Flannery O’Connor’s first novel, Wise Blood, she changed people’s minds about what a southern writer was and ushered in a new wave of attention for southern writers. O'Connor, as a southern writer, who is similar to others from a proportional spot by the sets of specific expectations for perusers outside of that area. One explanation behind accordingly numerous notices of O'Connor as a southerner is why this reality was frequently underlined as another standard of notice-needed to embrace to not just with the novel's setting of Eastrod, Tennessee, yet with a suspicion about southern craftsmanship that had been trumpeted a long time before O'Connor started her profession. O’Connor wrote, A Good Man Is Hard To Find, in 1955 while using religion as a theme for her works by expressing her experiences growing up as a Catholic in the South.
Flannery O'Connor's Catholic childhood impacted most her fiction, regularly earning analysis as a result of her unmistakable, once in a while brutal depiction of confidence. O'Connor's extraordinary grandparents had been kind of the essential Catholics to quantify in Milledgeville, Georgia, and her family stood call at the overwhelmingly Protestant South. O'Connor went to chapel school and routinely visited Mass related to her family. Despite the fact that her accounts and books are frequently brutal and horrifying, they're established in her conviction inside the secrets of conviction and godliness. In addition, her characters regularly face savage or shaking circumstances that constrain them into a blaze of emergency that stirs or adjusts their confidence. Snapshots of elegance, a Christian thought, are unavoidable, somewhat like the grandma's snapshot of effortlessness in A Good Man is Hard to Find. For O'Connor, composing was inseparable from her Christian convictions, accepting that she wouldn't be prepared to compose were it not for this foundation. During a talk around, A Good Man is Hard to Find in 1943, O'Connor stated, 'Belief, in my own case anyway, is the engine that makes perception operate.' She likewise ascribed her longing to record down right directly down to her Catholicism, composing once during a letter, “I feel that if I were not a Catholic, I would have no reason to write, no reason to see, no reason ever to feel horrified or even to enjoy anything.'
The story takes place in Atlanta, Georgia in the 50’s as a family is taking a road trip yet there is some disagreement on where to go. All of the family members besides the grandmother want to go to Florida as she has her disagreements for a different location. The grandmother did not like the idea of Florida due to serious crimes as a criminal known as “The Misfit” is out of the slammer and is somewhere located in Florida. The grandmother wears a dress and cap with blossoms on it so individuals will realize she is 'a lady' if there's a mishap. At the point when they pass a cotton field, she says there are graves in it that had a place with the manor and jokes that the estate has 'Gone with the Wind.'
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The family stops at an eatery called the Tower, possessed by Red Sammy Butts. Red Sammy whines that individuals are deceitful, clarifying that he as of late let two men purchase fuel using a loan. The grandmother inquires as to whether she's caught wind of the Misfit, and the lady stresses that he'll loot them. Red Sam says, 'A good man is hard to find.' Back in the vehicle, the grandmother wakes from a snooze and understands that a ranch she once visited is close by. She says that the house had six white segments and lies that the house had a mystery board to cause the house to appear to be all the more fascinating. Energized, the youngsters ask to go to the house until Bailey indignantly yields. The grandma guides him toward a soil street. The family crashes profound into the forested areas.
The grandma abruptly recalls that the house was in Tennessee, not in Georgia. Pitty Sing, the grandmother’s cat, escapes from the bushel and alarms Bailey, who wrecks the vehicle. The mother breaks her shoulder, yet nobody else is harmed. A passing vehicle stops, and three men get out, conveying weapons. One of the men advises the kids' mom to cause the kids to duck down in light of the fact that they make him apprehensive. The grandma unexpectedly shouts since she understands that he's the Misfit.
The Misfit tells the other two men to take the two children and the mother into the forested areas. The Misfit says he realizes he isn't acceptable yet that he isn't the most exceedingly terrible man either. The grandma asks the Misfit whether he ever supplicates. Similarly as he says no, she hears two shots. The Misfit says he used to be a gospel vocalist and then the grandma begins reciting, 'Jesus, Jesus.' The Misfit says he resembles Jesus, with the exception of Jesus hadn't carried out wrongdoing. A gunfire originates from the forested areas which then appears to the Misfit as he shoots her in the chest multiple times. Bobby Lee and Hiram return, and they all glance at the grandma. At the end of the story it states, “She would of been a good woman,” The Misfit said, “if it had been somebody there to shoot her every minute of her life.” “Some fun!” Bobby Lee said. “Shut up, Bobby Lee” The Misfit said. “It’s no real pleasure in life” (O’Connor 13).
A Good Man Is Hard to Find is one of the most well known instances of Southern Gothic writing. Southern Gothic composing centers around odd occasions, erratic characters, and neighborhood shading to make an ill humored and agitating portrayal of life in the American South. Southern history figures unmistakably, and stories normally draw upon the heartbreaking history of subjugation; waiting sentiments of crushed local pride after the Civil War; and confined, regularly ignored areas. Individuals, spots, and occasions in Southern Gothic writing have all the earmarks of being typical from the outset, yet they in the long run uncover themselves to be bizarre, upsetting, and some of the time horrendous. In spite of the fact that she detested the mark, O'Connor was an ace of the class while at the same time keeping a tone of authenticity in her books and short stories. Her exposition, for instance, stresses the facts of her characters' activities as opposed to their idiosyncratic idiosyncrasies. Notwithstanding the frequently prophetically calamitous, dreamlike tone of her composition, her works consistently contain reasonable activities and decisions. O'Connor grounds the story as a general rule by deemphasizing the ghostly, troubling tone of the setting and concentrating rather on the connections and occasions that drive the account.
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