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Analysis of Flannery O’Connor’s A Good Man Is Hard to Find

By NASRULLAH MAMBROL on May 25, 2021

Frequently anthologized, “A Good Man Is Hard to Find” exemplifies Flannery O’Connor’s southern religious grounding. The story depicts the impact of Christ on the lives of two seemingly disparate characters. One is a grandmother joining her son’s family on a trip to Florida. Accompanied by a silent daughter-in-law, a baby, two unpleasant children, and her smuggled cat, she wheedles the son into making a detour to see a plantation that she remembers from an earlier time.

Moments of recognition and connection multiply as the seemingly foreordained meeting of the grandmother and the killer she has read about in the paper takes place. She upsets the basket in which she has hidden her cat; the cat lands on her son’s neck, causing an accident. Soon three men appear on the dirt road, and the grandmother recognizes one of them as the notorious killer the Misfit.

Flannery O’Connor/National Catholic Register

O’Connor weaves the notion of punishment and Christian love into the conversation between the Misfit and the grandmother while the grandmother’s family is being murdered. Referring to the similarity that he shares with Christ, the Misfit declares that “Jesus thrown everything off balance” (27), but he admits that unlike Christ, he must have committed a crime because there were papers to prove it. When the grandmother touches his shoulder because she sees him as one of her own children, she demonstrates a Christian love that causes him to shoot her.

This story typifies O’Connor’s mingling of comedy, goodness, banality, and violence in her vision of a world that, however imperfect, most readers inevitably recognize as part of their own. O’Connor views the world as a place where benevolence and good intentions conflict with perversity and evil, and her protagonists frequently learn too late that their lives can crumble in an instant when confronted by the very real powers of darkness.

BIBLIOGRAPHY Kessler, Edward. Flannery O’Connor and the Language of Apocalypse. Princeton, N.J.: Princeton University Press, 1986. Orvell, Miles. Flannery O’Connor: An Introduction. Jackson: University Press of Mississippi, 1991

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A Summary and Analysis of Flannery O’Connor’s ‘A Good Man Is Hard to Find’

By Dr Oliver Tearle (Loughborough University)

‘A Good Man Is Hard to Find’ is one of the best-known short stories by Flannery O’Connor (1925-64), who produced a string of powerful stories during her short life. First published in the collection A Good Man Is Hard to Find in 1955, the story is about an American family who run into an escaped murderer at a plantation.

Before we offer an analysis of some of the key details of the story, here’s a brief summary of its plot.

Plot summary

The story is about a grandmother, her son named Bailey, Bailey’s wife, and the couple’s three children, named June Star, John Wesley, and simply ‘the baby’. The family are going on holiday to Florida. At the beginning of the story, the grandmother points out to her son that a notorious criminal, known as the Misfit, is on the loose and she doesn’t think they should be going on vacation to Florida when the Misfit is rumoured to be heading there.

On their way to their destination, the grandmother tells the children a story of how she was courted by a wealthy man who used to leave her a watermelon every day with his initials, E. A. T., inscribed in it. However, one day a black boy saw the word ‘EAT’ on the watermelon and ate it. This story amuses the children.

The family then stop off for lunch a barbecue diner, The Tower, run by a man named Red Sammy, who talks to the grandmother about the Misfit. It is Red Sammy who remarks, ‘A good man is hard to find’, in reference to the dangerous convict on the loose.

When the family get back on the road, the grandmother persuades her son to take a detour to a plantation she remembers from her youth. She embellishes the story by inventing details, such as the idea that a secret panel concealed the family silver in the house.

However, she has misremembered where the plantation is: Tennessee, rather than Georgia (where the family are). When the grandmother’s cat escapes from his basket and frightens Bailey, he crashes the car into a ditch.

Another car approaches them. It contains three men, one of whom the grandmother recognises as the notorious Misfit. He seems familiar to her, as though she has known him for years.

