Media Violence Essay - 1684 Words

Machine gun fire, explosions, and screams for help are only a few of the sounds that can be heard emanating from a child’s bedroom today, while his parents listen nervously just outside his door. Horrified, these parents shake their heads ruefully, wondering at the power of entertainment available for kids nowadays. Sometimes they even argue whether it is right for their child to have access to this sort of violence: the kind found in most video games, television shows, and movies all over the world. But honestly, does it make a difference in the child’s development as a productive member of society, and if so, can a parent really do anything about it? These are the questions that researchers of the subject hope to answer conclusively In†¦show more content†¦It is at this stage that children â€Å"Develop the attention span and cognitive ability to follow continuous plots, to make inferences about implicit content, and to recognize motivations and consequences to characters’ actions.†1 Between these ages children usually still watch cartoons but also start to watch â€Å"real life† television shows. It is at this stage that they become more tolerant of violence in the real world. Adolescence, between the ages of 12 to 17, usually is the most trying time in a person’s life. However when it comes to media violence this is not true for most teens. When watching television a teenager has high levels of abstract reasoning and thought which allows them to doubt the reality of the content, and much less likely to identify with its characters. The problem thus arises with â€Å"The small percentage of those who continue to believe in the reality of television and to identify with its violent heroes.†1 Due to the fact that adolescence is the prime time for arguing with authority figures, this makes them, the minority of teenagers, the most vulnerable to imitating some kind of television violence and crime. nbsp;nbsp;nbsp;nbsp;nbsp;The National Television Violence Study (NTVS) had analyzed 10,000 hours of television for violent content forShow MoreRelatedMedia Violence And The Media Essay864 Words   |  4 PagesExposure to the media violence may be especially problematic in late adolescence. Television and other media play a major role in adolescent socialization and identity development by providing perspectives, values, ideologies, and behavior models (Arnett G., Roberts D. et al.). The socializing role of television in particular may be ampliï ¬ ed by the large amount of time young people spend with this medium. Speciï ¬ cally, 18- to 24-year-olds spend more time watching television and movies than youngerRead MoreMedia Violence1535 Words   |  7 Pagesat looking at the potentially harmful effects of the consumption of violent media and the impact it has on psychological factors. Two psychological factors that have been researched are empathy and aggression and how violent me dia influences these two emotions. Theories that have tried explaining the pathway from the viewing of violence in media and the impact on aggression have generally focused on the role of violent media being used by consumers as observational learning and promoting the developmentRead MoreMedia Violence and Violence in Society1059 Words   |  4 Pagesprogramming contains some violence, there should be more and more violent crime after television is available† (Freedman). Many suggest the violence in media is causing violence in society but then how is it that violent crimes are actually decreasing in the United States. The violence that is occurring is actually due from the mentally ill, poor parenting, and the location of where one lives in society. Violence has actually decreased over the decades even though media has more violence than ever beforeRead MoreViolence in Mass Media594 Words   |  2 PagesViolence in Mass Media Violence is everywhere and in everything from what we see to what we hear. Today’s society has become acquainted with the violence in video games, tv shows, movies, and music since it is everywhere but many have become too attached to this violence and brought it to real life. Many assume that getting rid of this violence is essential to a more passive and peaceful society but there are more benefits to the portail of violence that society sees today. One of the key itemsRead MoreMedia, Violence, And Violence Essay1892 Words   |  8 Pageswould be the media. Media and violence are both very wide and broad concepts that have massive impacts in our society, and it is important to distinguish their relationship with each other. The types of media are things such as violent video games, films, newspapers, magazines and television. One particular type of media that is often very problematized is violent video games. Different studies have shown convincing and unconvincing correlational in regards to the media and violence, but to whomRead MoreMedia, Violence, And Violence Essay1949 Words   |  8 Pageswould be the media. Media