For all the grotesque humor of her stories and novels, Flannery O’Connor took the writing of fiction as seriously as it is possible to do. Even at the age of 18, she saw the task as a divine calling, writing in her journal, “I feel that God has made my life empty in this respect so that I may fill it some wonderful way.” Intense self-doubt also made her fear that she would fail in her mission, a too-familiar feeling for every creative writer: “I may grovel the rest of my life in a stew of effort, of misguided hope.”

In acquiring the needed confidence to push through fear, O’Connor also acquired a theory of fiction—a serious and demanding one that left no room for frivolous entertainments or propaganda. “I know well enough that very few people who are interested in writing are interested in writing well,” she told a student audience in her lecture “The Nature and Aim of Fiction” (collected in Mystery and Manners).

Writing well, for O’Connor, meant pursuing “the habit of art,” a phrase she took from French Catholic philosopher Jacques Maritain. While she admits that Art is “a word that immediately scares people off, as being a little too grand,” her definition is simple enough, if vague: “something that is valuable in itself and that works in itself.” When she gets into the meat of these ideas, we see why she could be so harsh a critic of fellow writers in her many letters to friends and acquaintances.

In one particularly harsh assessment in a May, 1960 letter to playwright Maryat Lee, O’Connor wrote, “I hope you don’t have friends who recommend Ayn Rand to you. The fiction of Ayn Rand is as low as you can get re fiction. I hope you picked it up off the floor of the subway and threw it in the nearest garbage pail. She makes Mickey Spillane look like Dostoevsky.”

The reference to Spillane is interesting. Rand corresponded with the crime novelist and admired his work, seeming “greatly pleased,” William Thomas writes at the Randian Atlas Society, by his “sense of life,” if not “enamored of his skill in conveying it.” Surely Rand’s hyper-individualistic, purely materialist “sense of life” repelled O’Connor, but her objections to Rand's fiction would have certainly—if not primarily—extended to the writing itself.

In her lecture, O’Connor elaborates on her definition of the art of fiction by telling her audience what it is not:

I find that most people know what a story is until they sit down to write one. Then they find themselves writing a sketch with an essay woven through it, or an essay with a sketch woven through it, or an editorial with a character in it, or a case history with a moral, or some other mongrel thing.

Rand’s fiction presents readers with speechifying heroes who serve as one-dimensional exponents of Objectivism, and cardboard villains acting as straw caricatures of the democratic or socialist philosophies she loathed. Books like Atlas Shrugged embody all the marks of amateurism, according to O’Connor, of writers who “are conscious of problems, not of people, of questions and issues, not of the texture of existence, of case histories and everything that has a sociological smack, instead of with all those concrete details of life that make actual the mystery of our position on earth.”

For O’Connor, the habit of art requires keen observation of complex human behavior, compassion for human failings, a genuine openness to paradox and the unknown, and a preference for idiosyncratic specificity over grand abstractions and stereotypes—qualities Rand simply did not possess. Perhaps most importantly, however, as O'Connor told her student audience in “The Nature and Aim of Fiction,” the writer’s “moral sense must coincide with his dramatic sense.” One imagines O’Connor felt that Rand's moral sense could only produce profoundly impoverished drama.

Read more of O'Connor's letters, full of her informal literary criticism, in the collection The Habit of Being: The Letters of Flannery O'Connor.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness