind, Jesus’ biblical act of raising the dead is the deciding point of mankind’s morality.
In essence, according to the Misfit, the factuality of His supposed actions will dictate whether or not an individual is bound to goodness or free to do as he or she pleases. In this way, he is adamant on knowing whether or not this event actually occurred: if it had, he feels he could have become a better man, and if it hadn’t, his actions will at once be legitimized and pardoned. Thus the most basic philosophical ideas behind the Misfit’s behavior are formed.
However, it is also important to note that the Misfit’s beliefs are far from unbiased. After all, he was most definitely ‘not there to see it’ and his general behavior clearly reflects that belief. But perhaps most significantly are the prior events in his life that have led him to believe that the world is a cold, unforgiving, and often unfair place. The Misfit is convinced he is being punished for a crime he did not commit: namely, the assassination of his father. The Misfit firmly believes his father passed away at an earlier date, due to “the epidemic flu and [that he] never had a thing to do with it” (13). Nevertheless, the mysterious papers “they” (14) seem to have on him — though “they never shown me my papers” (14) — are enough to get him convicted and placed in a penitentiary.
Needless to say, the Misfit is suspicious of the justice system and the law; he does not believe it holds the weight needed to govern his actions. In an insightful rant, he questions the grandmother whether it “seem[s] right . . . that one is punished a heap and another ain’t punished at all” (14). Instead, he looks to the only ‘law’ powerful enough to sway his morals: the act of Jesus raising the dead. Unfortunately, he was not there to witness it, and thus cannot be certain of its legitimacy.
In short, the Misfit’s complicated philosophy is the result of his rejection of societal and cultural law in favor of an almighty truth, but, unable to confirm its occurrence, feels liberated to do as he pleases.
The final interaction between the grandmother and the Misfit’s characters is a climactic moment for the entire story.
The Misfit begins by shifting his stance slightly on the factuality of Jesus’ actions. Namely, in the past he had been rather cynical about the event, as if without any proof of it existence he was free to do as he pleased. However, he now seems to accept the fact that he was not there to see Jesus raise the dead, but does not dismiss it as impossible: “I wasn’t there so I can’t say He didn’t” (14).
Next, the Misfit comes to a strange realization: he wishes he could have been there, because if he had he “wouldn’t be like [he is] now” (14). It is as if the Misfit is becoming aware of the man he could have been as he speaks, and more importantly, he appears to desire the different life. The realization hits the reader awkwardly, coming across as out of place and unexpected. This sudden emotional response mimics that of the grandmother, who is able to sense the Misfit’s sudden vulnerability and use it to her advantage. At this moment, the grandmother does something unprecedented: she reaches out to the killer and calls him “one of my babies . . . one of my own children”
(14).
The Misfit, his mind racing, can barely comprehend the flood of emotion, a mix of nostalgia, realization, hope, and intimacy. The grandmother’s familial remarks seem to have awoken the criminal from his daze. Mistaking this for a plea for help, the grandmother moves in and touches his shoulder. Tragically, the Misfit is clearly overwhelmed and silences the feeling as quickly as possible: by shooting the grandmother three times in the chest. Interestingly, the figurative language used to describe his sudden retraction — “as if a snake had bitten him” (14) — is reminiscent of the Bible, and thus creates an additional parallel as the Misfit continues to question his own faith.