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Burrows's A Familiar Strangeness makes visible and intelligible how the photographic image and the image of photography work and work together in later nineteenth- and earlier twentieth-century American fiction. The matters of likeness and reference in the still image--an image bordered on the one side by painting and on the other by the cinema--are mapped with precision and a compelling range of historical and literary implication. --Mark Seltzer Evan Frankel Professor of Literature at UCLA

Burrows's A Familiar Strangeness makes visible and intelligible how the photographic image and the image of photography work and work together in later nineteenth- and earlier twentieth-century American fiction. The matters of likeness and reference in the still image--an image bordered on the one side by painting and on the other by the cinema--are mapped with precision and a compelling range of historical and literary implication. --Mark Seltzer, Evan Frankel Professor of Literature at UCLA

Burrows's A Familiar Strangeness makes visible and intelligible how the photographic image and the image of photography work and work together in later nineteenth- and earlier twentieth-century American fiction. The matters of likeness and reference in the still image--an image bordered on the one side by painting and on the other by the cinema--are mapped with precision and a compelling range of historical and literary implication.--Mark Seltzer Evan Frankel Professor of Literature at UCLA

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Stuart Burrows is an assistant professor of English at Brown University.

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