The New Yorker:

In an old Georgia mansion, a team of the writer’s devotees found a dusty wooden box: inside were two dozen of her never-seen oil paintings.

By Charles Bethea

In May of 2023, about two dozen small paintings were discovered in a box in the attic of a two-hundred-year-old clapboard mansion in Milledgeville, Georgia, where the writer Flannery O’Connor lived between the ages of eight and twenty-one. They were her work. The house’s most recent occupant, Louise Florencourt—lawyer, pack rat, and protector of her cousin Flannery’s legacy—had died the previous summer, at ninety-seven. Relatives, academics, and acolytes duly sifted through the decades of family debris. The other day, Bruce Gentry and Sarah Gordon, the current and the former editors of the Flannery O’Connor Review, and retired professors of English at Georgia College & State University, in Milledgeville, poked around the house with a visitor. The college put the works on display this month.

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