"Daniel Moran's Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers provides a compelling investigation of how O'Connor's initial repuation of a Southern female writer over the years evolved into her status of great American writer...Through the de-construction of O'Connor's literary portrait that has been created over decades through a number of ventures, Dr. Moran re-creates a new version: elusive, fluid, and changing."
—Nataliya Shpylova-Saeed, New Books Network
“[A] fascinating study of O’Connor . . . Highly recommended.”
“Moran explains how O’Connor got to where she is today and how she felt about her reputation at the time.”
“Conveys the depth of Flannery’s legacy as well as an even deeper understanding of all the mechanisms responsible for casting her as an enduring member of the literary canon.”
—Joseph Schwartzburt, The Flannery O’Connor Childhood Home, Savannah
"What wonderful work: the whole is readable, lively, and always interesting. Every university worth its name will have his book in its library, so necessary is it for those working on O’Connor. Creating Flannery O’Connor is a real achievement.”
—Barry Qualls, professor emeritus of English, Rutgers University
“Creating Flannery O’Connor is an important and welcome addition to the field of O’Connor studies. Moran clearly demonstrates that O’Connor’s literary reputation is a topic worthy of study.”
—Rebecca Cawood McIntyre, The Journal of Southern History
Flannery O’Connor may now be acknowledged as the “Great American Catholic Author,” but this was not always the case. With Creating Flannery O’Connor, Daniel Moran explains how O’Connor attained that status, and how she felt about it, by examining the development of her literary reputation from the perspectives of critics, publishers, agents, adapters for other media, and contemporary readers.
Moran tells the story of O’Connor’s evolving career and the shaping of her literary identity. Drawing from the Farrar, Straus & Giroux archives at the New York Public Library and O’Connor’s private correspondence, he also concentrates on the ways in which Robert Giroux worked tirelessly to promote O’Connor and change her image from that of a southern oddity to an American author exploring universal themes.
Moran traces the critical reception in print of each of O’Connor’s works, finding parallels between her original reviewers and today’s readers. He examines the ways in which O’Connor’s work was adapted for the stage and screen and how these adaptations fostered her reputation as an artist. He also analyzes how—on reader review sites such as Goodreads—her work is debated and discussed among “common readers” in ways very much as it was when Wise Blood was first published in 1952.
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