what do you make of the a g00d man is hard to find title?

Brusk story by Flannery O'Connor

A Proficient Man Is Difficult to Detect
past Flannery O'Connor
The piece of work's title was taken from the 1918 Eddie Green song that includes the lines "A good man is hard to notice / You ever go the other kind".[1] (1918 sheet music cover.)
Country	United states of america
Language	English language
Genre(s)	Southern Gothic, short story, dialogue
Published in	Modern Writing I
Publication type	Brusque story collection
Publisher	Avon
Media blazon	Impress
Publication date	1953

"A Good Man Is Hard to Find" is a Southern gothic short story first published in 1953 past author Flannery O'Connor who, in her own words, described it as "the story of a family of half dozen which, on its way driving to Florida [from Georgia], gets wiped out past an escaped convict who calls himself the Misfit"."^[two]

The story remains the most anthologized and most well-known of all of O'Connor'due south works^[three] even with its enigmatic decision that involves a dialogue between a serial killer, tormented by the suffering of mankind and himself for what he considers the injustices in both secular and divine laws, and a superficial, mischievous, morally-flawed, Methodist grandmother dressed as an old fashioned Southern lady. She stumbles into a mode that makes The Misfit doubt what he is doing just for the moment before he murders her, and in pity for his torments, she demonstrates in an act of mercy that all skillful Christian mothers, like God, love all God'south children no matter what the children practise.

The story is a black comedy in which a serial killer is the merely character that understands why a good human is difficult to find. As a moral tale with reference to the story's title that is the Eddie Greenish song, the work addresses infidelity in wedlock and religious faith and the power of revival. It is likewise a moral tale virtually folly — an avoidable car accident and a cocky-righteous killer, a former undertaker that preaches betrayment, who demonstrates he knows more "A Time for Everything", the poem that begins the Book of Ecclesiastes affiliate 3, by alluding to the looming decease Qoheleth said comes to all in Ecclesiastes 12:1 — "evil days come up and the years draw near of which you will say, 'I have no pleasure in them'". The weary mass murderer seems to accept plenty sense to know he will someday be caught by the Authorities and be executed — an "eye for an eye" that seems to fit, rather than misfit, his own notion of but punishment. The human being familiar with Ecclesiastes would know that his rebellion is folly being realized as prophecy written as an aphorism by its author, who claimed to be King Solomon, in Ecclesiastes 10:8:

"He who digs a pit will fall into it, and a serpent volition bite him who breaks through a wall."

Publication history [edit]

"A Skilful Man Is Hard to Find" was outset published in 1953 in the multi-author short story album Modern Writing I published past Avon.^{[4] [5]} The story appears in her own collection of brusque stories A Good Human Is Hard to Find and Other Stories published in 1955 by Harcourt.^[6] In 1960, it was included in the album The House of Fiction, published past Charles Scribner's Sons, and later included in numerous other curt story collections.

Plot [edit]

Bailey, the caput of an Atlanta household, prepares to accept his family unit on a vacation to Florida. His mother (known only as "the grandmother" throughout the story) warns Bailey that a convict called The Misfit has escaped from prison house and is heading towards Florida. She suggests a trip to East Tennessee instead just Bailey declines. Her grandson John Wesley comments that his grandmother could stay in Atlanta, her granddaughter June Star rudely says "she wouldn't stay at home to exist queen for a day," and her baby grandchild is tended to by her daughter-in-law. When they go out the next morning, the grandmother occupies the backseat of the family's machine, dressed finely and then that if she is killed in an blow, she tin can be recognized as a Southern lady. She hides the family's cat, Pitty Sing, in a basket between her legs, not wanting to leave it home solitary.

While traveling, the grandmother points out scenery in Georgia. Her grandchildren answer by berating both Georgia and Tennessee, and the grandmother reminds them that in her day, "children were more respectful of their native states and their parents and everything else." She delights in seeing a naked black child waving from a shack, finding the image quaint. The grandmother afterwards sees a graveyard which was once function of a plantation that she jokingly says has "Gone with the Current of air". She tells her three grandchildren that when she was a "maiden lady" she had been courted past a man who, as an early owner of Coca Cola stock, died wealthy.

