Abstract
Photographic postcards featuring farmer culture on the American Great Plains hold a tangled relationship to the concept of home. As both personal and tactile keepsakes to be taken home after travel and souvenirs directed to loved ones, the postcard bridges spaces of home, travel, and migration. Furthermore, postcards are significant vehicles in storytelling and community building. In the early twentieth century, a peculiar type of photographic postcard became popular in the Midwest and Great Plains regions depicting farmers with outrageously oversized crops and livestock. This article explores photographic postcards by William H. Martin (1865–1940) that equivocally glorify white farmer culture and their presumed economic productivity. It posits that through an elaborate act of photomontage, these photographic cards demonstrate the boundaries of home and convey ‘homeland’ as an ambiguous landscape.
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
