In the greatest fiction, the writer's moral sense coincides with his dramatic sense, and I see no way for it to do this unless his moral judgment is part of the very act of seeing, and he is free to use it. I have heard it said that belief in Christian dogma is a hindrance to the writer, but I myself have found nothing further from the truth. Actually, it frees the storyteller to observe. It is not a set of rules which fixes what he sees in the world. It affects his writing primarily by guaranteeing his respect for mystery.
In the introduction to a collection of his stories called Rotting Hill, Wyndham Lewis has written, "If I write about a hill what is rotting, it is because I despise rot." The general accusation passed against writers now is that they write about rot because they love it. Some do, and their works may betray them, but it is impossible not to believe that some write about rot because they see it for what it is.
Flannery O'Connor, "The Fiction Writer & His Country" in Mystery and Manners: Occasional Prose, 31.
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