By Stuart Burrows
Burrows argues for the centrality of images to a collection of writers regularly considered antagonistic 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 impacts another—by altering how artists conceive of id, background, and paintings itself.
A universal Strangeness therefore demanding situations the suggestion of an absolute holiday among nineteenth-century realism and twentieth-century modernism, a holiday that usually facilities accurately at the activities' supposedly differing relation to the digicam. simply as modernist fiction interrupts and questions the hyperlink among visuality and data, so American realist fiction might be understood as making the area much less knowable accurately by way of making it extra visible.
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Additional 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