{"title":"Alone and Alone: Defense, Justification, and Apology in Fitzgerald's Late Prefaces","authors":"Ross K. Tangedal","doi":"10.5325/FSCOTFITZREVI.15.1.0051","DOIUrl":"https://doi.org/10.5325/FSCOTFITZREVI.15.1.0051","url":null,"abstract":"Abstract:Over the course of his career, F. Scott Fitzgerald regularly attempted to gain both popular and critical respect. However, when The Great Gatsby first appeared in 1925, market tendencies assured Fitzgerald of the critical community's paradoxical position regarding his fictional output, which stunted his production over the next several years. Although he would continue to produce magazine fiction throughout the nine-year gap between novels, Fitzgerald's process in creating what would become Tender Is the Night offers a natural window into the author's mental and artistic state for the majority of the 1920s and 1930s. His three prefaces of the decade—two unpublished and one published—present Fitzgerald's authorial anxiety and reveal the opposite of the youthful and naïve author of This Side of Paradise. Fitzgerald's decline in the 1930s is ably traced not only through public documents—such as \"The Crack-Up\" essays written for Esquire in 1936—but also through his published and unpublished prefaces which aimed to defend, justify, and ultimately apologize for his artistic material.","PeriodicalId":40217,"journal":{"name":"F Scott Fitzgerald Review","volume":"15 1","pages":"51 - 71"},"PeriodicalIF":0.0,"publicationDate":"2018-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47833735","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Masquerading as Herself\": The Flapper and the Modern Girl in the Journalism and Short Fiction of Zelda Fitzgerald","authors":"Deborah Pike","doi":"10.5325/FSCOTFITZREVI.15.1.0130","DOIUrl":"https://doi.org/10.5325/FSCOTFITZREVI.15.1.0130","url":null,"abstract":"Abstract:This article focuses on the image of the flapper and the modern young woman in Zelda Fitzgerald's journalism and selected short fiction. While her journalistic articles champion the idea of a modern consumerist selfhood for women, they deploy an ironic and playful tone, distinguishing between her own ideal of the authentic flapper as an exemplar of moral courage and pioneer of social change—of flapperdom as a philosophy—and later glamour-obsessed, image-driven imitators of the flapper lifestyle. Even as they celebrate the decadence of flapperdom, her short stories can be read in the context of her journalism as presenting cautionary tales of its hollowness for those who pursue the flapper image as a game, a masquerade performed at the expense of an authentic self. Zelda Fitzgerald challenges and critiques this notion of the modern woman in the very magazines that were endorsing it.","PeriodicalId":40217,"journal":{"name":"F Scott Fitzgerald Review","volume":"15 1","pages":"130 - 148"},"PeriodicalIF":0.0,"publicationDate":"2018-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44300755","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Jay Gatsby, Failed Intellectual: F. Scott Fitzgerald's Trope for Social Stratification","authors":"Dianne E. Bechtel","doi":"10.5325/FSCOTFITZREVI.15.1.0117","DOIUrl":"https://doi.org/10.5325/FSCOTFITZREVI.15.1.0117","url":null,"abstract":"Abstract:This article explores F. Scott Fitzgerald's drawing of the character Jay Gatsby in conjunction with Pierre Bourdieu's theory of the habitus. It seeks to explain why Jay Gatsby has failed at his attempt to maintain wealth, love interest, and even his life. It describes the social and economic realities that make up the conditions of class status and character behavior that lead to Gatsby's lack of survival. The article argues that the social structures and relevant practices of economic status in literature and everyday life are products of inculcated sociopolitical structures and substructures. Characters like Jay Gatsby are governed by, and sealed within, an unchanging class structure regardless of upward mobility. Much in the fashion of Bourdieu's habitus, Fitzgerald's Jay Gatsby plays out his failure though the author's own unconsciously inculcated disposition. Gatsby cannot help but fail. Fitzgerald renders the class habitus through ideologically based cultural goods in the form of physical bodies and the trappings of