Search results for ""Author Mark Bosco""

Acts of Faith and Imagination wagers that fiction written by Catholic authors assists readers to reflect critically on the question: "what is faith?" To speak of a person's "faith-life" is to speak of change and development. As a narrative form, literature can illustrate the dynamics of faith, which remains in flux over the course of one's life. Because human beings must possess faith in something (whether religious or not), it inevitably has a narrative structure—faith ebbs and flows, flourishes and decays, develops and stagnates.Through an exploration of more than a dozen Catholic authors' novels and short stories, Brent Little argues that Catholic fiction encourages the reader to reflect upon their faith holistically, that is, the way faith informs one's affections, and how a person conceives and interacts with the world as embodied beings. Amidst the diverse stories of modern and contemporary fiction, a consistent pattern emerges: Catholic fiction portrays faith—at its most fundamental, often unconscious, level—as an act of the imagination. Faith is the way one imagines themselves, others, and creation. A person's primary faith conditions how they live in the world, regardless of the level of conscious reflection, and regardless of whether this is a "religious" faith.Acts of Faith and Imagination investigates the creative depth and vitality of the Catholic literary imagination by bringing late modern Catholic authors into dialogue with more contemporary ones. Readers will then consider well-known works, such as those by Grahame Greene, Flannery O'Connor, and Muriel Spark in the fresh light of contemporary stories by Toni Morrison, Alice McDermott, Uwem Akpan, and several others.

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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.

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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.

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