She wrote a very compelling argument about O'Connor's fiction not about Wise Blood in particular, but about her stories.

她针对奥克纳小说写过一篇极有说服力的文章,并不只是针对《慧血》，而是针对奥克纳的所有故事。

耶鲁公开课 - 1945年后的美国小说课程节选

Oedipa Maas in Crying of Lot 49 will sit up on a bluff overlooking San Narciso, and she'll look down at the pattern of light.

拍卖第四十九批》里的奥狄芭·马斯也会坐在悬崖上,俯看纳西索，看各式的光。

耶鲁公开课 - 1945年后的美国小说课程节选

So, this is one of the things that O'Connor puts in front of us.

这就是奥克纳想要呈现在我们面前的东西之一。

耶鲁公开课 - 1945年后的美国小说课程节选

And in that essay she argues that O'Connor's grotesqueness, especially the grotesqueness of the women figures in her novels, is all wrapped up with the culture of southern womanhood.

在那篇论文里，她主张奥克纳所描写的丑陋，尤其是她小说里女人丑陋的形象，都与南部女子气质的文化有关。

耶鲁公开课 - 1945年后的美国小说课程节选

It don't know. What is true about O'Connor is that she was trained to write stories like this. Flannery O'Connor--and this is, again, that context coming in--Flannery O'Connor was a student at the Iowa Writers Workshop, a very prestigious writing program.

这不得而知，奥克纳其实一直被这么训练来,写故事，弗兰瑞-奥克纳，又一次，这个，背景，弗兰瑞-奥克纳是溢价,爱荷华州写作讲习班的学员，一个非常出名的写作项目。

耶鲁公开课 - 1945年后的美国小说课程节选