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SECTION W PROSE FICTION AND NONFICTIONAL PROSE See also works concerning prose fiction and nonfictional prose in section L, Comparative and World Literature; section M, English Literature; section N, Medieval; section O, Re- naissance; section P, Restoration and Eighteenth Century; section Q, Nineteenth Century; section R, Twentieth Century; and section S, American Literature. I. BIBLIOGRAPHIES—PROSE FICTION Bibliographies and guides limited to the writers of one literary period will generally be found in the prose fiction subsection of that period (i

Cinema 16: A Showcase for the Nonfiction Film NEW YORKERS NO LONGER have to be school children, “shut-ins,” or club members in order to see documentary films. Cinema 16, at first an ambi- tious dream to create a permanent showcase for 16-mm. documentary and experimental films, has today become very much a reality. More than 3,000 persons crowded into New York’s modern Central Needle Trades Auditorium to see one of Cinema 16’s shows. Radio stations and maga- zines carried announcements, and the New York Times alone printed re- leases in three different sections

successful career in the colonial service, formal- izing his initial forays into film by establishing the Health Propaganda Unit in Nigeria in 1935, and then in October 1939 taking up the role of producer at the newly established Colonial Film Unit in Soho Square, London. Over a thirty-year career, which was recognized with honors from the King and Queen, Sellers had witnessed and, through film, helped administer a rapidly changing empire, across war, civil unrest, chapter 1 Beginnings: The Interwar Movement of Nonfiction Film 14 | Chapter 1 and impending

I TOWARD A DEFINITION OF EIGHTEENTH-CENTURY NONFICTION TRAVEL LITERATURE I'll make a TOUR—and then I'll WRITE IT. — Combe, Tour of Dr. Syntax in Search of the Picturesque (1812) Addison's Remarks on Italy and Its Readers In a century during which many men and women composed travel accounts and even more undertook journeys, Joseph Addison often stood out among his contemporaries as a model writer if not a totally typical traveler. His grand tour of Europe began inauspiciously in the summer of 1699 with a misplaced step that almost drowned him in the

II NARRATIVE CONVENTIONS IN EIGHTEENTH-CENTURY NONFICTION TRAVEL LITERATURE A pompous book must show. What much it must concern the world to know; How far they walk'd—where halted—din'd and slept; What inns—good meat—good wine—good lodgings kept; What dangers, what fatigues they underwent. And wore their shoes out—and their money spent. - Thomas Beck, The Age of Frivolity (1806) Many early eighteenth-century travel books, like Defoe's Tour thro' the Whole Island of Great Britain, contain only the barest hint of a narrative sequence. Defoe introduces

of them, preferred the fanciest of hotels, and lived in a palatial mansion with Tiff any furnishings, a marble- fl oored entrance hall, and a staff of seven. Hankering aft er still greater wealth, t w e n t y Pilot on the Great River mark twain’s nonfiction 214 • A m e r ic a he spent himself deep into debt by investing money, his own and borrowed, in a long string of muddleheaded inventions. Th e most disastrous was one whose failure could have been predicted by a mechanically minded teenager: a typesetting machine with eighteen thousand separate parts

Ill DESCRIPTIVE CONVENTIONS IN EIGHTEENTH-CENTURY NONFICTION TRAVEL LITERATURE Fill thy judging ear With bold description and with manly thoughtl -Thomson, Winter (1730), 28-29 In the title of her Observations and Reflections Made in the Course of a fourney through France, Italy, and Germany, Mrs. Piozzi dis- tinguishes between the two descriptive techniques employed in most eighteenth-century travel books. By observations she means specific descriptions of what she saw during her travels; by reflections, the philosophical, aesthetic, moral, or

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