This chapter begins with the little magazines of the late nineteenth and early twentieth centuries and ends with contemporary online literary magazines, highlighting the radical changes that have taken place as print yielded to digital culture. Motivated by the contrarian personalities of their founding editors against commercial tastes, small-circulation periodicals prioritized aesthetic experimentation and established themselves as an avant-garde force in the arts. During the twentieth century, literary magazines would become institutionalized and relinquish their financial and intellectual independence. Their avant-garde status, once represented by a collectively upheld editorial persona, would become overshadowed by individual cults of personality around popular writers. Magazines’ social programs would become watered down, and instead writers would make themselves into social actors. The arrival of New Journalism in the 1960s and ’70s radically changed long-form journalism, rendering it more literary. The chapter ends with the contemporary literary magazine ecosystem, showing that what magazines have lost in materiality, they have gained in generic hybridity and global access.

This chapter explores the friendship between Ellison and the writer Albert Murray after 1962, commenting on Murray's personal and intellectual importance to Ellison in the 60s, the later distance that seems to have developed between them, and Murray's work on behalf of Ellison's legacy. It also illustrates the differences between them by exploring their differing approaches to critiquring Norman Mailer.

Focusing on the major writings of James Baldwin and Norman Mailer, this chapter argues that the interpretative horizon of their works is inextricable from the emergence of modern conservatism as a cultural and electoral force. Whereas movement conservatives in the 1950s tended to stress tradition-based hierarchies and organic social order over abstract theories of individual liberty, conservatives began to shift their emphasis in the mid-sixties toward the language of unadulterated patriotism, property rights, and colorblind individualism. In this next stage of their movement, conservatives embraced an ideologically rigid fusion of laissez-faire capitalism and cultural populism that would redirect perceptions of literary value and prestige within American conservatism toward certain conservative strands of New Journalism and, in later years, toward the one-dimensionality of mass-market genre fiction. Finally, conservatives emphasized the “liberal cultural elite” trope with renewed vigor, constructing a monolithic stereotype of white liberal intellectuals whose racial guilt fueled their appetite for difficult, morally complex literature, a form of moral masochism that conveniently helped those same white liberals accrue “hip” cultural capital.