The family unit stops for barbeque at The Tower Restaurant after passing a serial of billboards proclaiming the restaurant and food as "famous" and the proprietor, Red Sammy Butts, as "the fat male child with the happy laugh." On arrival, the family unit finds that the identify is somewhat rundown. Red Sammy charms the grandmother but is rather scornful of his own wife, a mistrustful waitress who worries almost existence robbed by The Misfit. The grandmother promptly declares Blood-red Sammy "a good human being," and the two reminisce near better times while lamenting the decay of values.

Later that afternoon, the family unit continues their trip before the grandmother falsely remembers a plantation being in the expanse, only realizing her mistake later on convincing Bailey pass up a rocky dirt route surrounded by wilderness. The pang of this mistake causes her to disturb the cat, who leaps onto Bailey, who loses control of the car, and the auto flips into a ditch. No i is seriously injure simply the accident is witnessed by a party of three strange men, ane of whom the grandmother recognizes as The Misfit. She announces this and The Misfit has his men lead Bailey, the children'south mother, and the children off into the woods where they are shot and killed. The grandmother confusedly pleads for her life, beseeching The Misfit to find solace by praying simply The Misfit blames Jesus Christ for his troubles and the dismal state of the earth.

Finally upon seeing The Misfit'south despair, the grandmother reaches out, takes him by the shoulder, and gently tells him that he is "one of her babies." But then, The Misfit shoots her to decease. When his companions return, The Misfit says that the grandmother "would've been a good woman if information technology were someone at that place to shoot her every infinitesimal of her life," and seems to conclude that violence affords "no real pleasure in life."

Characters [edit]

• Bailey'south mother is the protagonist of the story, a woman who seems content with a comfy life surrounded past her son and grandchildren. The narrator refers to her as "grandmother" when at least one grandchild is alive, "old lady" when her grandchildren are expressionless, and a "young lady" as she recalls a plantation home nearly her native Tennessee domicile. The central conflict of the story is between the grandmother and The Misfit, her killer, in a dialogue that occurs while Bailey, his wife and children are shot in the forest not far from the two characters.
• Bailey'southward nameless married woman and nameless infant: Bailey's wife is a nigh speechless woman described as a "young woman" having a face that was "equally broad and innocent as a cabbage". She is not identified past name, only as "the children's mother". In the story's narration, she is solely occupied with caring for her baby that suggests it is her showtime one. Like her hubby, she does little to field of study her children. In the automobile blow, she is thrown out of the auto and breaks her shoulder.
• John Wesley and June Star: Bailey's older children are John Wesley and June Star, aged eight and vii, respectively, ii brats — rowdy and disrespectful. Their cocky-centeredness is so extreme that they are never enlightened that their mother, thrown out of the moving car during the accident, has a broken shoulder. They have learned to dispense their parents by screaming and yelling at them, behavior the grandmother has learned to initiate.
• Carmine Sammy Butts, who enters into a dialogue with the grandmother that Evans characterizes as a "festival of clichés" where "[due east]very single one of his opening phrases is a commonplace platitude" that does, however, reveal his character as competitive, suspicious of others, and self-justifying. ^[7] The dialogue is between a ii people who find each other likeable considering they enjoy lament together.
• The wife of the fat possessor of The Tower is a "a tall burnt-brown woman with hair and optics lighter than her peel" who works as a waitress. Cherry Sammy directs his wife as if she was whatever ordinary waitress, preventing her to enter into sociable conversation with Baily's family.
• Hiram and Bobby Lee: Hiram and Bobby Lee are convicts who escaped prison house with The Misfit. The 2 kill Bailey, his married woman and children, and on the murder of the grandmother past The Misfit, Bobby Lee suggests to The Misfit that killing her was enjoyable.

