Top 380 Flannery O'Connor Quotes (2026 Update)
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201. “I spend three hours a day writing and the rest of my day getting over it.”

— Flannery O'Connor

202. “He groaned to see that she was off on that topic. She rolled into it every few days like a train on an open track. He knew every stop, every junction, every swamp along the way, and knew the exact point at which her conclusion would roll majestically into the station.”

— Flannery O'Connor

203. “If we forget our past,” the speaker was saying, “we won’t remember our future and it will be as well for we won’t have one.” The General heard some of these words gradually. He had forgotten history and he didn’t intend to remember it again. He had forgotten the name and face of his wife and the names and faces of his children or even if he had a wife and children, and he had forgotten the names of places and the places themselves and what had happened at them.”

— Flannery O'Connor

204. “Who’s there?” the voice from inside said and there was a quality about it now that seemed final. The knob rattled and the voice said peremptorily, “Who’s there, I ast you?” Parker bent down and put his mouth near the stuffed keyhole. “Obadiah,” he whispered and all at once he felt the light pouring through him, turning his spider web soul into a perfect arabesque of colors, a garden of trees and birds and beasts.”

— Flannery O'Connor

205. “I don’t think you should write something as long as a novel around anything that is not of the gravest concern to you and everybody else and for me this is always the conflict between an attraction for the Holy and the disbelief in it that we breathe in with the air of the times.”

— Flannery O'Connor

206. “The idea of being a writer attracts a good many shiftless people, those who are merely burdened with poetic feelings or afflicted with sensibility.”

— Flannery O'Connor

207. “Those who have no absolute values cannot let the relative remain merely relative; they are always raising it to the level of the absolute.”

— Flannery O'Connor

208. “In my travels I am often asked if college stifles young writers. In my opinion, it doesn’t stifle them enough.”

— Flannery O'Connor

209. “We are not judged by what we are basically. We are judged by how hard we use what we have been given. Success means nothing to the Lord.”

— Flannery O'Connor

210. “Ours is the first age in history which has asked the child what he would tolerate learning.”

— Flannery O'Connor

211. “The meaning of the story is the story.”

— Flannery O'Connor

212. “I have found, in short, from reading my own writing, that my subject in fiction is the action of grace in territory largely held by the devil.”

— Flannery O'Connor

213. “Virtue must be the only vigorous thing in our lives. Sin is large and stale. You can never finish easting it nor ever digest it. It has to be vomited.”

— Flannery O'Connor

214. “Poorly written novels – no matter how pious and edifying the behavior of the characters – are not good in themselves and are therefore not really edifying.”

— Flannery O'Connor

215. “You can’t just say NO,” he said. “You got to do NO. You got to show it. You got to show you mean it by doing it. You got to show you’re not going to do one thing by doing another. You got to make an end of it. One way or another.”

— Flannery O'Connor

216. “Faith has to take in all the other possibilities it can.”

— Flannery O'Connor

217. “You can choose what you write but you can’t choose what you make live.”

— Flannery O'Connor

218. “Anyone who has lived to the age of eighteen has enough stories to last a lifetime.”

— Flannery O'Connor

219. “If I had to live in a city I think I would prefer New Orleans to any other – both Southern and Catholic and with indications that the Devil’s existence is freely recognized.”

— Flannery O'Connor

220. “Christianity is a strangely cheery religion.”

— Flannery O'Connor

221. “A working knowledge of the devil can be very well had from resisting him.”

— Flannery O'Connor

222. “Most of us have learned to be dispassionate about evil, to look it in the face and find, as often as not, our own grinning reflections with which we do not argue, but good is another matter. Few have stared at that long enough to accept that its face too is grotesque, that in us the good is something under construction. The modes of evil usually receive worthy expression. The modes of good have to be satisfied with a cliche or a smoothing down that will soften their real look.”

— Flannery O'Connor

223. “If they here, they somewhere.”

— Flannery O'Connor

224. “There is a question whether faith can or is supposed to be emotionally satisfying. I must say that the thought of everyone lolling about in an emotionally satisfying faith is repugnant to me. I believe that we are ultimately directed Godward but that this journey is often impeded by emotion.”