When she blurts out that she recognises him, the Misfit tells them that it would have been better if she hadn’t recognised him. He talks to the grandmother while his two accomplices lead Bailey into the woods and shoot him. They then do the same with Bailey’s wife and the children. The grandmother tries to flatter the Misfit into sparing her life, telling him that she knows he’s a good man, but to no avail.

The story ends with the grandmother addressing the Misfit as one of her own ‘babies’ or ‘children’; the Misfit shoots her dead. The Misfit has the final word, observing that the grandmother would have been a good woman if she had had someone there ‘to shoot her every minute of her life.’

The character of the grandmother is central to the dramatic power of ‘A Good Man Is Hard to Find’. The first two words of the story are ‘The grandmother’; the story begins with her warning her son about the escaped Misfit and ends with her being shot dead by the Misfit; the story opens with the third-person narrator’s reference to Bailey as the grandmother’s ‘only boy’ but ends with her addressing the Misfit as one of her ‘own children’.

And although ‘A Good Man Is Hard to Find’ is narrated by an impersonal third-person narrator, in terms of the story’s focalisation we remain close to the grandmother’s perspective on events, seeing things through her eyes and gaining access to her thoughts and feelings as the story approaches its shocking and dramatic climax.

The skill of O’Connor’s writing lies in her ability to shuttle rapidly between comedic moments poking gentle fun at the grandmother and darker plot developments. The point is not that the shift between these two very different modes seems awkward or out of place, but that O’Connor lends the already shocking moments at the end of the story an even more alarming element, through juxtaposing them with lighter comic interludes.

A central theme of O’Connor’s story is, as the title makes clear, goodness: note how the grandmother and Red Sammy’s repeated references to a ‘good man’ meet their match in the Misfit’s statement at the end of the story that the grandmother would have been a ‘good woman’ if someone had been there to (threaten to) shoot her at all times.

This statement of the Misfit’s also highlights another theme O’Connor is exploring: that of crime and punishment. The Misfit tells the grandmother that the punishments he has undergone don’t match with the crimes he has committed. But the story contains a religious angle, too, as exemplified by the grandmother’s epiphany at the end of the story, in which – when confronted with her own imminent death – she reaches out and acknowledges her killer as one of her ‘children’.

This blessing is in stark contrast to the Misfit, who – in almost Dostoevskian fashion – characterises Christianity as a case of either giving up anything and following Christ or rejecting him and doing as one pleases. Anything – murder, burning down someone’s house – is permissible and constitutes the only true pleasure one can get from life.

The grandmother’s final act of blessing (forgiveness, or a last desperate attempt to save her own life?) raises this petty, racially prejudiced, and comical old woman far above the level of the nihilistic Misfit and all he represents.

Of course, it may also be significant that the Misfit – who was accused by one of the prison psychiatrists of killing his own father – personally kills the grandmother, who represents an old and outmoded America. Flannery O’Connor’s story is about a changing America, and the text is marked by the Grandmother’s continual reminiscences about a better, simpler life when she was younger.

The story’s title, taken from Red Sammy’s conversation with the Grandmother in which they lament that the world has become debased and degraded during their lifetimes, places this mood and tone at the centre of the story.

In this connection, the grandmother’s attitude towards African-Americans is already outdated, even in 1955 when the story first appeared.

Her racial stereotypes , such as associating African-Americans with watermelons, the offensive words she uses to describe the black boy they pass in the car, and her casual presumptions about the lives of black people all mark her out as a representative of an older American outlook which is about to be entirely laid to rest with the onset of the US Civil Rights movement. (The Montgomery Bus Boycott , for example, occurred at the end of 1955, the year the story appeared.)

Final thoughts

Viewed this way, ‘A Good Man Is Hard to Find’ might be productively analysed alongside a another key American text from the 1950s: Tennessee Williams’ play Cat on a Hot Tin Roof , also from 1955, similarly deals with the generational gap between an older America and the younger Americans who represent a new attitude, especially regarding race.

