The first chapter focuses on Thomas Wolfe, an author now so forgotten that, as McGurl notes, most readers are likely to confuse him with the author of The Bonfire of the Vanities. But, as McGurl also points out, Wolfe couldn't be a better starting point for a project such as this: his influence, his intimacy with the system of higher education, and the "monstrousness of his literary ego" set the stage for the importance of the writing program. For what the writing program could do is temper and rein in the enormous biographical energies of writers, and prevent them from Merrell Sandal(http:www.merrellshoesstoresandal-c-46) falling into Wolfe's relentless mining of unmediated personal experience, and hence his eventual obscurity. In this chapter McGurl establishes the premises for his later discussion by understanding Wolfe's work as something like the extreme case of narrative as autobiography, and he immediately extends this story by describing how the practice of claiming one's own experience for and as the novel is complicated by questions of race in the work of Younghill Kang and Nella Larsen.
The possibilities afforded by craft are explored in McGurl's next chapter, which tells an intertwined story of the early years of the Iowa Writers' Workshop and the career of one its most illustrious graduates, Flannery O'Connor. Beginning with a letter in which O'Connor badmouths a friend and former colleague for his love of Wolfe, McGurl reads O'Connor's career and the methods of the Iowa workshop as the "in red pen" corrections of an American literary history that would value Wolfe's attempt to resist any form of authority tending to diminish the "sovereignty of his genius". And if Wolfe is a case study of the way in which progressive education found in creative writing a discipline that could be put to the service of the cultivation of self-expression, McGurl's Iowa case study reveals how rhetoric of disciplinary rigor helped to institutionalize these programs within the university. Though genius cannot be created, it can be rigorously nurtured through negative feedback, thanks to which bad habits are reversed by craft; such tough love enables the discipline to sell itself to institutional higher-ups as a teachable subject. This model of writing instruction, embodied in a photograph of Iowa director Paul Engle at his typewriter with a whip ready to hand a whip, McGurl notes, that he might use on either a student or himself in a ritual display of disciplinary techniques finds a powerful example in O'Connor's fiction, which explains, and is reciprocally explained by, her time in and assimilation of the writing program. Internalizing what McGurl calls a "limitation theology", O'Connor's fiction understands the value of that limitation; her third-person limited narration maximizes "the ironic distance between her central focalizing characters and her disembodied narrators" so as to attest to "the cognitive limits of any embodied human life" and hence of the value of the repetitive rituals of craft as a form of tradition: "In O'Connor, the discipline of narrative form can be seen as a masochistic aesthetics of institutionalization".
Former Portugal national soccer player Eusebio gestures before their Group A Euro 2008 soccer match against Czech Republic at Stade de Geneve Stadium in Geneva in this June 11, 2008 file photo.
Portuguese great Eusebio, top scorer at the 1966 World Cup, died on Sunday from a heart attack at the age of 71 with the small Iberian nation mourning him as an "eternal symbol" of their football pride.
The death of the charismatic striker, who was idolised throughout the Portuguese-speaking world and considered one of the game's greatest players was confirmed by former club Benfica and the Portuguese Football Federation (FPF).
"Portugal is mourning. Eusebio, the King of Portugal's 1966 team and the eternal symbol of the country, national team and Benfica passed away," the FPF said in a statement.
The Portuguese government declared three days of national mourning and many fans paid homage by visiting an iconic statue of him erected next to Benfica's Luz stadium, leaving flowers, scarves and other tributes.
Eusebio, whose full name was Eusebio da Silva Ferreira, was European Footballer of the Year in 1965 but won global acclaim a year later at the World Cup in England, where his nine goals helped Portugal reach the semi-finals.
He earned 64 caps and scored 41 goals for Portugal, records that stood for almost two decades.
Nicknamed the 'Black Panther', Eusebio was a European Cup winner with Benfica in 1962 and played in three other finals, including the loss to Manchester Un. Cheap Jerseys From China Cheap Jerseys Wholesale Cheap Jerseys China Wholesale Cheap Jerseys China Wholesale Cheap Jerseys Free Shipping Cheap NFL Jerseys China Wholesale Cheap NFL Jerseys Online Cheap Authentic NFL Jerseys Cheap Custom NFL Jerseys Cheap Soccer Jerseys Wholesale