[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:06.41,0:00:10.70,Default,,0000,0000,0000,,A garrulous grandmother and a roaming \Nbandit face off on a dirt road.
Dialogue: 0,0:00:10.70,0:00:14.80,Default,,0000,0000,0000,,A Bible salesman lures a one-legged \Nphilosopher into a barn.
Dialogue: 0,0:00:14.80,0:00:20.28,Default,,0000,0000,0000,,A traveling handyman teaches a deaf woman \Nher first word on an old plantation.
Dialogue: 0,0:00:20.28,0:00:22.47,Default,,0000,0000,0000,,From her farm in rural Georgia,
Dialogue: 0,0:00:22.47,0:00:24.67,Default,,0000,0000,0000,,surrounded by a flock of pet birds,
Dialogue: 0,0:00:24.67,0:00:27.53,Default,,0000,0000,0000,,Flannery O’Connor scribbled tales \Nof outcasts,
Dialogue: 0,0:00:27.53,0:00:31.80,Default,,0000,0000,0000,,intruders and misfits staged in \Nthe world she knew best:
Dialogue: 0,0:00:31.80,0:00:33.64,Default,,0000,0000,0000,,the American South.
Dialogue: 0,0:00:33.64,0:00:35.26,Default,,0000,0000,0000,,She published two novels,
Dialogue: 0,0:00:35.26,0:00:37.98,Default,,0000,0000,0000,,but is perhaps best known \Nfor her short stories,
Dialogue: 0,0:00:37.98,0:00:42.56,Default,,0000,0000,0000,,which explored small-town life \Nwith stinging language, offbeat humor,
Dialogue: 0,0:00:42.56,0:00:45.55,Default,,0000,0000,0000,,and delightfully unsavory scenarios.
Dialogue: 0,0:00:45.55,0:00:48.46,Default,,0000,0000,0000,,In her spare time O’Connor drew cartoons,
Dialogue: 0,0:00:48.46,0:00:51.17,Default,,0000,0000,0000,,and her writing is also \Nbrimming with caricature.
Dialogue: 0,0:00:51.17,0:00:56.83,Default,,0000,0000,0000,,In her stories, a mother has a face \N“as broad and innocent as a cabbage,”
Dialogue: 0,0:00:56.83,0:01:00.34,Default,,0000,0000,0000,,a man has as much drive as a “floor mop,”
Dialogue: 0,0:01:00.34,0:01:04.45,Default,,0000,0000,0000,,and one woman’s body \Nis shaped like “a funeral urn.”
Dialogue: 0,0:01:04.45,0:01:07.01,Default,,0000,0000,0000,,The names of her characters \Nare equally sly.
Dialogue: 0,0:01:07.01,0:01:10.14,Default,,0000,0000,0000,,Take the story “The Life You \NSave May be Your Own,”
Dialogue: 0,0:01:10.14,0:01:13.43,Default,,0000,0000,0000,,where the one-handed drifter Tom Shiftlet \Nwanders into the lives
Dialogue: 0,0:01:13.43,0:01:15.77,Default,,0000,0000,0000,,of an old woman named Lucynell Crater
Dialogue: 0,0:01:15.77,0:01:17.65,Default,,0000,0000,0000,,and her deaf and mute daughter.
Dialogue: 0,0:01:17.65,0:01:19.71,Default,,0000,0000,0000,,Though Mrs. Crater is self-assured,
Dialogue: 0,0:01:19.71,0:01:22.33,Default,,0000,0000,0000,,her isolated home is falling apart.
Dialogue: 0,0:01:22.33,0:01:25.23,Default,,0000,0000,0000,,At first, we may be suspicious \Nof Shiftlet’s motives
Dialogue: 0,0:01:25.23,0:01:27.26,Default,,0000,0000,0000,,when he offers to help around the house,
Dialogue: 0,0:01:27.26,0:01:29.70,Default,,0000,0000,0000,,but O’Connor soon reveals \Nthe old woman to be
Dialogue: 0,0:01:29.70,0:01:32.57,Default,,0000,0000,0000,,just as scheming as her unexpected guest–
Dialogue: 0,0:01:32.57,0:01:35.80,Default,,0000,0000,0000,,and rattles the reader’s presumptions \Nabout who has the upper hand.
Dialogue: 0,0:01:36.09,0:01:38.85,Default,,0000,0000,0000,,For O’Connor, no subject was off limits.
Dialogue: 0,0:01:38.85,0:01:40.50,Default,,0000,0000,0000,,Though she was a devout Catholic,
Dialogue: 0,0:01:40.50,0:01:42.81,Default,,0000,0000,0000,,she wasn’t afraid to explore \Nthe possibility
Dialogue: 0,0:01:42.81,0:01:45.14,Default,,0000,0000,0000,,of pious thought and unpious behavior
Dialogue: 0,0:01:45.14,0:01:47.16,Default,,0000,0000,0000,,co-existing in the same person.
Dialogue: 0,0:01:47.16,0:01:49.60,Default,,0000,0000,0000,,In her novel The Violent Bear it Away,
Dialogue: 0,0:01:49.60,0:01:53.12,Default,,0000,0000,0000,,the main character grapples with the \Nchoice to become a man of God –
Dialogue: 0,0:01:53.12,0:01:55.80,Default,,0000,0000,0000,,but also sets fires and commits murder.
Dialogue: 0,0:01:55.80,0:02:00.27,Default,,0000,0000,0000,,The book opens with the reluctant prophet\Nin a particularly compromising position:
Dialogue: 0,0:02:00.27,0:02:04.33,Default,,0000,0000,0000,,“Francis Marion Tarwater’s uncle had been \Ndead for only half a day
Dialogue: 0,0:02:04.33,0:02:07.59,Default,,0000,0000,0000,,when the boy got too drunk \Nto finish digging his grave.”
