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Short story past Flannery O'Connor

A Practiced Homo Is Hard to Notice
by Flannery O'Connor
The work's title was taken from the 1918 Eddie Green song that includes the lines "A good man is hard to find / You always become the other kind".[one] (1918 sail music encompass.)
Country	United States
Language	English
Genre(s)	Southern Gothic, curt story, dialogue
Published in	Modern Writing I
Publication blazon	Short story collection
Publisher	Avon
Media type	Print
Publication date	1953

"A Good Man Is Hard to Discover" is a Southern gothic short story first published in 1953 by writer Flannery O'Connor who, in her own words, described it as "the story of a family unit of six which, on its way driving to Florida [from Georgia], gets wiped out by an escaped convict who calls himself the Misfit"."^[2]

The story remains the most anthologized and about well-known of all of O'Connor's works^[3] even with its enigmatic determination that involves a dialogue betwixt a series killer, tormented past the suffering of mankind and himself for what he considers the injustices in both secular and divine laws, and a superficial, mischievous, morally-flawed, Methodist grandmother dressed every bit an old fashioned Southern lady. She stumbles into a way that makes The Misfit dubiousness what he is doing just for the moment before he murders her, and in pity for his torments, she demonstrates in an act of mercy that all good Christian mothers, like God, love all God'south children no matter what the children exercise.

The story is a blackness comedy in which a serial killer is the simply character that understands why a proficient man is difficult to find. As a moral tale with reference to the story's championship that is the Eddie Green vocal, the work addresses infidelity in union and religious religion and the ability of revival. It is also a moral tale about folly — an avoidable car accident and a cocky-righteous killer, a former undertaker that preaches apostasy, who demonstrates he knows more than "A Time for Everything", the verse form that begins the Volume of Ecclesiastes affiliate iii, by alluding to the looming decease Qoheleth said comes to all in Ecclesiastes 12:1 — "evil days come and the years draw well-nigh of which you will say, 'I have no pleasance in them'". The weary mass murderer seems to have plenty sense to know he will someday be defenseless by the Authorities and be executed — an "heart for an eye" that seems to fit, rather than misfit, his own notion of only punishment. The man familiar with Ecclesiastes would know that his rebellion is folly being realized equally prophecy written as an aphorism past its author, who claimed to be Rex Solomon, in Ecclesiastes x:eight:

"He who digs a pit will fall into it, and a serpent will bite him who breaks through a wall."

Publication history [edit]

"A Good Man Is Hard to Find" was first published in 1953 in the multi-author short story anthology Mod Writing I published past Avon.^{[iv] [5]} The story appears in her own collection of short stories A Expert Man Is Hard to Detect and Other Stories published in 1955 by Harcourt.^[6] In 1960, information technology was included in the anthology The House of Fiction, published by Charles Scribner's Sons, and later included in numerous other brusque story collections.

Plot [edit]

Bailey, the caput of an Atlanta household, prepares to have his family on a vacation to Florida. His mother (known only equally "the grandmother" throughout the story) warns Bailey that a convict chosen The Misfit has escaped from prison house and is heading towards Florida. She suggests a trip to East Tennessee instead only Bailey declines. Her grandson John Wesley comments that his grandmother could stay in Atlanta, her granddaughter June Star rudely says "she wouldn't stay at home to be queen for a day," and her infant grandchild is tended to by her daughter-in-constabulary. When they leave the next forenoon, the grandmother occupies the backseat of the family unit's car, dressed finely so that if she is killed in an accident, she can be recognized equally a Southern lady. She hides the family'due south cat, Pitty Sing, in a basket betwixt her legs, not wanting to leave it home alone.

While traveling, the grandmother points out scenery in Georgia. Her grandchildren answer past berating both Georgia and Tennessee, and the grandmother reminds them that in her day, "children were more respectful of their native states and their parents and everything else." She delights in seeing a naked blackness child waving from a shack, finding the image quaint. The grandmother later sees a graveyard which was once function of a plantation that she jokingly says has "Gone with the Wind". She tells her iii grandchildren that when she was a "maiden lady" she had been courted past a man who, every bit an early on owner of Coca Cola stock, died wealthy.

