User:KWatson/sandbox: Difference between revisions

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limited word count also weighed against such roll calls. One editor chose not to clutter the dispatch on the great retreat across the Ebro with all the names of the American International Brigade volunteers Hemingway encountered, an omission of

content more far serious than that of omitted correspondent names.7** Hemingway often gave the names of the reporters with him, such as at Teruel; nor was he the only reporter to sometimes neglect to do so. Martha Gellhorn, for example, used a vague “we” and singled herself out as the primary participant in some of her stories.

By using first-person reportage Hemingway—and Matthews and Gell horn and most of the group covering the war— were operating solidly within convention. William Stott, in ''Documentary Expression and Thirties America'', calls this first-person ''participant observer'' technique “the most common sort of documentary reportage in the thirties” that worked “by vicarious persuasion: the writer partook of the events he reported and bared his feelings and attitudes to influence the reader’s own” (178-9).8** Stott also observes

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another technique to enable documentary reportage to “talk to us, and convince us that we, our deepest interests, are engaged,” in the use of the second person: “Thirties documentaries constantly address ‘you,’ the ‘you’ who is we the audience, and exhorts, wheedles, begs us to identify, pity, participate.” His examples include Dorothy Parker’s Spanish Civil War writing, and Hemingway’s 1935 “First-Hand Report on the Florida Hurricane” (27-8). A number of Hemingway’s NANA dispatches employ the second-person as away of bringing the reader along for the ride.

@@ Line 62: / Line 62: @@
 limited word count also weighed against such roll calls. One editor chose not to clutter the dispatch on the great retreat across the Ebro with all the names of the American International Brigade volunteers Hemingway encountered, an omission of
 content more far serious than that of omitted correspondent names.7** Hemingway often gave the names of the reporters with him, such as at Teruel; nor was he the only reporter to sometimes neglect to do so. Martha Gellhorn, for example, used a vague “we” and singled herself out as the primary participant in some of her stories.
+By using first-person reportage Hemingway—and Matthews and Gell horn and most of the group covering the war— were operating solidly within convention. William Stott, in ''Documentary Expression and Thirties America'', calls this first-person ''participant observer'' technique “the most common sort of documentary reportage in the thirties” that worked “by vicarious persuasion: the writer partook of the events he reported and bared his feelings and attitudes to influence the reader’s own” (178-9).8** Stott also observes
+Page break 433-434
+another technique to enable documentary reportage to “talk to us, and convince us that we, our deepest interests, are engaged,” in the use of the second person: “Thirties documentaries constantly address ‘you,’ the ‘you’ who is we the audience, and exhorts, wheedles, begs us to identify, pity, participate.” His examples include Dorothy Parker’s Spanish Civil War writing, and Hemingway’s 1935 “First-Hand Report on the Florida Hurricane” (27-8). A number of Hemingway’s NANA dispatches employ the second-person as away of bringing the reader along for the ride.