Mystery and Manners

by Flannery O'Connor

  The kind of written work I’m going to talk about is story-writing, because that’s the only kind I know anything about. I’ll call any length of fiction a story, whether it be a novel or a shorter piece, and I’ll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren’t writing stories, they decide that the remedy for this is to learn something that they refer to as the “technique of the short story” or “the technique of the novel.” Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.

  I think we have to begin thinking about stories at a much more fundamental level, so I want to talk about one quality of fiction which I think is its least common denominator—the fact that it is concrete—and about a few of the qualities that follow from this. We will be concerned in this with the reader in his fundamental human sense, because the nature of fiction is in large measure determined by the nature of our perceptive apparatus. The beginning of human knowledge is through the senses, and the fiction writer begins where human perception begins. He appeals through the senses, and you cannot appeal to the senses with abstractions. It is a good deal easier for most people to state an abstract idea than to describe and thus re-create some object that they actually see. But the world of the fiction writer is full of matter, and this is what the beginning fiction writers are very loath to create. They are concerned primarily with unfleshed ideas and emotions. They are apt to be reformers and to want to write because they are possessed not by a story but by the bare bones of some abstract notion. They are conscious of problems, not of people, of questions and issues, not of the texture of existence, of case histories and of everything that has a sociological smack, instead of with all those concrete details of life that make actual the mystery of our position on earth.

  The Manicheans separated spirit and matter. To them all material things were evil. They sought pure spirit and tried to approach the infinite directly without any mediation of matter. This is also pretty much the modern spirit, and for the sensibility infected with it, fiction is hard if not impossible to write because fiction is so very much an incarnational art.

  One of the most common and saddest spectacles is that of a person of really fine sensibility and acute psychological perception trying to write fiction by using these qualities alone. This type of writer will put down one intensely emotional or keenly perceptive sentence after the other, and the result will be complete dullness. The fact is that the materials of the fiction writer are the humblest. Fiction is about everything human and we are made out of dust, and if you scorn getting yourself dusty, then you shouldn’t try to write fiction. It’s not a grand enough job for you.

  Now when the fiction writer finally gets this idea through his head and into his habits, he begins to realize what a job of heavy labor the writing of fiction is. A lady who writes, and whom I admire very much, wrote me that she had learned from Flaubert that it takes at least three activated sensuous strokes to make an object real; and she believes that this is connected with our having five senses. If you’re deprived of any of them, you’re in a bad way, but if you’re deprived of more than two at once, you almost aren’t present.

  All the sentences in Madame Bovary could be examined with wonder, but there is one in particular that always stops me in admiration. Flaubert has just shown us Emma at the piano with Charles watching her. He says, “She struck the notes with aplomb and ran from top to bottom of the keyboard without a break. Thus shaken up, the old instrument, whose strings buzzed, could be heard at the other end of the village when the window was open, and often the bailiff’s clerk, passing along the highroad, bareheaded and in list slippers, stopped to listen, his sheet of paper in his hand.”

  The more you look at a sentence like that, the more you can learn from it. At one end of it, we are with Emma and this very solid instrument “whose strings buzzed,” and at the other end of it we are across the village with this very concrete clerk in his list slippers. With regard to what happens to Emma in the rest of the novel, we may think that it makes no difference that the instrument has buzzing strings or that the clerk wears list slippers and has a piece of paper in his hand, but Flaubert had to create a believable village to put Emma in. It’s always necessary to remember that the fiction writer is much less immediately concerned with grand ideas and bristling emotions than he is with putting list slippers on clerks.

  Now of course this is something that some people learn only to abuse. This is one reason that strict naturalism is a dead end in fiction. In a strictly naturalistic work the detail is there because it is natural to life, not because it is natural to the work. In a work of art we can be extremely literal, without being in the least naturalistic. Art is selective, and its truthfulness is the truthfulness of the essential that creates movement.

  The novel works by a slower accumulation of detail than the short story does. The short story requires more drastic procedures than the novel because more has to be accomplished in less space. The details have to carry more immediate weight. In good fiction, certain of the details will tend to accumulate meaning from the story itself, and when this happens, they become symbolic in their action.

  Now the word symbol scares a good many people off, just as the word art does. They seem to feel that a symbol is some mysterious thing put in arbitrarily by the writer to frighten the common reader—sort of a literary Masonic grip that is only for the initiated. They seem to think that it is a way of saying something that you aren’t actually saying, and so if they can be got to read a reputedly symbolic work at all, they approach it as if it were a problem in algebra. Find x. And when they do find or think they find this abstraction, x, then they go off with an elaborate sense of satisfaction and the notion that they have “understood” the story. Many students confuse the process of understanding a thing with understanding it.

