“A Good Man Is Hard To Find” is a well-known short story by American writer Flannery O’Connor, published 1953. So much has already been said about this story — I will look into its structure from a plotting point of view. It’s also about time I read this story. Without reading Flanney O’Connor’s most famous work I can’t fully appreciate Alice Munro’s 1990s spin on it.
Hear a rare recording of “A Good Man Is Hard To Find”, at Open Culture.
In Flannery O’Connor’s most famous story, “A Good Man in Hard to Find,” wherein a southern matriarch watches—or rather listens—as one-by-one the members of her family are executed by one of a pair of escaped serial killers in the woods close behind her, never once are we told how frightened and horrified she must feel. We aren’t told how she feels at all. The horror implicit in the scene is left entirely to our imagination. Which makes it all the more horrific.
STORYWORLD OF “A GOOD MAN IS HARD TO FIND”
A white family goes on a road trip. They are travelling from Tennessee through Georgia to Florida for a holiday. The grandmother, who would’ve been born in the late 1800s, shows a pitiful if kindly attitude towards the Black child they pass on the way. No one else in that car says anything about him at all, except the observation that he is not wearing pants.
THE ENVIRONMENT AS ENDLESSLY RENEWABLE AND GIVING
It is difficult to imagine this attitude now, but The Grandmother tells her grandchildren not to throw their lunch rubbish out the window. The parents remain silent, suggesting this behaviour would’ve been fine with them. It’s only a small detail but reminds me of a scene from Mad Men, in which Don and Betty take the children on a picnic. When they’re done they just leave all the rubbish in the park. Is that what people really did back then? I guess it must be.
When I grew up in 1980s New Zealand there was a TV advertisement showing two children in the back seat of a car, eating fast food, throwing the rubbish out the window. The children were understood to be greedy, lazy and destructive to the environment. The message was to be a Tidy Kiwi. I thought these children were rascals, and couldn’t believe anyone was allowed to eat in the car (we weren’t) let alone throw rubbish out the window. Although the Tidy Kiwi campaign started in the 1960s, by the 1980s, the ‘don’t litter’ message had gotten through to almost everyone. Throughout the 1990s, we were fed the message that if we picked up our own rubbish, we were sufficiently taking care of the environment. By the early 2000s, that had morphed into ‘recycle correctly’. The 2010s and beyond are a different story — right now the onus is on the consumer to avoid buying goods in ‘unnecessary packaging’ in the first place, to create as little rubbish as possible.
Of course this is part of a larger, deeply, more deadly problem — transportation, electricity production and industry are the main culprits in destroying the actual environment at a deep level, and all the ‘responsible consumerism’ won’t do much to help it, other than assuage our own anxiety-guilt. (Not to say we shouldn’t do every little thing we can.)
They stopped at The Tower for barbecued sandwiches. The Tower was a part stucco and part wood filling station and dance hall set in a clearing outside of Timothy.
Red Sam, who owns and runs the place, complains with The Grandmother that the world is going to wreck and ruin. The title of the story is a quote from Red Sam. The Grandmother and Red Sam are of the same generation. These are characters who would’ve lived through America’s depression, so it’s interesting they see 1950s America — an era still romanticised — as a downgrade on that. What, exactly, has been downgraded to them? Do they perhaps look back fondly on a time when slavery was legal? Are they able to put that into words, or would acknowledging it create uncomfortable dissonance with their own self image as ‘good people’?
THE PLANTATION HOUSE OUTSIDE TOOMSBORO
In slightly earlier times this is a plantation that would’ve been run by Black slaves. But this is not what the grandmother remembers:
the house had six white columns across the front and that there was an avenue of oaks leading up to it and two little wooden trellis arbors on either side in front where you sat down with your suitor after a stroll in the garden. … the beautiful glass over the front doorway and the candle-lamp in the hall
The present scenery:
The dirt road was hilly and there were sudden washes in it and sharp curves on dangerous embankments. All at once they would be on a hill, looking down over the blue tops of trees for miles around, then the next minute, they would be in a red depression with the dust-coated trees looking down on them. … The road looked as if no one had traveled on it in months.
