Antagonist Design in Flannery O’Connor’s A Good Man is Hard to Find
The Misfit: More Than Just a Villain
In Flannery O’Connor's A Good Man is Hard to Find, The Misfit is not your average villain. He’s a philosophical foil who embodies conflict on every level—external, internal, and moral. For the grandmother, the protagonist, he’s the force that unravels her superficial morality and compels her toward transformation. To fully grasp The Misfit’s role, we can use antagonist design principles from narrative experts Robert McKee and John Truby, who argue that a well-crafted antagonist not only opposes the protagonist but also reveals their deepest flaws.
Opposing the Protagonist’s Goals
McKee posits that an antagonist’s primary job is to oppose the protagonist’s goals, and The Misfit excels at this. The grandmother’s immediate goal is survival, and her strategy hinges on appealing to The Misfit’s morality by calling him a “good man.” But The Misfit sees through her manipulations and rejects her attempts at charm.
What makes this dynamic even richer is how The Misfit doesn’t just challenge her survival; he challenges her identity. According to Truby, a great antagonist mirrors the protagonist’s weaknesses, forcing them to confront their internal flaws. For the grandmother, The Misfit exposes her shallow faith and performative morality. Her reliance on social niceties and manipulative charm crumbles, leaving her vulnerable to the story’s ultimate reckoning.
Catalyst for Transformation
McKee also emphasizes that a strong antagonist acts as a catalyst for change, and The Misfit’s role in the grandmother’s transformation is undeniable. In her final moments, she reaches out to The Misfit and calls him one of her “own children.” This fleeting moment of grace represents her first authentic connection to faith and humanity, something she achieves only because The Misfit forces her to confront the hollowness of her beliefs.
Truby’s framework highlights that a great antagonist embodies a moral argument that challenges the protagonist’s worldview. The Misfit’s nihilistic philosophy—his belief that “there’s no pleasure but meanness”—stands in stark contrast to the grandmother’s shallow grasp of goodness and faith. This moral clash creates a rich conflict that deepens the story’s themes.
The Misfit’s Complexity
A one-dimensional villain wouldn’t achieve the same impact. Truby stresses the importance of antagonist complexity, and The Misfit delivers. He’s not evil for the sake of being evil; he’s an intelligent, reflective character grappling with questions of faith, justice, and meaning. His backstory, including his doubts about whether his punishment was deserved, adds layers to his nihilism. This depth makes him not just a formidable opponent for the grandmother but also a tragic figure in his own right.
The Web of Opposition
Truby’s concept of a “web of opposition” also applies here. While The Misfit is the central antagonist, the grandmother’s internal flaws—her selfishness, manipulation, and shallow values—act as her own worst enemy. Her decisions directly lead her family into danger, while the broader decay of Southern morality in O’Connor’s world contributes to the external conflict. The Misfit may hold the gun, but the grandmother’s internal flaws and societal pressures have brought her to this moment.
Conclusion
The Misfit is a masterclass in antagonist design. Through his opposition to the grandmother’s goals, he exposes her weaknesses, forces her to confront her hollow morality, and serves as the catalyst for her transformation. His complexity, depth, and philosophical weight elevate him beyond the role of a simple villain, making him one of literature’s most compelling antagonists. As McKee and Truby suggest, a truly great antagonist isn’t just a hurdle for the protagonist—they’re a mirror, forcing us to examine uncomfortable truths about human nature, morality, and the stories we tell ourselves.
