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Mai , Starts at - NRK Nordland 31 Thanks to Francesca Chiarelli for updating it! Schulz did this 40 years ago. Of interest to those who like their Dylan lyrics alternate, rare, and generally unreleased. Oh, and in characters fair warning: there's some cheating involved. Launching on May 24 just a coincidence, we assure you but follow dylyricus now for a sneak peak. Shanghai, China Dylan feature from Geburtstag Hamburg, Because Dylan submitted more than 50 songs, which had to be translated into Mandarin, the process took nearly two months.
According to Live Nation, the government didn't censor any of Dylan's choices. The government seems most concerned with sexual lyrics, anyway. Today's theme: Bob In L. Don't Feel Like Satan And, are Bob's fans different than other music fans--in what ways? This is intended to be a collaborative effort, and as more events are added, I will put a prominent link to it on the ER front page. A must read. Winkel 10 - Happy Birthday, Bob! I just don't want to talk to him now.
Om Bob Dylan i China - rootsy. Geburtstag von Bob Dylan. Mai - 3. Johnston Tirsdag Bob sang "Do you Mr. Hu or Who " instead of "Mr. Not that we may take it complacently, as such a dilation to which I will return in a moment. For the novelty of McGurl's study is to bring into view, with a simple switch of the university channel, an entire mass of inexorably material fact - one might even say "facticity" - that both the scholarly study of U. That that literature is, as McGurl suggests, historically illegible absent an integrated account of the institutional history of the university creative writing program, is a gauntlet thrown down, by his book, before scholars and creative writers alike.
But at a time when the symbolic autonomy of creative writing as a discipline is coming under new forms of pressure, 8 See, for example, Donald Morton and Mas'ud Zavarzadeh, "The Cultural Politics of the Fiction Workshop," Cultural Critique 11 : ; Wendy Bishop and Hans Ostrom, ed. Let me begin, then, by noting what The Program Era offers our colleagues, as they say in Congress, on the other side of the aisle. A center-left scholar of recognized authority and excellent credentials places the creative writing program at the very center of the history - and thus the scholarly historical field - of postwar U.
No one has done this before. To be sure, the priority thus granted the place of the institutionalized writer, by his scholarly colleague, is a gift that that writer must certainly see as borne, as it were, by a Greek: and that, one imagines, whether the writer 9 My first draft of this essay used the pronoun "she" here, in the routine inversion of the specificity of a universalized "he" that is now accepted practice. With repetition across the iteration of "McGurl," however, it formed a pattern re-gendering it as heteronormative facing McGurl's own actual social gender - and eliding, in that, as well, some of the combative masculinism of the secessionism of creative writing within the university.
For this reason and as a non-solution , in these passages, I have restored, as a non-universal, the masculine-universal pronoun "he. But McGurl does not defer to his creative writing colleagues, in the passive-aggressive manner that is customary, and which signifies both envy of the writer's freedom in primary productivity, and contempt for the nescience that is liberty's compensation. Rather, The Program Era grants university creative writers a foothold in the scholarship of postwar U.
To be sure, the writer must take that choice, against long years or even decades of conditioned resistance. It is true that if he chooses to join that conversation, he can no longer come to class, as he is wont to do, without any books, like a student reserving his semester's funds for spring break in Cancun or Daytona Beach.
He may not yet know much of the history of the vast social and institutional drives that begot his more or more likely less pleasant sinecure; but that is easily remedied, as McGurl knows, by reading the right-wing critic D. Moxley, ed. It is, one must say, a beginning scholar's dream: to begin in medias res or as Joan Retallack might put it, "in medias mess" 11 Joan Retallack, The Poethical Wager Berkeley: U of California P, , Most self-identified U. Where both the letter and the spirit of McGurl's book take hold - and one thinks they will, where it counts - a certain sustained, if transformed deference must follow, and it is in this sense that the writer may take McGurl as the very type of a new scholarly ally.
Though he spares not the rod when it comes to mirages of autarky, it is applied with a gentle grip, and with the aim of lifting some of the veils of light the writer has romanced himself with, to his own detriment. That the prankish follies of Ken Kesey were locked, from the start, in systemic step with the temperance of his Stanford University mentor, Wallace Stegner, serves as one form of a reminder that freedom is just another word for overdetermination; still more ruinous, perhaps, for the writer set against the Establishment, are McGurl's brassier portraits of haute bourgeois libertines like Kay Boyle, who disdained university patronage even as she came to rely on it, with her independent fortune as an opposition leader flagging.