Dialogue: 0,0:02:07.59,0:02:11.31,Default,,0000,0000,0000,,This leaves a passerby to “drag the body \Nfrom the breakfast table
Dialogue: 0,0:02:11.31,0:02:13.31,Default,,0000,0000,0000,,where it was still sitting and bury it […]
Dialogue: 0,0:02:13.31,0:02:17.16,Default,,0000,0000,0000,,with enough dirt on top to keep \Nthe dogs from digging it up.”
Dialogue: 0,0:02:17.16,0:02:19.18,Default,,0000,0000,0000,,Though her own politics are still debated,
Dialogue: 0,0:02:19.18,0:02:23.24,Default,,0000,0000,0000,,O’Connor’s fiction could also be attuned\Nto the racism of the South.
Dialogue: 0,0:02:23.24,0:02:25.79,Default,,0000,0000,0000,,In “Everything that Rises Must Converge,”
Dialogue: 0,0:02:25.79,0:02:28.74,Default,,0000,0000,0000,,she depicts a son raging \Nat his mother’s bigotry.
Dialogue: 0,0:02:28.74,0:02:31.55,Default,,0000,0000,0000,,But the story reveals that \Nhe has his own blind spots
Dialogue: 0,0:02:31.55,0:02:33.92,Default,,0000,0000,0000,,and suggests that simply recognizing evil
Dialogue: 0,0:02:33.92,0:02:36.64,Default,,0000,0000,0000,,doesn’t exempt his character \Nfrom scrutiny.
Dialogue: 0,0:02:36.64,0:02:40.06,Default,,0000,0000,0000,,Even as O’Connor probes the most \Nunsavory aspects of humanity,
Dialogue: 0,0:02:40.06,0:02:42.92,Default,,0000,0000,0000,,she leaves the door to redemption \Nopen a crack.
Dialogue: 0,0:02:42.92,0:02:45.12,Default,,0000,0000,0000,,In “A Good Man is Hard to Find,”
Dialogue: 0,0:02:45.12,0:02:49.12,Default,,0000,0000,0000,,she redeems an insufferable grandmother \Nfor forgiving a hardened criminal,
Dialogue: 0,0:02:49.12,0:02:51.71,Default,,0000,0000,0000,,even as he closes in on her family.
Dialogue: 0,0:02:51.71,0:02:54.99,Default,,0000,0000,0000,,Though we might balk at the price the \Nwoman pays for this redemption,
Dialogue: 0,0:02:54.99,0:02:57.13,Default,,0000,0000,0000,,we’re forced to confront the nuance\Nin moments
Dialogue: 0,0:02:57.13,0:02:59.81,Default,,0000,0000,0000,,we might otherwise consider \Npurely violent or evil.
Dialogue: 0,0:03:00.63,0:03:02.69,Default,,0000,0000,0000,,O’Connor’s mastery of the grotesque
Dialogue: 0,0:03:02.69,0:03:06.58,Default,,0000,0000,0000,,and her explorations of the insularity and\Nsuperstition of the South
Dialogue: 0,0:03:06.58,0:03:09.64,Default,,0000,0000,0000,,led her to be classified as \Na Southern Gothic writer.
Dialogue: 0,0:03:09.64,0:03:11.98,Default,,0000,0000,0000,,But her work pushed beyond \Nthe purely ridiculous
Dialogue: 0,0:03:11.98,0:03:14.96,Default,,0000,0000,0000,,and frightening characteristics \Nassociated with the genre
Dialogue: 0,0:03:14.96,0:03:18.55,Default,,0000,0000,0000,,to reveal the variety and nuance \Nof human character.
Dialogue: 0,0:03:18.55,0:03:20.93,Default,,0000,0000,0000,,She knew some of this variety \Nwas uncomfortable,
Dialogue: 0,0:03:20.93,0:03:23.32,Default,,0000,0000,0000,,and that her stories could be \Nan acquired taste –
Dialogue: 0,0:03:23.32,0:03:25.77,Default,,0000,0000,0000,,but she took pleasure \Nin challenging her readers.
Dialogue: 0,0:03:26.52,0:03:29.36,Default,,0000,0000,0000,,O’Connor died of lupus at the age of 39,
Dialogue: 0,0:03:29.36,0:03:33.79,Default,,0000,0000,0000,,after the disease had mostly confined her \Nto her farm in Georgia for twelve years.
Dialogue: 0,0:03:33.79,0:03:34.91,Default,,0000,0000,0000,,During those years,
Dialogue: 0,0:03:34.91,0:03:37.77,Default,,0000,0000,0000,,she penned much of her most \Nimaginative work.
Dialogue: 0,0:03:37.77,0:03:40.71,Default,,0000,0000,0000,,Her ability to flit between \Nrevulsion and revelation
Dialogue: 0,0:03:40.71,0:03:44.92,Default,,0000,0000,0000,,continues to draw readers to her endlessly\Nsurprising fictional worlds.
Dialogue: 0,0:03:44.92,0:03:47.18,Default,,0000,0000,0000,,As her character Tom Shiftlet notes,
Dialogue: 0,0:03:47.18,0:03:49.58,Default,,0000,0000,0000,,the body is “like a house:
Dialogue: 0,0:03:49.58,0:03:50.89,Default,,0000,0000,0000,,it don’t go anywhere,
Dialogue: 0,0:03:50.89,0:03:53.78,Default,,0000,0000,0000,,but the spirit, lady, \Nis like an automobile:
Dialogue: 0,0:03:53.78,0:03:55.80,Default,,0000,0000,0000,,always on the move.”