By David T. Humphries
In "Different Dispatches", David Humphries brings jointly in a brand new manner 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 interact journalism in developing cutting edge texts that deal with mass tradition in addition to underlying cultural stipulations. The e-book can be of curiosity to readers drawing close those recognized authors for the 1st time or for students grappling with better problems with cultural creation and reception.
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Extra info for Different Dispatches: Journalism in American Modernist Prose (Literary Criticism and Cultural Theory)
According to Carrie, Poppas has been the only one to help Cressida develop her artistry: Though Cressida, like Thea in The Song of the Lark, goes to Germany to study music and develop her voice, “the accomplished singer who came back . . was largely the work of Miletus Poppas” (409). However, unlike Thea, Cressida is unable to transcend the limits of her family and lead the core audience that appreciates her art; instead, she finds that her “relations with people always become business relations” (405).
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. Because journalism appears to be completely controlled by commerce, even the newspapers cannot present the facts of the case. When Tevis meets a journalist friend of his, Dan Leland, he learns that Dan’s fellow reporters also believe that Kitty is Stein’s mistress.
While her earlier descriptions of Poppas recall the troubling elements of anti-Semitism in Cather’s earlier story, “Behind Singer Tower,” Carrie goes on to describe him in terms that recall the unifying ideal represented by the fire in that story. She notes that while the others would have “stamped out” “the fire at which Cressida warmed herself,” Poppas appreciates the importance of her secret aspirations and protects and nurtures them (402). ” Yet the idea of Poppas “sparing” Cressida underscores her vulnerability: The artist as icon is as fragile as her image.