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Chapter 5 continues this examination of how these changes affected the emotional landscapes of young men's lives by scrutinising how the ‘male world’ of youthful feeling was expressed through the advice columns of popular newspapers and magazines, which expanded significantly in the 1930s. The chapter samples letters from boys and young men to illustrate a complex interplay of discourse and mediated experience to help illustrate their responses to the period's informalising expectations and changing social relations.

This chapter uses paratextual evidence surrounding the publication of William Faulkner’s story “Two Soldiers” in the Saturday Evening Post to argue for the importance of considering Faulkner’s works within their original contexts. An examination of the contents of the magazine, including editorials, articles, and advertisements, from immediately before Pearl Harbor through the appearance of “Two Soldiers” on March 28, 1942 demonstrates that its purchase and publication occurred during editorial and ideological upheaval at the Post; in just under four months, the formerly isolationist Post became a mouthpiece of the overwhelmingly patriotic sentiment sweeping across the nation. When placed within this context, Faulkner’s story offers a nuanced challenge to this rapid repositioning for an audience bewildered by the speed of this change. Rather than being a shortcoming of the story, as traditionally argued, Faulkner’s acute awareness of his audience and social context offers a compelling reason this story deserves further consideration.

Chapter two explores the creation in 1983 of Adult Video News (AVN), a newsletter initially aimed at the public but gradually transformed into an industry trade journal in the vein of Variety or Hollywood Reporter. In its attempts to provide a more sophisticated, nuanced, and professional set of discourses for adult video, AVN represents a major turning point in this history, focusing on the industry as an industry, rather than merely as content made by unseen, hidden forces. Additionally, AVN repeatedly emphasized and encouraged the creation of quality material as a strategy to gain the respectability that would lead to greater acceptability and profits, a stance it also replicated within its own pages and editorial practices. Ultimately, AVN crafted something new: a space in which to promote, sell, and celebrate adult video.

This chapter studies in the interweaving of popular and fine art forms during the Republican era, focusing on artwork of popular magazine covers and avant-garde painters of the period, with particular analysis of the work of several well-known (and several less so) painters and illustrators. In the chapter, the two formal approaches are connected by the deployment of the mulata in many of the artworks and illustrations. These artworks, fine and popular, were crucial in shaping consensus through vernacular imagery and well known national symbols, particularly (but not exclusively) the mulata. Both graphic and fine artists were shaped by international travel and residence abroad, introducing them to international stylistic currents against and through which they generated images that resonated with national identity. Not only did artists travel, but tourism continued to rise, bring foreign tastes, further shaping culture on the island. In addition to international connections, artists were at the vanguard of important political activism against corrupt government.

In this chapter is discussed the mechanisms and the motives through which life in a qiaoxiang such as Long Du was influenced by the qiaoxiang connections and how developments arose that resulted in some never returning to their “big house”. The motivations for establishing and maintaining these links will be examined. Here is investigated the mechanisms, or those tangible elements, which ensured that money, information, and people were constantly transferred between the qiaoxiang and the Pacific Ports. Sending money, being kept informed on family and qiaoxiang affairs, regular visits, and even ensuring that one’s bones returned after death were all part of the qiaoxiang links. These connections were sustained through the establishment of associations in the destinations, as well as through services provided by stores and businesses. How these elements were established, maintained, and evolved over distance, time, and generations, and how their development helped to sustain the qiaoxiang links is investigated here. The presence of the family in the qiaoxiang was central to the evolution of these mechanisms. Those in the qiaoxiang did not remain passive in this interaction and, through their letters and more formally through the qiaokan, made efforts to keep the huaqiao connected and supportive.

This chapter examines the changes taking place in the economies, technologies, and markets of women's magazines in the late twentieth century by focusing on three publishers: Hearst Magazines, Condé Nast, and Time, Inc. Although each of these companies produces several women's fashion, beauty, and/or service titles, their organizational structures are becoming quite varied as they reorient departments, positions, and routines to address contemporary industry challenges. The chapter considers the extent to which changes in the magazine industry can be ascribed exclusively to digital innovations, whether such changes are being felt evenly across the industry, and how they have created a perfect storm that has opened up the question of “what is a magazine?” It also discusses the ways that Condé Nast, Time, and Hearst are addressing the challenges of digitization. The chapter shows that women's magazine companies venture into online and digital spaces as part of their concentrated efforts to resuscitate their magazine titles.

Chapter 4 looks at how Joyce incorporated his American reception into FinnegansWake, with an emphasis on how the Wake represents Joyce’s attitude towards the sudden imperative between the wars to respond to his reception in America. This includes not only the banning, burning, piracy, and trials of his works in Prohibition America, but also a transatlantic print culture which saw his works as they were serialized being published almost exclusively in American-run Little Magazines aimed at American audiences. Moreover, this chapter argues that while the ‘Americanization of Joyce Studies’ didn’t fully take hold until after the Second World War, Joyce was aware of and responded to incipient moves in that direction