and violence are both very wide and broad concepts that have massive impacts in our society, and it is important to distinguish their relationship with each other. The types of media are things such as violent video games, films, newspapers, magazines and television. One particular type of media that is ofte n very problematized is violent video games. Different studies have shown convincing and unconvincing correlational in regards to the media and violence, but to whomRead MoreThe Effects Of Media Violence On Behavioral Violence916 Words   |  4 PagesEffects of Media Violence on Behavioral Violence in Young Adults in America The influence of mass media has progressively increased in American society, but can the media have effects beyond mere entertainment and impartial information? American culture has become saturated with online news reports, social media, and media entertainment. Technology has become a major factor in America’s social environment. Much of the information gained from digital sources involves or portrays violence, and manyRead MoreMedia Violence And Its Effects1057 Words   |  5 Pages Media violence exposure has been investigated as a risk factor for aggression behavior for years. The impact of exposure to violence in the media the long term development and short term development of aggressive behavior has been documented. Aggression is caused by several factors, of which media violence is one. Research investigating the effects of media violence in conjunction with other predictors of aggression such as; environmental factors and dysfunction within the family household,Read MoreThe Effects Of Violence On The Media1550 Words   |  7 PagesThe effect of violence in the media is a big controversy; some say it affects are society and others say that there is not any proof of this. There are many theories on how violence in media does, and how it does not, affect our society. Many people claim watching television or even playing video games will affect children’s or young adults’ minds. Researches claim that they found no evidence of change in aggr essiveness in children or young adults while playing video games. Researchers allowed childrenRead More Media Violence Essay967 Words   |  4 PagesMedia Violence Violence is used in many ways in promos as a hook to draw viewers into the program. That is because violence is an effective promotional device. But severe permanent damage could be done to the children’s minds by such pornographic and sadistic material, in which detail is powerfully realistic. The increasing demand of comics, the wide use of the Internet, and viewing television are the main forms of media, which have caused people’s minds to perform violence. First of all

Sethu Sethunarayanan Free Essays

string(35) " training the employees and so on\." 1. Explain in detail what theories and concepts you learned in class are helpful to understand the case. The case discusses an entrepreneur named Sethu Sethunarayanan, who invented and marketed an innovative trap to help poor Irula people (an Indian tribe) catch rats more efficiently. We will write a custom essay sample on Sethu Sethunarayanan or any similar topic only for you Order Now He is the founder of the Center for Development of Disadvantaged People (CDDP) – one of a few recognized non-profit organizations in India. The case is an example how technological innovation and human capital can be used to improve the life for the poor. This rat-trap entrepreneurship was a social entrepreneurship because the inventor used the resources to cater to the needs of poor people. Prior to the innovation of the new trap, Irula villagers needed to use their mouths and their hands to catch the rats directly; their health was severely affected when touching the rats. After talking to a rat-catcher’s wife, Sethu realized that there was a problem and with the instinct of an entrepreneur, he knew that there would be an opportunity for him to solve the problem and improve the lives of Irula people. With the help of a mechanical engineer, Sethu developed a new trap to help people catch rats without contacting directly to the rats and the hot area of the trap. The values created from this innovation were a better health and a better income for rat-catchers. A concept test was implemented to fifteen rat catchers to see whether it worked. This was an important process to determine whether the entrepreneur needed to revise his innovation. After six iterations in eight months, the trap met most of the needs of the rat catchers. Sethu then applied for the grant from the World Bank to commercialize the innovation. It was a good choice of raising fund since social entrepreneurships usually do not attract numerous investors (because the aim is not for profit but for a better life of people). Sethu also planned various processes for the implementation of the project. Firstly, he identified the market which consisted of 1,500 neediest villagers and communicated the benefits of the new trap directly to this segment by visiting their villages. Secondly, Sethu created more values for customers by creating the women’s microcredit funds, which operated like loans and enabled women to afford a trap. These funds helped bring the traps to more villagers. Thirdly, he chose the right people to take care of the production. Since the young and unmarried women were selected to be the workers, the men and the boys were kept for catching the rats. Finally, he already thought of the exit strategy when the demand for the traps decreased. In such a situation, the factory would produce other steel products that were useful for Irula people. 