OConnors Human Cliché         You pile non justness a book by its c all over. E very(prenominal)one has doubtless heard this preparation at one time or another. Although familiar clichés such as this one argon all likewise often overheard and over lend oneselfd in everyday dialogue in our society, they nuclear number 18 in addition well-founded. One pop off of nobble fiction which effectively illustrates this point is close estate great hoi polloi by Flannery OConnor. It is a chronicle denounce in the coarse south at the home of the Hopewells. Manley pointer, a traveling discussion salesman, visits Mrs. Hopewell and her girl, Joy, who has regensd herself Hulga to spite her mother and herself in a sense. Manleys visit serves to capture the proud and slimly arrogant Hulga to a startling epiphany in her life as she finds in the quit that she is not as wise or hefty as she imagines she is. Through her dodgy use of irony, symbolism, and im agery, OConnor illustrates how both Hulga and Manley feature managed to score facades that conceal their current natures, which argon far different than they would deal anyone to believe. Just as in other OConnor stories, close to objects and characters in the trading floor have both literal and symbolic meanings, and some events within the story promise the subverting as the differenceorser finds that things are not always as they initially shape up to be.         One of the branch events in the story that illustrates this point is when the al-Quran salesman, Manley Pointer, flawnly says to Mrs. Hopewell, penny-pinching morning Mrs. Cedars (OConnor 122). afterwards macrocosm corrected, he puns I confide you are wellÂ(122). He further asserts that he thinking her pick up was Cedars because of the name printed on the postbox , which is truly the name of the place. In his haste, his actions here somewhat foreshadow the startling realizations th at are to come.         Addit! ionally, the imagery in this story serves to net the characters and their signifi lavce to the important meaning of it. For example, as Margaret Whitt suggests, misplaced trustingness in appearances is rudimentary to the themes of this storyÂ(38). Hulga is draw in the story as be childishly dressed and making unneeded noises with her wooden pin, for her leg was lost in a pursuit accident over twenty days earlier, when she was ten years old. She in addition has a Phd in philosophy and regularly shouts at her mother, quoting obscure philosophers. She also has a weak heart which prevents her from development her degree in a professional capacity. Her mother can make no sense of these references. Even upon reading split of one of Hulgas books, which reads science, on the other hand, has to assert its soberness and distressfulness afresh and introduce that it is concerned solely with what is , Mrs. Hopewell doesnt understand the views and opinions her daughter holds (OCo nnor 121). Through these descriptions of Hulga, the reader initially views her as a mentally strong person who attempts to compensate for her forcible shortcomings with a strong intellectual exterior. As the reader finds, though, at the denouement of the story, this depicts to be her main mistake as she is totally tricked by Manley Pointer. Manley is described as being so heavily weighed down with his grip of Bibles that he is somewhat lopsided and has to brace himself to keep from dropping over. Just like Hulga, he is projected here as an awkward physical specimen with this slight lack of eternal restÂ(May 117). It is arguably ill-defined at the beginning of the story as to whether Pointer is actually a nigh(a) Christian or simply a cunning salesman who knows all the right things to say.         bring the salesmans somewhat humerous name, Manley Pointer. After deeper thought about the phallic and jolly nature of this moniker, the alerting reader can almost foreshadow that it is Manley Pointer who gives the ! Hopewells the wide stiff one in the end (of the story, that is).
Also occupy Hulgas drastic change of her name which she had de jure changed without her mothers knowledge in an act of rebellionÂ(Donley 1). She chooses to rid herself of her granted name, Joy, to the ugliest sounding name she could find (OConnor 119).         In addition to ever-changing her name, Hulga has other mutinous traits that make her character more considerably imagined. The slamming of doors, unnecessary drag of her prosthetic leg, and the seemingly condescending place she has towards her mother launch that she has a su perior attitude which go out soon be her undoing. The reader can also plainly see that she is very proud of her intellect and her wide knowledge of the existentialist philosophy. This pride, however, will soon be low when she is naïve enough to be manipulated by Manley (Donley 1). Hulga believes that with her superior intellect, she can seduce the young Manley Pointer and, in a way, prove that Christian faith is not enough to make a person enlightened. As the tables are turned, though, Hulga finds herself in the barn with the salesman and he takes her leg as she discovers that he is not a good Christian Bible salesman at all, but a whiskey-drinking, porno-toting vagrant who is actually more mercenary wise than she is.         Finally, at the end of the story, Pointer opens his suitcase and it is revealed that he has only two bibles in it and one of them is hollow and [contains] a pocket flask of whiskey, a pack of cards, and a bantam blue boxÂ(OConnor 13 0). This, in more ways than one, is a prime example t! hat you cannot judge a book by its coverÂ. The beauty of Good Country People is that it demonstrates how mint can sometimes use clichés and stereotypes to enable them to countermand thinking or visual perception clearly. If you want to get a full essay, order it on our website:
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