Writer Edwin O'Connor made the expression popular in nineteen fifty-six.

VOA: special.2010.04.11

Then, when we open up the front, we see the author's note to the second edition, and this was something O'Connor added to the novel in 1962.

然后当我们打开书的前几页，会看到作者对第二版的注解，这是奥康纳在1962年加上去的。

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

Dr.Mary O'Connor, chairperson of Orthopedic Surgery at the Mayo Clinic in Florida.

VOA: standard.2010.08.11

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

So O'Connor is giving us a version of the road, and I want you to keep this in mind because of course we're going to read On the Road, and we are going to see a major road trip in Lolita, actually two of them. So the iconography of the American road is something that is going to come back to us.

奥康纳让我们看到了一种版本的路，我希望你们将它在心里,因为我们肯定要读《在路上》,也会在《洛丽塔》里,看到一次重要的公路旅行，事实上，是两次,之后我们还会看到。

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