2. What were crucial factors that determined success or failure? The success of the rat trap entrepreneurship was contributed by numerous factors. Firstly, it was due to the human capital: Irula people. Although Irula young women were illiterate, they were able to produce the traps by themselves after being instructed. Selecting these women to operate the factory was a wise strategy because it made Irula people feel proud of their tribe. These workers might also persuade and instruct their relatives and neighbors to use the traps. As a result, the customer base for the business would be enlarged. Secondly, the technology innovation was also an important factor. It was the simplicity of the trap that made it usable for Irula people, 99% of whom were illiterate. Sethu and the mechanic engineer spent eight months inventing and testing the trap before it met all the needs of the rat catchers. If the trap was more complex, Irula people could not use it and the entrepreneurship would become a failure. Thirdly, the $98,500 grant from the World Bank served as the source for Sethu to implement his business plan. The plan included many costly processes such as health checks and treatments for the beneficiaries, building factory, training employees, and production. Without the fund of the World Bank laying the foundation, Sethu might not be able to start the business. Lastly, Sethu seemed to be the first one who addressed the problem in how Irula people catch rats, so he had the first-mover advantage. In addition, it was not likely that other social entrepreneurs would come and compete with Sethu in the near future. Hence, the Irulas did not have other choices but use Sethu’s new traps if they wanted to change the way to catch rats. 3. What characteristics of the entrepreneur enabled their success? Sethu had many characteristics of an ideal social entrepreneur. Among those characteristics, the thing distinguishing him from others may be his concern for the community. Being inspired by Mahatma Gandhi – the Father of the Nation, Sethu always thought of ways to bring a better life for the poor in India. This is probably the reason why he realized the problem of the old way of catching rats of the Irulas and did not stop thinking of a solution. In addition, Sethu obtained an appropriate education and experience in doing social entrepreneurship. Sethu studied in Gandhi’s school in India, where he was instructed to use Gandhi’s method to improve lives for the poor, solve human conflicts and introduce new ideas. After graduation, he worked for an NGO to accumulate experience before establishing his own NGO in 1998. His education and experience were the foundation for his innovativeness, which contributed to the invention of the rat trap. Finally, the most vital factor leading to the success of the entrepreneurship was Sethu’s risk-taking attitude. What would happen if the trap failed when applying to a large extend even though it was successful in the concept test; or if the Irula refused to use the trap anyway? In such a situation, Sethu would lose all the costs in health checking and treatment for the rat catchers, building the factory, training the employees and so on. You read "Sethu Sethunarayanan" in category "Essay examples" More importantly, his prestige would be adversely affected since he was awarded the grant from the World Bank but failed to use it effectively. Despite all these risks, he still continued with the business because he believed in his idea and in the Irulas. 4. What were problems encountered by the entrepreneur and how did the entrepreneur deal with the problems? How did the entrepreneur overcome the problems? When implementing the project, Sethu did face some problems. Firstly, it was the resistance from the Irula people. They refused to meet Sethu and CDDP volunteers because they think Sethu and the volunteers were from some politic parties. Knowing that Irula people wanted to involve and did not like free things, Sethu triggered their interest by approaching them personally, explaining the serious health problems with the old trap and asking them whether they wanted to change their lives. The second problem was the selection of the workers for the factories. Because the men and the boys needed to catch rats while the wives and the old women were taking cooking