The family unit stops for barbeque at The Belfry Eatery after passing a series of billboards proclaiming the eating place and food every bit "famous" and the proprietor, Scarlet Sammy Butts, as "the fat boy with the happy laugh." On arrival, the family finds that the identify is somewhat rundown. Red Sammy charms the grandmother but is rather scornful of his ain married woman, a mistrustful waitress who worries about being robbed by The Misfit. The grandmother promptly declares Red Sammy "a skillful man," and the two reminisce nearly better times while lamenting the decay of values.

Afterward that afternoon, the family unit continues their trip before the grandmother falsely remembers a plantation being in the area, only realizing her mistake after convincing Bailey reject a rocky dirt road surrounded by wilderness. The pang of this error causes her to disturb the true cat, who leaps onto Bailey, who loses control of the auto, and the car flips into a ditch. No ane is seriously hurt merely the accident is witnessed past a party of three strange men, ane of whom the grandmother recognizes every bit The Misfit. She announces this and The Misfit has his men lead Bailey, the children'due south mother, and the children off into the woods where they are shot and killed. The grandmother confusedly pleads for her life, beseeching The Misfit to find solace past praying just The Misfit blames Jesus Christ for his troubles and the dismal state of the world.

Finally upon seeing The Misfit's despair, the grandmother reaches out, takes him by the shoulder, and gently tells him that he is "ane of her babies." Just then, The Misfit shoots her to death. When his companions return, The Misfit says that the grandmother "would've been a adept adult female if it were someone in that location to shoot her every minute of her life," and seems to conclude that violence affords "no real pleasure in life."

Characters [edit]

• Bailey'south mother is the protagonist of the story, a woman who seems content with a comfortable life surrounded by her son and grandchildren. The narrator refers to her equally "grandmother" when at least one grandchild is alive, "old lady" when her grandchildren are dead, and a "young lady" equally she recalls a plantation dwelling house near her native Tennessee dwelling. The central disharmonize of the story is between the grandmother and The Misfit, her killer, in a dialogue that occurs while Bailey, his married woman and children are shot in the woods non far from the ii characters.
• Bailey'due south nameless wife and nameless baby: Bailey's married woman is a nearly speechless adult female described every bit a "young woman" having a confront that was "equally broad and innocent equally a cabbage". She is not identified by proper noun, but as "the children's mother". In the story's narration, she is solely occupied with caring for her baby that suggests it is her starting time 1. Like her husband, she does piffling to discipline her children. In the car accident, she is thrown out of the motorcar and breaks her shoulder.
• John Wesley and June Star: Bailey's older children are John Wesley and June Star, anile eight and seven, respectively, two brats — rowdy and disrespectful. Their self-centeredness is so extreme that they are never aware that their mother, thrown out of the moving car during the accident, has a broken shoulder. They have learned to manipulate their parents by screaming and yelling at them, behavior the grandmother has learned to initiate.
• Ruddy Sammy Butts, who enters into a dialogue with the grandmother that Evans characterizes every bit a "festival of clichés" where "[eastward]very single one of his opening phrases is a commonplace cliche" that does, however, reveal his character equally competitive, suspicious of others, and self-justifying. ^[7] The dialogue is between a 2 people who find each other likeable because they enjoy complaining together.
• The wife of the fat owner of The Tower is a "a tall burnt-brown woman with hair and eyes lighter than her pare" who works as a waitress. Ruddy Sammy directs his wife as if she was whatever ordinary waitress, preventing her to enter into sociable chat with Baily'south family unit.
• Hiram and Bobby Lee: Hiram and Bobby Lee are convicts who escaped prison with The Misfit. The two kill Bailey, his wife and children, and on the murder of the grandmother by The Misfit, Bobby Lee suggests to The Misfit that killing her was enjoyable.