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A Good Man is Hard to Find

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Analysis: “A Good Man Is Hard to Find”

“A Good Man Is Hard to Find” is a story in the Southern Gothic tradition, a genre that Flannery O’Connor used in most of her writing. This genre is characterized by grotesque characters and settings, disturbing or highly unusual events, and often dark humor. It is also always deeply rooted in the post-Civil War American South and grew out of the contradictions of Southern society.

For example, traditionally the South is thought of as an idyllic, green landscape where the people have Old World manners and beliefs. Christianity is also deeply engrained in Southern society. What matters most are appearance and propriety. However, the South was built on a legacy of slavery, genocide, patriarchy, and violence. These dark, disturbing aspects of society are often repressed by the people living there. Flannery O’Connor, a native of Georgia, grew up experiencing this contradictory culture and thus explores these contradictions and hypocrisies through her use of the Southern Gothic style . However, she roots her stories in true, believable characters, thus preventing her writing from becoming comical or fully Gothic in the traditional sense.

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Discovering Good | Analysis of A Good Man is Hard to Find

By David Dingfelder

Flannery O’Connor explores the meaning of the word “good” through her short story A Good Man is Hard to Find . After a series of deceptions and wrongdoings, O’Connor depicts a grandma leading her family to be killed by a runaway outlaw named “The Misfit.” While the family was traveling to Florida for vacation, the true journey follows the grandma as she begins to understand the true meaning of the word “good” – the most general and most frequently used adjective of commendation in the English language (Oxford English Dictionary). To define a word so commonly overused and socially defined, O’Connor builds the concept of her definition of “good” through the grandma’s interactions with the other characters in the story. By virtue of her interactions with her family, Red Sammy, and “The Misfit,” the grandma transitions from complete ignorance, to misunderstanding, and finally to acceptance of what it means to be “good.”

Initially depicting the grandma as a flawed character with an entirely misconstrued understanding of the word enables O’Connor to establish what does not qualify as “good.” In addition to the grandma’s heedless acts of deception, the narrative uses children as a pure and untainted lens of judgment to expose the flaws in the grandma’s character. In response to the Grandma’s opening efforts to switch the vacation destination, the little girl June delivers a deeply profound critique: “[The grandma] Wouldn’t stay home for a million bucks… She has to go everywhere we go” (1). The establishment of Grandma’s flaws continues as O’Connor parallels the grandma’s perception of herself with the games of the children. Prior to departing on the trip, the grandma dresses with trimmed “collars and cuffs” so that “anyone seeing her dead on the highway would know at once that she was a lady” (2). This insight into the grandma’s mindset is soon followed by the description of the children identifying clouds in the sky. While seemingly insignificant, the sky serves as an extended metaphor for the grandma’s understanding of goodness across the work. The children identifying clouds signal the grandma’s clouded understanding of what it means to be “good.”  Rather than worrying about the wellbeing of her son or her family in the event of an accident, the grandma is primarily concerned with others perceiving her as a lady. The clouds symbolize the opinions of others that block to the true meaning of goodness, the sun.

The interaction between the grandma and Red Sammy initiates O’Connor’s discovery of the misunderstandings and contradictions involved in the word “good.” Early into the grandma’s discussion with Red Sammy, the definition of the word “good” becomes confounded as the grandma calls Red Sammy “a good man” immediately after Red Sammy defines a car as “good.” Instead of taking this as a compliment, Red Sammy is “struck with this answer” (6). Juxtaposing these uses of the same word exemplifies its overuse and stale meaning – explaining why Red Sammy feels no sense of satisfaction when complimented. O’Connor furthers the problematic use of the word when Red Sammy states, “a good man is hard to find” (6). This statement is riddled with irony as the word “good” is used profusely but a “good man” is uncommon – creating a paradox with which O’Connor argues that a word that represents anything also represents nothing. The conversation with Red Sammy also highlights the inconsistency in Grandma’s definition of “good.” The grandma compliments Red Sammy for being naïve and gullible with his interactions with the two boys stealing gas, yet condemns her granddaughter for her insightful and honest comment earlier. It becomes apparent that the grandma is not only flawed but she is also unsure of how to become good.

