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The Violent Bear It Away: A Novel (FSG Classics), by Flannery O'Connor
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A brilliant, innovative novel, acutely alert to where the sacred lives―and where it does not
First published in 1960, The Violent Bear It Away is a landmark in American literature―a dark and absorbing example of the Gothic sensibility and bracing satirical voice that are united in Flannery O'Connor's work.
In this, O'Connor's second novel, the orphaned Francis Marion Tarwater and his cousin, the schoolteacher Rayber, defy the prophecy of their dead uncle that Tarwater will become a prophet and baptize Rayber's young son, Bishop. A series of struggles ensues, as Tarwater fights an internal battle against his innate faith and the voices calling him to be a prophet while Rayber tries to draw Tarwater into a more "reasonable" modern world. Both wrestle with the legacy of their dead relative and lay claim to Bishop's soul. All this is observed by O'Connor with an astonishing combination of irony and compassion, humor and pathos.
- Sales Rank: #26001 in Books
- Brand: O'Connor, Flannery
- Published on: 2007-06-12
- Released on: 2007-06-12
- Original language: English
- Number of items: 1
- Dimensions: 8.22" h x .38" w x 5.25" l, .53 pounds
- Binding: Paperback
- 256 pages
Review
“I am sure her books will live on and on in American Literature” ―Elizabeth Bishop
“There is very little contemporary fiction which touches the level of Flannery O'Connor at her best.” ―Alan Pryce-Jones, New York Herald Tribune
About the Author
Flannery O'Connor was born in Savannah, Georgia, in 1925. When she died at the age of thirty-nine, America lost one of its most gifted writers at the height of her powers. O'Connor wrote two novels, Wise Blood (1952) and The Violent Bear It Away (1960), and two story collections, A Good Man Is Hard to Find (1955) and Everything That Rises Must Converge (1964). Her Complete Stories, published posthumously in 1972, won the National Book Award that year, and in a 2009 online poll it was voted as the best book to have won the award in the contest's 60-year history. Her essays were published in Mystery and Manners (1969) and her letters in The Habit of Being (1979). In 1988 the Library of America published her Collected Works; she was the first postwar writer to be so honored. O'Connor was educated at the Georgia State College for Women, studied writing at the Iowa Writers' Workshop, and wrote much of Wise Blood at the Yaddo artists' colony in upstate New York. A devout Catholic, she lived most of her life on a farm in Milledgeville, Georgia, where she raised peacocks and wrote.
Most helpful customer reviews
110 of 118 people found the following review helpful.
Wa-a-ait a second...
By Henry Platte
I think it's important to correct a common misperception that's been cropping up in the reviews here. I can understand how someone might come to the conclusion that The Violent Bear it Away is an exposure of, or an attack on, religious fanaticism, but I can say with almost absolute certainty that this was not the author's intention. Flannery O'Connor was a devout Roman Catholic, and nearly all of her stories (check out especially A Good Man is Hard to Find) carry a very extreme and uncompromising religious message. Everything connected with her - the other stories, her personal correspondence, and the text of Violent itself - suggest that it was meant as, crudely stated, an endorsement of fanaticism; or more accurately, a spiritual call to arms, and an attack of meek secularism. This doesn't mean that the book is only for religious people. Someone reading it from an antifanatic standpoint might well benefit, if only by discovering in the person of the author herself an example of the fanaticism they find so distasteful. A religious reader, though, should not be frightened away by all these reviews suggesting that The Violent is a plea for religious moderation. O'Connor's vision, above all, was radical and unconventional, and for either a religious, an agnostic or an antireligious reader, it presents something to think about.
As for the book itself, I only give it four stars because I think O'Connor's short stories are a better exploration of her themes. In the long form, instead of presenting a more nuanced view of the world, there is only room for more brutality and meanness; which isn't neccesarily a bad thing, but which isn't a good thing either. I would reccommend either of O'Connor's short story collections before The Violent, but for a fan of her work, The Violent is indispensable.
24 of 25 people found the following review helpful.
Haunting, beautiful, astonishing
By Ben Brouwer
I am new to Flannery O'Connor. My introduction to her was through popular culture. She was mentioned in an interview with Bono and Sufjan Stevens adores her. And who hasn't heard of "A Good Man is Hard to Find," even if they haven't read it? Regardless, I don't read a lot of fiction, and am by no means a literary critic, but some thoughts follow.
I can't say why I started with this book and not "A Good Man...", other than that I wanted to start with something that was not as familiar. Having read nothing about the book prior to reading it (which is the best way to experience it), I came away utterly astonished at what I had read. To echo another reviewer's comments, sometimes it becomes excruciatingly painful to continue reading, but I was so drawn into the story that I couldn't put it down. I knew of O'Connor's penchant for shock, but there was one event in particular that I was absolutely unprepared for, and I'll let the reader discover what that was.
I'm very impressed with O'Connor's crisp style, which is intelligent yet accessible and capable of vividly portraying the internal transformation of her characters. She is also gifted in her manipulation of her characters' faults to serve the drama. One example of this genius was revealed when I found out why Rayber had a hearing aid--not why he needed one, but why the story needed him to have one. It was a masterful stroke.
My only complaint is that Frances, at age 14, seemed far more sure of himself and the world around him and what he wanted and didn't want than are most real children his age. In that regard, he was a little unbelievable, but it didn't take too much away from my enjoyment of this haunting, beautiful, and astonishing novel.
15 of 16 people found the following review helpful.
COMPELLING, but not for everyone
By C. L Wilson
What a compelling, gripping book, that I first read in September of 1996 and promised myself to read again someday. It has lost none of its power for me. Almost a thriller. After about halfway through, I simply couldn't put it down - again. The two main characters, Rayber and Tarwater, mesmerizing. But to correct a misconception - this book was published in 1960. And since Flannery was born in 1925, she was 40 when it first came out, a matter of simple math. Not 30, as one reviewer noted. She did not even complete the first draft until 1959.
About bible-belt southern poor, that, being from the South, I recognize and know. These people are not as far-fetched as many might think. Yet it is such an unlikely plot for such an incredible read.
Flannery, a life-long staunch Catholic, is not at all satirizing here. Quite plainly nature in the novel is used as a kind of sacrament, and Tarwater (the boy) does indeed emerge as the prophet from the wilderness (Powderhead). She sets Rayber, the intellectual humanist and rationalist against both the Tarwaters. Rayber is total commitment to disbelief; old Tarwater a total committment to faith. In the novel, there is no middle course. But Rayber's is the way of self-deception and self-destruction according to Flannery. In the end, he just collapses and that is all the further we hear of him. But Tarwater is given, so he comes to realize, a vision of his prophecy that he cannot deny, no matter what the cost to himself. In another time these people would not have been looked upon as freaks, mad and compulsive, certainly not in Biblical times.
Rayber's love for his son just dissolves, while Tarwater's vision for his nephew, young Tarwater, takes wing.
Of course, there is one staggering problem - that the boy Tarwater commits a murder on his way to salvation. Flannery seem not to consider this as of much importance. What exactly is Bishop to Rayber and the boy? I'm not sure. But I do know that this book is not easily forgotten, nor the questions it raises. Is it that Rayber, by constantly fighting against forces in himself, and thus denying his true nature, collapses, while the boy finally gives in? Read it and ask yourself.
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