The high-paying New Yorker , where her stories were a staple in the s and 40s, was no longer interested in her work, and novels about Europeans caught up in the currents of European history - her specialty - were no longer in vogue. However poorly paid, the tenured position at S[an] F[rancisco] State was a godsend for her" Arguably, this elides the role that McCarthyist blacklisting played in the decline of Boyle's literary reputation. I owe this insight to James Morgart. To the writer prepared to double down, here, with invocations of Brautigan and Bukowski, one is inclined to say that given ample archival time and space, any critic with McGurl's eye for the antinomies of pure freedom will uncover the constitutive and integral trace of the network of dependence outside which any such person of posterity ostensibly lived his life.
For the bedrock of McGurl's approach, here, is a fait accompli so conspicuous, in every aspect of U. American life, today, that it might seem difficult to censor even in a culture that, all things considered, is famous for its famous ignorance of itself. That fact is that since at the very latest , the United States of America is to be understood as the very center of the overdeveloped world, its comparatively low population density, comparatively high rates of relative poverty, and persistently voidist frontier myths notwithstanding - and that this means that nothing and no one dead or alive, in it, escapes its entanglements, howsoever such entanglements be conceived.
Not only is there truly no such thing as Society, here in the capital of the capital of the world - there is nothing outside the manifold that it is only in motion. For the university writer on whom this predicament has finally begun to obtrude, The Program Era serves as a vademecum digest of theories of what he is doing - a self-diagnostic manual, as it were, keyed to the affective intensities indexed by such conceits as "craft" and "voice," not as illusions, but as normal functions of the cultural System. With the institutional demand for creative writing which is happiest, as we all know, showing not telling to explain what it does unfolding from different angles, nowadays, one might prevail on the writer to consider what such a call for justification means, and whether, once the terms of theoretical engagement have been set, they do not become more and more difficult to modify.
At stake, here, after all, is the very production of drift, from intellective ardor to corporate-cubicle anomie and back , providing definitionally middle-class but low-wage student labor at the intake valve of the university, and a perpetually circulating adult student body of melancholy middle management, for its therapeutic re-skilling service wing.
Such teratology is by no means the exclusive faculty of the luxury industry that is U. So that to embark on this journey, the writer must accept nothing less than that figure by which everything, in his fractious self-evidence, is ungoverned. For creative writing in the university is a System, nested in the System of the university itself - and on, and on, in a structure for analysis terminable but interminable.
The Program Era advances three arguments around this precept, each of them posed, like Kant's three liminal queries, as an interrogation of the future through the present as an articulation of possibility in itself.
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The first argument - that the postwar integration of literary production into the university, and the inversion of attitudes accompanying that integration, is a genuine novelty - has already been signaled. The historical novelty marked here is homologous with the historiographic novelty of The Program Era itself, in so far as it ushers the observer of the historical object-in-field from one seat to another, within the theater of understanding.
The university, McGurl argues, is now the principal patron of ambitious literary practice in the United States: a structural transmutation amalgamating the extra-academic deportment of literary modernism with the forms of institutional space it had resisted, until the Fugitive-Agrarians banded together at Vanderbilt in the s and the Iowa Writers' Workshop was founded, before the second outbreak of war.
With that passage all but complete, McGurl asks us, in a tropism characteristic of this work's sodality of literary-critical substance with style, to consider that "all novels aspiring to the honorific status of literature must be considered campus novels of a sort" But all that means, perhaps, is that we can't sensibly read United States literature after - or read it well, anyway - without considering this massive, and unprecedented, material transformation of its context and means of production.
And, perhaps, that the production of literature, in this more or less radically new dispensation, is non-extricable from the production of the new individual practitioner of literature, hunting a cipher of freedom in practical literary self-actualization. Which is to say that, in a transaction expedited by the creative writing instructor, who grasps the austerity and rigidity of what such students really want, the new system produces literature as creative writing and its writers at the same time, as the loci and foci of discrete anticipations.
