Ethan Hawke and Ken Burns on Faith, Fakes, and Flannery O’Connor

says of the late writer, whose fiction, mostly set in the American deep south, made her an icon of 20th century American letters. But her stories, most famously those collected in, belied a rather boring life, one she described as a rote cycle of writing and feeding the chickens. “I thought that was hypnotic,” Hawke, who’s now directed a movie,is a winding, quasi-biopic that dips between O’Connor’s life and the fictional world of her stories.

BURNS: Aristotle tells us how these things are supposed to be arranged with a beginning and a middle and an end, and there’s supposed to be characters, protagonists and antagonists, and a climax, a denouement. But he doesn’t tell you what to do with all of that stuff. I was just looking at a film we made a few years ago on Muhammad Ali. We were working on it and there was this nice scene of him playing with his daughter and stealing her Cornflakes. I said, “Move that up to the beginning.

BURNS: This is the revelation of the movie for me. We wish to have an unbound relationship to the world, and yet the ways in which we’re constrained, either through loss, or in my case, the death of my mother very early on, are defining. She’s not looking out the window because of course god is not in some remote heaven, but present all the time.

BURNS: She understood the fakes, she understood the snake oil salesmen, she got all of that and still managed to maintain this vibrant faith. There’s a force to it. The opposite of faith is what we see all out there. It’s certainty. That kills everything. It kills possibility, it kills seeing the other, it kills the moment of reception. This is what Tolstoy knew. He spent his life arranging the wisdom of the world.

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