Good Country People by Flannery O’Connor Literary Analysis Essay Example

Concerns with class differences, economic struggles, and contradictions have plagued society for centuries. Based on the theories of Karl Marx, a German philosopher, and political theorist, Marxist criticism arose to answer the questions of whom does effort, work, and policy benefit and highlight inconsistencies between what is preconceived and what is accurate in society. Good Country People by Flannery O’Connor details a seemingly innocent bible seller, Manly who is able to fool Hulga; a well-educated, seemingly intelligent woman, who has a wooden leg. Despite her intensive schooling, Hulga is easily tricked by Manley due to her lack of social experiences and naive nature. Applications of Marxist theories examined in A Reader’s Guide to Contemporary Literary Theory can be contrasted with Hulga’s deception and the development of Manley Pointer to highlight the inconsistencies between the religious order and societal relationships, as well as Russian formalism.

Contradictions exposed between Manley Pointer’s projected beliefs as he “sells bibles” and his cardinal sins committed towards Hulga, as he leaves her helpless without her wooden leg, highlight the underlying patterns of discrepancies in the social and religious order. One aspect of Marxist criticism speaks of literary works depicting a society that is unfolding; an idea that O’Connor proposes as the intelligent, Hulga, is fooled with ease by the bible salesman who does not believe in the theology he attempts to promote. Under the Marxist ideologies, it is said that “The inherent contradiction is expressed in the conflict of interest between capitalist and worker,”(Selden 88). In relation to Good Country People, the antagonist's actions as the “worker” in the religious order, clashes with what the “capitalist”, the bible, attempts to promote. Many interpretations of the bible include Sins of the Tongues, such as lying, and Overt Sins, including drunkenness and extortion. Although he gains the trust of Hulga and her family under the pretense of being a “good country” person, he commits all of the sins listed above and is not shamed in admitting them, even taking pride in his actions, 

“He took one of these (bibles) out and opened the cover of it. It was hollow and contained a  pocket flask of whiskey… ‘aren’t you just good country people?’... ‘Yeah,’ he said, 

curling his lip slightly, ‘but it ain't held me back none. I’m as good as you any day in the 

week.’” (O’Connor 10).

The slight smirk that plays on his lips as he admits he feels no remorse in his sins is even intensified further when he gloats of other items he has stolen besides Hulga’s wooden leg, such as a glass eye.  In society, those affiliated with religion typically preach inclusivity and love, yet dispute their own practices by denouncing others for not practicing values. The inherent contradiction of what is usually preached and practiced by members of religious orders and heinous behaviors of Manley Pointer illude to the unfolding of the united beliefs of what is perceived of members of the clergy and that of what is true once the surface is broken.

Bertolt Brecht, a key contributor to Marxist criticism, believed that “The audience shouldn't be passively led to follow, rather the illusion of reality should be shattered and sudden.” (Selden 90). His ideas of Russian formalism, in which language is used to create the reality of fact, underline the importance of the components of the text; language, structure, texture. Writing techniques used by O’Connor that foreshadow the deception of Hulga, yet counter the proposed ideals by explaining her intelligence and guarded personality, lead to theories about how the plot may end becoming developed by the individual. O’Connor, the “artist” of the novel, develops the ideology of Manley Pointer being a wholesome man, who is selling his pure beliefs using his charm and respect, allowing him to play into the role of “good country people” and standard views of a religious individual. Though this turns out to have been misleading, O’Connor succesfully created the reality that the bibleseller was there for good, allowing Hulga to let her guard down. Continuing to develop as the plot develops, the language and tone shifts, especially as Hulga and Manley depart for their date. Upon arrival at the barn, the illusion of reality begins to crumble as Manley lures her up the ladder and begins to pressure and persuade the amputee,

 “She saw him grab the leg and then she saw it for an instant slanted forlornly across the inside of the suitcase with a Bible at either side of its opposite ends. He slammed the lid shut and snatched up the valise and swung it down the hole and then stepped through himself,” (O’Connor 10-11).

Falling for who she believed was a good man, Hulga removes her wooden leg, submitting to the pressure and revealing the underlying intentions of her companion. Divorced from the outer world of objective reality, Manley can now be seen as “sinister” and “inexplicable”, just as implied by Lukacs through deformalization. 

References to the good nature of people are abundant in Good Country People are developed, yet theories of Marxist criticisms are clearly contrasted with Hulga’s deception. By alluding to the method of russian formalism as the language and tone creates an illusion of reality only for it to be left shattered. Through the character evolution of Manley Pointer, the underlying patterns in his behaviors highlight the inconsistencies between what is perceived by society to be good and what truly is, revealing the cracks in an unfolding society.