The critical reputation of F. Scott Fitzgerald
by Jackson R. Bryer
1940-1949
F. Scott Fitzgerald’s familiar and often-quoted observation that “there are no second acts in American lives” (LT, 163; it had a certain vogue during Bill Clinton’s impeachment proceedings in 1999) is certainly belied by the history of Fitzgerald’s own critical reputation. A celebrity and acclaimed literary figure at age twenty-three in 1920, when his first novel, This Side of Paradise, became a bestseller (it went through twelve printings in two years and sold 49,075 copies; Bruccoli, Some Sort of Epic Grandeur, 137) his short fiction eventually commanded a price of $4,000 per story from the Saturday Evening Post (he published nineteen at that rate between June 1929 and April 1931; Mangum, A Fortune Yet, 179). But at his death on December 21, 1940, he had not published a book in five years, his fee for a story had dipped to $250 (Mangum, A Fortune Yet, 181), and during the last year of his life, seventy-two copies of his nine books were sold (Maimon, “F. Scott Fitzgerald’s Book Sales,” 166). His letters to his longtime editor Maxwell Perkins during 1939 and 1940 were filled with ideas on how to resuscitate what he felt was his forgotten name with the American reading public. Typically and ironically, the last two sentences he ever wrote to Perkins, on December 13, were “How much will you sell the plates of This Side of Paradise for? I think it has a chance for a new life” (Letters, 291). Another revealing anecdote is Budd Schulberg’s admission that when, in early 1939, as a fledgling screenwriter he was asked to collaborate with Fitzgerald (whose fiction he admired greatly) on a film about the Dartmouth Winter Carnival, Schulberg thought Fitzgerald was dead (Bruccoli, Some Sort of Epic Grandeur, 454). In twenty years, Fitzgerald’s career and reputation had literally gone from the top to virtual obscurity.
Indications of the “second act” Fitzgerald was to experience, albeit posthumously, began to appear literally within days of his death. Newspapers across the country and overseas, which had totally ignored Fitzgerald at least since 1934 and 1935, when his last two books had appeared, ran editorials on his passing (Bryer, Critical Reputation, [1967], 202-9). While several of these asserted that he had outlived his career—Fitzgerald, said the Raleigh News and Observer, “did not die before his time. His time was already gone before he began to be old” (Bryer, Critical Reputation, 202)—there was abundant praise as well. The Los Angeles Times hailed him as “a brilliant, sometimes profound writer,” the Indianapolis News predicted that his fiction “will have a permanent place in American literature,” and the New York World-Telegram called him “the Gibbon of the jazz age, the Boswell of ‘all the sad young men,’ of ‘the beautiful and damned’ ” (Bryer, Critical Reputation, 204, 203, 206). Then, in two issues of the venerable New Republic (March 3 and March 17, 1941), a group of Fitzgerald’s most respected literary colleagues—John Peale Bishop, Malcolm Cowley, John Dos Passos, John O’Hara, and Glenway Wescott—weighed in with more substantial appreciations which almost a half-century later are still regarded as key documents in the restoration of Fitzgerald’s critical reputation.
This flurry of attention accorded Fitzgerald shortly after his death was not only a harbinger of what was to come; it also was a reprise, if abbreviated and more limited, of the sort of coverage Fitzgerald and his wife Zelda had received during the 1920s and early 1930s, when they were among the most famous couples in the world. Their celebrity is graphically documented in the clippings which both Fitzgeralds carefully preserved in their scrapbooks. Generous excerpts from these scrapbooks are reproduced in The Romantic Egoists: A Pictorial Autobiography From the Scrapbooks and Albums of Scott and Zelda Fitzgerald (1974), edited by Matthew J. Bruccoli, Scottie Fitzgerald Smith, and Joan P. Kerr, surely one of the most underrated and overlooked works of Fitzgerald scholarship. There, alongside clippings of articles by and about both Fitzgeralds and memorabilia (which start with Fitzgerald’s baby book) and letters (beginning with one written to his mother from summer camp when he was eight), are excerpts from Fitzgerald’s published writings (arranged by the editors so that they are placed most appropriately chronologically) and hundreds of photographs. This compilation not only documents the Fitzgeralds’ celebrity but also their own relishing of that attention. The contemporary critical scrutiny which Fitzgerald received is more fully represented in Jackson R. Bryer’s F. Scott Fitzgerald: The Critical Reception (1978), which reprints 338 contemporary reviews which Fitzgerald’s books received between 1920 and 1941. Taken together, these two books show the heights from which his reputation and visibility had descended in 1940. For a brief but comprehensive survey of Fitzgerald’s critical reception during his lifetime, one can also consult pp. 292-5 in Bryer’s bibliographical essay on Fitzgerald in Sixteen Modern American Authors (1974).
