Book Review: "Flannery O'Connor's 'Why Do the Heathen Rage?'"

Last Friday I watched the repeat of The World Over on EWTN (the 1/26/2024 episode; about the 41:26 mark) and saw Raymond Arroyo interview Jessica Hooten Wilson discussing this book and her efforts to understand what Flannery O'Connor was trying to write about in what would have been her third novel, Why Do the Heathen Rage?

So after attending Adoration and Mass at the Newman Center (St. Paul's University Parish) at Wichita State University, I went to Eighth Day Books to purchase one of the copies stacked on the table on the first floor. The book is published by Brazos Press of the Baker Publishing Group and the full title is: Flannery O'Connor's Why Do the Heathen Rage? A Behind-the-Scenes Look at a Work in Progress. The publisher provides the Table of Contents on their website: 

Introduction

Why Do the Heathen Rage? The Porch Scene
Koinonia
Sequel to "The Enduring Chill"
Why Do the Heathen Rage? Walter's Last Will and Testament
Why Do the Heathen Rage? Baptism
Why Do the Heathen Rage? Walter/Asbury's Childhood
Why Do the Heathen Rage? Walter Recites the Ten Commandments
Epistolary Blackface
Why Do the Heathen Rage? The Black Double
Maryat Lee and Oona Gibbs
Documenting "Real" Life
Why Do the Heathen Rage? Photo Journal
The Revolting Conversion
Why Do the Heathen Rage? Do Not Come, Oona Gibbs!
Introducing the Girl
Why Do the Heathen Rage? The Girl
Who Is Oona Gibbs? Mother, Daughter, Aunt, Cousin, or Lover
Why Do the Heathen Rage? Walter's Aunt
Burning Crosses
The Violent Bear It Away: The Burnt Cross

Why Do the Heathen Rage? 
One Potential Ending

The Other Half of the Story
Afterword by Steve Prince

So when the content follows the bold type Why Do the Heathen Rage?, that's from the drafts of O'Connor's work, scenes and fragments of the novel she wanted to write. Then Jessica Hooten Wilson (JHW) provides background and offers analysis. In "Why Do the Heathen Rage? One Potential Ending", JHW provides her own version of the main character's conversion, based on a scene from O'Connor's The Violent Bear it Away.

Just a reminder that I have read another of JHW's books, Giving the Devil His Due: Demonic Authority in the Fiction of Flannery O’Connor and Fyodor Dostoevsky, which I reviewed here. She has visited Wichita twice to speak at Eighth Day Institute events, once at the Inklings Festival and once at a Symposium. She is now the Fletcher Jones Endowed Chair at Pepperdine University.

This is a very personal book: there's quite a bit of JHW in the book: her first interest in Flannery O'Connor because she was encouraged to take her as a model for writing fiction as a Christian; her participation in the 2009 International Flannery O'Connor Conference in Rome; her visits to Milledgeville and the Georgia College & State University Special Collections; her familiarity with O'Connor's short stories; her efforts to understand O'Connor's last years and struggle to create this third novel. This is what she works to communicate to the reader. This book might be read as a follow-up to her defense of Flannery O'Connor after Paul Elie not only accused O'Connor of Racism, but even asked “How Racist Was Flannery O’Connor?” in a 2020 New Yorker essay. JHW even repeats her analysis of the short story "Revelation" in that First Things article on pages 172 through 174 in this book. 

The book is sympathetic to O'Connor's struggles and takes care to place her in her historical and cultural context: the post-Gone With the Wind South at the beginning of the Civil Rights Movement. I use that historical marker because Margaret Mitchell's sentimental novel and David O. Selznick's even more sentimental movie of the novel (JHW highlights the movie's opening titles: "land of Cavalier and Cotton Fields" . . . "pretty world [where] Gallantry took its last bow" . . . "a Civilization gone with the wind") repulsed O'Connor: she did not want to write another book like that! See pages 157 through 161. Her oeuvre, which I think we should always grant to the writer, is to explore the eternal spiritual truths that infuse temporal, human, and fallen issues and actions.

I think this book succeeds in its purpose: to explore an artist's efforts to try something new (JHW emphasizes that O'Connor wanted to depict a different kind of revelation, of conversion and the change that comes over a person's life because of that conversion, in Why Do the Heathen Rage?) and even the issues of her own milieu and life (including a fatal illness) that hampered those efforts. As I read the book I thought of Arthur Hugh Clough's poem, usually titled "The Struggle":

Say not the struggle nought availeth,

     The labour and the wounds are vain,

The enemy faints not, nor faileth,

     And as things have been they remain.

If hopes were dupes, fears may be liars;

     It may be, in yon smoke concealed,

Your comrades chase e'en now the fliers,

     And, but for you, possess the field.

For while the tired waves, vainly breaking

     Seem here no painful inch to gain,

Far back through creeks and inlets making,

     Comes silent, flooding in, the main.

And not by eastern windows only,

     When daylight comes, comes in the light,

In front the sun climbs slow, how slowly,

     But westward, look, the land is bright.