Through the grandma’s interaction with “The Misfit,” the story paints the grandma’s reverse bildungsroman moment by depicting a profound environment that accompanies her change in grieving and perceptions surrounding what it means to be good.

A raw and honest atmosphere is developed as O’Connor describes the cloudless sky with nothing around the grandma but the woods (9). Contrary earlier in the work, the clouds that blocked the sky had cleared, symbolizing the clarity in the grandma’s perception of goodness. Further, this moment of reckoning takes place on the side of a dirt road with the woods in the background – a natural and profound environment. The use of imagery hints towards the deeply philosophical understanding of morality and goodness that the grandma gains from this interaction.

The shift in the grandma’s grieving signifies the acknowledgment of what it means to be good. Immediately after the grandma realizes that the man was “The Misfit,” she selfishly questions, “You wouldn’t shoot a lady, would you?” (11). The use of the word “lady” again demonstrates that the grandma is still solely concerned about the perception of others, in addition to her not caring about her family. However, her grieving changes as she starts wailing “Bailey boy” for her son (12). This appears to be the first time in the work that the grandma is concerned about someone other than herself. This transition expresses O’Connor’s belief that goodness is an internal trait that is portrayed to – rather than perceived by – others. When the grandma stopped worrying about her perception and started worrying about her family is when she became good.

Further, O’Connor argues that goodness transcends superficial actions such as practicing religion. Despite the grandma’s attempts to pray, “she opened and closed her mouth several times before anything came out” (15). Her inability to pray symbolizes that prayer and religion do not equate goodness.  This realization is what causes the grandma to understand that no actions define what it means to be good. Despite their differences, the grandma now understands that little differentiates her and the misfit, stating, “Why you’re [The Misfit] one of my babies. You’re one of my own children” (16). In denial, The Misfit recoils at the accusation that he is good too and shoots the grandma three times. The grandma dies happily with “with her legs crossed under her like a child’s and her face smiling up at the cloudless sky,” tying back into the innocence and purity associated with children (16).

O’Connor’s development of a definition for the word “good” ultimately serves as a social critique. Due to the overuse of the word, the definition of “good” has been spread too thin, depriving the word of true meaning. While a grave ending, this short story serves as a reminder of that “goodness” is not obtained through performative demonstrations or self-centered thoughts. O’Connor’s choice to never fully define the word “good” indicates how the definition of “good” continues to elude us. On the path to becoming good, the first step is identifying what does not qualify as good.

Sources Cited

“Definition of Good.” UNC-Chapel Hill Libraries, Oxford English Dictionary,

www-oed-com.libproxy.lib.unc.edu/view/Entry/79925?rskey=d7aiwZ&result=1#eid.

O’Connor, Flannery.  “A Good Man is Hard to Find.”  American Studies at the University of

Virginia, 2009, http://xroads.virginia.edu/~drbr/goodman.html.   Originally published in

T he Avon Book of Modern Writing .  New York: Avon Publishing, 1953, pp. 27-33.

A Good Man Is Hard to Find: Literary Critical Analysis Essay

Introduction, short summary of “a good man is hard to find”, “a good man is hard to find” theme analysis, “a good man is hard to find” character analysis: the grandmother, works cited.

The short story “A Good Man is Hard to Find” stands as the American Southern Gothic writer Flannery O’Connor’s most disturbing work of fiction. “A Good Man Is Hard to Find” is the title work of O’Connor’s debut collection of short stories which appeared in 1955, and the piece remains her signature short story (Kinney 1).

The action of “A Good Man is Hard to Find” depicts a family vacation gone terribly awry. On a road trip to Florida a family from Atlanta encounter a homicidal escaped convict whom the media dubs The Misfit. The Misfit and his henchmen execute the entire family and steal their clothes, car and cat. O’Connor tells the story from the point of view of the grandmother.