wealth, showing these through the leitmotif of the American Dream. As such, Bourdieu's theory of the habitus and the social economy of cultural goods is deeply written in the discourse of Jay Gatsby's conflict just as surely as it reveals Fitzgerald's own struggle with class status.","PeriodicalId":40217,"journal":{"name":"F Scott Fitzgerald Review","volume":"15 1","pages":"117 - 129"},"PeriodicalIF":0.0,"publicationDate":"2018-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47835449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Better That All of the Story Never Be Told\": Zelda Fitzgerald's Sister's Letters to Arthur Mizener","authors":"Jackson R. Bryer","doi":"10.5325/FSCOTFITZREVI.15.1.0001","DOIUrl":"https://doi.org/10.5325/FSCOTFITZREVI.15.1.0001","url":null,"abstract":"Abstract:In late June 1950, Rosalind Sayre Smith, Zelda Fitzgerald's sister, sent two letters to Arthur Mizener, after Fitzgerald's daughter \"Scottie\" sent her the manuscript of Mizener's forthcoming Fitzgerald biography. This article for the first time publishes extensive excerpts from Smith's letters, which offer important, first-hand commentary on, among other subjects, the Sayre family, the Fitzgeralds' wedding, Zelda Fitzgerald's ballet studies, Zelda Fitzgerald's hospitalization at Highland Hospital, and the aftermath of the Fitzgeralds' ill-fated trip to Cuba in April 1939.","PeriodicalId":40217,"journal":{"name":"F Scott Fitzgerald Review","volume":"15 1","pages":"1 - 16"},"PeriodicalIF":0.0,"publicationDate":"2018-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46982929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Visualizing \"The Rich Boy\": F. Scott Fitzgerald, F. R. Gruger, and Red Book Magazine","authors":"Jennifer A. Nolan","doi":"10.5325/FSCOTFITZREVI.15.1.0017","DOIUrl":"https://doi.org/10.5325/FSCOTFITZREVI.15.1.0017","url":null,"abstract":"Abstract:Although the majority of F. Scott Fitzgerald's stories were published in popular magazines with illustrations, little scholarly attention has been paid to the hundreds of images that interpreted Fitzgerald's stories or to the artists who produced them. Yet, for most of Fitzgerald's contemporary audiences, these illustrations played an essential role in how they experienced the text, particularly given the usual placement of an image preceding, and thereby framing, the narrative. One of Fitzgerald's most important stories, \"The Rich Boy,\" was published in two installments of Red Book Magazine in January and February of 1926, and was illustrated by F. R. Gruger, a prolific and well-respected illustrator at the peak of his career. Examining the interplay between Gruger's six illustrations and Fitzgerald's text reveals how they mutually reinforce Fitzgerald's narrative and thematic emphases through prefiguring, highlighting, and interpreting elements of the plot. By focusing on this aspect of the print culture surrounding the publication of Fitzgerald's stories, this article demonstrates the integral link between the visual and textual during this era and offers new ways of thinking about how Fitzgerald's stories were positioned for most of his contemporary readership.","PeriodicalId":40217,"journal":{"name":"F Scott Fitzgerald Review","volume":"15 1","pages":"17 - 33"},"PeriodicalIF":0.0,"publicationDate":"2018-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46365927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Revisiting \"Babylon Revisited\": A Critical Retrospective","authors":"C. Malmgren","doi":"10.5325/FSCOTFITZREVI.15.1.0081","DOIUrl":"https://doi.org/10.5325/FSCOTFITZREVI.15.1.0081","url":null,"abstract":"Abstract:This article argues that even given all the accolades showered upon \"Babylon Revisited\" (1931), critics have yet to appreciate the full measure of Fitzgerald's accomplishment. What critics have passed over is Fitzgerald's narratological prowess, his admirable command of the point of view of the story. The basic issues debated by critics for nearly fifty years now are if Charlie is in fact a changed man and if he deserves to get his daughter back. This article takes a hard look at Fitzgerald's technique in order to answer these questions, to bring out nuances in the story that critics have overlooked, and to give Fitzgerald the full credit he deserves.","PeriodicalId":40217,"journal":{"name":"F