The study is meant to describe the evolution of American short-story writing with patterns where visual images have become central and not peripheral for the understanding of stories. Hemingway's use of objective correlatives was a trace mark, and the literary editors at The New Yorker urged their writers to slow down the emphasis on movement and plot in order to recreate a certain mood which would favour the perception of objects, anecdotes, and details. The impressionistic device works very much in the same…
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