Themes [edit]

Anguish, mercy, charity, divine grace, and imitation of God [edit]

[edit]

In a 1960 response to a letter from novelist John Hawkes, Flannery O'Connor explained the significance of divine grace in Catholic theology in contrast to Protestant theology, and in doing so, explained the offers of grace made to the grandmother and The Misfit at the climax of the story immediately after the already agitated Misfit explained his anguish caused by not beingness able to witness whether or not Jesus is savior and that information technology was by religion alone that the decided Jesus is non savior:

"Cutting yourself off from Grace is a very decided matter, required a real choice, act of will, and affecting the very basis of the soul. The Misfit is touched by the Grace that comes through the one-time lady when she recognizes him as her child, as she has been touched by the Grace that comes through him in his item suffering."^[8]

Both the superficial grandmother and the heretic The Misfit accept cut themselves off from opportunities to receive divine grace prior to the story. The deprivation of religion and church life from a Southern lady's social life is devastating and the absenteeism of faith in the story'due south narrative past an author concerned with spiritual life suggests that the grandmother lost an argument with Bailey nearly church-going and participation in a church community that the grandmother resented and regarded equally a deprivation. At the story'southward climax, The Misfit, while wearing Bailey'south shirt, is in ache just after he explains the suffering he has witnessed and felt in his ain life, alludes to his judgment that much of the suffering, including death for original sin, is undeserved and, to the extent it is undeserved is a form of oppression that he can cease by killing the victims of oppression. The Misfit'due south ache "clears for an instant" the grandmother's head, as she recalls the statement she had and lost with Bailey near the relevance of God and church-going, and takes the opportunity to try to win the same argument with her killer by imitating God himself (e.grand., "God is love, and whoever abides in love abides in God, and God abides in him." in 1 John 4:16) in an act of mercy that besides demonstrates Christian clemency (east.k., the love for others every bit one loves God): "Why you're 1 of my babies. You're one of my own children." The bespeak is emphasized by the grandmother's posture in death is a likeness of the dead body of Jesus on the cross.

Equally for The Misfit, O'Connor explained that the opportunity of grace is offered to him past the grandmother'southward touching him, an human action she calls a gesture:

"Her [the grandmother'due south] caput clears for an instant and she realizes, even in her limited way, that she is responsible for the man before her and joined to him by ties of kinship which have their roots deep in the mystery she has been merely prattling well-nigh so far. And at this point, she does the correct thing, she makes the right gesture."^[nine]

O'Connor's reference to the "mystery" the grandmother prattled about is the incarnation of Jesus as savior as the means for people to exist absolved for their sins in order to be eternally joined with God, and in that context, "kinship" refers to all people in that they are descendants of Adam and Eve who committed the sin that would forever split up humans from God and brought death upon humanity as a punishment for the original sin. O'Connor further clarified that the grandmother's actions were selfless: "... the grandmother is not in the least concerned with God but reaches out to impact the Misfit".^[x]

In her letter of the alphabet to John Hawkes, O'Connor explained that The Misfit did non have the offer of grace in her story but that the grandmother's gesture did modify him:

"His [The Misfit'south] shooting her is a recoil, a horror at her humanness, simply later on he has done it and cleaned his glasses, the Grace has worked in him and he pronounces his judgment: she would have been a good woman if he had been at that place every moment of her life."^[eight]

Criticism [edit]

The grandmother'south gesture toward The Misfit has been criticized every bit an unreasonable activity by a graphic symbol often perceived equally intellectually, or morally, or spiritually incapable of doing it. For case, Stephen C. Bandy wrote in 1996, thirty-ii years after the author's death:

"... if one reads the story without prejudice, there would seem to be little here to inspire promise for redemption of any of its characters. No wishful search for evidence of grace or for epiphanies of conservancy, past author or reader, can soften the harsh truth of 'A Good Human Is Hard To Find.' Its message is greatly pessimistic and in fact subversive to the doctrines of grace and clemency, despite heroic efforts to disguise that fact."^[eleven]

In addition, some critics like James Mellard resent O'Connor's efforts to explain the story to fill-in the narrative they expected to underlie the story's climax:

"O'Connor simply tells her readers — either through narrative interventions or be actress-textual exhortations — how they are to translate her work."^[12]

