By Stuart Burrows
Burrows argues for the centrality of images to a suite of writers regularly regarded as adversarial 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 reveal the ways that one representational shape really impacts another—by altering how artists conceive of identification, background, and paintings itself.
A frequent Strangeness therefore demanding situations the proposal of an absolute holiday among nineteenth-century realism and twentieth-century modernism, a holiday that usually facilities accurately at the routine' supposedly differing relation to the digicam. simply as modernist fiction interrupts and questions the hyperlink among visuality and information, so American realist fiction could 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