Flannery O Conner, a 1972 National Book Award winner, reminds us that none of the roles in our lives is stagnant and that wearing blinders takes away more than just a view.
Iienaiea:With an keen eye for the dark side of human nature, an amazing ear for dialogue, and a necessary sense of irony, Flannery O Conner exposes the underside of life in the rural south of the United States. The song - a short acoustic number by The Fling - is by no means the first to use the saying. But a pivotal moment in the phrase's evolution occurred when Flannery O'Connor made it the title of one of her short stories in 1953.
The second point is that high-falutin snobs are, in their own way, no better than the violent misfits of the world - maybe even worse. Yea, we are mad as they are mad, Yea, we are blind as they are blind, Yea, we are very sick and sad Who bring good news to all mankind. O'Connor's story has forever infused "a good man is hard to find" with this new meaning - not awkwardly imposed on the phrase from without, but naturally infused from within.

The last line refers to O'Connor's description of the Misfit as having a "long creased face," and re-emphasizes this notion of being "marked," damaged, and in need of restoration. One of the powers in her writing lies in her ability to make the vulnerability of one into that of many; another is her mastery of shifting control  from character to character, making the outcome uncertain. The song was a hit when it was first released, but became even more popular as a signature tune by singer Sophie Tucker.
In this context, the grandmother's usual religious platitudes fall flat, and she is propelled into a truly "holy moment," maybe the first of her life. Chesterton in one of his poems about the living Church, the community of believers in the world.
What was once a simple jazz tune about finding a decent boyfriend became - thanks to her brilliance - a commentary on the spiritual battle in the heart of humanity. At first glance, his version seems to be treading the familiar territory of the earlier jazz versions.

Sexual and racial attitudes, poverty and riches, adolescence, old age, and being thirty-four which wasn t any age at all  are only some of the issues touched on in this collection. Early covers of the song also include those by Marion Harris (1919), Bessie Smith (1928), Brenda Lee (1960), and even Ol' Blue Eyes himself. He sings about a girl who "ain't got no time now for Casanovas," meditating on "the meanness in this world" after being left by her love. Through her stories we see that what we blind ourselves to is bound to appear again and again.

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