roles in families, Sethu chose young, unmarried women to be the workers. He even transferred the ownership of the factory to these women so that they felt more motivated to control the production. The third problem was that Irula people were not be able to afford the trap at $25. CDDP solved this problem by launching the women’s microcredit collectives. In particular, a group of 12-15 women contributed money to form a fund. When a woman wanted to buy a trap but could only afford 50% payment, she received the trap and paid the rest to the microcredit fund. Such a fund made the traps become more affordable for the Irulas. Perhaps the most serious problem was that the business did not bring profit, at least in the recent future. The production cost per unit was $27 ($22 for raw materials and $5 for labor) but the selling price was only $25. To deal with this problem, Sethu used bootstrapping as the financing method for the entrepreneurship when he tried to save unnecessary costs. For example, he asked the Irulas to return the trap if they did not use it. In addition, Sethu’s son successfully negotiated with the supplier to lower the material cost (from $28 to $25) and the cost savings was then reinvested in the factory. 5. Given the knowledge and skills you acquired in class, would you have done anything differently and if yes, what? There may be some alternatives to deal with the mentioned problems. Firstly, we can use the power of the influential group to persuade the Irulas to use the trap. By identifying some influential people, for example the tribal chief, in a village and convincing them to use the new trap, we can spread the benefits of the new trap to other villagers faster. It is because the Irula people still live with tribe culture, they will likely to follow what the tribal chief does. Secondly, instead of selling the traps to the Irulas people, we can employ them as our employees and pay them salaries. The salaries will have one fixed portion and one variable portion based on the number of rats a person can catch. We will receive money from the farm owners and distribute to the catchers. By employing the Irulas as our employees, we solve the problem that some Irula people wish to use but do not afford the new trap. What is more, when putting them in a company and considering them as our employees, we also help educate them and reduce their illiteracy. 6. What would be the next steps you would take to successfully proceed? To continue the success of the entrepreneurship, firstly, we must find ways to earn money because no business can maintain forever without profit. Initially, the selling price was at $25, which was $3 lower than the production cost. We can continue working with the supplier (the steel maker company, in this case it was Tata Steel) or even change to other suppliers to further reduce the cost. On the other hand, we could provide new complementary products/services to earn profits and help offset the losses in the rat-trap product line. Notice that the new trap helped catch rat 95% efficiency and helped doubled or even tripled their incomes, the Irula people would earn more money to spend for their living expenses. For instance, we could provide maintaining services for the traps and charge a certain level of money, depending on the current economic situation of the rat catchers. Or it might also sell hand sanitizers for the Irula people to wash their hands after using the trap. When the Irulas’ income increased, these complementary products were likely to be purchased widely because the Irula people cared more about their health. In addition, we can work with the owners of the farms to increase the payoffs for Irula people. The old method of catching rats is extremely inefficient, affects the plants on the fields and causes pollution. We will approach the farmers explain to them the efficiency and the benefits of the new trap, and convince them to employ rat catchers who use the new traps. Lastly, a more efficient trap can be produced. The current new trap can only catch one rat at one time, which is very inefficient. We can apply new technology to catch many rats at one time. For example, rats are affected by certain electromagnetic waves. By putting some wave generators at the fields, the rats are hurt and will come out of their burrows. Then the Irulas might catch the rats more easily. Because the costs for such systems might be high, we will need to obtain a certain level of profits before trying the new technology. Furthermore, we can also seek funds from external sources. How to cite Sethu Sethunarayanan, Essay examples

A Good Man Is Hard To Find Essay Conclusion Example For Students

