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• W157203472 abstract "Winner of the 2011 Sarah Gordon AwardO'Connor's interpreters have often viewed her characters' physical deformities as an index of their spiritual deformities, reading that tallies with her comment that the was meant to assist almost-blind modern readers who suffered from sort of moral myopia (MM 34). From this perspective the function of the is decidedly negative: it measures, by degrees of distortion and monstrosity, how far her characters remain apart from spiritual wholeness. Recent scholarship, however, has emphasized O'Connor's deeply understanding of the in which the prospect of renewal is present even-and sometimes especially-in the ugliest, most deformed human bodies.1 In this view, as Christina Lake argues in her study of O'Connor's art (12), the essential goodness of the body stems from the Incarnation itself, from the Word becoming flesh and assuming physical presence in the world. For O'Connor, the event of the Incarnation means that matter matters; it also means that the deformed or body, in its resemblance to the broken body of Christ, has redemptive potential. Incarnational art, Lake writes, insists on the broken and limited human body as its starting point-the acknowledgment of which is the only means to spiritual growth. O'Connor believed that the only way to give that body real presence is to make it grotesque (12).Rather than approaching O'Connor's positive through the lens of her Catholicism, as many critics have done, this essay sets her alongside another writer, Fyodor whose fiction contains similarly incarnational vision of art. Like O'Connor, Dostoevsky places religious concerns squarely at the center of his fiction; deals with extremes of belief and unbelief, the holy and the demonic, and the sacred and the profane-and, as I will try to show, employs strikingly similar use of the that is at once affirmative, unsettling, and redemptive. I argue that many of their characters, far from standing exclusively as objects of disgust or repulsion, are often sources of renewal. What at first glance appears ugly, deformed, or worthless may, in fact, be redemptive. I pair Crime and Punishment (1866), text that is particularly concerned with suffering, death, and renewal, with Revelation and Parker's Back, two stories containing instances of O'Connor's at work.As a great reader of Dostoevsky, in the words of Norman McMillan (16), O'Connor owned many of his novels, including Garnett translation of Crime and Punishment, and mentioned him in number of letters and essays (Kinney 154). In addition, few critics have linked his atheists, especially Ivan Karamazov, to the innerleckshuls that populate her fiction,2 while others have examined ways in which his saintly characters, especially Zosima and Myshkin, represent O'Connor's ethical ideals.3 In spite of these biographical details and critical remarks, however, there is no way of knowing what O'Connor really thought about Dostoevsky. In raising this comparison I assume, as most critics have assumed,4 that Dostoevsky did not influence O'Connor directly but rather that number of shared concerns-especially their use of the grotesque-are borne out in their fiction. The principle aim of this essay, then, is to trace genealogy of the from the Russian realist, to O'Connor, the modern southerner, in order to explore the strange confluence of violence, suffering, and renewal in their fiction.I want to begin by highlighting shared tendency among both O'Connor's and Dostoevsky's readers, whose responses often swing between an emphasis on the religious and the demonic. A perennial point of disagreement, for instance, concerns whether O'Connor's own account of her fiction, specifically her emphasis on the Incarnation, is consistent with what actually happens to her characters. …" @default.
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• W157203472 date "2012-01-01" @default.
• W157203472 modified "2023-09-24" @default.
• W157203472 title "From the Incarnational to the Grotesque in Revelation, Parker's Back, and Dostoevsky's Crime and Punishment" @default.
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