The prospect of the university creative writing student is not that his instructor labor in instruction, at all - not as a mere person merely writing, in the normal or routine practice of human creativity and certainly as not a mere teacher, merely teaching writing - but rather that his instructor be a writer , a "charismatic model of creative being " 36 , whose allure is vested in seclusion from the lonely crowd of the congregation, for whom his magnetic ipseity caps a kind of parade.
To suggest that the Program is designed to contain, and to atomize, the potentially revolutionary collective energy of dissatisfaction with the status in quo, would perhaps be to force analysis back or forward to the critique it resists, as a risk to the complexity of relation.
Still, in the notion of the M. It is perhaps not raging youth that poses the gravest threat to the colonization of the lifeworld by consumption, in the U. How else are we to rehearse the best years of our lives, than in that resignation to slavery that sustains alumni giving as a decisively unimpeachable source of endowment funds? Knowing what they must face, sooner or later, who isn't compelled to protect for one's children a space in which to live as they please - even, perhaps, to write poems, stories, and plays, in a tragic inversion of vocational indoctrination?
And who could decline the social order their grateful compliance, in later, inexorably adult life, will unquestionably ensure? These are supposed to be the best years of our lives - and people brave enough or stupid enough should be able to streak. Of course, if such children grow up to become professors, everything changes. Where the proletarianized worker poses a popular threat, in the menace of class consciousness and militant solidarity, the leftish managerial professoriate, no less self-coerced to read the world widely, deeply, and systematically, represents an intellectual and pedagogical hazard, in precisely its painfully atomized, masocritical self-awareness.
Where the corporate middle manager - what Mills called the "man who does not rise" 14 Mills, White Collar , xii. For the same reason, he never has time to read , or to think, to the extent that thinking follows reading, or to converse or argue, in the sense that conversation and argument follow thought: and certainly not to write , in the generously interdependent organic and machinic senses delivering The Program Era.
The student who joins the professors is, so to speak, the one who gets away. That is, unless he joins the creative writing faculty, who, as McGurl everywhere in The Program Era implies, have more in common with the "captive engineers of the corporation," 15 Mills, White Collar , x. Like tax protesters mourning a social wilderness in which they wouldn't survive their first night, the creative writing faculty mourn a barbaric primal creativity, their own failure to consummate which there are, after all, ever so many blockades, in this modern life consigns them to the purgatorial corral of the institution of education.
In time, time itself and its sedimentations afford a kind of legerdemain. That those who did get away - the yeoman survivalist who nevertheless does need manufactured equipment , the proletarianized or subproletarized squatter who nevertheless does, so to speak, still dwell in the master's house , the unidentifiable escapee who is neither or none of these - may still be writing , is a certainty that succeeds in ducking them. On this point, McGurl himself is literally circumspect. The conjectural underpinning of The Program Era , derived from the sociology of Ulrich Beck and Anthony Giddens, is grounded in the systemic conceit of "reflexive modernity": a reflective theoretical figuration, in itself, that marks the imagination of modernity, from its Euro-Atlantic seat, as a fait accompli - and the post-scarcity civilization it produced as functionally imperishable.
In itself, this is part of what lets McGurl's book be accessible reading, at a level that carries both speculative and analytic rigor, without coercing a prepossession of the exegetic tradition of Marxist cultural theory as such. This, too, recommends it to the self-identified university writer, for whom McGurl's second argument, that the expansion and differentiation of the university System will not be reversed, can be taken as an audible mandate. We should rather expect the multiversity to continue to act as a kind of institutional difference engine, increasing in complexity as it assumes new functions, serves new constituencies, and houses ever more specialized domains of knowledge, including the knowledge of how to write good novels.
The only question is what will hold this contraption together. As an intervention into what one might call the "Program debates" - constrained, as McGurl observes not without calculation, by normative struggle over the goodness or badness of the M. American writing - this reseating of the why and what one might call the "whether-ought" of modernity within its how compounds an unbeckoned yaw of analytic focus, and is in itself one source of McGurl's hospitably descriptive ecumenism.