A Good Man Is Hard To Find Essay Conclusion The short story A Good Man is Hard to Find by Flannery OConnor could be viewed as a comic strip about massacre and martyrdom. What stops it from becoming a solemn story is its intensity, ambition, and unfamiliarity. OConnor blends the line between humor and terror. She introduces her audience to the horror of self-love. The grandmother is thought of by the community as agood person and appears to be so on the surface, but she is also mean and narcissistic. She forces her family to abide by her wishes; she sees them as an extension of herself; and she seizes every opportunity to get what she wants. By manipulating her grandchildren, she gets her son to go back to thehouse with the secret panel, causing them to meet The Misfit, and ultimately sealing the entire familys death. OConnor makes the trite seem sweet, the humdrum seem tragic, and the ridiculous seem righteous. The reader can no longer use their textbook ways of interpreting fiction and human behavior because OConnor is consta ntly throwing our assumptions back at us. Through out A good man is hard to find OConnor reinforces the horror of self-love through her images. She contrasts the two houses, The Tower: the restaurant owned by Red Sammy, and the plantation house. The restaurant is a broken-down place- a long dark room with a tiny place to dance. At one time Red Sammy found pleasure from the restaurant but now he is afraid to leave the door unlatched. He has given in to the meanness of the world. In contrast to the horrible Tower is the grandmothers peaceful memories of the plantation house that is filled with wonderful treasures. However, the family never reach this house because this house does not even exist on the this dirt road or even in the same state. Because of the grandmothers pride she cannot admit that she has made a mistake. Its not much farther, the grandmother said and justas she said it, a horrible thought came to her. The thought was so embarrassing that she turned red in the face and her eyes dilated and her feet jumped up. ( 144). The grandmothers pride and self-centered wish to see the house causes the Misfit to discover and murder the family. Both houses are, in effect, ruins of the spirit. It is a comic view of the family that the reader receives in the first half of the story. The comedy is in the way OConnor has very matter of factly and nonchalantly reported the characters outlandish actions and appearances. OConnor has made this even more funny by not appearing to tell it in a funny way. The grandmother is the funniest and most colorful of the characters in the story; she is pushy, annoying, and at times an endearing grandmother. OConnor makes the grandmother a target for her satire right from the beginning by exposing her absurd wardrobe and old-fashioned mannerisms. The grandmother had on a navy blue straw sailor hat with a bunch of whiteviolets on the brim and a navy blue dress with a small white dot in the print. Her collars and cuffs were white organdy trimmed with lace and at her neckline s he had pinned a purple spray of cloth violets containing a sachet. In case of an accident, anyone seeing her dead on the highway would know at once thatshewas a lady. (138)The last line becomes ironically funny because ultimately this is where the grandmother ends up- in a ditch dead. As a reader one must then question the seriousness of the author towards her characters and should the reader have a sympathetic view towards these characters when they are being presented to an audience as comical figures and an elaborate joke. If more attention is paid to the storys self-conscious technique, then the reader can adjust their sympathies in a way that would coincide with the storys style. The first words uttered in the first pages of A good man is hard to find are directed to the reader almost as much as they are directed to Bailey: Now look here, see here, read this. (137). The reader themselves are rustling the pages of the story almost simultaneously as the grandmother is shaking the newspaper at Bailey. Cleverly, OConnor has made her reader self-conscious of her printed medium and undoubtedly made the reader aware of the similarities between them and her characters. Once the reader can understand the satirical overtone of the story, the absurdities become less important. For example, the writing is monotone but has a dramatic quality to it which OConnor later uses to describe the family massacre. This mimics the newspaper the grandmother is rattling at her sons bald head. The grandmothers family will be killed by a man that views murder as a sport, he can look at a pile of bodies as nonchalantly as Bailey skimming over the weather report. The irony is absurd. This family is doomed by news stories and columnists. Nothing could be more horribly ridiculous. OConnor is re-enforcing her stylistic approach to the literature by having the children read comic books in the beginning of the short story, all the way through their fateful journey. This story, in many ways , is a verbal comic strip. It mimics that of the frames of a comic strip with small self-contained scenes. Their are no smooth transitions in the narrative but rather abrupt juxtapositions. One could almost imagine a bubble overthe characters