“A Good Man is Hard to Find” centers upon two themes: selfishness, and individualism. Essentially the grandmother’s insistence on achieving her own selfish ends results in the death of her entire family, as well as the loss of her own life. This essay analyzes the story’s thematic message in regards to selfishness, individualism and its effect on the family as well as the larger community, as represented by The Misfit.

O’Connor identifies the main character – the grandmother – only by role, while all of the other character she provides with names. Despite having no name the grandmother’s character reveals itself early and profoundly; she is obsessed with appearances, connected to a vague Southern past, and concerned with propriety and the value of being a lady.

O’Connor describes her “navy blue straw sailor hat,” her “collars and cuffs [that] were white organdy trimmed with lace” and “purple spray of cloth violets containing a sachet” that the grandmother pins at her neckline to ensure that “in case of an accident, anyone seeing her dead on the highway would know at once that she was a lady” (O’Connor 2).

Behavior wise the grandmother is a selfish woman who deliberately manipulates her family to suit her own purposes unapologetically and with impunity.

She intentionally misinforms her son Bailey about her cat, Pitty Sing, which she smuggles into the car underneath her “big black valise that looked like the head of a hippopotamus,” even though Bailey has expressly forbid the cat to share the motel room with them (O’Connor 1). Pitty Sing later brings about the deaths of the whole family following the car accident and ensuing encounter with The Misfit.

The grandmother’s pride and inflated sense of self importance, not to mention her failing memory, bring about the family’s downfall. Upon waking up from a nap in the car, the grandmother claims to remember a plantation house from her youth. Even though she knows that her son Bailey “would not be willing to lose any time looking at an old house…the more she talked about it, the more she wanted to see it once again and find out if the little twin arbors were still standing” (O’Connor 5).

Her son’s reluctance, in her mind, remains a simple obstacle to overcome in her desire to get things done her way. Even though Bailey’s “jaw was as rigid as a horseshoe” in response to her goading, the grandmother does not relent (O’Connor 5).

Instead, she lies, and enlists the shrill support of her grandchildren: “There was a secret:-panel in this house,” she said craftily, not telling the truth but wishing that she were, “and the story went that all the family silver was hidden in it when Sherman came through but it was never found” (O’Connor 5). Having stirred the children’s imagination, the grandmother lies again – “It’s not far from here, I know,” the grandmother said. “It wouldn’t take over twenty minutes” (O’Connor 5). The fact is she doesn’t know.

She has no idea where they are. It is not until they are hopelessly lost on the dirt road that “looked as if no one had traveled on it in months” that the grandmother’s “horrible thought” reminds her that the plantation house in question does not exist in the state of Georgia, but in Tennessee, though she is too full of pride to admit this to her son (O’Connor 6) And the wild goose chase that she leads her family on, again, for selfish purposes, leads them to their doomful meeting with The Misfit.

Similarly, the strident individualism that propels the grandmother’s fateful actions manifests itself squarely in the character of The Misfit. The Misfit, like the grandmother, focuses exclusively on himself and employs the other people around him as pawns meant to achieve his own selfish needs and wants (Hooten 198).

The objectification of others – in the case of the grandmother this means the objectification of her own family – results in an overall loss of cohesiveness, wherein “community holds no value” (Hooten 198). Set adrift, peripatetic and aimlessly moving from one empty community to another, “The Misfit exemplifies this void [as] the lost individual who relates to the community through constantly shifting roles” (Hooten 198). Like the grandmother, he takes what he needs in order to get what he wants, and then moves on.

“A Good Man is Hard to Find” also treats individualism through the lens of identity. We see clearly that The Misfit shares Bailey’s ire at the senseless grandmother’s shriek “You’re The Misfit!” she said. “I recognized you at once!” “Yes’m,” the man said…”But it would have been better for all of you, lady, if you hadn’t of reckernized me.” Bailey turned his head sharply and said something to his mother that shocked even the children.

