O’Connor’s caretaker Emma Jackson had an early impact on her views

Flannery O'Connor originally wanted to be a cartoonist

In college, the famed writer worked as a cartoonist for the school newspaper and literary magazine, using surreal black-and-white linoleum prints to comment on everything from student life to World War II.

Alice Walker admired Flannery O’Connor for her honest portrayal of the South

Walker wrote “The Color Purple,” which won the Pulitzer Prize for Fiction, making her the first Black woman to win the award. In her essay “A South Without Myths,” she calls O’Connor “the first great modern writer from the South,” particularly because her work abandoned nostalgia for the antebellum world.

In Iowa, Flannery O'Connor decided to pursue creative writing

O’Connor enrolled in a master’s program in journalism at the University of Iowa, intending to pursue political cartooning, but quickly switched to creative writing. Her thesis was a collection of stories called “The Geranium.” The title story was eventually her first published piece.

In 2020, Loyola University Maryland removed O’Connor’s name from a dormitory

The decision was made after a student petition, citing private letters using racial epithets. Hundreds of writers and academics wrote an open letter criticizing the move, including novelist Alice Walker, who said, “We must honor Flannery for growing. Hide nothing of what she was, and use that to teach.”

O’Connor was shaped by her time with Sally and Robert Fitzgerald

After Iowa, O’Connor moved to Connecticut to stay in the garage apartment of Sally and Robert Fitzgerald—the legendary translator of Homer, Sophocles, and other classics—while working on her first novel, “Wise Blood.” Like O’Connor, the Fitzgeralds were devout Catholics, and the three attended mass every morning.

A selection of author Flannery O'Connor's witty letters

Flannery O'Connor wrote darkly humorous novels while cultivating a richly devout Catholic faith. One of the most renowned American authors of the 20th century, she also wrote many letters in a very charming and witty style. Read a selection of her best epistles here.

After Flannery O'Connor's death, the writer's mother insisted her daughter be buried with a smile on her face.

O’Connor despised romantic portrayals of the South

1939’s “Gone With the Wind” presented a rosy image of the Old South, something a 14-year-old O’Connor allegedly despised. Later, she wrote “A Late Encounter With the Enemy,” a story mocking how Confederate Army veterans were honored at the film’s premiere.

Flannery O’Connor is a major figure in American literature

In her lifetime, O’Connor wrote 31 short stories and two novels. She was awarded three O. Henry Awards, the most prestigious honor for a short story writer. In 1972, she was posthumously awarded the National Book Award for her “Collected Stories.”

A film crew captured a 5-year-old Flannery O’Connor and her talented chicken

British Pathé, an international news program, ventured out to Georgia to film O’Connor (then known by her given name, Mary) and her chicken, whom she’d taught to walk backward. O’Connor would later joke that it was the highlight of her life.

Flannery O’Connor’s recommended reading

O’Connor was a rabid reader and a prolific letter writer, often suggesting (and sometimes criticizing) books to friends and admirers. This list distills those recommendations into a compact list, praising Henry James, Edgar Allan Poe, and National Geographic. It’s a good reading list and a fascinating window into O’Connor’s influences.

O’Connor shared lengthy, intimate letters with Betty Hester, a recluse

When O’Connor’s private letters were released in “The Habit of Being,” readers wondered about the identity of “A,” who had an intimate (possibly romantic) relationship with the writer. Decades later, “A” was revealed to be Betty Hester, a reclusive file clerk. Scholars still debate whether the two were romantically involved.

O’Keeffe’s relationship with a younger Juan Hamilton caused controversy

Juan Hamilton was broke, divorced and 27 years old when he met an 85-year-old O’Keeffe to ask for a job. She eventually gave him one, and they developed a close friendship and artistic partnership, while also fueling rumors of a romantic relationship. After she died, he received her house and a large portion of her estate.

After being diagnosed with lupus, O'Connor moved to her family's Georgia farm

In 1950, O'Connor began feeling ill and returned to Georgia, where she was diagnosed with lupus, the same disease that killed her father when O'Connor was just 15. After the diagnosis, O'Connor and her mother moved to Andalusia, the family farm north of Milledgeville, Georgia.

O'Connor raised 40 peacocks, which became symbols for her fiction

O'Connor was drawn to peacocks because of their dichotomy—people were drawn to the beauty of their feathers but turned off by the ugliness of their behavior. It was an apt symbol for her fiction and the birds featured prominently on several of her books' covers.

Flannery O’Connor believed the South was ‘Christ-haunted’

O’Connor was a lifelong Catholic who spent most of her life in the Protestant Bible Belt, the setting for nearly all her fiction often infused with Catholic themes. “I think it is safe to say that while the South is hardly Christ-centered, it is most certainly Christ-haunted,” she wrote.

