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By David T. Humphries

In "Different Dispatches", David Humphries brings jointly in a brand new approach a various team of famous American writers of the inter-war interval together with: Willa Cather, Sherwood Anderson, Ernest Hemmingway, Zora Neale Hurston, James Agee and Robert Penn Warren. He demonstrates how those writers have interaction journalism in developing leading edge texts that tackle mass tradition in addition to underlying cultural stipulations. The publication might be of curiosity to readers drawing close those famous authors for the 1st time or for students grappling with greater problems with cultural creation and reception.

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Different Dispatches: Journalism in American Modernist Prose (Literary Criticism and Cultural Theory)

In "Different Dispatches", David Humphries brings jointly in a brand new approach a various staff of recognized American writers of the inter-war interval together with: Willa Cather, Sherwood Anderson, Ernest Hemmingway, Zora Neale Hurston, James Agee and Robert Penn Warren. He demonstrates how those writers have interaction journalism in developing leading edge texts that deal with mass tradition in addition to underlying cultural stipulations.

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Extra info for Different Dispatches: Journalism in American Modernist Prose (Literary Criticism and Cultural Theory)

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Like Blasius, Cressida’s other husbands also enjoy basking in her celebrity, and after she marries for the fourth time, Poppas can no longer protect her life from being too reported. When Cressida dies on the Titanic, still believing that all advertising is good, “The Diamond Mine” turns out to be an obituary framed by two transAtlantic voyages and two attempts on Cressida’s part to advertise herself, one successful, one fatal. Cressida disappears as Thea Kronborg does—into the news. However, while Thea acts as a reporter and her final appearances in the papers connect diverse individuals in a community founded around her art, Cressida is engulfed in publicity and drowns.

While at the Metropolitan Opera House, Tevis saw Stein with a woman who looked like Kitty and heard the men around him discussing the couple. Though they take the woman to be Kitty, Tevis recognizes that she is not. Yet as Tevis tells her, even the press agent for the opera house believed that Kitty was present in the audience with Stein (459). Kitty’s ability to generate publicity undermines her ability to control how her image is circulated, and the appearance of her image in the opera house seems to gain more notice than her actual performances there.

Despite these growing misgivings, Cather remained committed to reaching and influencing a broad public, and she continued, for some time, to recognize the need to engage journalism on whatever terms it offered. Her dilemma in needing to face the powers and perils of publicity may be why in the end Kitty is more like Stein than Peppo. ” For Cather, the question remained whether such publicity could still provide some possibilities for shaping a national culture or whether it would inevitably entangle artists in a culture of consumption and completely undermine their influence.

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