This feels like a Hotel California situation. That final sentence leads me to wonder: Are they are going to make it out? Sure enough, this dangerous description of a road foreshadows the accident:
The road was about ten feet above and they could see only the tops of the trees on the other side of it. Behind the ditch they were sitting in there were more woods, tall and dark and deep. … Behind them the line of woods gaped like a dark open mouth.
The woods are of course a trope from long ago, often a symbol for the subconscious.
CHARACTERS OF “A GOOD MAN IS HARD TO FIND”
Flannery O’Connor’s characters are often described as grotesque, which has a specific meaning in literature:
Nowadays, when people talk about “the grotesque,” their meaning is closer to its adjectival form: “very strange or ugly in a way that is not normal or natural.” The grotesque in literature focuses on the human body, and all the ways that it can be distorted or exaggerated: its aim is to simultaneously elicit our empathy and disgust. Very much like the uncanny, the grotesque draws its power from the combination of the familiar and the unfamiliar, or the familiar distorted. Gothic fiction often has elements of the grotesque, such as Mary Shelley’s monster in Frankenstein or the off-kilter characters in Flannery O’Conner’s stories. In its earlier iterations, the term “grotesque” was used in a way that overlapped more with “the uncanny,” referring to works that blurred the line between the real and the fantastic, such as Kafka’s “The Metamorphosis,” in which the human protagonist is transformed into an insect. It is interesting to see the ways in which these terms overlap, and it’s important to note that their exact “definitions” can be hard to nail down because of the way they have changed over time.
THE FAMILY ON THE ROAD TRIP
The Grandmother — Has connections in Tennessee. Does not want to go to Florida because she has heard there’s a criminal on the loose. She is inclined to worry unnecessarily without being able to process probabilities and likelihood. For instance, she won’t leave the cat at home in case he brushes against the knob of the gas burner and asphyxiates himself. (Has this ever happened in the history of the world?) The Grandmother is therefore revealed to be a fantasist as well as a worrier. And this is why I interpret this plot as a metaphor or as a dream, probably endured by The Grandmother as she nodded off in the backseat, rather than as ‘real’ within the world of the story. (Not that it really matters whether the car wreck and the hearse really turned up or not — this doesn’t change any of the themes in the story.)
Bailey — The Grandmother’s son. She lives with him and his family. He doesn’t have much fun in him, but he is wearing bright blue parrots all over his shirt, as if to convince himself he’s going on holiday. This reminds me of the scene in Office Space, where the boss tells his staff to wear Hawaiian shirts on Friday, if they like, because it will be fun. (The staff don’t look like it will be fun — Hawaiian shirts will only remind them of how un-fun it is to be stuck in a cubicle.) Within the world of this story, the brightness of the shirt is equally ironic — it is the shirt he is wearing as he’s marched off for execution.
Bailey’s wife — ‘a young woman in slacks, whose face was as broad and innocent as a cabbage’. We don’t know much else about her, except her grim acceptance of her own fate, much like Carla Jean Moss in No Country For Old Men.
The Baby — sits in the front seat on its mother’s lap, which gives me anxiety. I grew up with a TV advertisement which showed a baby flying through a windscreen, and the devastated, slow-mo aftermath. (It’s amazing what we kids weren’t allowed to watch compared to the trauma we was exposed to during regular TV shows, including the shows aimed at kids.)
June Star — the granddaughter, blonde hair. Sassy. Funny. Cheeky.
John Wesley — the grandson, 8 years old, stocky with glasses. ‘it’s some that can live their whole life out without asking about it and it’s others has to know why it is, and this boy is one of the latters. He’s going to be into everything!’ This is according to the God-like (Devil-like?) killer, so I take it as a fairly accurate assessment of his character.
