The prayers are jarring because they are so personal and raw, clearly not written to “edify the saints” in a published manuscript. They are, well, just prayers.
Part of the rawness and authenticity of the prayers come with the way O’Connor refuses to sentimentalize her personal relationship with Jesus (thought it’s clear she has one). She is here constantly aware of her own fallenness and of the seeming silence of the God to whom she pours out these little notes.
O’Connor notes that her attention is “fugitive” in prayer. She confesses that hell seems more “feasible” in her mind than heaven because, “I can fancy the tortures of the damned but I cannot imagine the disembodied souls hanging in a crystal for all eternity praising God.”