Now, however, a young writer settles upon a literary career by attending a graduate writers’ workshop where she will be instructed in a curriculum that varies little from school to school, and certainly not according to the place where the school happens to be located. After graduation she will join something like a diplomatic corps, being posted from place to place, most likely without ever setting down roots in anything but the common background and common ties of her generation.I find this idea of generational homogenization (my word, not his) extremely intriguing, although I think Myers overstates the case. Mark McGurl's book, which Myers doesn't mention, delivers a much suppler thesis about the generational impact of writing programs on American fiction writers. McGurl's chapter on the Iowa program is also actually very explicitly about the effects of regionalist aesthetics on its founding faculty and first classes. McGurl sees Iowa's aesthetic as "born in the conjunction of two regionalisms, Midwestern and Southern, with two competing emphases and two distinct characteristic historical figures." He makes a fairly convincing case, I think.
And as for this geographic shuffling, I think once again it may be interesting to add some historical perspective: to put the Program Era in conversation with another periods of increased geographic (and to some extent socioeconomic) mobility for American writers: the so-called "revolt from the village" of mostly Midwestern authors from the period 1915-1930 (so, Sinclair Lewis, Edgar Lee Masters, Sherwood Anderson, Willa Cather, Dawn Powell, Zona Gale, Floyd Dell, Scott Fitzgerald, et al.) which could also be extended backward in time to include Hamlin Garland, Theodore Dreiser, and even William Dean Howells, and outward in geography to include Thomas Wolfe, T. S. Stribling, and H. L. Mencken (as Anthony Channell Hilfer does).