In the following essay, Winn asserts that O'Connor's Everything That Rises Must Converge is a short story cycle in which "O'Connor varies the location of her limited omniscient point of view and interweaves parallel thematic patterns to link together the seven stories."

In the following essay, Browning asserts that in O'Connor's Everything That Rises Must Converge, "she recognized that the recovery of depth, or being, was possible only by stripping the masks from men whose fraudulent righteousness had rendered them too complacent even to be damned."

In the following essay, Tuck McFarland analyzes the different instances of rising and convergence in the stories from O'Connor's Everything That Rises Must Converge.

In the following essay, Wyatt discusses the domestic center of O'Connor's Everything That Rises Must Converge.

In the following introduction, Fitzgerald provides an overview of O'Connor's career and the themes present in the stories in Everything That Rises Must Converge.

In the following essay, Folks discusses O'Connor's relationship to the Southern literary tradition and to the industrialization of the South as expressed in the stories in Everything That Rises Must Converge.

In the following essay, Montgomery refers to a superficial analysis of O'Connor's "Everything That Rises Must Converge," and proceeds to analyze the story on a deeper level.

In the following essay, Sullivan asserts that O'Connor is more successful in carrying out her themes in her short fiction than in her novels, because she is unable to sustain the images and relationships in the longer form.

In the following essay, Crocker and Evans outlines similarities between O'Connor's "Everything That Rises Must Converge" and Faulkner's "Barn Burning."

In the following review, Kane discusses the distinctive qualities of three stories from O'Connor's Everything That Rises Must Converge—"The Lame Shall Enter First," "A View of the Woods," and "Everything That Rises Must Converge."

In the following essay, Hall Petry outlines allusions to Margaret Mitchell's Gone With the Wind found in O'Connor's "Everything That Rises Must Converge."

In the following essay, Hall Petry compares Julian from O'Connor's "Everything That Rises Must Converge" to the Roman Emperor Julian the Apostate and discusses their rejection of Christianity.

In the following essay, Denham discusses O'Connor's "Everything That Rises Must Converge" as a journey towards Julian's growth, and asserts that the bus scene serves to make Julian unsympathetic and provides the means for the story's climax.

In the following essay, Dinneen Maida discusses the idea of convergence in O'Connor's "Everything That Rises Must Converge" and asserts that O'Connor shows man his inadequacies.

In the following essay, McDermott discusses Julian and his loss of faith in O'Connor's "Everything That Rises Must Converge."

In the following review, Schott discusses O'Connor's Catholicism and asserts that "in Flannery O'Connor's stories evil is man's inevitable fate."

We now have all the work by which Flannery O'Connor will be remembered in the world. Of her last stories, collected in Everything That Rises Must Converge, it is certainly the just praise, and maybe the highest after all, that they are up to her first ones. She wrote best in the short story and has left a handful of them at least that are likely to last as long as literacy. When she died at thirty-nine last year, it was with her work done, I think, and work of an imaginative order and brilliance rare...

In the following essay, Desmond discusses the influence of Pierre Teilhard de Chardin's ideas about human history and redemption on O'Connor's "Everything That Rises Must Converge."

In the following review, Howe praises O'Connor's storywriting ability and her collection Everything That Rises Must Converge, but complains that, except for two stories, O'Connor's work is missing the unexpected revelation that he finds endearing in other great stories.

In the following essay, Ower discusses the symbolism of the coin Julian's mother gives to the young boy in "Everything That Rises Must Converge."

In the following essay, Hall Petry describes the place of the YWCA in O'Connor's "Everything That Rises Must Converge."

In the following essay, Jauss asserts that in "Everything That Rises Must Converge" the name of the protagonist is an allusion to St. Julian Hospitator, and that "By subtly calling our attention to St. Julian and the story of his life, O'Connor transforms this story of a tragic bus trip to the Y into an ironic, inverted saint's legend."

In the following review, Hicks discusses the lack of compassion in the stories in O'Connor's Everything That Rises Must Converge.

All the characters in the very powerful stories of Flannery O'Connor are abnormal: that is to say they are normal human beings in whom the writer has discovered a relationship with the lasting myths and the violent passions of human life. It would be fashionable in America to call [Everything That Rises Must Converge] Gothic: it certainly has the curious inner strain of fable—replacing the social interest—which is a distinguishing quality of the American novel…. The Southern writ...