head saying Weve had an ACCIDENT! (145). Even the names of the characters elude to comic book figures: June Star and Red Sammy. The story could even be said to read like that of a comic book and imitate its layout. For example, the sign advertising Red Sammys Restaurant. TRY RED SAMMYS FAMOUS BARBECUE. NONE LIKE FAMOUS RED SAMMYS! RED SAM! THE FAT BOY WITH THEHAPPY LAUGH. A VETERAN! RED SAMMYS YOUR MAN! (140). But then the narrative continues in a comic book like fashion describing the odd and bizarre scene asthe family pulls up to the Tower. Red Sammy was lying on the bareground outside The Tower with his head under a truck while a gray monkey about a foot high, chained to a small chinaberry tree, chattered nearby, (140). OConnors satirical ir ony is apparent in the scene with the little Negro child. While the grandmother tries to beautify this poor pant-less black child living in a shack, OConnor does not allow the reader to see the beautiful picture that the grandmother wants to paint. Oh look at the cute little pickaninny! she said pointing to a Negro childstanding in the door of a shack. Wouldnt that make a picture, now? she askedand they all turned and looked at the little Negro out of the back window. Hewaved. He didnt have any britches on, June Star said. He probably didnt have any, the grandmother explained. Little niggers in the country dont have things like we do. If I could paint that picture, she said. (139)Anthony Di Renzo, author of American Gargoyles, suggests that the grotesqueness of the passage above is also pleasing as a whole, in the delightful interaction of its mismatched parts. OConnors real achievement here is one of composition, or rather, de- composition- since she dismantles the artistic rules t hat say that something is beautiful if, and only if, it conforms to certain rigid categories of dimension, proportion, and propriety, (140).If the grandmother were to have painted this scene, she would have concentrated on the greatness of the landscape, therefore romanticizing a picture that is far from deserving of that title. OConnor, on the other hand, includes the dirty andwretched shack and the pant-less child. Of course, the effect is satirical. Thegrandmothers pretty picture is ruined when the little boy shows his bum to her. The old womens attempt to look beyond a blatant reality and make it pretty is being mocked by OConnor. The author has blended the line between the satirical and the lyrical to form a beauty that would not be considered a standard pretty picture.The same blending of the satirical and the lyrical occurs later in the story with the children playing with Red Sammys monkey: The children ran outside into the white sunlight and looked at the monkey in the lacy chinaberry tree. He was busy catching fleas on himself and biting each one carefully between his teeth as if it were a delicacy, (142). OConnor practically compares the chattering children to the chattering pet. She also subtly mocks the grandmothers concern for manners: Red Sammys monkey eats his fleas as though he were eating a gourmet meal. The white sunlight and the lacy chinaberry tree becomethe monkeys intelligence and mannerisms. OConnors writing is so clear in this passage,and her entire work for that matter, because she will not separate what pleases her from what disgusts her. In her world, lacy chinaberry trees and chattering monkeys form a single image and are perfect for one another. This helps the reader become more aware to OConnors complex cartoon martyrs. Di Renzo says in his book American Gargoyles that many critics have objections to A good man is hard to find because of OConnors elaborate comic depiction of the grandmother and her family. He goes on to say that because the family is so ludicrous, so irredeemably gauche and petty, that it would be impossible for the reader to sympathize with them, even when they are being massacred by the misfit. (141) Di Renzo later talks about the Misfit as a complicated and non-cartoon like character. OConnors comic technique disparages the victims of violence and ironicallymakes their killer, the Misfit, the most attractive character in the story. He may be a cold-blooded, homicidal maniac, but he is at least complicated and dignified. Self-conscious and articulate, the Misfit appears to be a man, not a cartoon, a creature capable of passion, reflection, and existential suffering. (Di Renzo 142)OConnor incorporates into her writing tenderness and compassion but these caring qualities are intertwined with caricature and satire to avoid superficiality and insincerity. For example, when the family is traveling through Georgia, the grandmothers ability to nurture is demonstrated but still eluding to her tri teness. The grandmother offered to hold the baby and the childrens mother passed himover the front seat to her. She set him on her knee and bounced him and told him about the things they were passing. She rolled her eyes and screwed up her mouth and stuck her leathery