In the fifty years since her death, Flannery O’Connor studies have been conventionally delimited to two critical parameters: the South and the Church of Rome. This work challenges the conception of O’Connor as inherent to a monolithic South and to orthodox Roman Catholicism by problematizing the “Southern Gothic” trope, positing a non-canonical Southern realism, and repositioning O’Connor as essentially ecumenical in her private theology. The study contextualizes O’Connor’s work within the American scene by detailing the varied political and literary histories of the “North” and “South” as well as opposing the notion of region-specific aesthetics and a native anti-realist mode in the South.