9. The journey of McGuire's aesthetic from RAW to Marvel comics follows a familiar pattern: avant-garde really is advanced guard of art.
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Replying to @HeerJeet
10. Another example would be Spiegelman's work, both pre-RAW in RAW, which came to inflect work of Alan Moore.
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11. In works like "Don't Get Around Much Anymore" Spiegelman created disjunction between caption and image, to create implied story.
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12. A page from "Don't Get Around Much Anymore": http://www.comicgesellschaft.de/wp-content/uploads/2013/03/Spiegelman.jpg …
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13. Spiegelman's experimental work had a profound influence on Alan Moore: i.e. use of text as ironic comment on images in "Watchmen"
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14. We use metaphor "experimental" art without realizing how accurate it is: art that invents something new, to be mass produced by others
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15. Stepping outside of comics, consider how experiments of Gertrude Stein reshaped Hemingway and then the detective novel.
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16. Stein was crucial in modernist push to purge language of rhetorical flourish, to return it to primacy of spoken utterance.
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17.Hemingway married Stein's language games with narrative: the clipped, skeletal Hemingway sentence is a dialect of Steinian language.
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18. Hard-boiled detective novelists like Hammett (a Spiegelman favorite) took Stein/Heminway in a pulpy direction.
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19. A final example is way post-war Partisan Review served as incubator for concepts that were absorbed by mass culture.
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Replying to @HeerJeet
20. Our notions of 1950s as conformist period rooted in Irving Howe's "This Age of Conformity" (Partisan Review, 1954).
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21. Susan Sontag's "Notes on Camp" (Partisan Review, 1964) -- a numbered essay! -- had similar trajectory.
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