Pitty Sing — the cat. The Grandmother hides the cat in the car. Eventually the cat will reveal itself, angering Bailey, foreshadowing death. This cat turns The Grandmother into a bit of a witch archetype — the sort of witch who can divine the future.
The Misfit — has broken out of the Federal Penitentiary and is apparently headed towards Florida. Strong white teeth. Menacing. Like a character out of a Western, he wears a black hat. Has ditched his clothes and is not wearing a shirt. This tends to make a criminal look more confident. (I’m thinking of Kevin Bacon’s character in The River Wild.) He wears no armour at all, because he is confident he doesn’t need it. When he recounts all the things he has seen he is older than I first imagined. Wears glasses. ‘Without his glasses, The Misfit’s eyes were red-rimmed and pale and defenseless-looking.’
Bobby Lee — one of the men in the black hearse
Hiram — one of the men in the black hearse, the one who seems to know the most about engines.
STORY STRUCTURE OF “A GOOD MAN IS HARD TO FIND”
The Grandmother is the character we know the most about. Her reactions are described in the most detail. She worries (needlessly) but eventually the very thing she worries about most comes true within the world of the story. So if we read this story at its most literal level, she doesn’t worry needlessly, on this particular occasion.
What gets her into this mess is that she has misremembered some roads from long ago. But if we take a fatalistic view of the story, it wouldn’t have mattered which roads they took — bad would’ve come for them wherever they were. And when I say ‘bad’, I mean death. The black hearse, of course, is an old woman facing her own impending death. Perhaps, metaphorically, the old woman dies on this trip (but in a much less melodramatic way).
Right to the end, The Grandmother has a black and white view of Good and Evil. She believes she is good — she is good because she looks nice; she is good because she comes from a good family (as if lineage is the thing). She thinks that these things will save her.
She doesn’t want to go on holiday but she doesn’t want to stay home, either. She wants to feel as safe as she can, wherever she happens to be, and to remain a member of the Good Gang.
The Misfit and co come along to prove that the very thing she’s most worried about will come to fruition.
After the car rolls, the family plan to wait for someone to pass by and pick them up.
When The Grandmother realises they’re in great danger she tries appealing to God and offering money. Finally she tries to persuade The Misfit that they are all related somehow, in the scheme of things — appealing to his humanity (or perhaps she’s genuinely addled because The Misfit is wearing her dead son’s ironically loud-print shirt).
The scene where The Misfit turns up and shoots the adults is the Battle scene. Murder happens ostensibly because the grandmother recognises who he is and tells him she knows. There’s a chance they all would’ve left with their lives, otherwise. Or would they?
Did the grandmother learn anything about life before she died? She probably came to the conclusion that life contains the evil she always imagined it did — she’s been vindicated.
But she starts off quite hopeful — so long as she behaves correctly, going through the correct rituals in life, everything will turn out fine. By the end of the story all hope has been quashed, in the face of outright sociopathy, though The Grandmother never gives up, in contrast to her resigned daughter-in-law.
The reader’s revelation? Well, my takeaway point is that bad things happen to anyone, and sometimes it’s just a matter of being in the wrong place at the wrong time.
Some churches teach that so long as you do everything right, your life and afterlife will be excellent. This idea poses a serious dilemma for any free-thinking person — what to make of very unfortunate individuals? To me, “A Good Man Is Hard To Find” is a critique on the idea that it’s possible to divide humanity into heaven-bound and hell-bound individuals.
The family are dead and the baddies keep going wherever they’re going to. The Misfit has a Zen outlook on life — he doesn’t remember what crimes put him in jail. It’s likely he’ll end up back in jail and won’t care to remember the reason. He’s almost a supernatural creature rather than a real one — an earthly Grim Reaper.
COMPARE AND CONTRAST
Annie Proulx’s short story “A Run Of Bad Luck“, because the way in which the reader is asked to consider fate.
Alice Munro’s re-visioning, “Save The Reaper“.
Slate’s Audiobook Special (The Flannery O’Connor part starts at 22:20)
Header photo by Matt Howard