I cartoon di Flannery O'Connor sono interessanti, e particolarmente interessante è l'articolo di Barry Moser che mette l'attività di cartoonist di O'Connor (svolta mentre era all'università) in relazione a quella, successiva, di scrittrice. "I suspect that most of them were done inside an hour’s time. If not, then she was dawdlin.’ This is very much in keeping with the medium. When worked warm, as on a hotplate, linoleum cuts like butter. The cutting tools meet little, if any, resistance. It cuts quick and easy. Later in her life she would say that the things that she worked on the hardest were usually her worst work. She also said that a story—or a linoleum print, if you will—has to have muscle as well as meaning, and the meaning has to be in the muscle. Her prints certainly have muscle, and a lot of it".
Oppure, poco più avanti, Moser nota l'abilità di O'Connor a catturare i gesti. "This understanding of gesture flows over into her fiction. Take for example the problem she has about the final meeting of Mrs. May and the bull in her short story “Greenleaf”: “My preoccupations,” she wrote to her friend Betty Hester, “are technical. My preoccupation is how am I going to get this bull’s horns into this woman’s ribs?”. nybooks.