"The Geranium," a short
story by Flannery O'Connor, is about an
old man (Old Dudley) who has moved to New York City, at the request and
perceived duty of his daughter, "She was doing her duty. She had brothers
and sisters who were not"(6). The family is from the South and Dudley
still holds onto his Southern ideals and prejudices.
Old Dudley is a dislocated
elderly gentleman. He reflects upon his past life in the back hills of the
South along the riverbanks of Georgia and contrasts these memories with his
observations of the bustle and rush of the city. He finds himself no longer
exploring or acting as the man of the house but rather he feels he is a pest
and in the way. “The next week he had become more conscious of the daughter and
son-in-law and their boy – no place to be out of their way” (6). He believes
that his daughter feels obligated to occupy his time or create conversation
with him, but he would rather she didn't because it causes him to remember the
life he left behind. When Dudley is reflecting on the geranium, he remembers
how Lutish would have been able to make anything take root and “his throat was
drawn taut. There wasn't much he could think of to think about that didn't do
his throat that way” (3). He instead spends his time acting occupied as he
waits on the geranium that sits across the alley.
This geranium acts as a physical
representation of Old Dudley. The sad state that the flower is in offers a
parallel to Dudley's own state. “The geranium didn’t look like a flower. It
looked like the sick Grisy boy at home and it was the color of the drapes the
old ladies has in the parlor and the paper bow on it looked like the one behind
Lutish’s uniform she wore on Sundays” (9). When Dudley is struggling to ascend
the stairs he is described as having “to take it more slowly. It tired him
going up. Everything tired him, looked like” (11). Furthermore, the aging flower provides a
window to his past and is a symbol of the frailness of life. At the end of
story, when the flower has fallen six stories down one can connect the fall to
the fall of power that Dudley takes. One can also associate the number of
stories as being the same as the number of feet down one is buried.
There is a power shift from Dudley
to other characters. The new black neighbor acts as though Dudley is incapable
and in need of help this is in direct conflict with how Dudley used to be
treated by Rabie and Lutish, who treated him with respect and in a power of
control. This shift of power is first presented when Dudley is pretending to
hunt along the stairs and then sits to rest only to be helped up by the new
neighbor helps him back to his daughter’s apartment. This idea of a power shift
is made clear when Dudley is unable to make eye contact with the neighbor, “Old
Dudley shook his head, looking at the door. He hasn’t looked at the nigger yet.
All the way up the stairs, he hadn’t looked at the nigger” (13).
O'Connor chooses to tell this story
in a limited 3rd person narration. The audience is only able to see
the characters' actions. Dudley's thoughts are never directly offered, but
rather are commented upon through the narration. All inner dialogs in the story
are spoken or implied. O'Connor makes a point of personifying the verbal
communications, giving a vivid word picture; for example, the exit of Dudley's
daughter after her attempt at forcing herself to hold a conversation with her
father. "She moved out of the room, leaving an
audible sigh, to crawl over him and remind him again of that one minute--that
wasn't her fault at all--when suddenly he had wanted to go to New York to live
with her" (4). Here the reader is able to hear the action, and then watch
it as the sigh crawls over Dudley. O'Connor's writing is very concise in that
she knows the effect of each word she chooses and fills each sentence with the
emotions of the characters to facilitate the story through internal development
as well as through characters' actions. The story is not driven by the plot but
instead by the characters' journey and growth through the story.
As a reader, I had trouble accepting that Dudley would rather sit in his chair where he feels unwanted and alone, without even his ill geranium to gaze upon bring him joy, then to risk seeing the black neighbor again because he might try and help Dudley or worse touch him. I understand that Dudley's character was developed by O'Connor to hold these racial boundaries but I can't help but to wonder how the story would be different if Dudley were the black man and the neighbor white. I am interested to see this story from the reverse race perspectives. To work through his conflicting power reversals and find a place of acceptance for Dudley I continually reminded myself that this story was writing about a time where racial lines were things that one did not question or break. Because I have never had experience with racial prejudices I find them difficult to understand but open mindedness is just as important at understanding differences as it is in accepting them.
Looking at
this text with the theoretical approach of Peter Barry’s five summary points of
critical theory, “Politics is pervasive, Language is constitutive, Truth is
provisional, Meaning is contingent, and Human nature is a myth” (35). These
points have led me to believe that this text proves an example of conflicts and
contrasts. O'Connor holds the politics of segregation and racial prejudices as
being pervasive, yet she still explores how they act to isolate an old man from
other community members with whom he might be able to have the camaraderie
that he is lacking and
missing from his home in the South. Her use of language is concise and pointed
so as to portray her meaning without the need for excessive flowery phrases.
The concept of self is explored in the character of Old Dudley because of his
need to feel as though he has maintain his old identity of the southern country
man and feels lost and useless at
discovering his new self of elderly age and the city. O'Connor does not just
tell the audience what her point is, or about the situation that Old Dudley
finds himself in instead she shows the reader through her descriptive language.
Discussion Questions:
1.
How
would the story be changed if Dudley were black and the neighbor white?
2.
What
myths of human nature are present in O'Connor's story?
3.
Aside
from race, what themes are prevalent in this text?
4.
What
role does the daughter play in her father's isolation? Is she to blame? What do
her intentions count for?
5.
If
this story were to be rewritten in today's context, what would be the conflict?