Listen to Flannery O'Connor read her story 'A Good Man Is Hard To Find'

"A Good Man Is Hard To Find," published in 1953, is O'Connor's most well-known story—and the most representative of her style and themes. This recording, from a 1959 appearance at Vanderbilt University, features the author reading to a live audience.

O’Connor’s stories feature Southern outcasts thrust into bizarre situations

The Deep South is presented as a shadowy place, filled with scheming figures posing as upstanding citizens, like the conniving door-to-door Bible salesman of “Good Country People,” and smug intellectuals receiving their comeuppances, like the condescending college graduate of “Everything That Rises Must Converge.”

Watch a Yale professor’s take on O’Connor’s ‘Wise Blood’

O’Connor’s first novel is about Hazel Motes, a World War II veteran who returns home and sets out to form an anti-religious congregation. It’s a striking debut and one that Yale professor Amy Hungerford taught in her course “The American Novel Since 1945.”

O’Keeffe discredited sexual interpretations of her flower paintings

In 1943, the artist famously explained her intention to call attention to flowers by making them large and detailed. O’Keeffe added that while she wanted people to notice her flowers, they ended up projecting their own associations that didn’t reflect her own ideas.

O'Connor believed grotesque fiction was realistic

O'Connor argued that although the style might not be recognizable to all readers, "the grotesque" attempts to reckon with life's inherent mystery. "Of course, I have found that anything that comes out of the South is going to be called grotesque by the Northern reader," she said, "unless it is grotesque, in which case it is going to be called realistic."

Bruce Springsteen's 'Nebraska' was influenced by writer Flannery O'Connor

Springsteen became obsessed with the "Southern gothic" writer when he began working on the songs for "Nebraska," inspired by O'Connor's tragic characters and grotesque imagery.

Joyce Carol Oates praised King's working-class characters

Joyce Carol Oates is a writer who, like Stephen King, has a massive body of work that moves between styles and genres. Unlike King, she was never derided by critics as being overly commercial. Introducing King at Princeton University in 1997 and 2016, she made the case for King as a serious American writer in the Gothic tradition of Edgar Allan Poe.

Jean Stafford’s ‘A Mother in History’ followed the mother of JFK’s assassin

Marguerite Oswald, the mother of Lee Harvey Oswald, leaned into the public eye after her son’s crime. Stafford’s decision to interview her was the subject of controversy, but offered an interesting character study of a maligned woman openly inclined to make money off the attention she was receiving.

Poet Robert Lowell encouraged O'Connor to turn away from commercial appeal

When O'Connor secured a publisher for "Wise Blood," her publisher envisioned it as a broad, commercial comedy, something Lowell—the accomplished poet whom she met after graduate school at Yaddo, an artist colony in upstate New York—suggested she avoid, encouraging her to lean into her more esoteric and darker interests. This interview with O'Connor biographer Brad Gooch elaborates on that advice.

Listen to the experiences of an art historian who met Georgia O'Keeffe

Wanda M. Corn wrote the biography "Georgia O'Keeffe: Living Modern" and recounts her experience interviewing the artist in New Mexico. Hear interesting details from an O'Keeffe expert, including specifics about her clothes, her home and her upbringing.

Shirley Jackson is one of horror’s most important writers

The author of 20th-century classics like “The Haunting of Hill House” and “Hangsaman” was a master of domestic horror, though she was often minimized during her life for writing horror. Since her death in 1965, Jackson’s work has proven to be influential to horror and literary writers alike.

O’Keeffe’s journey to become an artist started at a young age in Wisconsin

In 1905, she left behind her life on the farm to attend art school in Chicago. While studying, the artist won the William Merritt Chase prize for a still life. Her style eventually evolved and caught the attention of important figures in the New York art scene.

O’Keeffe was part of a movement of American artists changing previous norms

One of the most recognizable names of the American modernism movement from the early 1900s, O’Keeffe’s portrayals of nature strayed from realism and prioritized emotional truth, using elements like bold colors and abstract shapes to capture the feeling of observing her subjects.

Georgia O’Keeffe and Frank Lloyd Wright were longtime friends

In the early 1930s, famed architect Frank Lloyd Wright invited Georgia O’Keeffe to become the master artist at the newly formed Taliesin Fellowship. O’Keeffe turned him down, but the letter sparked a decades-long friendship, rooted in their shared love for art and American landscapes, which continued until his death.

Zora Neale Hurston used her anthropological training to interview a man who had survived the slave trade

The writer's interviews with Cudjo Lewis documented the man's enslavement and travel from Africa to the United States. It also captured the story behind Africatown, a community in Alabama that emerged after the Emancipation Proclamation. Hurston's book was not published during her lifetime, though it was finally released in 2018 as "Barracoon: The Story of the Last 'Black Cargo.'"

'Ram’s Head, White Hollyhock—Hills' marked a shift in O’Keeffe’s life and work

After a severe drought in the 1930s killed many animals near her home, O’Keeffe started collecting and painting their skulls. Her new style was interpreted as surreal and even macabre by many, presenting a shocking turn from her lighthearted flower portraits.