Themes [edit]

Anguish, mercy, charity, divine grace, and imitation of God [edit]

[edit]

In a 1960 response to a letter from novelist John Hawkes, Flannery O'Connor explained the significance of divine grace in Catholic theology in contrast to Protestant theology, and in doing so, explained the offers of grace made to the grandmother and The Misfit at the climax of the story immediately afterward the already agitated Misfit explained his anguish acquired by not existence able to witness whether or not Jesus is savior and that it was past organized religion alone that the decided Jesus is not savior:

"Cut yourself off from Grace is a very decided matter, required a real choice, act of will, and affecting the very ground of the soul. The Misfit is touched by the Grace that comes through the former lady when she recognizes him as her child, as she has been touched by the Grace that comes through him in his particular suffering."^[eight]

Both the superficial grandmother and the heretic The Misfit have cut themselves off from opportunities to receive divine grace prior to the story. The deprivation of religion and church building life from a Southern lady's social life is devastating and the absence of faith in the story's narrative by an writer concerned with spiritual life suggests that the grandmother lost an argument with Bailey about church-going and participation in a church building community that the grandmother resented and regarded as a deprivation. At the story's climax, The Misfit, while wearing Bailey'south shirt, is in anguish only after he explains the suffering he has witnessed and felt in his own life, alludes to his judgment that much of the suffering, including death for original sin, is undeserved and, to the extent it is undeserved is a course of oppression that he tin end by killing the victims of oppression. The Misfit's anguish "clears for an instant" the grandmother's head, equally she recalls the argument she had and lost with Bailey about the relevance of God and church-going, and takes the opportunity to effort to win the same argument with her killer by imitating God himself (e.thou., "God is love, and whoever abides in dear abides in God, and God abides in him." in 1 John 4:16) in an human action of mercy that also demonstrates Christian charity (e.k., the love for others as one loves God): "Why you're one of my babies. You're one of my own children." The point is emphasized by the grandmother's posture in expiry is a likeness of the dead body of Jesus on the cross.

As for The Misfit, O'Connor explained that the opportunity of grace is offered to him by the grandmother'southward touching him, an act she calls a gesture:

"Her [the grandmother's] caput clears for an instant and she realizes, even in her limited mode, that she is responsible for the man before her and joined to him by ties of kinship which take their roots deep in the mystery she has been merely prattling well-nigh and so far. And at this point, she does the right matter, she makes the correct gesture."^[9]

O'Connor'south reference to the "mystery" the grandmother prattled about is the incarnation of Jesus as savior as the means for people to be absolved for their sins in society to be eternally joined with God, and in that context, "kinship" refers to all people in that they are descendants of Adam and Eve who committed the sin that would forever separate humans from God and brought expiry upon humanity equally a punishment for the original sin. O'Connor farther clarified that the grandmother's actions were selfless: "... the grandmother is non in the least concerned with God but reaches out to affect the Misfit".^[10]

In her letter to John Hawkes, O'Connor explained that The Misfit did non accept the offer of grace in her story but that the grandmother's gesture did change him:

"His [The Misfit's] shooting her is a recoil, a horror at her humanness, but after he has done it and cleaned his glasses, the Grace has worked in him and he pronounces his judgment: she would have been a adept adult female if he had been there every moment of her life."^[8]

Criticism [edit]

The grandmother'south gesture toward The Misfit has been criticized equally an unreasonable action by a character often perceived as intellectually, or morally, or spiritually incapable of doing information technology. For case, Stephen C. Bandy wrote in 1996, thirty-two years later on the author's death:

"... if 1 reads the story without prejudice, in that location would seem to be little here to inspire hope for redemption of any of its characters. No wishful search for evidence of grace or for epiphanies of salvation, past author or reader, can soften the harsh truth of 'A Good Man Is Hard To Notice.' Its message is greatly pessimistic and in fact destructive to the doctrines of grace and charity, despite heroic efforts to disguise that fact."^[xi]

In addition, some critics like James Mellard resent O'Connor'southward efforts to explain the story to backup the narrative they expected to underlie the story'south climax:

"O'Connor only tells her readers — either through narrative interventions or be extra-textual exhortations — how they are to interpret her work."^[12]

O'Connor'southward rebuttal was that such readers and critics have underestimated the grandmother. Equally indicated in her letters, lectures, readings, and essays, O'Connor felt compelled to explain the story and the gesture years after publication, for case, as "Reasonable Use of the Unreasonable", the title of her notes for a 1962 reading at Hollins College in Virginia.^[xiii] O'Connor believed one understandable reason for the criticism is that the concept of grace she used is unique to a Roman Catholic perspective, equally she clarified the point to John Hawkes in a alphabetic character:

"In the Protestant view, I think Grace and nature don't accept much to do with each other. The old lady, because of her hypocrisy and humanness and banality couldn't exist a medium for Grace. In the sense that I see things the other way, I'm a Catholic writer."^[14]

Past mentioning "nature", O'Connor refers to her anagogical vision, which she addresses the grandmother's spiritual life which has been enlivened by the threat to her life. She wrote in her reading notes:

"The action or gesture I'chiliad talking almost would accept to exist on the anagogical level, that is, the level which has to do with the Divine life and our participation in it. It would exist a gesture that transcended whatsoever smashing allegory that might have been intended or whatever pat moral categories a reader could make. It would be a gesture which somehow made contact with mystery."^[15]

Robert C. Evans observed:

"As its very title already suggests, 'A Good Homo Is Difficult to Observe' (similar much of O'Connor's fiction) is very much concerned with satirizing stale and clichéd uses of linguistic communication. The characters who utilise clichés ... are all characters who tend to speak (and, more importantly, to remember) in highly conventional and unoriginal ways. When O'Connor's characters mouth clichés ... that is a sign that they have ceased to call up for themselves, if in fact they e'er possessed any original thoughts to begin with."^[16]

Compared to the superficiality of the family that engages itself in comic books, television quiz shows (e.chiliad., "Queen for a Day"), movies, and the paper's sport section, an original thought, oftentimes a dark truth like Scarlet Sammy Barrel'due south wife maxim nobody on world tin be trusted "And I don't count nobody out of that, no nobody" looking at her husband, has both comic and dramatic effects on the reader. Evans noted, "A major purpose of the story will be to shake most of the characters, ... too as O'Connor's readers, out of [a] kind of smug complacency."^[17]

Response [edit]

In her essay, "The Nature and Aim of Fiction", O'Conner described her goals for writing fiction. The essay is useful for helping readers empathise how to approach and translate her works. One of her major goals in writing was to construct elements of her fiction then they can be interpreted anagogically — her "anagogical vision":

"The kind of vision the fiction author needs to have, or to develop, in order to increase the significant of his story is called anagogical vision, and that is the kind of vision that is able to see dissimilar levels of reality in one image or one situation. The medieval commentators on Scripture found three kinds of meaning in the literal level of the sacred text: i they called allegorical, in which one fact pointed to another; one they chosen tropological, or moral, which had to practise with what should be done; and one they chosen anagogical, which had to do with the Divine life and our participation in information technology. Although this was a method applied to exegesis, it was also an attitude toward all of creation, and a style of reading nature... ."^[18]

Peter G. Chandler, Jr., summarized O'Connor's vision for readers — that all of the interpretations of her work are rooted in its literal sense: "...[F]or O'Connor, the literal in some sense already "contains" the figurative. Far from being a level of meaning superadded to the literal sense, the 'spiritual sense' is already inherent in any endeavour to render something artistically. 'A good story,' she wrote, 'is literal in the same sense a child'southward drawing is literal.'"^[19] In other words, O'Connor understood that her anagogical vision is a challenge to readers because they must not merely empathize the literal story only also acquaintance the literal with their noesis or experience. Consequently, "A Good Homo Is Hard to Find" is enriched beyond its literal narrative when the literal can exist related to biblical, Christian, Roman Catholic, Protestant, Southern society and its history, and other subjects.

The literal sense of the story'southward title and The Misfit's complaint, "If He [Jesus] did what He said, then it'due south zippo for y'all to exercise only throw away everything and follow Him" both appear in a more effective context in the New Testament story of Jesus and the Rich Immature Man advise searches for the deeper meanings of "A Skilful Man Is Hard to Discover" might beginning at that place. At readings O'Connor offered suggestions about her intent at the literal level, such as for a 1963 reading at a Southern college with a highly respected creative writing program — Hollins College in Roanoke, Virginia:

"I don't take any pretensions to being an Aeschylus or Sophocles and providing y'all in this story with a cathartic experience out of your mythic background, though this story I'm going to read certainly calls upwardly a skilful bargain of the South's mythic background, and it should elicit from you lot a degree of pity and terror, even though its way of being serious is a comic one. I do call back, though, that like the Greeks you should know what is going to happen in this story and so that any element of suspense in it will be transferred from its surface to its interior."^[20]

Epigraph [edit]

An case of the upshot of O'Connor's anagogical vision is an epigraph she wrote for "A Good Human Is Difficult to Find". The epigraph was published only for the paperback Three by Flannery O'Connor that also included her two novels Wise Blood and The Trigger-happy Bear It Abroad, that first appeared in September 1964,^[21] a month after her death, and eleven years after the short story was first published. The epigraph was probably included in compliance with her wishes upon her decease.^[22] The epigraph reads:

"'The dragon is by the side of the route, watching those who pass. Beware lest he devour you. We become to the father of souls, but information technology is necessary to pass past the dragon.' — St. Cyril of Jerusalem."^[23]

O'Connor used the epigraph to close her essay "The Fiction Author and His State" that was published in 1957 in the book The Living Novel: A Symposium, a book of statements by novelists on their art,^[24] where she followed the epigraph with the closing sentence: "No thing what form the dragon may accept, information technology is of this mysterious passage past him, or his jaws, that stories of any depth will always be concerned to tell, and this existence the case, information technology requires considerable courage at any time, in whatsoever place, not to turn away from the story teller."^[25] The argument indicates how O'Connor wanted her works read and for the reader to look for the dragon in her short story drove A Good Man Is Hard to Find and Other Stories that includes at least nine of its ten stories about original sin.^[26]

Adaptations [edit]

A film adaptation of the short story "A Practiced Homo Is Hard to Observe", entitled Black Hearts Bleed Red, was fabricated in 1992 by New York filmmaker Jeri Cain Rossi. The picture show stars noted New York artist Joe Coleman,^[27] but according to reviewers the film does not draw the story well.^{[ citation needed ]}

The American folk musician Sufjan Stevens adjusted the story into a song going by the same title. It appears on his 2004 album Seven Swans. The song is written in the get-go-person from the betoken of view of The Misfit.

In May 2017, Deadline Hollywood reported that director John McNaughton would make a feature motion-picture show adaptation of the story starring Michael Rooker, from a screenplay by Benedict Fitzgerald.^[28]

In June 2021, death metal ring Counterattack released a song on their debut album World Erased titled "Good Man" based off of the short story

Run across also [edit]

• Anagoge
• Charity (virtue)
• Divine grace
• Ecclesiastes
• Jesus and the Rich Young Human being
• Methodism
• Particular Judgment
• Sheol
• Southern gothic literature

References [edit]