The old lady began to cry and The Misfit reddened” (O’Connor 8). When The Misfit’s fellow criminal Bobby Lee returns from the woods with Bailey’s yellow shirt full of parrots, a moment happens wherein The Misfit, by donning the dead man’s attire, acquires his identity for a moment (Gresham 18). He, like Bailey, views the grandmother’s idiotic obsession with decorum as “selfish, superficial, and condescending,” yet unlike Bailey, he remains free to take action to condemn her (Kinney 1).

The short story “A Good Man is Hard to Find” represents Flannery O’Connor’s concern that selfishness and rampant individualism casts people apart and promotes the disenfranchisement of characters such as The Misfit, who invariably end up as “self-focused wanderers without community who use others as means to their own ends” (Hooten 197).

Very little difference exists between the character of the grandmother and the character of The Misfit, aside from their social viability. Both remain selfish and extreme individualists, who will lie, steal, manipulate and murder to affect their own ends. In Flannery O’Connor’s hands, this selfishness and individualism collides at a disaster point and initiates the deaths of five innocent people. Worse, the instigator of their murder is one of their own.

Gresham, Stephen. “Things Darkly Buried: In Praise of A Good Man Is Hard to Find.” Shenandoah 60.1-2 (2010): 17-18. Web.

Hooten, Jessica. “Individualism in O’Connor’s A Good Man is Hard to Find.” The Explicator 66.4 (2008): 197-198. Web.

Kinney, Arthur F. “A Good Man Is Hard to Find: Overview.” Reference Guide to Short Fiction . Ed. Noelle Watson. Detroit: St. James Press, 1994. 1-2. Print.

O’Connor, Flannery. “A Good Man is Hard to Find.” Literature: An Introduction to Fiction, Poetry, Drama, and Writing: Custom Edition. Eds. X.J. Kennedy and Dana Gioia. Upper Saddle River, New Jersey: Prentice Hall, 2011. 1-12. Print.

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A Good Man is Hard to Find

Flannery o’connor, ask litcharts ai: the answer to your questions.

Violence and Grace

At the story’s end, the Misfit says of the Grandmother , “She would of been a good woman . . . if it had been somebody there to shoot her every minute of her life.” Flannery O’Connor may not necessarily believe that being exposed to violence makes us better people, but the message is clear: violence changes us.

As Flannery O’Connor said when delivering remarks on the story, “I have found that violence is strangely…

The characters of “A Good Man is Hard to Find” live by a variety of moral codes, and both the story’s title and the Grandmother ’s conversation with Red Sam bring up the idea of goodness, and what makes a “good man.” In the end, as the Grandmother still insists that the Misfit —who has just murdered her entire family—is a “good man,” the question lingers: does being “good” depend on one’s internal character or…

Punishment and Forgiveness

Much of the discussion between the Grandmother and the Misfit concerns ideas of punishment and forgiveness. A vision of the world is presented in the Misfit’s words: “Does it seem right to you, lady, that one is punished a heap and another ain’t punished at all?” A fundamental question in Flannery O’Connor’s Christian worldview is the problem of evil: why do bad things happen to good people, and vice versa?

We are given no tidy…

Familial Conflict and Familial Love

Only at the story’s end do we get the slightest hint of familial love. Not only does the Grandmother shout “Bailey Boy! Bailey Boy!” as the only real affectionate moment inside her family, but she then goes on to refer to the Misfit as her own son. These moments of familial love, arriving only when the Grandmother faces death, appear in stark contrast to the rest of the story, which is filled with family members…

Moral Decay

The story’s title itself refers to the apparent moral decline witnessed by the Grandmother and others. There was a time, the Grandmother believes, when it was not so difficult to find good men, though we might wonder if that was ever actually true. To the Grandmother, though, the story’s action supports this belief. When stranded after a car crash, the family is not tended to by friendly neighbors, but by a killer and his henchmen…