Comparison of Revelation "O' Connor" and The Plague Children "Hodgen"

In ascending nightclub argon "most colored pot," then white trash, home- receiveers, "home-and-land owners, to which she and Claud belonged," and "people with a lot of money and more than bigger houses and much more land" (O'Connor 415).

Yet to declare Mrs. Turpin merely bigoted is to miss the complex nature of her self-satisfied experience, which is linked to her locating toward her farm. For above all, Mrs. Turpin sees herself as a necessary person, non however because she owns land and home but also--and crucially--because she knows her stuff. She knows cheeseparing cotton hold "if you can get the niggers to pick it" (414). She knows that diversification is the key to fortunate farming. She knows hogs are clean animals if they are raised right and should hindrance on all fours. She knows the trouble with finding nigger dish up and knows (as she thinks) how to manage the issue: "I sure am timeworn of buttering up niggers, but you got to love em if you want em to work for you" (416).

Yet the abominable nonentity Mary bedeck publicly humiliates her--and just as she has thanked Jesus that "He had non made her a nigger or white-trash or ugly!" (420). He has, however, apparently made this "respectable, heavy(a)-working, church-going woman" (427) supremely conquerable to insult. Mary Grace catches and exposes the content of her soul, and the physical attack raises a wart on her face that reflects the psycho

Delbaere-Garant, Jeanne. "Psychic Realism, Mythic Realism, Grotesque Realism: Variations on fancy Realism in Contemporary Literature in English." wizard(prenominal) Realism: Theory, History, Community. Ed. Wendy B. Faris and Lois Parkinson Zamora. Durham, N.C.: Duke U P, 1995. 249-263.

Tangherlini, Timothy R. "Ships, Fogs and Traveling Pairs: Plague story Migration in Scandinavia." Journal of American Folklore 101 (1988): 176-206.

The island farmers' attitudes are conveyed flat by the text.

All of them "middle aged or older," they alone want to live their quiet lives on their quiet sideline farms and do not want little Waterville "to be anything at all but what it is: a General Store and bet Office, a community hall, and houses you pass on your way to someplace else" (Hodgins 230). To be left alone is precisely what the plague children (as they are called) who conduct the mass mushroom invasion will not permit. Watching them trespass on his property and "tromp[] on the subject area he cleared himself with his home-made tractor . . . breaking down fences he worked hard weeks to build" (232), Dennis Macken feels much as the other farmers do. They have mold a "lifetime of sweat into working" the land (240), all to have the invaders casually disregard and indeed laugh at the fruits of their labor--even as they devour the fruits and despoil and land as they dig.

In both "Revelation" and "The Plague Children," the central characters, in extremis, temporarily lose touch with the tangible reality of their lives as farmers, and good agricultural practice demands attention to material fact, not a condition of radical contingency. Interestingly, Mrs. Turpin and Dennis are affected by characters whose own experience of reality is tenuous: Mary Grace is emotionally disturbed, and the mushroom pickers are bent on bowdleriseing their consciousness. Mrs. Turpin and Dennis utter that the stake they have in their life's work is no promise of control or peace. The cosmos can also alter co
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