That the Program, as an "established fact" 27 of postwar U. American literature, is simply not going away - by way of conditions far more deeply fixed and varied than student-consumer demand - is the university writer's own most commanding self-justification. McGurl considers, and discards, two logotypes or trademarks for the political economy of a reflexive modernity enfolding the creative writer, before he settles on a third. That third term, found in Richard Florida's denomination of a "creative economy" "which proceeds on the simple theory," McGurl archly observes, "that anything is possible except the restraint of capital"  , captures momentously the profound imbrication of creativity with all aspects of research and development on campus today, regardless of discipline, academic unit or school, and congeniality to financialization.
As such, it illuminates the moment-in-motion-at-rest of the present with at once more, and less romantic candlepower than the term that it supersedes, Joseph Pine and James Gilmore's "experience economy. Nevertheless, it is McGurl's engagement with this latter, discarded intellectual product that yields some of The Program Era 's most powerfully evocative critical meditations on temporality, labor, and desire, that anti-expedient whose disruptive mediations, subsumed under structures of function, infringe at crucial points, in this work, on McGurl's own affable scholarly exteriority:.
The exaggerated but telling sense that "everyone" across the land is writing or, even more frequently, not finding time to write "their novel" indexes something more than the wide distribution of a certain kind of literary ambition. Those relatively few, but nonetheless great many, writers who actually manage to produce and publish a novel speak to and for a broader existential urge to be living a significant - literally - life.
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In sum, the creative writing program produces programmatically, but also in rich and various profusion, a literature aptly suited to a programmatic society. A novel is, after all, a very good example of an "experiential commodity" whose value to its readers is a transvaluation of the authorial labor that went into its making, and most often has little to do with the economic value of the pulp upon which it is pressed. This is brought into relief by the even better example of tourism, where the tourist pays simply to be in a certain place but hedges the immateriality of his experience by taking pictures and purchasing durable souvenirs.
Since reading novels and being on vacation are so often aligned in popular practice, we might well suspect a deep link between the two To the extent that it, too, can be understood as an experiential commodity that the student purchases with tuition money, creative writing instruction can be understood in similar, if less artifactual terms Taking a vacation from the usual grind, the undergraduate writer becomes a kind of internal tourist voyaging on a sea of personal memories and trenchant observations of her social environment, converting them, via the detour of craft and imagination, into stories.
By contrast, to read and analyze a novel in a regular literature class is to turn around and head back toward the workplace - back, that is, toward the submissiveness of homework. To the extent that the experience economy corrects the computational-determinist bias of the "information economy" the first term McGurl advances for consideration , it secures the return of the repressed denominational religiosity of the U. But psychic economies, focalized as they must be through serially conjured individuation, are nowhere near capacious enough for the new System, within which secular humanist Arts and Letters curricula proliferated in parallel, teratogenically dividing and subdividing themselves in a primary repetition limited only by the absorptive capacity of a new, collectively massive student body, seeded by a demobilized general infantry or more accurately - and appositely - galvanized iron.
Among the instructional ranks of the new model army of writer-teachers whom Empire marched from the postwar hiring boom to the collapse of the job market in the s and 80s, the exuberant "technomodernism" of maximalist allegories of institutionalization the Barth of Giles Goat-Boy flourished alongside a contrastingly cowed minimalist "lower-middle-class modernism" Raymond Carver's entreaties to please be quiet, please and a "high cultural pluralism" like both and like neither of these Sandra Cisneros's barrio house on Mango Street, imagined from Iowa City. The literary culture wars of "postmodernism" a nomen McGurl eschews altogether, here can be regarded as so much all too human self-amusement, in so far as each such aesthetic formation was co-produced by a regulative difference engine utterly in different to authorized proclamations of the "exhaustion" or "replenishment" of Literature.
At the core of this terrible and irreversible expansion - the bureaucratic administrative, if not the faculty-corporeal momentum of which has endured, through four decades of relative contraction - is the genius of waste , that conspicuously atavistic prodigality that liquidates the chimerae of technocratic and belletristic efficiency at one stroke. It is from this modernism in reverse, in the non-negotiable seizure of the fiscal conservative phobia of the State as waste, that McGurl's third argument emerges.
Pitting Veblen against Readings, McGurl proposes that university Excellence, as the purely formal form of prestige traded in and by relative specular measures of value, is programmatically, if not deliberately, produced as such aesthetic luxury: a variation on Elizabeth Bruss's insight that the drive for System is itself a gratuitous, useless drive - in other words, a mode of desire. So that it is impossible not to conclude, even if McGurl for what can only be taken as honorable cause never quite lets it be fully explicit, that if it is anything, it is - creative writing itself,- the currently most prominent form of Excellence as waste, that today holds the reflexively modern multiversity System together.
