There is a tendency among avid
novel readers to find a cozy corner and allow themselves the indulgence to
savor every moment as the imaginary world in the long fictive work magically
comes to life, creeping upon their senses like a gentle breeze. One of the most
notable features of any novel that would satisfy such a tendency is its
description of women, who are often seductively beautiful and their mysterious presence
in the novel is associated in the readers’ mind with an aura of gracefulness
accompanied by a trail of sweet aroma which most likely oozes from their long
pitch-black or golden hair and supple, sensuous bodies. Wise Blood, however, is
not your typical novel. From the moment we board a train with Hazel Motes and
observe the ostensibly unnecessary contempt with which he treats a woman (Mrs.
Wally Bee Hitchcock), who, though rather intrusive, seems to be of a motherly
disposition, a disposition that ought to extract some tenderness out of any
orphaned young man away from home but fails to do so, we realize that we can
hardly expect an atmosphere of mild pleasure and instructive sorrow in the
violently rough journey which leads to a full nothingness at the end of the novel,
where the body, male or female, is no longer an impediment for being redeemed
by Jesus. Accordingly, O’Conner’s portrayal of women in Wise Blood is marked by
a vehemence of tone and a ferocious impatience for worldly temptations
connected with the commercialized female body. She is after blood and she does
not hesitate to sacrifice elements of popular novel, including the attraction
of female bodies, to achieve her transcendent ideals.
داستان دنباله دار: فابیولیست ۴ - قسمت پایانی
زن با نوشتن از خود به لحظه انقلاب و آزادی می رسد (۱۲) وقتی می نویسد تاریخ را در هم می شکند، تاریخی که همواره او را سرکوب کرده است...
