Disclaimer, this is a book review from when I was in college 2017.
Flannery O’Connor’s The River is a strange, unsettling short story—characteristically rich in symbolism, stark in its moral vision, and brutal in its finality. Like much of O’Connor’s work, it leaves you with a heavy silence, the kind that hangs in the air long after the last line. And while the story is undeniably powerful in many ways, it didn’t fully land for me emotionally or thematically, which is why I’m sitting somewhere in the middle with this one.
The story follows a young boy, Harry Ashfield, who is taken to a revival meeting by his babysitter and ends up swept into a world of religious fervor and misplaced salvation. O’Connor’s recurring themes are all here—grace, faith, blindness (both literal and spiritual), and the grotesque—as well as her dark, uncompromising sense of irony. The writing, as always, is sharp and tightly controlled. Her prose can make even the most mundane details feel loaded, almost mythic in scope.
That said, The River suffers, in my opinion, from the kind of heavy-handed allegory that O’Connor sometimes falls into. The symbolic structure—baptism, water, death, rebirth—is a bit too neatly laid out, and the ending, while undeniably haunting, feels more like a moral statement than an emotional climax. Harry, as a character, is compelling, but also frustratingly passive. His confusion and longing for meaning are palpable, but it’s hard to fully invest in his journey because it’s so shaped by external forces and unresolved motivations. You’re not left with catharsis, only bleak inevitability.
O’Connor’s brilliance lies in her ability to expose the dissonance between spiritual truth and human behavior. In The River, that dissonance is clear—but it doesn’t resonate with the same emotional depth as her best stories, like Revelation or A Good Man Is Hard to Find. It feels more like an intellectual exercise than a fully embodied narrative.
Ultimately, I admire The River more than I love it. It’s a story that provokes thought, certainly, and showcases O’Connor’s talent for unsettling clarity. But it didn’t quite move me in the way I’d hoped. Powerful, yes—but a bit too cold and calculated to be truly affecting.