  I think that for the fiction writer himself, symbols are something he uses simply as a matter of course. You might say that these are details that, while having their essential place in the literal level of the story, operate in depth as well as on the surface, increasing the story in every direction.

  I think the way to read a book is always to see what happens, but in a good novel, more always happens than we are able to take in at once, more happens than meets the eye. The mind is led on by what it sees into the greater depths that the book’s symbols naturally suggest. This is what is meant when critics say that a novel operates on several levels. The truer the symbol, the deeper it leads you, the more meaning it opens up. To take an example from my own book, Wise Blood, the hero’s rat-colored automobile is his pulpit and his coffin as well as something he thinks of as a means of escape. He is mistaken in thinking that it is a means of escape, of course, and does not really escape his predicament until the car is destroyed by the patrolman. The car is a kind of death-in-life symbol, as his blindness is a life-in-death symbol. The fact that these meanings are there makes the book significant. The reader may not see them but they have their effect on him nonetheless. This is the way the modern novelist sinks, or hides, his theme.

  The kind of vision the fiction writer needs to have, or to develop, in order to increase the meaning of his story is called anagogical vision, and that is the kind of vision that is able to see different levels of reality in one image or one situation. The medieval commentators on Scripture found three kinds of meaning in the literal level of the sacred text: one they called allegorical, in which one fact pointed to another; one they ca
lled tropological, or moral, which had to do with what should be done; and one they called anagogical, which had to do with the Divine life and our participation in it. Although this was a method applied to biblical exegesis, it was also an attitude toward all of creation, and a way of reading nature which included most possibilities, and I think it is this enlarged view of the human scene that the fiction writer has to cultivate if he is ever going to write stories that have any chance of becoming a permanent part of our literature. It seems to be a paradox that the larger and more complex the personal view, the easier it is to compress it into fiction.

  People have a habit of saying, “What is the theme of your story?” and they expect you to give them a statement: “The theme of my story is the economic pressure of the machine on the middle class”—or some such absurdity. And when they’ve got a statement like that, they go off happy and feel it is no longer necessary to read the story.

  Some people have the notion that you read the story and then climb out of it into the meaning, but for the fiction writer himself the whole story is the meaning, because it is an experience, not an abstraction.

  Now the second common characteristic of fiction follows from this, and it is that fiction is presented in such a way that the reader has the sense that it is unfolding around him. This doesn’t mean he has to identify himself with the character or feel compassion for the character or anything like that. It just means that fiction has to be largely presented rather than reported. Another way to say it is that though fiction is a narrative art, it relies heavily on the element of drama.

  The story is not as extreme a form of drama as the play, but if you know anything about the history of the novel, you know that the novel as an art form has developed in the direction of dramatic unity.

  The major difference between the novel as written in the eighteenth century and the novel as we usually find it today is the disappearance from it of the author. Fielding, for example, was everywhere in his own work, calling the reader’s attention to this point and that, directing him to give his special attention here or there, clarifying this and that incident for him so that he couldn’t possibly miss the point. The Victorian novelists did this, too. They were always coming in, explaining and psychologizing about their characters. But along about the time of Henry James, the author began to tell his story in a different way. He began to let it come through the minds and eyes of the characters themselves, and he sat behind the scenes, apparently disinterested. By the time we get to James Joyce, the author is nowhere to be found in the book. The reader is on his own, floundering around in the thoughts of various unsavory characters. He finds himself in the middle of a world apparently without comment.

  But it is from the kind of world the writer creates, from the kind of character and detail he invests it with, that a reader can find the intellectual meaning of a book. Once this is found, however, it cannot be drained off and used as a substitute for the book. As the late John Peale Bishop said: “You can’t say Cézanne painted apples and a tablecloth and have said what Cézanne painted.” The novelist makes his statements by selection, and if he is any good, he selects every word for a reason, every detail for a reason, every incident for a reason, and arranges them in a certain time-sequence for a reason. He demonstrates something that cannot possibly be demonstrated any other way than with a whole novel.

  Art forms evolve until they reach their ultimate perfection, or until they reach some state of petrifaction, or until some new element is grafted on and a new art form made. But however the past of fiction has been or however the future will be, the present state of the case is that a piece of fiction must be very much a self-contained dramatic unit.

  This means that it must carry its meaning inside it. It means that any abstractly expressed compassion or piety or morality in a piece of fiction is only a statement added to it. It means that you can’t make an inadequate dramatic action complete by putting a statement of meaning on the end of it or in the middle of it or at the beginning of it. It means that when you write fiction you are speaking with character and action, not about character and action. The writer’s moral sense must coincide with his dramatic sense.

  It’s said that when Henry James received a manuscript that he didn’t like, he would return it with the comment, “You have chosen a good subject and are treating it in a straightforward manner.” This usually pleased the person getting the manuscript back, but it was the worst thing that James could think of to say, for he knew, better than anybody else, that the straightforward manner is seldom equal to the complications of the good subject. There may never be anything new to say, but there is always a new way to say it, and since, in art, the way of saying a thing becomes a part of what is said, every work of art is unique and requires fresh attention.

  It’s always wrong of course to say that you can’t do this or you can’t do that in fiction. You can do anything you can get away with, but nobody has ever gotten away with much.

  I believe that it takes a rather different type of disposition to write novels than to write short stories, granted that both require fundamentally fictional talents. I have a friend who writes both, and she says that when she stops a novel to work on short stories, she feels as if she has just left a dark wood to be set upon by wolves. The novel is a more diffused form and more suited to those who like to linger along the way; it also requires a more massive energy. For those of us who want to get the agony over in a hurry, the novel is a burden and a pain. But no matter which fictional form you are using, you are writing a story, and in a story something has to happen. A perception is not a story, and no amount of sensitivity can make a story-writer out of you if you just plain don’t have a gift for telling a story.

  But there’s a certain grain of stupidity that the writer of fiction can hardly do without, and this is the quality of having to stare, of not getting the point at once. The longer you look at one object, the more of the world you see in it; and it’s well to remember that the serious fiction writer always writes about the whole world, no matter how limited his particular scene. For him, the bomb that was dropped on Hiroshima affects life on the Oconee River, and there’s not anything he can do about it.

  People are always complaining that the modern novelist has no hope and that the picture he paints of the world is unbearable. The only answer to this is that people without hope do not write novels. Writing a novel is a terrible experience, during which the hair often falls out and the teeth decay. I’m always highly irritated by people who imply that writing fiction is an escape from reality. It is a plunge into reality and it’s very shocking to the system. If the novelist is not sustained by a hope of money, then he must be sustained by a hope of salvation, or he simply won’t survive the ordeal.

  People without hope not only don’t write novels, but what is more to the point, they don’t read them. They don’t take long looks at anything, because they lack the courage. The way to despair is to refuse to have any kind of experience, and the novel, of course, is a way to have experience. The lady who only read books that improved her mind was taking a safe course—and a hopeless one. She’ll never know whether her mind is improved or not, but should she ever, by some mistake, read a great novel, she’ll know mighty well that something is happening to her.

  A good many people have the notion that nothing happens in modern fiction and that nothing is supposed to happen, that it is the style now to write a story in which nothing happens. Actually, I think more happens in modern fiction—with less furor on the surface—than has ever happened in fiction before. A good example of this is a story by Caroline Gordon called “Summer Dust.” It’s in a collection of her stories called The Forest of the South, which is a book that repays study.

  “Summer Dust” is divided into four short sections, which don’t at first appear to have any relation between them and which are minus any narrative connection. Reading the story is at first rather like standing a foot away from an impressionistic painting, then gradually movi
ng back until it comes into focus. When you reach the right distance, you suddenly see that a world has been created—and a world in action—and that a complete story has been told, by a wonderful kind of understatement. It has been told more by showing what happens around the story than by touching directly on the story itself.

  You may say that this requires such an intelligent and sophisticated reader that it is not worth writing, but I’m rather inclined to think that it is more a false sophistication that prevents people from understanding this kind of story than anything else. Without being naturalistic in the least, a story like “Summer Dust” is actually much closer in form to life than a story that follows a narrative sequence of events.

  The type of mind that can understand good fiction is not necessarily the educated mind, but it is at all times the kind of mind that is willing to have its sense of mystery deepened by contact with reality, and its sense of reality deepened by contact with mystery. Fiction should be both canny and uncanny. In a good deal of popular criticism, there is the notion operating that all fiction has to be about the Average Man, and has to depict average ordinary everyday life, that every fiction writer must produce what used to be called “a slice of life.” But if life, in that sense, satisfied us, there would be no sense in producing literature at all.

  Conrad said that his aim as a fiction writer was to render the highest possible justice to the visible universe. That sounds very grand, but it is really very humble. It means that he subjected himself at all times to the limitations that reality imposed, but that reality for him was not simply coextensive with the visible. He was interested in rendering justice to the visible universe because it suggested an invisible one, and he explained his own intentions as a novelist in this way: