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.

中文翻译：

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完美的鱼故事：通过美国荒诞故事摄影明信片制作家政

以美国大平原农民文化为特色的摄影明信片与家的概念有着错综复杂的关系。作为旅行后带回家的个人和触觉纪念品以及送给亲人的纪念品，明信片在家庭、旅行和迁移空间之间架起了一座桥梁。此外，明信片是讲故事和社区建设的重要载体。二十世纪初，一种奇特的摄影明信片在中西部和大平原地区流行起来，描绘的是农民拥有超大的庄稼和牲畜。本文探讨了 William H. Martin（1865-1940 年）的摄影明信片，这些明信片模棱两可地美化了白人农民文化及其假定的经济生产力。它假定通过精心制作的照片蒙太奇行为，