After the obituary tributes of late 1940 and early 1941, the next major event in the history of Fitzgerald’s literary reputation was the publication, on October 27, 1941, of a volume which included the incomplete text of The Last Tycoon, the novel Fitzgerald was working on when he died, along with The Great Gatsby and four of his best short stories—“May Day,” “The Diamond as Big as the Ritz,” “Absolution,” and “Crazy Sunday.” Reviewers greeted this publication with more uniformly positive responses than they had directed at any of his books during his lifetime. J. Donald Adams in the New York Times Book Review asserted that The Last Tycoon “would have been Fitzgerald’s best novel and a very fine one”; Fanny Butcher in the Chicago Tribune hailed it as “the first major novel of Hollywood”; and W. T. Scott in the Providence Journal called it “a book of real writing—a living memorial” (Bryer, Critical Reception, 99, 100, 104). Most eloquent and prophetic, however, were the words of famed poet and essayist Stephen Vincent Benet, writing in the Saturday Review of Literature: “You can take off your hats now, gentlemen, and I think perhaps you had better. This is not a legend, this is a reputation—and, seen in perspective, it may well be one of the most secure reputations of our time” (Kazin, F. Scott Fitzgerald, 131-2).
Most commentators agree that, despite this immediate recognition in 1940-1, the first significant date in the “second act” of the history of Fitzgerald’s critical reputation is 1945. In that year, two major books appeared: Edmund Wilson’s edition of The Crack-Up, which contained essays, notebook entries, and letters to and from Fitzgerald, along with critical essays about him (including reprintings of three of the 1941 New Republic tributes—by Bishop, Dos Passos, and Wescott); and The Portable F. Scott Fitzgerald, selected by Dorothy Parker, which contained the full texts of two novels, The Great Gatsby and Tender is the Night, and nine short stories. The publication of these two collections, especially Wilson’s, prompted several of America’s leading men of letters to write extensive review-essays which used the occasion to reevaluate Fitzgerald’s career and his place in American literary history. These assessments—by, among others, J. Donald Adams, Malcolm Cowley, Alfred Kazin, Joseph Wood Krutch, John O’Hara, J. F. Powers, Mark Schorer, Lionel Trilling, William Troy, and Andrews Wanning—represented the first and remain some of the best serious critical essays directed at Fitzgerald’s work.1
With this impetus, other writers, critics, and academics began to turn their attention to Fitzgerald. These early articles set patterns for much later commentary. John Berryman wrote a major piece in the Kenyon Review (Winter 1946), which praised The Great Gatsby as “a masterpiece” but had harsher words for the later work. His assessment reverberated for many years as Gatsby became the focus of much of the Fitzgerald criticism which followed. Milton Hindus inaugurated what became a long-running controversy in Fitzgerald studies with a consideration of “F. Scott Fitzgerald and Literary Anti-Semitism”; Martin Kallich did the same with respect to Fitzgerald’s ambivalence towards wealth in “F. Scott Fitzgerald: Money or Morals”; and the first extended essays on Fitzgerald by British critics were written by Alan Ross in Horizon (“Rumble Among the Drums: F. Scott Fitzgerald [1896-1940] and the Jazz Age”) and D. S. Savage in World Review (“Scott Fitzgerald, the Man and His Work”).
