Yesterday, Palm Sunday, was Flannery O’Connor’s birthday. She would have been 93, and I would have taken great joy watching this iconoclast toss firecrackers into our modern sensibilities. Strange, isn’t it, to think O’Conner could have lived into the era of Twitter if lupus hadn’t cut her low at 39. Did you know that O’Conner’s first claim to fame was when she was six? A British newsreel company traveled to her family farm in Millsville, Georgia, to capture young Flannery’s (she went by Mary then) feat: she taught a chicken to walk backwards. “I was just there to assist the chicken,” she would explain later, “but it was the high point in my life. Everything since has been anticlimax.”
Hyperbole, of course, but O’Conner did, in so many ways, walk backwards into her world. She was a farm girl, spending much of her energies raising both barnyard poultry and exotic fowl (with particular interest in peacocks). She was Southern, which made her an oddity among the literary elite. She was Catholic, which made her an oddity among the Southern aristocracy. Yet she was a person of her place, a person of her people. She wrote the world in which she lived. When criticized for her stories’ dark underbelly, O’Connor was unmoved. “The stories are hard but they are hard because there is nothing harder or less sentimental than Christian realism… when I see these stories described as horror stories I am always amused because the reviewer always has hold of the wrong horror.”
Isn’t it strange that Christian faith has so often been used as a means to deny our bleakest realities? Isn’t it strange that some of our weakest art, our most naive fiction, our blandest passions, arrive with the label ‘Christian’ plastered upon their fragile façade? How can God heal what we will not acknowledge? How can Christ’s passion strike into the crucible of our lives if we do not own the fact that there is a powerful darkness? If we do not tell the truth of how we flail and rage but appear entirely helpless to enact any remedy? With our Christian edicts and our glib announcements, perhaps we’ve got hold of the wrong horror.
We need art that carries us into our full experience, that won’t let us go until we do justice with the bare facts of our lives. We need stories that grapple with all of our humanness, narrating both the havoc and the luster. We need to be reminded that Easter announces our true hope: ruin is not the end. There is joy. There is life. But they come through, not around, the valley of the shadow of death.
We’ve taken our first steps into Holy Week, and is there any stranger, any more backwards way, to heal, to bring peace, to renew the world, than to willingly endure ridicule and torture, to embrace death? Is not Jesus’ march to the Cross a long walk backwards?