How are the stories interconnected?

O’Connor’s contemporary take on the Southern Gothic genre is evident in her collection of short stories.
The strong sense of place grounds each story in a rich cultural heritage that includes themes of racial prejudice, class hierarchy, the modernization of the region (Old South v. New South), and economic depression. In “A Good Man is Hard to Find,” for instance, the grandmother pines for the good old days so much that she leads her family’s road trip astray in search of an Antebellum plantation house. This reverence for the past is also reflected in “The Life You Save May be Your Own” when Lucynell’s mother delights in the prospect of promising her daughter’s hand in marriage to Shiftlet rather than allowing Lucynell—who is deaf and mute—to make this choice for herself.
In addition, O’Connor’s biggest common thread in her stories is the Catholic idea of grace. Many stories in the collection include characters who offer or are offered forgiveness regardless of their past wrongs. All sinners, including characters readers might deem “evil,” are capable of repentance and redemption in O’Connor’s literary world. In order to illustrate this concept, O’Connor often uses grotesque imagery (“Temple of the Holy Ghost,” “Good Country People”) and life-or-death situations where characters must make choices (“The River,” “A Good Man is Hard to Find”). In several stories, stereotypes and pride impede characters from accepting God’s grace (“A Late Encounter with the Enemy,” “The Displaced Person”).