1950-1959
The late 1940s had seen the appearance of a series of important articles on Fitzgerald by Arthur Mizener, who was a Professor of English at Carleton College in Minnesota. These culminated with the publication, in 1951, of Mizener’s critical biography, The Far Side of Paradise, the first book on Fitzgerald. That same year, the second important date of what soon came to be called the “Fitzgerald Revival,” also saw the publication of the first comprehensive gathering of Fitzgerald’s short fiction, The Stories of F. Scott Fitzgerald, twenty-eight stories selected by Malcolm Cowley, and the first collection of Fitzgerald criticism, Alfred Kazin’s F. Scott Fitzgerald: The Man and His Work. It is one of the oddities of Fitzgerald’s critical reputation that to date, nearly a half-century later, two of these books have not really been superseded. Mizener’s biography, a model balance of a detailed and carefully documented account of the life and an informed, sensitive, and authoritative analysis of the work, remains the best single biographical source (although, inevitably, new information has surfaced in subsequent biographies) as well as one of the most reliable critical studies. Similarly, while since 1951 there have been many collections of reprinted and of original essays and reviews about Fitzgerald’s works, Kazin’s regrettably and rather surprisingly remains the most comprehensive such gathering of reprinted materials (besides a four-volume British anthology which is prohibitively expensive and virtually unobtainable).
Mizener’s biography did remarkably well commercially; within five days of its January publication date it had sold an astonishing 20,000 copies and by the end of the year, the total was over 70,000 (Maimon, “F. Scott Fitzgerald’s Book Sales,” 170, 172). It, along with the Cowley story collection and the Kazin anthology of criticism, also elicited many of the same kind of review-essays which had been generated by The Crack-Up and The Portable F. Scott Fitzgerald in 1945—in this instance by William Barrett, Joseph Warren Beach, Horace Gregory, Charles Jackson, R. W. B. Lewis, V. S. Pritchett, Delmore Schwartz, James Thurber, Perry Miller, Lionel Trilling, and Charles Weir, Jr.2
The decade of the 1950s also saw the publication of major critical essays in leading literary journals and book chapters. Three of the best of the former were written by Malcolm Cowley, a contemporary and friend of Fitzgerald’s who was to become one of his most articulate and astute critics. The first, “The Scott Fitzgerald Story,” registered its author’s dissatisfaction with Mizener’s biography and offered Cowley’s own account, placing the emphasis on “the moral atmosphere of the period in which Fitzgerald flourished and declined.” In “Fitzgerald: The Double Man,” Cowley reiterated a thesis that he had first introduced in his 1941 review-essay on The Last Tycoon and which became one of the benchmarks of Fitzgerald criticism, that his “distinguishing mark as a writer” was his double vision, “the maximum of critical detachment… combined with the maximum of immersion in the drama.” Cowley’s third essay (New Republic, August 20, 1951) dealt with the composition of Tender is the Night and presented the idea that Fitzgerald had wanted to revise the novel by reversing the order of its first two books, an intention realized when, later in 1951, Scribners reissued the novel in revised form—with Cowley’s essay as an introduction. Thus began one of the major controversies in Fitzgerald scholarship: while virtually all subsequent editions of Tender have used the original 1934 text, there are still scholars who feel that the revised version should also be available.
During this period Fitzgerald began to be the subject of major sections of critical books on American literature. Chief among these were John W. Aldridge’s examination of Fitzgerald’s five novels, “Fitzgerald—The Honor and the Vision of Paradise” (After the Lost Generation [1951]); Leslie Fiedler’s “Some Notes on F. Scott Fitzgerald” (An End to Innocence [1955]); Frederick J. Hoffman’s discussion of Tender is the Night (Freudianism and the Literary Mind [1957]); Hoffman’s extended analyses of This Side of Paradise and Gatsby (The Twenties [1955]); Wright Morris’s discussion of “The Crack-Up” essays (The Territory Ahead [1958]); Lionel Trilling’s essay on “The Crack-Up” and Gatsby (The Liberal Imagination [1950]); and Colin Wilson’s consideration of Fitzgerald as “the modern outsider” (Religion and the Rebel [1957]).
As noted above, in this first phase, Gatsby received by far the greatest attention of Fitzgerald’s works. Perhaps the most influential early study was Marius Bewley’s “Scott Fitzgerald’s Criticism of America,” probably the first and certainly one of the best analyses of Gatsby as a critique of the American experience and the American Dream and as a work with universal themes and appeal.
