Good Country People Short Analysis

Good Country People Short Analysis
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The story presents the main theme of reality against illusion. Studies by Kirk (2008) identifies that O’Connnor work has “a seduction of nihilism” (Kirk, 2008. P.g. 74). Notably, the author has relied on irony together with symbolism to portray the nihilism of the main character. Additionally, the author has employed the above two styles to portray the immaturity of the main character, as well as her rebelliousness together with other personalities. Notably, the story reveals about two families living in Georgia. The two are Hopewell and Freeman families. The main character in the story (Hulga) comes from the Hopewell family.

It is worthwhile noting that, during her childhood, Hulga was involved in an accident and her leg got shot off. Consequently, Hulga developed a prosthetic condition which has existed up to adulthood. Significantly, the author has based Hulga’s life, as well as her identity around her wooden leg’s insecurity. Research work by Scott (2002) identifies that there was “a recurrent insecurity of tone” (Scott, 2002. P.g. 237). Moreover, Hulga has an incredibly prideful identity, whereby she perceives herself as significantly smarter than everyone else in her vicinity due to her doctorate degree in philosophy.

It is worthwhile noting that, the author has utilized faith as a theme to explore the interaction between Hulga and Manley Pointer a bible salesman. Notably, the two developed an intimate connection between them due to their common problem of heart troubles. Considerably, Hulga fantasizes over seducing what she considers a blameless and susceptible Christian boy. Notably, whenever the two are exclusively together, the bible salesman turns the tables and eventually starts seducing Hulga. However, such action is precisely what Hulga had planned to do to the bible salesman. The bible salesman convinces Hulga to remove her bogus leg then he takes it, leaving Hulga feeble and unaided.

Furthermore, the author has employed irony to reveal the nihilistic nature of the main character. Notably, there is an irony whereby while Hulga a non-believer, she actually beliefs sturdily in her wooden led since it makes her special from the rest. Additionally, the author has evoked irony in most of the characters’ names. For instance, Hulga’s name is Joy Hopewell; however, Hulga’s life outlook is totally contrary to being neither joyful nor hopeful.

Another significant style in the story is symbolism. Notably, initially, multiple objects as presented in the story may be props. Considerably, soon a reader identifies the above props to be enormously imperative, and essential to how the story opens out. Significantly, such prop ups symbolically signify the characters’ personalities. For instance, an example of an object is Hulga’s wooden leg. Notably, in the story when the author introduces the wooden leg, a reader feels constrained to feel sympathy along with mercy for Hulga because of the circumstances necessitating the wooden leg. The leg for a short time cited, with a small explanation that it was “literally blown off” (O’Connor P.g 139) in an accident characterized by hunting. Significantly, such a statement sounds awful, as well as disastrous but things got worse with the way she uses the leg.

 Significantly, Hulga utilizes the leg as a device for maneuvering conditions to favor her. For instance, she treads heavily over the house, intentionally producing a loud “ugly- sounding” (P.g. 137) noise. Notably, she does all these to tell the rest that she is already up, and unhappy with all people. Considerably, her physical disability, and the utilization of the wooden leg, represents her. Significantly, the leg is physically powerful although is what crafts her feeble. Notably, the stealing of Hulga’s leg by the bible salesman reveals her susceptibility and weakness. Consequently, when Hulga is left powerless with nobody to affront the Hulga encounters her weakness.

Works cited:

Kirk, C. Critical Companion to Flannery O’Connor. New York, NY: Scribner, 2008. Print

Lebeck, S. Paradox Lost, and Paradox Regained: An Object Relations Analysis. New York, NY: Scribner, 2000. Print

Scott, R. Flannery O’Connor: An Annotated Reference Guide to Criticism. New York, NY: Scribner, 2002. Print

Eder, K. Flannery O’Connor, “A Good Man Is Hard To Find” – an Analysis. New York, NY: Scribner, 2011. Print

Paton, A. Cry, the Beloved Country. New York, NY: Scribner, 2003. Print.