Hawthorne and Oconnor

Flannery O’Connor stated in relation to Nathaniel Hawthorn: “I feel more of a kinship with him than any other American Writer.” This kinship is well deserved when considering all the similarities between these two authors. Both authors use central literary symbols to strengthen the story and the meaning behind it. Along with similarities in tone and theme these authors differ greatly when it comes to the style of their writings. Despite all the differences it is the central literary symbol of the black veil and the wooden leg that tie these stories together much like the kinship felt between them authors.

Hawthorn’s “The Ministers black Veil” revolved entirely around the central literary symbol (the black veil over the minister’s face). The black veil was the focus of the entire story, barely one paragraph went with out went with out the mention of the black veil. The veil is a direct symbol for the mask we use to cover up the secret sin that we all have. “…You [the minister] hide your face under the consciousness of secret sin.” (398); the minister hides his face from the secret sin as we all do. The only difference is that the minister is hiding his “true” face under an actual veil, where as we hide our true face under a figurative veil keeping the true us from everyone including ourselves. As he was dying the minister cried that “on earth never” (400) shall he remove his veil as well as “… the eye of his creator, loathsomely treasuring up the secret of his sin;” (401). Both these statements make it apparent that the veil symbolizes secret sin that we all hide on earth, but can not be hidden from the eye of our creator.

Unlike “The Ministers black Veil”, O’Connor’s “Good Country people” did not focus heavily on the central literary symbol (Hulga’s wooden leg). The wooden leg was brought up infrequently for a central literary symbol. It was not till the end of the story that focus was brought to Hulga’s wooden leg. The does not directly symbolize anything outside of the story, but merely acts as a symbol to reinforce the reason for Hulga’s way of living. In context of the story Hulga’s wooden leg symbolizes here “safety blanket”, keeping here a safe distance from the rest of the world. It is her excuse to be dark gloomy and so withdrawn. It also symbolizes her feeling of superiority, her higher education and understanding that she feels separates

her from the good country people. This is reinforced when the Bible salesman takes off her wooden leg. As soon as the wooden leg is removed she became venerable, and realized that she is no better than the rest world.

Both authors have many differences in the style of their writings. O’Connor’s style differs dramatically from that of Hawthorn’s. O’Connor uses a very ironic style in her story. The seemingly wholesome bible salesman who Hulga’s mother refers to as “nice dull young man” (454) turned out to be a disgusting man who doesn’t believe

in a damn thing. This irony extends even further by having Hulga be the victim at the end when it was her who set out to seduce