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Flannery O'ConnorA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Mr. Shiftlet is the protagonist of “The Life You Save May be Your Own.” His name suggests the word “shifty” and hints that he can precipitously “shift” his character, goals, and physical direction. The story bears this out: He is an unreliable man who presents an idealized image of himself to Mrs. Crater and her daughter but proves to be another kind of man entirely.
Mr. Shiftlet first appears through the lens of Mrs. Crater’s opinion of him. She judges him a harmless “tramp,” yet he carries himself with an air of mystery and complexity. At 28 years old, Mr. Shiftlet “ha[s] a look of composed dissatisfaction as if he understood life thoroughly” (Paragraph 3). He reports having been “a gospel singer, a foreman on the railroad, an assistant in an undertaking parlor” and a radio performer “with Uncle Roy and his Red Creek Wranglers” (Paragraph 25). In addition, he was a US Army soldier during wartime and has traveled the world. This list of roles comports with his nature as a drifter and a wandering soul full of contradictions. He has cared for the dead and killed people, sung for God and for entertainment.
Shiftlet himself idealizes his aimless ways: “The body, lady, is like a house: it don’t go anywhere; but the spirit, lady, is like a automobile: always on the move” (Paragraph 68). He is not wholly without a conscience—he is unhappy after abandoning Lucynell—which suggests he may be a disillusioned romantic. His language is lofty and inquiring, but also quite self-centered. He speaks of glorious sunsets, the mystery of the human heart, and the sacrifices of the “monks of old” (Paragraph 36), sparing no opportunity to seem worldly and wise. At the same time, his impressions of humanity are laced with bitterness: “People don’t care how they lie” (Paragraph 21). Women who have lost their innocence are “trash,” and he doubts Mrs. Carter’s claim that $17.50 is all the money she has.
Shiftlet’s judgments are an effort—mostly unsuccessful—to position himself apart from others. He claims to be beyond petty concerns of money as he schemes for money. He disdains lying but then baldly lies to get what he wants. He claims to have traveled the world over, yet he refers to the Duchess of Windsor as the “Duchesser Windsor” (Paragraph 63). He waxes on about the sanctity of the mother-child relationship yet willfully separates a child from her mother with no sense of irony. All his condemnations are projections of his character flaws, though the author leaves room for interpretation regarding Mr. Shiftlet’s degree of self-awareness. It is clear that Mr. Shiftlet has double motives, but less clear when he decides to abandon his new family. With his final prayer in the story, he asks God to “wash the slime from the earth” (Paragraph 97), which suggests that he still holds himself as being above the “slime.” He seems to be as self-deceiving as he is deceiving of others, disdaining society and its norms while behaving no better himself.
Lucynell is the embodiment of innocence; her mother compares her to a “baby doll,” and her name is a compound of “Lucy” and “Nell,” which both derive from Greek words meaning “light.” In the story she functions as a light, illuminating the other characters around her and revealing their true nature by the way they treat her. The waiter at the Hot Spot restaurant calls Lucynell “like an angel of Gawd” (Paragraph 86). When Mr. Shiftlet abandons her, he is symbolically abandoning God, innocence, and The Possibility of Salvation. Ironically, he then uses the same phrase as the waiter—“angel of Gawd”—to praise his own mother, suggesting he does not even recognize the significance of his actions.
Lucynell’s representation of innocence is complicated. She does not lie or deceive like the other characters in the story, making her the most likeable of them all. However, her innocence comes with the burden of her disability. She is not a good person by choice but because she cannot choose or even understand vice. Her innocence is forced upon her, which makes her a pawn the other characters use for their gain.
The boy that Mr. Shiftlet picks up after abandoning Lucynell is never given a name. He is just “a boy,” a symbol of the youth of the current generation that both Shiftlet and Mrs. Crater bemoan as losing morality.
Whereas Lucynell cannot speak and therefore cannot “sass [Shiftlet] back or use foul language” (Paragraph 57), the boy only speaks once, and it is to give Mr. Shiftlet both sass and foul language. When Mr. Shiftlet sees him on the road, he presumes the boy is hitchhiking, though there is nothing to suggest this. The boy says nothing, which allows Mr. Shiftlet to project his own interpretation, so he begins a sermon about how a boy should love his mother and how he regretted the day he left home. It is hard to know the degree to which Mr. Shiftlet is telling the truth here, but unlike Mrs. Crater and Lucynell, the boy sees through Mr. Shiftlet’s false presentation, saying, “You go to the devil! […] My old woman is a flea bag and yours is a stinking pole cat” (Paragraph 96). This stuns Mr. Shiftlet so much that he leaves his car door open after the boy jumps out. He passes moral judgment on the boy, but his could be more projection—shock that someone so young has (correctly) passed judgment on him.
The boy throws himself out of the car rather than be piously lectured by a hypocrite. The episode involving the boy underscores Mr. Shiftlet’s true character and his self-deception, as well as the immoral, selfish cruelty of the world.
By Flannery O'Connor