— Flannery O'Connor

225. “When a book leaves your hands, it belongs to God. He may use it to save a few souls or to try a few others, but I think that for the writer to worry is to take over God’s business.”

— Flannery O'Connor

226. “There are some of us who have to pay for our faith every step of the way and who have to work out dramatically what it would be like without it and if being without it would be ultimately possible or not.”

— Flannery O'Connor

227. “To know oneself is, above all, to know what one lacks.”

— Flannery O'Connor

228. “I have tried imagining that the single peacock I see before me is the only one I have, but then one comes to join him, another flies off the roof, four or five crash out of the crepe-myrtle hedge; from the pond one screams and from the barn I hear the dairyman denouncing another that has got into the cow-feed. My kin are given to such phrases as, ‘Let’s face it.”

— Flannery O'Connor

229. “I’m always highly irritated by people who imply that writing fiction is an escape from reality. It is a plunge into reality and it’s very shocking to the system.”

— Flannery O'Connor

230. “Writing a novel is a terrible experience, during which the hair often falls out and the teeth decay.”

— Flannery O'Connor

231. “I do not like the raw sound of the human voice in unison unless it is under the discipline of music.”

— Flannery O'Connor

232. “I am going to be the World Authority on Peafowl, and I hope to be offered a chair some day at the Chicken College.”

— Flannery O'Connor

233. “You act like you think you got wiser blood than anybody else,” he said, “but you ain’t! I’m the one has it. Not you. Me.” Haze didn’t say anything. He stood there for an instant, small in the.”

— Flannery O'Connor

234. “In most good stories it is the character’s personalty that creates the action of the story.”

— Flannery O'Connor

235. “The woods are full of regional writers, and it is the great horror of every serious Southern writer that he will become one of them.”

— Flannery O'Connor

236. “From 15 to 18 is an age at which one is very sensitive to the sins of others, as I know from recollections of myself. At that age you don’t look for what is hidden. It is a sign of maturity not to be scandalized and to try to find explanations in charity.”

— Flannery O'Connor

237. “Remember that you don’t write a story because you have an idea but because you have a believable character.”

— Flannery O'Connor

238. “He had learned enough to hate the destruction that had to come and not all that was going to be destroyed.”

— Flannery O'Connor

239. “Manners are of such great consequence to the novelist that any kind will do. Bad manners are better than no manners at all, and because we are losing our customary manners, we are probably overly conscious of them; this seems to be a condition that produces writers.”

— Flannery O'Connor

240. “If there is no possibility for change in a character, we have no interest in him.”

— Flannery O'Connor

241. “I am not afraid that the book will be controversial, I’m afraid it will not be controversial.”

— Flannery O'Connor

242. “I have also led you astray by talking of technique as if it were something that could be separated from the rest of the story. Technique can’t operate at all, of course, except on believable material.”

— Flannery O'Connor

243. “He was singing a hillbilly song that sounded half like a love song and half like a hymn.”

— Flannery O'Connor

244. “It seems that the fiction writer has a revolting attachment to the poor, for even when he writes about the rich, he is more concerned with what they lack than with what they have.”

— Flannery O'Connor

245. “You may ask, why not simply call this literature Christian? Unfortunately, the word Christian is no longer reliable. It has come to mean anyone with a golden heart. And a golden heart would be a positive interference in the writing of fiction.”

— Flannery O'Connor

246. “He has the mistaken notion that a concern with grace is a concern with exalted human behavior, that it is a pretentious concern. It is, however, simply a concern with the human reaction to that which, instant by instant, gives life to the soul. It is a concern with a realization that breeds charity and with the charity that breeds action. Often the nature of grace can be made plain only by describing its absence.”

— Flannery O'Connor

247. “I find that most people know what a story is until they sit down to write one.”

— Flannery O'Connor

248. “It is when the individual’s faith is weak, not strong, that he will be afraid of an honest fictional representation of life; and when there is a tendency to compartmentalize the spiritual and make it resident in a certain type of life only, the supernatural is apt gradually to be lost.”

— Flannery O'Connor

249. “I believe firmly in mystery and manners.”

— Flannery O'Connor

250. “After a while he said, “If there’s no bottom in your eyes, they hold more.”

— Flannery O'Connor