By Stuart Burrows
Burrows argues for the centrality of images to a suite of writers often 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 show the ways that one representational shape really affects another—by altering how artists conceive of identification, heritage, and artwork itself.
A conventional Strangeness hence demanding situations the suggestion of an absolute holiday among nineteenth-century realism and twentieth-century modernism, a holiday that usually facilities accurately at the pursuits' supposedly differing relation to the digicam. simply as modernist fiction interrupts and questions the hyperlink among visuality and data, so American realist fiction should be understood as making the area much less knowable accurately via making it extra visible.
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Extra resources 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