Scott Fitzgerald Review","volume":"15 1","pages":"81 - 95"},"PeriodicalIF":0.0,"publicationDate":"2018-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43071539","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Besides Zurich and Beyond Europe: Decentering Euro-Centrism in Tender Is the Night","authors":"Elin Käck","doi":"10.5325/FSCOTFITZREVI.15.1.0034","DOIUrl":"https://doi.org/10.5325/FSCOTFITZREVI.15.1.0034","url":null,"abstract":"Abstract:While the cosmopolitan gestures and racial markers in Tender Is the Night have generated thought-provoking readings in Fitzgerald scholarship, the novel's profound exploration of Eurocentrism has been overlooked. This article considers the novel within the frameworks of spatial theory and geo-criticism to uncover its interrogation of Eurocentrism. It argues that Fitzgerald's Europe is part of a relational geography activated by the novel's global network of geographical locales and that it is a made space. Set mainly in Europe, the novel insistently presents a global geography that rests upon the economic transactions that enable the characters' experience and crafting of Europe. It is not some essence of Europe, its historical heritage or cultural hegemony that warrants its position as central, but its function as an amorphous space that has become malleable through economic consumption. The places described are almost exclusively European, but minor characters, slips, and transformations trouble Europe's explicit centrality in the novel. Europe's places lose their singularity with Hollywood replicas superimposed onto existing monuments, but foreign currency is steadily directed at Europe, which means that it retains its status as a central locus. While the novel thus challenges the notion of Europe as center, it nonetheless reiterates much of the Eurocentric argument.","PeriodicalId":40217,"journal":{"name":"F Scott Fitzgerald Review","volume":"15 1","pages":"34 - 50"},"PeriodicalIF":0.0,"publicationDate":"2018-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44326344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Incest Plot: Melancholic Nationalism in H.D.'s Kora and Ka and Fitzgerald's Tender Is the Night","authors":"Michael Von Cannon","doi":"10.5325/FSCOTFITZREVI.16.1.0038","DOIUrl":"https://doi.org/10.5325/FSCOTFITZREVI.16.1.0038","url":null,"abstract":"","PeriodicalId":40217,"journal":{"name":"F Scott Fitzgerald Review","volume":"16 1","pages":"38-59"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70835344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Gatsby’s Green Light as a Traffic Signal: F. Scott Fitzgerald’s Motive Force","authors":"Y. Takeuchi","doi":"10.5325/FSCOTFITZREVI.14.1.0198","DOIUrl":"https://doi.org/10.5325/FSCOTFITZREVI.14.1.0198","url":null,"abstract":"F. Scott Fitzgerald’s use of vehicles in The Great Gatsby constitutes more than just a symbolic motif: cars, trains, boats, and other means of transportation structure the plot, providing the narrative with motive force and mobility. Characters are brought together and torn apart through changes to the scenario, when vehicles actually start and stop. The characters’ ephemeral relationships start with their riding in the same vehicle, and end—or are brought back to reality—when the vehicle comes to a halt. Within this structure, the novel’s central motif, the “green light,” acts as a traffic signal, giving Gatsby the go-ahead to move onward to create the short-lived world founded upon his belief in mobility. Appropriately, the appearance of Gatsby’s natural father following the final crash, a symbolic accident denoting the end of his dream, indicates what Gatsby had essentially tried to “move” all along: his unchangeable breeding and past. This article taps into the possibility of reevaluating time and breeding—the conventional themes in Fitzgerald’s novel—from the perspective of literal vehicle mobility, which provides important structure to Nick’s narrative.","PeriodicalId":40217,"journal":{"name":"F Scott Fitzgerald Review","volume":"14 1","pages":"198 - 214"},"PeriodicalIF":0.0,"publicationDate":"2016-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.5325/FSCOTFITZREVI.14.1.0198","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70834556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}