Despite this activity, the first full-length critical book on Fitzgerald did not appear until 1957 and it was published abroad. James E. Miller, Jr.’s The Fictional Technique of Scott Fitzgerald, largely neglected until its republication (in somewhat revised form) in the U.S. in 1964 as F. Scott Fitzgerald: His Art and His Technique, was an important and intelligent study which emphasized the literary influences to which Fitzgerald was subject (Wells, Mencken, James, Conrad, Cather, Keats, Wharton) and focused on the literary techniques in the novels. Another important book which came out at the end of the 1950s was Beloved Infidel (1958), Sheilah Graham’s autobiography, which, for the first time, revealed that she had been Fitzgerald’s lover during his last years in Hollywood. Unjustifiably ignored as a major contribution to Fitzgerald studies, Beloved Infidel was praised by Edmund Wilson, in a New Yorker review, as the best portrait of Fitzgerald in print. It included, besides Graham’s reminiscences, many heretofore undiscovered Fitzgerald letters and poems. It was also the most prominent of yet another species of Fitzgerald commentary which began to appear in the 1950s, personal memories of Fitzgerald by his friends and associates. Among those who wrote this sort of piece were Struthers Burt, Lawrence Stallings, James Thurber, Andrew Turnbull, Shane Leslie, George Jean Nathan, and Frances Kroll Ring.
The late 1950s also saw new collections of Fitzgerald’s works, as well as reprinted ones. Most important of the former was Mizener’s edition of Afternoon of an Author (1957), which presented twenty previously uncollected essays and stories, most drawn from the late years of Fitzgerald’s career. And in 1958 alone, Scribners reprinted The Beautiful and Damned, Fitzgerald’s second novel, reissued The Great Gatsby in a single volume for the first time, published The Last Tycoon on its own, and issued a trade edition of Afternoon of an Author (it had originally been published by the Princeton University Library, the repository of Fitzgerald’s papers). In 1959, Scribners brought out a new edition of Flappers and Philosophers, Fitzgerald’s first short story collection. Besides generating more reviews and review-essays, these books played a big role in sharply increasing the sales figures of Fitzgerald titles: in 1955, the five Fitzgerald books in print at Scribners sold 6,992 copies; by 1960, with twelve titles in print, total sales were 177,849 (Maimon, “F. Scott Fitzgerald’s Book Sales,” 170, 172). In Great Britain, the Bodley Head publishing firm issued Volumes i (1958) and ii (1959) of what would eventually become a six-volume edition of Fitzgerald’s fiction. And just to punctuate the end of the decade, in 1958, Matthew J. Bruccoli, destined to become the most influential and productive Fitzgerald scholar/critic, founded the Fitzgerald Newsletter, a modest but important quarterly publication, which, for the next decade, included brief articles and notes and, in each issue, an invaluable extensive checklist of recent material by and about Fitzgerald. In 1951, John Abbot Clark had exclaimed, “It would seem that all Fitzgerald had broken loose” (Quoted in Bryer, Sixteen Modern American Authors, 299). One can only imagine what he would have said at the end of the decade!
1960-1969
Fitzgerald scholarship and criticism in the 1960s featured publication of still more “new” works by Fitzgerald, the first spate of significant full-length critical studies, the beginnings of bibliographical scholarship on Fitzgerald, important personal reminiscences, the founding of a substantial annual journal entirely devoted to Fitzgerald and Hemingway, and a continuing blizzard of critical essays and book chapters.
In 1960, Scribners published Six Tales of the Jazz Age and Other Stories, which collected nine Fitzgerald stories which had long been out of print. The Pat Hobby Stories, published by Scribners in 1962, exhumed from the pages of Esquire seventeen stories about a Hollywood hack screenwriter which Fitzgerald had published in the late 1930s. Arthur Mizener’s selections for The Fitzgerald Reader (1963) featured a diverse and judicious sampling (Gatsby, chapters i-vi of Tender, chapters i and iv of The Last Tycoon, and a generous gathering of stories and essays). John Kuehl’s editions of The Apprentice Fiction of F. Scott Fitzgerald, 1909-1917 (1965) and the Thoughtbook of Francis Scott Key Fitzgerald (1965) both afforded early glimpses of Fitzgerald’s talent. The former published for the first time in book form fifteen short stories and two plays he published at St. Paul Academy, the Newman School, and Princeton University; while the Thoughtbook was his diary, begun in August 1910, when he was fourteen, and ending in February 1911. Two briefer previously unpublished items surfaced as well: “Dearly Beloved” (Fitzgerald/Hemingway Annual, 1969), which was notable principally as Fitzgerald’s only fiction focused on a black character; and “My Generation” (Esquire, October 1968), a 1939 essay defending his age group, which had recently been criticized by his daughter in an article in Mademoiselle.