The most cerebrally devastating passages of The Program Era cluster around this insight, which positions the writer internally as the "integrated outsider" or "inside-outer"  , a therapeutically inspiring exemplar of the unalienated laborer, for the student on his inevasibly graduating way to soul-destruction in retail and office "shit work" ; And externally, as the locus and focus of the university's alibi for financialization: what McGurl, in one of The Program Era 's rare and admirably balanced scraps of polemic, construes as a "further incursion of consumerism into the academy, a ballooning enterprise of mass vanity and anti-intellectualism" If it is wise to be mindful of the injustice done to The Program Era by isolating such rare negations, one might say that one cannot, either, avoid the lesson - taken very much against the grain of its amiable social-democratic impatience with "unpersuasive" and "boring" recreations of blame 71; 74 - that if one wanted to advance or destroy the corporate multiversity, one might have to begin by advancing or destroying creative writing.
Either way, as I began by saying, we are already at the omphalos. It is waste, as a symptomatic byproduct of the technocratic repetition compulsion through which an order of things is mindlessly stamped on the stuff of life, that serves David Golumbia's mark in The Cultural Logic of Computation , a work to be read as rawly new in the brute force with which it confronts the disavowed fatal flaw in a contemporary academic disciplinary formation: here, the intractably cultural First Worldism of digital media studies.
Where the appeal of McGurl's critical persona rests in its attentive modulation of the polemics attending its topic, that of Golumbia's lies in its more elementally mercurial access of rhetorical double writing, in the directed embrace of diplomatic intemperance. Where McGurl's graceful balance of point and counterpoint reconstructs the plausible equipoise of the object-model he takes as his own, Golumbia's hyperbolic entrainments enact the epistemic violence just as plausibly providing that model's symbolic foundation. Golumbia argues programmatically that computers are cultural "all the way down," and that the rhetoric of computation, entailing a way of posing all genuine problems as soluble, is both pervasively privileged, and imperceptible as privileged, in contemporary United States and Euro-Atlantic material and intellectual culture.
If this sounds like the self-conscious embrace of critique, yoked as it must be to the heuristic planar schism of ideology and antithetic resistance, that is because that is indeed the mode in which The Cultural Logic of Computation operates, without transmitting anything whatsoever of that transcendentalist naivete through allegations of which anti-ideologues covertly admit their exhaustion by the imaginative burdens of truly dialectical thought.
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With a brusqueness one could only perversely mistake for crudity, Golumbia aims his anti-machine at the very foundation of Euro-Atlantic modernity, in the rationalist theory of mind that needs to be seen as fatally antiprogressive, in direct contraposition with its own claims for renovation. To the extent that the insights generated by this contrast can only be described as openly concealed, the mode that evolves from this directive is really a deeply, critically anti-conservative form of common sense. With a bracing probity likely to subvocalize, in many of his readers, a hitherto circumspect disease with the academic fetish-world of digital media studies, Golumbia disowns the entire project of declaring ourselves "posthuman," without pretending that humanism has not sheltered precisely the contrivance he declines, at specific conjunctures - or that such declarations are not self-consciously tentative and exploratory, themselves, rather than baldly, and thus refutably, thetic.
The continuist gradualism he substitutes for the disjunctive millennialism of digital media advocacy needs to be seen as genuinely disruptive, to the extent that it points up the schismic recourse to radical futures through which reflexive modernity, conceived as accomplished fact, evades both the nonmodern difference of its own past and its difference, in the present, from temporal non- and rival modernities alive alongside it its "reflexivity" is in this sense a project to prevent escape.
This is how Golumbia's opening gambit, which might otherwise stand as another restatement of nothing new under the sun, presents the antinomian contour of intervention. That Harvard University Press, in its promotional text for The Cultural Logic of Computation , exposes its author, "who worked as a software designer for more than ten years," as an apostate technocrat - or at least functionary - tells us something about the inadmissibility of any self-consciously - exterior- humanist critique of technoscience excepting that, of course, of those who take it all the way - who in that case become something like "normal" U.
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