Of course, News From Nowhere is not the only place Tolkien could have found an idealized English rural landscape: many authors of the eighteenth and nineteenth centuries described rural idylls.
Tolkien, conservative in outlook throughout his life, would doubtless have small interest in the chapters in News From Nowhere concerning the 1952 revolution.
In News From Nowhere, Morris carefully describes work, transport, food, housing and the upbringing of children.
The last retelling of Micheaux's homesteading narrative comes as his last film, The Betrayal, a production of his novel The Wind From Nowhere (1941).
Though Micheaux makes no mention of the nearby African-American settlements in either The Conquest or The Homesteader, The Wind From Nowhere concludes with the establishment of an all-black agricultural colony on the plains, where his hero has homesteaded.
The Wind From Nowhere opens with Eden as an already successful homesteader and rancher.
Primarily, The Wind From Nowhere is a story of the interweaving of love and property in Martin Eden's mission to tame the Western wilderness.
While's Eden's narrative mirrors Micheaux's earlier autobiographical characters, Micheaux more carefully delineates Eden's dedication to both racial uplift and the development of the frontier prairie in The Wind From Nowhere than in his other novels.
Like the Martin Eden of Micheaux's The Wind From Nowhere, London's Eden is an autodidact, rising from the ranks of his working-class cohorts to become a world famous novelist.
Eden, in The Wind From Nowhere, believes that he has the best interests of all African Americans in mind, regardless of his criticisms of particular individuals.