名人轶事:Great Writers: Flannery O'Connor Told of Small-Town Lif

（单词翻译）

Great Writers: Flannery O'Connor Told of Small-Town Life in the South

Written by Richard Thorman

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VOICE ONE:

I'm Shirley Griffith.

VOICE TWO:

And I'm Ray Freeman with the VOA Special English program, People in America.

Today, we tell about writer Flannery O’Connor.

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VOICE ONE:

Flannery O'Connor     

Late in her life someone asked the American writer Flannery O’Connor why she

wrote. She said, "Because I am good at it. "

She was good. Yet, she was not always as good a writer as she became. She

improved because she listened to others. She changed her stories. She re-wrote

them, then re-wrote them again, always working to improve what she was

creating.

Flannery had always wanted to be a writer. After she graduated from Georgia

State College for women, she asked to be accepted at a writing program at the

State University of Iowa. The head of the school found it difficult to

understand her southern speech. He asked her to write what she wanted. Then he

asked to see some examples of her work.

He saw immediately that the writing was full of imagination and bright with

knowledge, like Flannery O’Connor herself.

VOICE TWO:

Mary Flannery O’Connor was born March twenty-fifth, nineteen twenty-five, in

the southern city of Savannah, Georgia.

The year she was born, her father developed a rare disease¹ called lupus. He

died of the disease in nineteen forty-one. By that time the family was living

in the small southern town of Milledgeville, Georgia, in a house owned by

Flannery's mother.

Life in a small town in the American South was what O’Connor knew best. Yet

she said, "If you know who you are, you can go anywhere. "

VOICE ONE:

Many people in the town of Milledgeville thought she was different from other

girls. She was kind to everyone, but she seemed to stand to one side of what

was happening, as if she wanted to see it better. Her mother was her example.

Her mother said, "I was brought up to be nice to everyone and not to tell my

business to anyone. "

Flannery also did not talk about herself. But in her writing a silent and

distant anger explodes from the quiet surface of her stories. Some see her as

a Roman Catholic² religious writer. They see her anger as the search to save

her moral³ being through her belief in Jesus Christ⁴. Others do not deny her

Roman Catholic religious beliefs. Yet they see her not writing about things,

but presenting the things themselves.

VOICE TWO:

When she left the writing program at Iowa State University she was invited to

join a group of writers at the Yaddo writers' colony⁵. Yaddo is at Saratoga

Springs in New York state. It provides a small group of writers with a home

and a place to work for a short time.

The following year, nineteen forty-nine, she moved to New York City. She soon

left the city and lived with her friend Robert Fitzgerald and his family in

the northeastern state of Connecticut. Fitzgerald says O’Connor needed to be

alone to work during the day. And she needed her friends to talk to when her

work was done.

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VOICE ONE:

While writing her first novel, “Wise Blood”, she was stricken with the

disease, lupus, that had killed her father. The treatment for lupus weakened⁶

her. She moved back to Georgia and lived the rest of her life with her mother

on a farm outside Milledgeville. O’Connor was still able to write, travel,

and give speeches.

“Wise Blood” appeared in nineteen fifty-two. Both it and O’Connor's second

novel, “The Violent Bear it Away,” are about a young man growing up. In both

books the young men are unwilling⁷ to accept the work they were most fit to do.

Like all of Flannery O’Connor's writing, the book is filled with humor⁸, even

when her meaning is serious. It shows the mix of a traditional world with a

modern world. It also shows a battle of ideas expressed in the simple, country

talk that O’Connor knew very well.

VOICE TWO:

In “Wise Blood”, a young man, Hazel Motes⁹, leaves the Army but finds his

home town empty. He flees to a city, looking for "a place to be.” On the

train, he announces that he does not believe in Jesus Christ. He says, "I

wouldn't even if he existed. Even if he was on this train. "#p#副标题#e#

His moving to the city is an attempt to move away from the natural world and

become a thing, a machine. He decides that all he can know is what he can

touch and see.

In the end, however, he destroys his physical sight so that he may truly see,

because he says that when he had eyes he was blind. Critics say his action

seems to show that he is no longer willing to deny the existence of Jesus but

now is willing to follow him into the dark.

The novel received high praise from critics. It did not become popular with

the public, however.

VOICE ONE:

O’Connor's second novel, “The Violent Bear it Away,” was published in

nineteen sixty. Like “Wise Blood,” it is a story about a young man learning¹⁰

to deal with life.

The book opens with the young man, Francis Marion Tarwater, refusing to do the

two things his grandfather had ordered him to do. These are to bury the old

man deep in the ground, and to bring religion to his uncle's mentally sick

child.

Instead, Tarwater burns the house where his grandfather died and lets the

mentally sick child drown during a religious ceremony.

VOICE TWO:

Critics say Tarwater's violence comes from his attempt to find truth by

denying religion. In the end, however, he accepts that he has been touched by

a deeper force, the force of the word of God, and he must accept that word.

Both of O’Connor's novels explore the long moment of fear when a young man

must choose between the difficulties of growing up and the safe world of a

child.

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VOICE ONE:

Flannery O’Connor is at least as well known for her stories as for her

novels. Her first book of stories, “A Good Man is Hard to Find,” appeared in

nineteen fifty-five. In it she deals with many of the ideas she wrote about in

“Wise Blood,” such as the search for Jesus Christ.

In many of the stories there is a conflict between the world of the spirit and

the world of the body. In the story, "The Life You Save May Be Your Own," a

traveling workman¹¹ with only one arm comes to a farm. He claims to be more

concerned with things of the spirit than with objects.

VOICE TWO:

The woman who owns the farm offers to let him marry her deaf daughter. He

finally agrees when the mother gives him the farm, her car, and seventeen

dollars for the wedding trip. He says, "Lady, a man is divided into two parts,

body and spirit. . . The body, lady, is like a house: it don't go anywhere;

but the spirit, lady, is like a automobile¹², always on the move. . . "

He marries the daughter and drives off with her. When they stop to eat, the

man leaves her and drives off toward¹³ the city. On the way he stops and gives a

ride to a wandering boy.

We learn that when the one-armed man was a child, his mother left him. Critics

say that when he helps the boy, he is helping¹⁴ himself.

VOICE ONE:

In nineteen sixty-four, O’Connor was operated on for a stomach disease. One

result of this operation was the return of lupus, the disease that killed her

father. On August third, nineteen sixty-four, Flannery O’Connor died.

She was thirty-nine years old.

Near the end of her life she said, "I'm a born Catholic, and death has always

been brother to my imagination."

VOICE TWO:

The next year, in nineteen sixty-five, her final collection of stories,

“Everything That Rises Must Converge,” appeared. In it she speaks of the

cruelty of disease and the deeper cruelty that exists between parents and

children. In these stories, grown children are in a struggle with parents they

neither love nor leave. Many of the children feel guilty about hating the

mothers who, the children feel, have destroyed them through love. The children

want to rebel¹⁵ violently, but they fear losing their mothers' protection.

In nineteen seventy-one, O’Connor's “Collected Stories” was published. The

book contains most of what she wrote. It has all the stories of her earlier

collections. It also has early versions¹⁶ of both novels that were first

published as stories. And it has parts of an uncompleted novel and an

unpublished story.

In nineteen seventy-two this last book won the American book industry's

highest prize, The National Book Award. As one critic noted¹⁷, Flannery O’

Connor did not live long, but she lived deeply, and wrote beautifully.

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VOICE ONE:

This Special English program was written by Richard Thorman. I'm Shirley

Griffith.

VOICE TWO:

And I'm Ray Freeman. Join us again next week for another People in America

program on the Voice of America.