By Stuart Burrows
Burrows argues for the centrality of images to a suite of writers more often than not regarded as opposed to the camera-including Nathaniel Hawthorne, Henry James, William Faulkner, and Zora Neale Hurston. The photographic metaphors and allusions to the medium that seem all through those writers' paintings display the ways that one representational shape really affects another—by altering how artists conceive of id, heritage, and paintings itself.
A wide-spread Strangeness therefore demanding situations the idea of an absolute holiday among nineteenth-century realism and twentieth-century modernism, a holiday that usually facilities accurately at the hobbies' supposedly differing relation to the digital camera. simply as modernist fiction interrupts and questions the hyperlink among visuality and information, so American realist fiction will be understood as making the area much less knowable accurately through making it extra visible.
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Extra info for A Familiar Strangeness: American Fiction and the Language of Photography, 1839-1945
A Familiar Strangeness: American Fiction and the Language of Photography, 1839-1945 by Stuart Burrows