The woman in Dorothea Lange's 'Migrant Mother' photo felt that she and her children had been exploited.

Georgia O’Keeffe is one of the most significant modern artists in American history

Known for her distinct style and outsider persona, O’Keeffe is a key figure in US art history and one of the few female artists to have a dedicated museum. Read her biography to learn more about how her rural upbringing led to her eventual worldwide fame.

O’Keeffe’s first collection of charcoal drawings was influenced by Japanese artists

Prioritizing personal interpretations over literal ones, O’Keeffe’s abstract drawings challenged the classical approach to capturing nature in art. This initial set of drawings caught the attention of art dealer Alfred Stieglitz and forever changed the trajectory of her career.

Explore a feminist reading of Mary Cassatt's work

Artsy's Olivia Horn considers the American Impressionist's work from a 21st-century perspective, unpacking how her focus on women's lives was a revolutionary act for the 19th century that still resonates today.

Georgia O'Keeffe's flower paintings are often assumed to be sexual, though the artist claimed she was simply interested in highlighting the beauty of flowers that most people neglect.

Georgia O'Keeffe and her sisters had an artistic rivalry

Despite their close relationship, a rift between the siblings emerged after Ida and Catherine, Georgia's younger sisters, began exhibiting their own paintings. Some also speculate that their dynamic was influenced by Georgia's husband, Alfred Stieglitz, who expressed romantic interest in Ida.

Georgia O'Keeffe's subjects evolved based on the landscapes she lived in

Texas horizons, New York skyscrapers, and New Mexico deserts are examples of the subjects O'Keeffe famously painted over the course of her life. While her style remained mostly consistent throughout her seven-decade career, her surroundings significantly changed the content of her artwork.

How Cassatt's early life influenced her art

The painter came from an affluent background but was determined to become an artist, a decision that was at odds with her father's wishes. Still, she began art school at 15, where she was one of the few female students and not permitted to paint portraits of live models. This brief documentary from The Art Tourist explains how those formative experiences taught Cassatt to challenge conventional approaches in her work.

O’Keeffe collected animal skulls and bones for her art

O’Keeffe used bones as motifs in her work throughout her time in New Mexico. She famously stated, “The bones do not symbolize death to me. They are shapes that I enjoy … They're very lively.”

Nine Black students were arrested in 1961 for refusing to stop reading at a segregated Mississippi library

Public libraries across the South were segregated by law, with Black residents directed to separate, underfunded facilities. When nine Tougaloo College students sat down to read at the whites-only Jackson Municipal Library, they were arrested. Their act helped the NAACP push for the desegregation of public spaces in Jackson.

Dorothea Lange's iconic 'Migrant Mother' photo was just one image of many she captured of the woman with her children.

Debunking the myth of Dickinson's antisocial seclusion

It's true that the poet largely kept to herself in her late-30s, spending nearly all her time at her father's house, and when she did venture out into the world, she'd wear white, facts that led American history to label her a strange, antisocial recluse. But, as this essay shows, that image is not entirely true, evident in the many relationships she maintained through her letters.

Scholars note that many Cassatt paintings are about women's labor

The women in her portraits are often performing domestic work, something that contemporary scholars consider a subtle protest of how women's labor was often overlooked during Cassatt's time. Fittingly, Cassatt often hired working-class women as models, ensuring the portraits were not only accurate but that the subjects were appropriately compensated.

James Beard and Julia Child were close friends and collaborators

The duo met when she was promoting her seminal book “Mastering the Art of French Cooking” in 1961. They quickly bonded, even referring to themselves as “Jiji,” a combination of Julia and Jim. Child, though, was initially prejudiced against Beard for being openly gay, which was rarer at that time.

Cassatt painted more than just mothers and daughters

In one 1884 portrait, she captured her brother, Alexander Cassatt, and her nephew during a family holiday. The image is just as tender as her paintings of mothers and daughters, with the father and son—their faces near mirror images—in an intimate embrace.

What made Mary Cassatt's art radical

Although the American Impressionist's work is sometimes dismissed as overly sentimental, these Cassatt specialists argue that her portrayals of women are often subtly subversive, emphasizing how they defy the gender norms of the time.

In 1949, O’Keeffe moved to the tiny desert village of Abiquiu, New Mexico

After nearly 15 years of trying to buy an idyllic hacienda from the church, she succeeded and moved in in 1949. The three-acre property featured a view of the Chama River Valley, which inspired many of her paintings.

The FBI surveilled Roosevelt for decades, suspicious of her civil rights and political work

J. Edgar Hoover's FBI maintained a large file on Eleanor Roosevelt, monitoring her involvement with civil rights groups, connections to progressive causes, and vocal opposition to McCarthyism. Although a formal investigation was never initiated, Hoover regarded her as a person of interest for most of her adult life.