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It's as if they're sneaking up behind her.
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It's as if they're separate from her, not part of her body at all.
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So, even when you see O'Connor describing the emergence of a body from the water
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-- a moment when you'd think the whole body
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would be most on view, or most pertinent to describe--
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what you have is almost a distortion of our senses, a distortion of vision,
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so that we see -- even in a woman climbing out of the water--
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her legs, her feet, as dismembered from the rest of her body.
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There is a critic at the University of Michigan.
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Her name is Patricia Yaeger.
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She wrote a very compelling argument about O'Connor's fiction--
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not about Wise Blood particular, but about her stories.