O'Connor's rebuttal was that such readers and critics take underestimated the grandmother. As indicated in her letters, lectures, readings, and essays, O'Connor felt compelled to explain the story and the gesture years later publication, for instance, as "Reasonable Use of the Unreasonable", the title of her notes for a 1962 reading at Hollins College in Virginia.^[xiii] O'Connor believed i understandable reason for the criticism is that the concept of grace she used is unique to a Roman Catholic perspective, as she antiseptic the bespeak to John Hawkes in a letter:

"In the Protestant view, I think Grace and nature don't take much to do with each other. The old lady, because of her hypocrisy and humanness and banality couldn't exist a medium for Grace. In the sense that I see things the other way, I'chiliad a Catholic writer."^[fourteen]

By mentioning "nature", O'Connor refers to her anagogical vision, which she addresses the grandmother's spiritual life which has been enlivened past the threat to her life. She wrote in her reading notes:

"The action or gesture I'thousand talking about would have to be on the anagogical level, that is, the level which has to do with the Divine life and our participation in it. It would exist a gesture that transcended any great apologue that might have been intended or whatever pat moral categories a reader could make. It would be a gesture which somehow made contact with mystery."^[15]

Robert C. Evans observed:

"Every bit its very title already suggests, 'A Practiced Man Is Hard to Discover' (similar much of O'Connor'south fiction) is very much concerned with satirizing stale and clichéd uses of language. The characters who use clichés ... are all characters who tend to speak (and, more than importantly, to think) in highly conventional and unoriginal ways. When O'Connor's characters rima oris clichés ... that is a sign that they have ceased to recollect for themselves, if in fact they e'er possessed any original thoughts to begin with."^[16]

Compared to the superficiality of the family that engages itself in comic books, television receiver quiz shows (e.g., "Queen for a Day"), movies, and the paper'due south sport department, an original thought, oftentimes a nighttime truth like Blood-red Sammy Butt'due south wife maxim nobody on globe tin exist trusted "And I don't count nobody out of that, no nobody" looking at her husband, has both comic and dramatic effects on the reader. Evans noted, "A major purpose of the story will be to milkshake almost of the characters, ... as well as O'Connor'south readers, out of [a] kind of smug complacency."^[17]

Response [edit]

In her essay, "The Nature and Aim of Fiction", O'Conner described her goals for writing fiction. The essay is useful for helping readers understand how to approach and interpret her works. One of her major goals in writing was to construct elements of her fiction then they can exist interpreted anagogically — her "anagogical vision":

"The kind of vision the fiction writer needs to have, or to develop, in order to increase the meaning of his story is called anagogical vision, and that is the kind of vision that is able to see different levels of reality in 1 image or one situation. The medieval commentators on Scripture constitute three kinds of pregnant in the literal level of the sacred text: one they called allegorical, in which 1 fact pointed to some other; i they called tropological, or moral, which had to practise with what should be done; and i they chosen anagogical, which had to do with the Divine life and our participation in it. Although this was a method applied to exegesis, information technology was also an attitude toward all of creation, and a manner of reading nature... ."^[18]

Peter 1000. Chandler, Jr., summarized O'Connor'south vision for readers — that all of the interpretations of her piece of work are rooted in its literal sense: "...[F]or O'Connor, the literal in some sense already "contains" the figurative. Far from being a level of meaning superadded to the literal sense, the 'spiritual sense' is already inherent in any endeavour to render something artistically. 'A adept story,' she wrote, 'is literal in the aforementioned sense a child's cartoon is literal.'"^[19] In other words, O'Connor understood that her anagogical vision is a claiming to readers considering they must not but understand the literal story only also associate the literal with their knowledge or experience. Consequently, "A Adept Man Is Hard to Observe" is enriched beyond its literal narrative when the literal can be related to biblical, Christian, Roman Catholic, Protestant, Southern society and its history, and other subjects.

