Wise Blood - Flannery O'Connor [0]
Flannery O'Connor
First published in 1949
For Regina
Author's Note to the Second Edition
Wise Blood has reached the age of ten and is still alive. My critical powers are just sufficient to determine this, and I am gratified to be able to say it. The book was written with zest and, if possible, it should be read that way. It is a comic novel about a Christian malgré lui, and as such, very serious, for all comic novels that are any good must be about matters of life and death. Wise Blood was written by an author congenially innocent of theory, but one with certain preoccupations. That belief in Christ is to some a matter of life and death has been a stumbling block for readers who would prefer to think it a matter of no great consequence. For them Hazel Motes' integrity lies in his trying with such vigor to get rid of the ragged figure who moves from tree to tree in the back of his mind. For the author Hazel's integrity lies in his not being able to. Does one's integrity ever lie in what he is not able to do? I think that usually it does, for free will does not mean one will, but many wills conflicting in one man. Freedom cannot be conceived simply. It is a mystery and one which a novel, even a comic novel, can only be asked to deepen.
--1962
CHAPTER 1
Hazel Motes sat at a forward angle on the green plush train seat, looking one minute at the window as if he might want to jump out of it, and the next down the aisle at the other end of the car. The train was racing through tree tops that fell away at intervals and showed the sun standing, very red, on the edge of the farthest woods. Nearer, the plowed fields curved and faded and the few hogs nosing in the furrows looked like large spotted stones. Mrs. Wally Bee Hitchcock, who was facing Motes in the section, said that she thought the early evening like this was the prettiest time of day and she asked him if he didn't think so too. She was a fat woman with pink collars and cuffs and pear-shaped legs that slanted off the train seat and didn't reach the floor.
He looked at her a second and, without answering, leaned forward and stared down the length of the car again. She turned to see what was back there but all she saw was a child peering around one of the sections and, farther up at the end of the car, the porter opening the closet where the sheets were kept.
"I guess you're going home," she said, turning back to him again. He didn't look, to her, much over twenty, but he had a stiff black broad-brimmed hat on his lap, a hat that an elderly country preacher would wear. His suit was a glaring blue and the price tag was still stapled on the sleeve of it.
He didn't answer her or move his eyes from whatever he was looking at. The sack at his feet was an army duffel bag and she decided that he had been in the army and had been released and that now he was going home. She wanted to get close enough to see what the suit had cost him but she found herself squinting instead at his eyes, trying almost to look into them. They were the color of pecan shells and set in deep sockets. The outline of a skull under his skin was plain and insistent.
She felt irked and wrenched her attention loose and squinted at the price tag. The suit had cost him $11.98. She felt that that placed him and looked at his face again as if she were fortified against it now. He had a nose like a shrike's bill and a long vertical crease on either side of his mouth; his hair looked as if it had been permanently flattened under the heavy hat, but his eyes were what held her attention longest. Their settings were so deep that they seemed, to her, almost like passages leading somewhere and she leaned halfway across the space that separated the two seats trying to see into them. He turned toward the window suddenly and then almost as quickly turned back again to where his stare had been fixed.
What he was looking at was the porter. When he had first got on the train, the porter had been standing between the two cars--a thick-figured man with a round yellow bald head. Haze had stopped