Mark Bosco – författare

Much has been written about Graham Greene's relationship to his Catholic faith and its privileged place within his texts. His early books are usually described as 'Catholic Novels' - understood as a genre that not only uses Catholic belief to frame the issues of modernity, but also offers Catholicism's vision and doctrine as a remedy to the present crisis in Western civilization. Greene's later work, by contrast, is generally regarded as falling into political and detective genres. In this book, Mark Bosco argues that this is a false dichotomy created by a narrowly prescriptive understanding of the Catholic genre and obscures the impact of Greene's developing religious imagination on his literary art.

Much has been written about Graham Greene''s relationship to his Catholic faith and its privileged place within his texts. His early books are usually described as "Catholic Novels" - understood as a genre that not only uses Catholic belief to frame the issues of modernity, but also offers Catholicism''s vision and doctrine as a remedy to the present crisis in Western civilization. Greene''s later work, by contrast, is generally regarded as falling into political and detective genres. In this book, Mark Bosco argues that this is a false dichotomy created by a narrowly prescriptive understanding of the Catholic genre and obscures the impact of Greene''s developing religious imagination on his literary art.

Did Flannery O’Connor really write the way she did because and—not in spite of—her Catholicism? Revelation & Convergence brings together professors of literature, theology, and history to help both critics and readers better understand O’Connor’s religious imagination. The contributors focus on many of the Catholic thinkers central to O’Connor’s creative development, especially those that O’Connor mentioned in the recently discovered and published A Prayer Journal (2013), or in her many letters to friends and admirers. Some, such as Leon Bloy or Baron von Hügel, remain relatively obscure to contemporary readers. Other figures, such as Augustine of Hippo or St. John of the Cross, are well-known, but their connection to O’Connor’s stories has received little attention. Revelation & Convergence provides a much-needed hermeneutical lens that is often missing from contemporary criticism, representing O’Connor’s ongoing conversation with her Catholic theological and literary heritage, and provide a glimpse into the rich Catholic texture of her life and work.

This collection of essays places Flannery O’Connor’s work in constructive and collaborative dialogue with Spanish literature and literary aesthetics. The international scholars who contributed to this volume explore the ways in which O’Connor’s literary and religious vision continues to work in the imaginations of both American and European—mostly Spanish—authors. The subtitle of the collection—From Andalusia to Andalucía—is a play on the name of O’Connor’s family farm in Milledgeville, Georgia—Andalusia—where she spent the last sixteen years of her life living with her mother. It is said that the farm’s name was chosen because its location in Milledgeville was the farthest north the Spanish explorers of the sixteenth century traveled in the eastern U.S. before returning to Florida to establish permanent Spanish settlements. While perhaps colloquial in its origins, it is, nevertheless, a fitting and emblematic link between the Southern Gothic aesthetics of O’Connor’s Andalusia and the baroque heritage of southern Spain’s Andalucía.The essays in this collection explore O’Connor’s literary vision through three interpretive lenses: first, through the relationship of the literary grotesque (a genre that often defines her work) with the Spanish baroque aesthetics that have come to define Spain’s artistic heritage; second, through the relationship between O’Connor’s literary imagination and the literature of other European writers that broaden the intellectual conversation about her work; and, third, through comparisons with other writers whose Catholic imaginations made their work—as the Jesuit poet Gerard Manley Hopkins puts it—“counter, original, spare, strange.” As the essays contained in this volume show, the work of Flannery O’Connor continues to bear rich intellectual and spiritual fruit when engaging with enculturated literary and aesthetic traditions.