“The kind of written work I’m going to talk about is story-writing, because that’s the only kind I know anything about. I’ll call any length of fiction a story, whether it be a novel or a shorter piece, and I’ll call anything a story in which specific characters and events influence each other to form a meaningful narrative. I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing. When they realize that they aren’t writing stories, they decide that the remedy for this is to learn something that they refer to as the ‘technique of the short story’ or ‘the technique of the novel.’ Technique in the minds of many is something rigid, something like a formula that you impose on the material; but in the best stories it is something organic, something that grows out of the material, and this being the case, it is different for every story of any account that has ever been written.
“I think we have to begin thinking about stories at a much more fundamental level, so I want to talk about one quality of fiction which I think is its least common denominator — the fact that it is concrete and about a few of the qualities that follow from this. We will be concerned in this with the reader in his fundamental human sense, because the nature of fiction is in large measure determined by the nature of our perceptive apparatus. The beginning of human knowledge is through the senses, and the fiction writer begins where human perception begins. He appeals through the senses, and you cannot appeal to the senses with abstractions. It is a good deal easier for most people to state an abstract idea than to describe and thus re-create some object that they actually see. But the world of the fiction writer is full of matter, and this is what the beginning fiction writers are very loath to create. They are concerned primarily with unfleshed ideas and emotions. They are apt to be reformers and to want to write because they are possessed not by a story but by the bare bones of some abstract notion. They are conscious of problems, not of people, of questions and issues, not of the texture of existence, of case histories and of everything that has a sociological smack, instead of with all those concrete details of life that make actual the mystery of our position on earth.
“The Manicheans separated spirit and matter. To them all material things were evil. They sought pure spirit and tried to approach the infinite directly without any mediation of matter. This is also pretty much the modern spirit, and for the sensibility infected with it, fiction is hard if not impossible to write because fiction is so very much an incarnational art.”
— from “The Nature and Aim of Fiction,” in Mystery and Manners: Occasional Prose (Farrar, Straus & Giroux, 1961)
Henry T. Edmondson, III talks about Flannery O’Connor’s understanding of political life, which was influenced by a range of thinkers including Aristotle, Thomas Aquinas, Eric Voegelin, and Russell Kirk. (19 minutes)
Biographer and priest Patrick Samway talks about the relationship between fiction writer Flannery O’Connor and the legendary editor Robert Giroux. (21 minutes)
The dangers of the life of the mind — Robert H. Brinkmeyer, Jr., on why Flannery O’Connor encouraged the cultivation of “Christian skepticism”
Remembering Miss O’Connor — Literary critic Richard Gilman shares impressions of his relationship with Flannery O’Connor
The artist’s commitment to truth — Fr. Damian Ference, author of Understanding the Hillbilly Thomist, explores the depths to which Flannery O’Connor was steeped in Thomistic philosophy. (18 minutes)
Flannery O’Connor and Thomistic philosophy — Fr. Damian Ference explores the depths to which Flannery O’Connor was steeped in Thomistic philosophy, as evidenced by her reading habits, letters, prayer journal, and, of course, essays and fiction. (48 minutes)
Faulkner’s tragic vision — Alan Jacobs describes how William Faulkner’s fiction explored the tragedy of living with a legacy of evil acts. (26 minutes)
On remembering and recognition — In memory of Frederick Buechner’s life, Ken Myers shares from his 1996 conversation with the acclaimed writer. Also heard are two interviews with novelist Ron Hansen about the craft of writing fiction. (29 minutes)
R.I.P. Larry Woiwode — In this tribute to Larry Woiwode’s life and work, Ken Myers presents previously unreleased portions of a 2000 interview about one of his volumes of memoirs, What I Think I Did: A Season of Survival in Two Acts. (29 minutes)
Communion of saints — Jessica Hooten Wilson asserts that reading stories of holiness in the lives of “literary saints” helps to cultivate Christian character in us. (25 minutes)
Art and the truth of things — Joseph Nicolello explains the origins and themes of his imaginary dialogue between Jacques Maritain and Flannery O’Connor. (28 minutes)
On faithful fiction: Larry Woiwode, Alan Jacobs, & Jay Tolson — This Friday Feature represents three interviews on fiction from Volume 3: Larry Woiwode on what makes good fiction, Alan Jacobs on P. D. James’s The Children of Men, and Jay Tolson on Walker Percy. (29 minutes)
Mars Hill Audio Journal, Volume 147 — FEATURED GUESTS:
R. Jared Staudt, Jason Peters, D. C. Schindler, Craig Gay, Mary Hirschfeld, and Patrick Samway
Mars Hill Audio Journal, Volume 146 — FEATURED GUESTS:
Mark Mitchell, Hans Boersma, Henry T. Edmondson, III, Brian Clayton, Douglas Kries, Conor Sweeney, and Carole Vanderhoof
Freedom and equality according to Flannery O’Connor — Three guests discuss Flannery O’Connor’s ideas: Henry T. Edmondson, III, on O’Connor’s understanding of political life; Ralph C. Wood, on O’Connor as a “hillbilly Thomist”; and Susan Srigley, on O’Connor’s sacramental and incarnational fiction. (18 minutes)
Mars Hill Audio Journal, Volume 141 — FEATURED GUESTS:
Grant Wythoff, Susanna Lee, Gerald R. Mcdermott, Carlos Eire, Kelly Kapic, and James Matthew Wilson
The risk of stories — George Steiner on the necessity of vulnerable imaginations
Mars Hill Audio Journal, Volume 120 — FEATURED GUESTS:
Douglas Rushkoff, Phillip Thompson, Jonathan Wilson, James Bratt, D. C. Schindler, and Paul Elie
Mars Hill Audio Journal, Volume 100 — FEATURED GUESTS: Jennifer Burns, Christian Smith, Dallas Willard, Peter Kreeft, P. D. James, James Davison Hunter, Paul McHugh, Ted Prescott, Ed Knippers, Martha Bayles, Dominic Aquila, Gilbert Meilaender, Neil Postman, and Alan Jacobs
Mars Hill Audio Journal, Volume 95 — FEATURED GUESTS: Stewart Davenport, William T. Cavanaugh, J. Matthew Bonzo, Michael R. Stevens, Craig Gay, Eugene Peterson, and Barry Hankins
Mars Hill Audio Journal, Volume 93 — FEATURED GUESTS: Alan Jacobs, James A. Herrick, Robert C. Roberts, J. Daryl Charles, Allan C. Carlson, and Sheila O’Connor-Ambrose
Mars Hill Audio Journal, Volume 73 — FEATURED GUESTS: Richard John Neuhaus, Nigel Cameron, Carlos F. Gomez, Michael Uhlmann, Patrick Carey, John W. O’Malley, Patricia Owen, Susan Srigley, and Ralph C. Wood
Mars Hill Audio Journal, Volume 48 — FEATURED GUESTS: Jon Butler, Gary Cross, Zygmunt Bauman, Pico Iyer, Richard Stivers, Larry Woiwode, Alan Jacobs, and James Trott
Mars Hill Audio Journal, Volume 40 — FEATURED GUESTS: Joseph Epstein, John Gray, Kenneth R. Craycraft, Jr., William T. Pizzi, Pamela Walker Laird, Albert Borgmann, Neal Stephenson, and Alan Jacobs
