By Stuart Burrows
Burrows argues for the centrality of images to a suite of writers quite 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 reveal the ways that one representational shape truly affects another—by altering how artists conceive of identification, historical past, and artwork itself.
A ordinary Strangeness therefore demanding situations the concept of an absolute holiday among nineteenth-century realism and twentieth-century modernism, a holiday that sometimes facilities accurately at the routine' 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 realm much less knowable accurately by way of making it extra visible.
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A Familiar Strangeness: American Fiction and the Language of Photography, 1839-1945 by Stuart Burrows