A central paradox in modernism is its disdain for mass culture, despite mass
culture 's undeniable presence in modernist literature. American authors writing
during the early twentieth century tried to establish themselves as "highbrow" by
leaving the U.S. and traveling to Europe. In doing so, they created a particular
aesthetic characterized by depictions of the transportation that facilitated this travel.
These depictions reveal modernism's dependence on mass culture, and more
importantly, create a space in which modernist authors can negotiate what was once
a choice between high or low culture, exile or tourist, and ultimately, modernism or
mass culture. Analyzing the car and train scenes in F. Scott Fitzgerald's Tender is
the Night and Ernest Hemingway's The Sun Also Rises reveals the hybrid spaces
made available to these authors through transportation.