Marilynne Robinson’s review in The New York Times Book Review:
It is the religious sensibility reflected in this journal that makes it as eloquent on the subject of creativity as it is on the subject of prayer. O’Connor’s awareness of her gifts gives her a special kind of interest in them. Having concluded one early entry by asking the Lord to help her “with this life that seems so treacherous, so disappointing,” she begins the next entry: “Dear God, tonight it is not disappointing because you have given me a story. Don’t let me ever think, dear God, that I was anything but the instrument for Your story — just like the typewriter was mine.”
Casey N. Cep writes about it for The New Yorker:
The journal reflects a single year in the life of a believer—it includes just under fifty pages of prayers from a lifetime filled with them. It is the attempt of a young writer to reconcile her worldly ambitions with her heavenly understanding. The task she set for herself, to invigorate her dulling faith, was accomplished by the deliberate, contemplative practice of praying in her own words. By refashioning the prayers she inherited and practiced every day at Mass, O’Connor was able to find new language for belief.
Paul Harvey explores it as well:
Flannery O’Connor’s prayer journals provide a beautiful glimpse into a vulnerable soul open to the rigor of life, confident that God would use trials to shape and press her into something more. Those prayers were answered through O’Connor’s life of fighting disease and practicing her craft of writing. Her strong irony did not lead her to doubt that God was with her.
The model of Flannery O’Connor challenges the prevailing ideas of modern life and challenges us to personally assess how we reconcile our own beliefs with our scholarship and use of irony. O’Connor wielded irony as an effective weapon in her writings. Her prayer journals demonstrate her ability to harness the power of irony without allowing it to define her soul. Such an approach today would be threatening to the culture of cheap irony that surrounds us.
James Parker also reflects on her use of irony and her life of prayer:
Where the Word was operational, for O’Connor, it was always disruptive: in its presence, one’s head was supposed to explode. Her short stories, especially, reengineered the Joycean epiphany, the quiet moment of transcendence, as a kind of blunt-force baptismal intervention: her characters are KO’d, dismantled, with a violence that would be absurdist, if the universe were absurd. But the universe is not absurd. “There is an interaction between man and God which to disregard is an act of insolence,” wrote the rabbi and theologian Abraham Joshua Heschel, her contemporary, in The Prophets. “Isolation is a fairy tale.” The upended moment, the breaking-in or breaking-through of a vagrant, unbiddable reality: this is the grace of God and the sign of his love.
Preaching Grace on the Square 