thin face into his smooth bland one. Occasionally he gave her a faraway smile. They passed a large cotton field with five or six graves fenced in the middle of it, like a small island. Look at the graveyard! the grandmother said, pointing it out. That was the old family burying ground. That belonged to the plantation. Wheres the plantation? John Wesley asked. Gone With the Wind, said the grandmother. Ha. Ha. (139)The contrast between the angelic baby and the old grandmother is apparent, however the feeling the reader gets here is not disgust but rather a warm and intimate feeling. Rather abruptly this gentle exchange is interrupted by the passing of the graveyard. The five or six gravestones are foreshadowing the fami lys fate with the Misfit. The emotional exchange between the baby and the grandmother is a reminder to the reader of the familys mortality. The tone of the scene is lighten by the grandmothers joking and light- heartedness. This scene marks an incredible emotional accomplishment for the family. The story never breaks its comic book format, even as the family is dragged off a few at a time to be put to death. The deaths are framed in a series of comic book squares. Irony again sets in when the only survivor is the cat, which the grandmother would not leave home by its self for fear it would brush against one of the gas burners and accidentally asphyxiate himself, (138). Even the massacre of the family is comically written. The line between tragedy and comedy has become completely blurred by the time the family has gotten into the accident. The Misfit is as much a cartoon as the grandmother. Di Renzo says that many critics complain that the grandmother and her family do not behave nob ly enough during their execution. (155) He quotes Martha Stephens in his book American Gargoyles expressing the opinion that The family isshown in death to be as ordinary and ridiculous as before, (155).Nothing changes aboutthe characters, even in death, they are seen to be flat, never losing their cartoon-like quality. For example, when Bailey is dragged off to be executed he says: Ill be back in a minute, Mamma, wait on me! (148). Baileys final words are a turning point for then family. He is expressing fear and love, not just anger anymore. The change is subtle in all of the characters but it is there. OConnor saves her most subtle writing for the grandmother.She combines every contradiction that seem to make up the grandmothers personality into one sentence. Di Renzo says that the grandmothers strategies of dissuading the Misfit include proselytism, etiquette, hysteria, and bribery: Jesus! the old lady cried. Youve got good blood! I know you wouldnt shoot a lady! I know you come from nice people! Pray! Jesus, you ought not to shoot a lady! Ill give you all the money Ive got!' (AG 156) The grandmother experiences for the first time in her life a moment of clarity. When shereaches out to touch the Misfit, this is truly an unselfish act. She knows that her fate is sealed and she too will end up dead like the rest of her family. She is waiting for the inevitable to happen. She has nothing to gain by reaching out to the Misfit, and that makes her gesture all the more amazing. She is not thinking of herself but of the pain and heart-ache that the Misfit has gone through. After the Misfit shoots the grandmother three times in the chest, the reader is able to see the Misfits eyes when he takes off his glasses they are red-rimmed and pale and defenseless looking (153); this is what provokes the grandmothers selflessness. Xerox Persuasive EssayThe point in which OConnor brings her two extremes together is at the very end with one sentence. The Misfit says She would have been a good women if it had been somebody there to shoot her every minute of her life, (153). The satirical and the saintly have completely blended together in this one sentence. Basically, the only way the grandmother could have been good and sustain that goodness was if someone were to threaten her with death daily. Di Renzo feels that the misfit is not merely being clever. He is trying to express his own mixed and semicoherent feelings. He has been affectedby the grandmother, (AG 159). There is something about the grandmother that hasmade the Misfit uncomfortable. The old womens behavior is a mystery that confronts not only the Misfit but also the readers traditional ideas about goodness. The comic book format that is used by OConnor is successful in A Good Man is Hard to Find. She has blended the line between the satirical and th e lyrical. For a reader to look at this story in any other way than a comic strip about massacre and martyrdom would do an injustice to Flannery OConnors intentional satirical writing. Works CitedDi Renzo, Anthony. American Gargoyles: Flannery OConnor and the MedievalGrotesque. Carbondale and Edwardsville: Southern Illinois UniversityPress,1993. OConnor, Flannery. Collected Works. New York: Library Classics of the UnitedStates,Inc. 1988.