The literal sense of the story's title and The Misfit's complaint, "If He [Jesus] did what He said, and so it's nada for yous to do but throw abroad everything and follow Him" both announced in a more constructive context in the New Attestation story of Jesus and the Rich Young man suggest searches for the deeper meanings of "A Good Man Is Difficult to Find" might commencement in that location. At readings O'Connor offered suggestions about her intent at the literal level, such as for a 1963 reading at a Southern college with a highly respected creative writing program — Hollins College in Roanoke, Virginia:

"I don't have whatever pretensions to existence an Aeschylus or Sophocles and providing you in this story with a cathartic experience out of your mythic background, though this story I'g going to read certainly calls up a good deal of the South's mythic background, and it should elicit from yous a degree of compassion and terror, even though its style of being serious is a comic one. I do think, though, that like the Greeks you should know what is going to happen in this story so that any element of suspense in it will be transferred from its surface to its interior."^[20]

Epigraph [edit]

An example of the effect of O'Connor's anagogical vision is an epigraph she wrote for "A Good Man Is Hard to Find". The epigraph was published merely for the paperback Three by Flannery O'Connor that also included her two novels Wise Blood and The Violent Bear It Away, that commencement appeared in September 1964,^[21] a calendar month subsequently her death, and 11 years subsequently the brusque story was start published. The epigraph was probably included in compliance with her wishes upon her expiry.^[22] The epigraph reads:

"'The dragon is by the side of the road, watching those who pass. Beware lest he devour y'all. We go to the begetter of souls, simply it is necessary to pass by the dragon.' — St. Cyril of Jerusalem."^[23]

O'Connor used the epigraph to close her essay "The Fiction Author and His State" that was published in 1957 in the book The Living Novel: A Symposium, a book of statements by novelists on their art,^[24] where she followed the epigraph with the closing sentence: "No affair what class the dragon may take, information technology is of this mysterious passage by him, or his jaws, that stories of any depth volition always exist concerned to tell, and this existence the example, it requires considerable backbone at any fourth dimension, in any place, non to turn away from the story teller."^[25] The statement indicates how O'Connor wanted her works read and for the reader to look for the dragon in her curt story drove A Good Homo Is Difficult to Find and Other Stories that includes at to the lowest degree 9 of its ten stories about original sin.^[26]

Adaptations [edit]

A film adaptation of the short story "A Good Man Is Difficult to Observe", entitled Black Hearts Drain Red, was fabricated in 1992 by New York filmmaker Jeri Cain Rossi. The film stars noted New York artist Joe Coleman,^[27] but according to reviewers the moving picture does not describe the story well.^{[ citation needed ]}

The American folk musician Sufjan Stevens adapted the story into a song going by the same title. It appears on his 2004 album Vii Swans. The vocal is written in the first-person from the point of view of The Misfit.

In May 2017, Borderline Hollywood reported that director John McNaughton would brand a characteristic picture show adaptation of the story starring Michael Rooker, from a screenplay by Benedict Fitzgerald.^[28]

In June 2021, death metallic band Counterattack released a vocal on their debut album World Erased titled "Good Man" based off of the brusk story

See also [edit]

• Anagoge
• Charity (virtue)
• Divine grace
• Ecclesiastes
• Jesus and the Rich Immature Man
• Methodism
• Particular Judgment
• Sheol
• Southern gothic literature

References [edit]