While, up until 1960, there had been only one book-length critical study of Fitzgerald, the decade of the 1960s saw eight books and two pamphlets, as well as the American edition of Miller’s book, alluded to earlier. Several of these remain important and frequently consulted critical resources. In the latter category are Richard D. Lehan’s F. Scott Fitzgerald and the Craft of Fiction (1966), which provided excellent explications of the novels and expertly placed Fitzgerald among his contemporaries; Robert Sklar’s F. Scott Fitzgerald: The Last Laocoon (1967), which was notable for its locating of Fitzgerald at the end of the genteel tradition, for its sections on the influences of Twain, Tarkington, and Joyce on Fitzgerald’s female characters, and for its explications of the short stories; and Sergio Perosa’s The Art of F. Scott Fitzgerald (1965), which stressed “the interdependent links” between the stories and novels and ranged over the full extent of Fitzgerald’s career. Of the briefer volumes, Kenneth Eble’s F. Scott Fitzgerald (1963; rev. edn., 1977), K. G. W. Cross’s F. Scott Fitzgerald (1964), and Milton Hindus’s F. Scott Fitzgerald: An Introduction and Interpretation (1968) were useful although somewhat superficial in their analyses. The same was true for the two pamphlets, Charles E. Shain’s F. Scott Fitzgerald (1961) and Edwin M. Moseley’s F. Scott Fitzgerald: A Critical Essay (1967). The other two books, William Goldhurst’s F. Scott Fitzgerald and His Contemporaries (1963) and Henry Dan Piper’s F. Scott Fitzgerald: A Critical Portrait (1965), while intermittently of interest, were superseded by later research and scholarship.
Important bibliographical research on Fitzgerald began in the 1960s. Jackson R. Bryer’s The Critical Reputation of F. Scott Fitzgerald (1967) was an exhaustive, mostly annotated, listing of over 2,000 reviews, essays, book sections, newspaper articles, and graduate theses on Fitzgerald. Bryer also wrote two bibliographical essays surveying Fitzgerald research and criticism: “F. Scott Fitzgerald: A Review of Research and Scholarship” and “F. Scott Fitzgerald” in his edition of Fifteen Modern American Authors: A Survey of Research and Criticism (1969). In 1963, the American Literature Section of the Modern Language Association began publishing American Literary Scholarship, an annual survey of the year’s work on American literature. Each volume in this continuing series has contained a chapter devoted to Fitzgerald and Hemingway, written over the years by such major scholars as Frederick J. Hoffman, William White, Jackson R. Bryer, Scott Donaldson, Michael S. Reynolds, Gerry Brenner, Susan F. Beegel, and Albert J. DeFazio III; it remains the single best ongoing source for reliable evaluation of research on Fitzgerald.
The decade of the 1960s also saw the publication of several worthwhile important personal reminiscences. The most important of these was Andrew Turnbull’s memoir/biography, Scott Fitzgerald (1962), which combined Turnbull’s own memories of Fitzgerald (whom he knew when Turnbull was eleven and the Fitzgeralds rented a house on the grounds of Turnbull’s parents’ Baltimore estate) with a scrupulously researched biography. One year later, Turnbull edited the first volume of Fitzgerald’s correspondence, The Letters of F Scott Fitzgerald, which, while highly selective (according to its editor, he published only half of the letters then available), rather clumsily arranged by recipient rather than chronologically, and unscholarly in its editing, nonetheless gave us our first comprehensive glimpse of Fitzgerald’s important correspondences—with Maxwell Perkins, with Hemingway, with his wife and daughter, and with Edmund Wilson, among many others.