1. ^ Curley, Edwin (November 1991). "A Good Man Is Hard to Find". Proceedings and Addresses of the American Philosophical Association. 65 (3): 29–thirty. JSTOR 3130141.
2. ^ O'Connor, Flannery (2012) [1963]. "On Her Own Work". In Fitzgerald, Sally; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
3. ^ Frank, Connie Ann (2008). Disquisitional Companion to Flannery O'Connor. Facts on File. p. 76. ISBN978-0-8160-6417-5.
4. ^ Frank, Connie Ann (2008). Critical Companion to Flannery O'Connor. Facts on File. p. 76. ISBN978-0-8160-6417-five.
5. ^ O'Connor, Flannery (1971). "Notes". The Consummate Stories. Farrar, Straus and Giroux.
6. ^ Frank, Connie Ann (2008). Critical Companion to Flannery O'Connor. Facts on File. p. 74. ISBN978-0-8160-6417-v.
7. ^ Evans 2010, p. 141.
8. ^ ^{a b} O'Connor 1979, p. 389.
9. ^ O'Connor, Flannery (2012) [1963]. "On Her Own Work". In Fitzgerald, Emerge; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
10. ^ O'Connor 1979, p. 379.
11. ^ Bandy, Stephen (1996), '1 of my Babies': The Misfit and the Grandmother, Studies in Short Fiction, pp. 107–117, archived from the original on January 4, 2012
12. ^ Bandy, Stephen (1996), 'One of my Babies': The Misfit and the Grandmother, Studies in Curt Fiction, pp. 107–117, archived from the original on January 4, 2012
13. ^ O'Connor, Flannery (2012) [1963]. "On Her Ain Piece of work". In Fitzgerald, Sally; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
14. ^ O'Connor 1979, pp. 389–390.
15. ^ O'Connor, Flannery (2012) [1963]. "On Her Ain Piece of work". In Fitzgerald, Sally; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
16. ^ Evans 2010, p. 140.
17. ^ Evans 2010, p. 142.
18. ^ O'Connor, Flannery (2012) [limerick date unknown]. "The Nature and Aim of Fiction". In Fitzgerald, Sally; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
19. ^ Candler, Peter G. "The Anagogical Imagination of Flannery O'Connor". Christianity and Literature. The Johns Hopkins University Press. 60 (Autumn 2010): xv. JSTOR 44315148.
20. ^ O'Connor, Flannery (2012) [1963]. "On Her Ain Work". In Fitzgerald, Emerge; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
21. ^ "Three by Flannery O'Connor". Google Books . Retrieved 2021-08-28 .
22. ^ Michaels, J. Ramsey (2013). "Her Wayward Readers". Passing by the Dragon: The Biblical Tales of Flannery O'Connor. Cascade Books. ISBN978-ane-62032-223-nine.
23. ^ Michaels, J. Ramsey (2013). "Her Wayward Readers". Passing by the Dragon: The Biblical Tales of Flannery O'Connor. Cascade Books. ISBN978-1-62032-223-9.
24. ^ Fitzgerald, Sally; Fitzgerald, Robert, eds. (2012). "Notes". Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
25. ^ Fitzgerald, Sally; Fitzgerald, Robert, eds. (2012) [1957]. "The Fiction Writer and His Land"". Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.
26. ^ Michaels, J. Ramsey (2013). "Her Wayward Readers". Passing by the Dragon: The Biblical Tales of Flannery O'Connor. Cascade Books. ISBN978-1-62032-223-nine.
27. ^ "UbuWeb Film & Video: Jeri Cain Rossi". Ubu.com . Retrieved 2016-08-27 .
28. ^ Northward'Duka, Amanda. "Michael Rooker Reteams With His 'Henry' Director On 'A Good Human Is Hard To Find'". Borderline Hollywood . Retrieved 22 January 2019.

Works cited [edit]

"Ecclesiastes". The Holy Bible. English language Standard Version.

Bandy, Stephen (1996), '1 of my Babies': The Misfit and the Grandmother, Studies in Short Fiction, pp. 107–117, archived from the original on January 4, 2012

Bartholomew, Craig (May 1999). "Qoheleth in the Canon?! Current Trends in the Interpretation of Ecclesiastes". Themelios. 24 (3): 4–xx.

Evans, Robert C. (2010). "Clichés, Superficial Story-Telling, and the Nighttime Humour of Flannery O'Connor's 'A Skilful Man Is Hard to Find'". In Bloom, Harold; Hobby, Blake (eds.). Blossom's Literary Themes: Dark Humour. Infobase Publishing. pp. 139–148. ISBN9781438131023.

Giannone, Richard (2008). "Making It in Darkness". Flannery O'Connor Review. The Lath of Regents of the Georgia College and State University System. 6: 103–118. JSTOR 26671141.

Green, Eddie (1918). "A Good Homo Is Hard to Find" (PDF). Wikimedia Eatables. Pace Handy Music Company.

O'Connor, Flannery (2012). Fitzgerald, Sally; Fitzgerald, Robert (eds.). Mystery and Manners: Occasional Prose. Farrar, Straus and Giroux. ISBN9781466829046.

O'Connor, Flannery (1979). Fitzgerald, Sally (ed.). The Habit of Being: Letters of Flannery O'Connor. Farrar, Straus and Giroux. ISBN9780374521042.

External links [edit]

• Online text of the short story
• Flannery O'Connor reading "A Adept Man Is Hard to Find"

creightonmanter1986.blogspot.com

Source: https://en.wikipedia.org/wiki/A_Good_Man_Is_Hard_to_Find_(short_story)

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