Early in Sklar's study is this observation and question: "Fitzgerald's fiction, set free from the frustrations and weaknesses of his life, rose in critical and public regard to rank with the work of the greatest and most exemplary American writers; with Cooper, Hawthorne, Melville, and James, whose fiction portrays, among whatever else, the bravest and strongest and most gracious values in the nation's life.Tags: Commercial EssayReligion And Women EssaysTerm Paper ServiceChicago Style Paper Title PageDiscrimination Society EssaySolve Multiplication Problems
Scott Fitzgerald, University of Missouri Press, 1995).
Counting Eble's book and Miller's 1964 revised volume, the decade of the 1960's saw fifteen books devoted exclusively to Fitzgerald's work published in the United States, more book-length critical studies on Fitzgerald than have been published in any other single decade.
But what Eble manages to do with this observation is to demonstrate which kinds of life experiences and which kinds of narrative points of view seem to work best for Fitzgerald.
Eble shows, for example, how much stronger dramatic episodes in the Basil stories are artistically than those based on similar episodes drawn from life in Fitzgerald's first novel, This Side of Paradise, a point which leads to the conclusion that Fitzgerald does better with experiences that have had time to cool.
We hope you enjoy reading these stories (there are actually thirty).
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They represent the first collection published at American Literature.The pinnacle of Fitzgerald's achievement, according to Miller, is The Great Gatsby, in which "[f]or the first time in his career [Fitzgerald] was able to disengage himself from his subject and treat his material from an artistic and impersonal perspective." In the 1964 edition Miller carries his thesis beyond The Great Gatsby and shows that Tender Is the Night and The Last Tycoo are magnificent failures of sorts because Fitzgerald's artistic standards were carefully considered during the time of composition of these works; he simply could not realize them as fully as he had done in The Great Gatsby.The earlier novel, The Beautiful and Damned, by contrast, failed because it grew out of a time of theoretical uncertainty and transition Fitzgerald's life.Ebel also, in his final appraisal of Fitzgerald's work, clearly articulates the reasons why Fitzgerald's reputation has remained high, positioning him with other such great American writers as Melville, Hawthorne, and James: "The first is the hard core of morality....Second, unlike a majority of modern American writers, he offers a fiction which is hard to imitate but from which much can be learned." Here again, scores of articles and several volumes (among them Allen's Candles and Carnival Lights discussed below) have pursued the point of Fitzgerald's "hard core of morality" as well as the qualities of his style which make it "hard to imitate." And finally, Eble pushes the limits of what had been considered work worthy of consideration by literary critics into the realm of lesser known and previously uncollected stories, a foreshadowing of the direction of much current Fitzgerald scholarship which is expanding the canon toward "the neglected works" (e.g., Bryer's upcoming volume, The Neglected Stories of F.There are two versions of this book: the 1957 edition, which traces the development of Fitzgerald's fictional technique from This Side of Paradise(1920) through The Great Gatsby (1925); and the 1964 edition, F.Scott Fitzgerald: His Art and His Technique, which reprints the first edition and extends the thesis through to the end of Fitzgerald's life, including discussions of Tender Is the Night and The Last Tycoon, not included in the first edition. Scott Fitzgerald: American Novelist and Short Story Writer, Reader's Guide to Literature in English, London: Fitzroy-Dearborn, 1995, pp. Reprinted with permission of Fitzroy-Dearborn Publishers. During his lifetime only a handful of serious critics conscientiously debated Fitzgerald's artistic development, and though they were quick to point out weaknesses as well as strengths, their assessments now have the eerie feeling of prophesy in predicting the status of Fitzgerald's posthumous literary reputation and the direction of the critical response that has established it during the five decades since his death. Since 1940 there have been hundreds of journal articles, a dozen biographical studies, and more than thirty critical volumes devoted to Fitzgerald and his work. Scott Fitzgerald (1957) is the first book-length critical study devoted exclusively to Fitzgerald's work. The fifty odd years of careful scrutiny of the body of Fitzgerald's work have more than borne out the confidence of those few contemporary critics who, in his lifetime, saw for him a permanent place among the immortals of American literature.Eble systematically examines the novels and the stories against the backdrop of Fitzgerald biography, finally drawing conclusions about the relative strengths of the works, particularly the novels, by new-critical standards.He typically proceeds in chronological order, though in the case of groups of stories like the Basil Duke Lee series, written in the late Twenties, his analysis comes early since these retrospective autobiographical works cast light on Fitzgerald's life as an adolescent.