Ernest Hemingway’s posthumous A Moveable Feast (1964) provided a devastating portrait of Fitzgerald during a disastrous motor trip from Lyon to Paris in the spring of 1925 and much criticism of Zelda Fitzgerald. Morley Callaghan’s That Summer in Paris (1963) was a much less vituperative account of Fitzgerald in Paris in 1929; while Calvin Tompkins’s New Yorker profile of Fitzgerald’s friends Gerald and Sara Murphy (“Living Well is the Best Revenge,” July 28, 1962; reprinted in 1971 as a book with the same title) contained much about the Fitzgeralds. Laura Hearne, in “A Summer with F. Scott Fitzgerald,” published her detailed diary of her time as Fitzgerald’s secretary in 1935; and Sheilah Graham’s second book about Fitzgerald, College of One (1967), focused on the two-year liberal arts course Fitzgerald designed to educate her. In “Old Scott: The Mask, the Myth, and the Man,” Budd Schulberg recounted his memories of Fitzgerald in Hollywood in the late 1930s.
Four volumes of reprinted Fitzgerald criticism appeared in the 1960s. The most comprehensive was Arthur Mizener’s F. Scott Fitzgerald: A Collection of Critical Essays (1963), whose nineteen selections duplicated some of those in Kazin’s 1951 collection but also added more recent essays and book chapters. The three other collections were more narrowly focused. Frederick J. Hoffman’s “The Great Gatsby”: A Study (1962) included ten reprinted pieces on the novel, two previously unpublished essays, selections from Fitzgerald’s letters and fiction, and relevant background materials. Ernest H. Lockridge’s Twentieth Century Interpretations of “The Great Gatsby” (1968) duplicated many of the selections in the Mizener and/or Hoffman collections, although it did contain an excellent new piece, “Dream, Design, and Interpretation in The Great Gatsby,” by David L. Minter. Marvin J. LaHood’s “Tender Is the Night”: Essays in Criticism (1969) was an early indication of a shift in Fitzgerald studies away from the exclusive focus on Gatsby among the novels in that it reprinted the best of the early essays and book sections on Tender.
In 1969, Matthew J. Bruccoli founded the Fitzgerald/Hemingway Annual as a successor to the Fitzgerald Newsletter. From its inception until its cessation in 1979, this substantial hardbound volume, which often contained over 350 pages per issue, was the source of valuable critical essays, bibliographical and textual pieces, newly discovered letters and texts by Fitzgerald, reviews of recent publications, and an annual checklist of new primary and secondary materials.
1970-1979
The 1970s saw the continuation and expansion of the trends established in the 1960s: significant bibliographical studies; even more “new” Fitzgerald works, principally collections of stories and of letters; a major biography of Zelda Fitzgerald, along with two book-length biographical studies of her husband and more personal reminiscences; five collections of reprinted essays and reviews; seven full-length critical books; and the usual torrent of critical essays and book chapters.
The decade of the 1970s is notable in the history of Fitzgerald studies for the abundance of bibliographical and textual work it produced. Matthew J. Bruccoli’s F. Scott Fitzgerald: A Descriptive Bibliography (1972), along with its Supplement (1980) and revised edition (1987), came to represent the definitive primary listing of Fitzgerald’s writings. Exhaustive and meticulously detailed, it included everything that any researcher could conceivably want to know about Fitzgerald’s works and dwarfed all previous and subsequent bibliographical research on Fitzgerald primary sources. Bruccoli’s “‘A Might Collation’: Animadversions on the Text of F. Scott Fitzgerald” (Editing Twentieth Century Texts [1972]) was a similarly definitive examination of the highly corrupt texts of Gatsby and Tender then in common use; and his “The Last of the Novelists”: F. Scott Fitzgerald and “The Last Tycoon” (1977) was a careful reconstruction of the composition process and posthumous publication of Fitzgerald’s last novel which convincingly showed that Edmund Wilson, as editor of the 1941 edition, obscured “the gestational nature of Fitzgerald’s work” and misled “readers into judging work-in-progress as completed stages.”
Three other books published during the 1970s provided valuable resources for textual study of Gatsby: Bruccoli’s edition of “The Great Gatsby”: A Facsimile of the Manuscript (1973), Andrew T. Crosland’s A Concordance to F. Scott Fitzgerald’s “The Great Gatsby” (1975), and Bruccoli’s Apparatus for F. Scott Fitzgerald’s “The Great Gatsby” [Under the Red, White, and Blue] (1974). The latter was designed so that, using the collations, emendations, and revisions Bruccoli provided, any reader could mark up his own copy of Gatsby and prepare a definitive text.
