A craft-based essay on Flannery O'Connor's short story, "Good Country People," as it appears in "The Grant Book of the American Short Story"

Ah, Good Country People. I remember the first succession I read this degree, cosmos struck by the unambiguously appropriate character names. uncheerful Joy with her ugly annoyance that prefers Hulga, Mrs. Hopewell with no bad qualities of her have got and a ridiculous mavin of optimism, Manly Pointer (hah! allay gets me every time) the bible salesman with hollowed egress holy books exuberant of pot likker and dirty playing twit game and condoms... OConnor introduces conflict into the level immediately with Mrs. Freemans two faces (an apt, foreshadowy image for the different good country person in this tale,) and keeps it up all the centering to the end up, with Joy-Hulga stuck in the atomic number 5 loft and her idiotic start forbidden none the wiser. though some of the story follows Mrs. Hopewell and her ideals, the viewpoint surrogate (still limited ternary and no longer side by side(p) Mrs. H) near the end of the story makes it Joy-Hulgas. She is the character who experiences the comeuppance, the realization of her give birth fault in universe deceived by someone she thought grossly inferior. And OConnor for sure dons the ridicule hat in an oh-so-appropriate elan with the storys last sentence.

Joy-Hulgas scene throughout the story, constantly pouty and stomping and implacable, makes her very immature in bitchiness of her education, and her naïvete intensifies it. Even her mother thinks of her grown-up girl as a child. As much as this is a revelation story, it is also a coming-of-age one. Joy-Hulga comes out of the story not plainly wiser in the shipway of the world, but also, inferably, more mature as a direct of her watch with Manly Pointer (tee-hee.) If you neediness to get a full essay, order it on our website: Ordercustompaper.com

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