1. ^ Curley, Edwin (November 1991). "A Good Human being Is Hard to Detect". Proceedings and Addresses of the American Philosophical Association. 65 (iii): 29–30. JSTOR 3130141.
2. ^ O'Connor, Flannery (2012) [1963]. "On Her Ain Work". In Fitzgerald, Sally; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
3. ^ Frank, Connie Ann (2008). Critical Companion to Flannery O'Connor. Facts on File. p. 76. ISBN978-0-8160-6417-5.
4. ^ Frank, Connie Ann (2008). Critical Companion to Flannery O'Connor. Facts on File. p. 76. ISBN978-0-8160-6417-5.
5. ^ O'Connor, Flannery (1971). "Notes". The Complete Stories. Farrar, Straus and Giroux.
6. ^ Frank, Connie Ann (2008). Critical Companion to Flannery O'Connor. Facts on File. p. 74. ISBN978-0-8160-6417-5.
7. ^ Evans 2010, p. 141.
8. ^ ^{a b} O'Connor 1979, p. 389.
9. ^ O'Connor, Flannery (2012) [1963]. "On Her Own Work". In Fitzgerald, Emerge; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
10. ^ O'Connor 1979, p. 379.
11. ^ Bandy, Stephen (1996), 'One of my Babies': The Misfit and the Grandmother, Studies in Short Fiction, pp. 107–117, archived from the original on January 4, 2012
12. ^ Swap, Stephen (1996), 'One of my Babies': The Misfit and the Grandmother, Studies in Short Fiction, pp. 107–117, archived from the original on Jan 4, 2012
13. ^ O'Connor, Flannery (2012) [1963]. "On Her Ain Work". In Fitzgerald, Sally; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
14. ^ O'Connor 1979, pp. 389–390.
15. ^ O'Connor, Flannery (2012) [1963]. "On Her Own Work". In Fitzgerald, Emerge; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
16. ^ Evans 2010, p. 140.
17. ^ Evans 2010, p. 142.
18. ^ O'Connor, Flannery (2012) [composition date unknown]. "The Nature and Aim of Fiction". In Fitzgerald, Sally; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
19. ^ Candler, Peter Thou. "The Anagogical Imagination of Flannery O'Connor". Christianity and Literature. The Johns Hopkins University Press. 60 (Fall 2010): 15. JSTOR 44315148.
20. ^ O'Connor, Flannery (2012) [1963]. "On Her Own Piece of work". In Fitzgerald, Sally; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
21. ^ "Iii by Flannery O'Connor". Google Books . Retrieved 2021-08-28 .
22. ^ Michaels, J. Ramsey (2013). "Her Wayward Readers". Passing past the Dragon: The Biblical Tales of Flannery O'Connor. Pour Books. ISBN978-i-62032-223-9.
23. ^ Michaels, J. Ramsey (2013). "Her Wayward Readers". Passing by the Dragon: The Biblical Tales of Flannery O'Connor. Cascade Books. ISBN978-1-62032-223-9.
24. ^ Fitzgerald, Sally; Fitzgerald, Robert, eds. (2012). "Notes". Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
25. ^ Fitzgerald, Emerge; Fitzgerald, Robert, eds. (2012) [1957]. "The Fiction Writer and His Land"". Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
26. ^ Michaels, J. Ramsey (2013). "Her Wayward Readers". Passing past the Dragon: The Biblical Tales of Flannery O'Connor. Cascade Books. ISBN978-ane-62032-223-9.
27. ^ "UbuWeb Film & Video: Jeri Cain Rossi". Ubu.com . Retrieved 2016-08-27 .
28. ^ North'Duka, Amanda. "Michael Rooker Reteams With His 'Henry' Managing director On 'A Good Man Is Hard To Find'". Deadline Hollywood . Retrieved 22 January 2019.

Works cited [edit]

"Ecclesiastes". The Holy Bible. English Standard Version.

Bandy, Stephen (1996), 'One of my Babies': The Misfit and the Grandmother, Studies in Curt Fiction, pp. 107–117, archived from the original on January 4, 2012

Bartholomew, Craig (May 1999). "Qoheleth in the Canon?! Current Trends in the Interpretation of Ecclesiastes". Themelios. 24 (3): 4–20.

Evans, Robert C. (2010). "Clichés, Superficial Story-Telling, and the Dark Humor of Flannery O'Connor's 'A Adept Homo Is Difficult to Observe'". In Bloom, Harold; Hobby, Blake (eds.). Bloom's Literary Themes: Dark Humor. Infobase Publishing. pp. 139–148. ISBN9781438131023.

Giannone, Richard (2008). "Making It in Darkness". Flannery O'Connor Review. The Board of Regents of the Georgia College and Land University System. 6: 103–118. JSTOR 26671141.

Dark-green, Eddie (1918). "A Good Human being Is Difficult to Discover" (PDF). Wikimedia Commons. Pace Handy Music Company.

O'Connor, Flannery (2012). Fitzgerald, Emerge; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.

O'Connor, Flannery (1979). Fitzgerald, Emerge (ed.). The Habit of Beingness: Letters of Flannery O'Connor. Farrar, Straus and Giroux. ISBN9780374521042.

External links [edit]

• Online text of the short story
• Flannery O'Connor reading "A Expert Man Is Difficult to Find"

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Source: https://en.wikipedia.org/wiki/A_Good_Man_Is_Hard_to_Find_(short_story)

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