More “new” books by Fitzgerald were published in the 1970s than had appeared during his entire lifetime. The first half of Matthew J. Bruccoli and Jackson R. Bryer’s F. Scott Fitzgerald in His Own Time (1971) brought back into print obscure works by Fitzgerald (selected by Bruccoli) which spanned his entire career—from verse, lyrics, and humorous sketches he wrote as an undergraduate through book reviews and newspaper articles on love, marriage, and sex he wrote in the 1920s, down to blurbs, public statements, and letters to the editor from the 1930s. Bruccoli, alone and with collaborators, was also responsible for presenting several other volumes of importance. His edition of The Price Was High: The Last Uncollected Stories of F. Scott Fitzgerald (1979) performed the extremely valuable task of reprinting from the magazines in which they originally appeared thirty-nine previously uncollected stories and one (“On Your Own”) never before published (plus ten previously collected stories), thus greatly facilitating study of Fitzgerald as a writer of short fiction. Bits of Paradise (1973), edited by Bruccoli and the Fitzgeralds’ daughter, Scottie Fitzgerald Smith, similarly presented eleven previously uncollected stories by Scott (including “The Swimmers,” which is one of his best), nine fictional sketches by Zelda, and one they wrote together. The Basil and Josephine Stories, edited by Jackson R. Bryer and John Kuehl, was the first book publication of these two series of stories about adolescents (eight about Basil, five about Josephine) which Fitzgerald had originally published in the Saturday Evening Post between 1928 and 1931; only three of the stories in the Bryer and Kuehl volume had never been collected but this was the first time the two series had ever appeared together (also included was one Basil story which the Post had not published).
During the 1970s, Bruccoli also edited editions of F. Scott Fitzgerald’s Screenplay for “Three Comrades” by Erich Maria Remarque (1978), the only film assignment during his three sojourns in Hollywood for which Fitzgerald received screen credit; of The Notebooks of F. Scott Fitzgerald (1978); of F. Scott Fitzgerald’s Ledger: A Facsimile (1973), the author’s record of his and his wife’s publications and how much they were paid for each and his “Outline Chart of My Life” from 1896 to 1935; and, in collaboration with Scottie Fitzgerald Smith and Joan P. Kerr, of The Romantic Egoists (1974), the expertly prepared gathering from the Fitzgeralds’ scrapbooks mentioned at the beginning of this essay.
During the 1970s, Fitzgerald’s career as a playwright, short-lived as it was, received increased exposure—with Alan Margolies’s edition of F. Scott Fitzgerald’s St. Paul Plays: 1911-1914 (1978), which was the first publication of the four plays Fitzgerald wrote as a teenager for the Elizabethan Dramatic Club in his hometown; and the reissuing in 1976 by Scribners of Fitzgerald’s one published play, The Vegetable (1923), with appendices which included scenes cut from the manuscript during its author’s final revisions.
Two of Fitzgerald’s most significant and long-standing business and personal relationships were those with his literary agent Harold Ober and his editor Maxwell Perkins. Excerpts from his correspondence with Ober and Perkins had appeared in Turnbull’s 1963 volume of selected letters; but the publication early in the 1970s of Dear Scott/Dear Max: The Fitzgerald-Perkins Correspondence, edited by John Kuehl and Jackson R. Bryer (1971), and As Ever, Scott Fitz: Letters Between F. Scott Fitzgerald and His Literary Agent, Harold Ober—1919-1940, edited by Matthew J. Bruccoli, with the assistance of Jennifer McCabe Atkinson (1972), presented much more complete pictures of these key friendships. Each book included a generous selection from both sides of the correspondence, as well as a scholarly introduction and notes provided by the editors.
Nancy Milford’s Zelda (1970) managed to tell the story of Zelda Fitzgerald’s life and work and of the Fitzgeralds’ marriage in a manner which pleased both academics and a general public which found attractive Milford’s depiction of Zelda as a pre-Women’s Liberation liberated woman. While this highly readable biography emphasized telling Zelda’s story at the expense of in-depth analysis and evaluation, it was an undeniably influential book whose effect is still being felt in Fitzgerald studies. Compared to it, Sara Mayfield’s Exiles from Paradise (1971), which, despite the fact that its author knew Zelda for forty years and Scott for twenty, was strident and unconvincing in its determination to blame Scott for what befell Zelda during their marriage and in its insistence that she was the “natural” and “original” writer that neither he nor Hemingway were. Similarly, Aaron Latham’s Crazy Sundays (1971), while it was a lively anecdote-filled reconstruction of Fitzgerald’s Hollywood years, was devoid of any analysis of Fitzgerald’s movie work and contained a number of factual and interpretive errors and omissions. Only Milford’s book, of the three biographical accounts published in the 1970s, was a substantial full-length contribution.
There were several briefer biographical volumes and essays published during the decade. Arthur Mizener’s Scott Fitzgerald and His World (1972) was worthwhile less for its largely familiar biographical account than for its numerous photographs of the Fitzgeralds and of persons and places associated with them. John F. Koblas’s F. Scott Fitzgerald in Minnesota (1978) was a fifty-page booklet which combined a superficial biographical account with more valuable descriptions, discussions, and photographs of thirty-five locations in and around St. Paul with Fitzgerald associations. Matthew J. Bruccoli’s Scott and Ernest: The Authority of Failure and the Authority of Success (1978) gathered all the available documentary evidence—letters, reminiscences, interviews, published autobiographical accounts by both principals, and previous research—and presented a very detailed and authoritative account of what was undoubtedly the most complex and troubling relationship Fitzgerald had, aside from his marriage, a relationship also examined by Ruth Prigozy in “ ‘A Matter of Measurement’: The Tangled Relationship Between Fitzgerald and Hemingway.”
The most important of the personal reminiscences published during the decade was Anthony Buttitta’s After the Good Gay Times (1974), which was a remarkably vivid and full recreation of Buttitta’s encounters with Fitzgerald in the summer of 1935 when the latter visited Buttitta’s Asheville, North Carolina, bookstore. Sheilah Graham’s third book on Fitzgerald, The Real F. Scott Fitzgerald (1976), while worthwhile as a first-hand account, did not add very much to what she had said in her two previous books.
But by far the most articulate and authoritative personal memories of the Fitzgeralds written in the 1970s were those offered by their daughter Scottie—in her “Foreword” to Bits of Paradise (1973), her “Introduction” to The Romantic Egoists (1974), in her “Foreword” to As Ever, Scott Fitz (1972), in her “Ou Sont Les Soleils d’Antan? Francois ‘Fijeralde’?” in Bruccoli and Clark’s F. Scott Fitzgerald and Ernest M. Hemingway in Paris (1972), in “Notes About My Now-Famous Father” (Family Circle, May 1974), and in an interview with Christiane Johnson (Etudes Anglaises, January-March 1976).
Of the five collections of Fitzgerald criticism published during the decade, two were of permanent importance. The second half of Bruccoli and Bryer’s F. Scott Fitzgerald in His Own Time (1971) emphasized material (selected by Bryer) written during Fitzgerald’s lifetime, reprinting (in most cases for the first time) fifteen interviews and forty-six contemporary reviews, essays, and editorials, parodies, and obituary tributes. Mentioned earlier in this survey, Bryer’s F. Scott Fitzgerald: The Critical Reception (1978) reprinted a generous sampling of the reviews Fitzgerald books received (often in local newspapers) from This Side of Paradise in 1920 to The Last Tycoon in 1941. By comparison, the other three collections of the 1970s—Kenneth E. Eble’s Scott Fitzgerald: A Collection of Criticism (1973), which chose its twelve reprinted essays from the 1950s and 1960s; Matthew J. Bruccoli’s Profile of F. Scott Fitzgerald (1971), and Henry Dan Piper’s Fitzgerald’s “The Great Gatsby”: The Novel, The Critics, The Background (1970)—were much slighter.
There were ten critical books on Fitzgerald published during the 1970s; and while three were slim monographs, several of the others were significant full-length studies which have continued to command respect. Two of the latter, Milton R. Stern’s The Golden Moment: The Novels of F. Scott Fitzgerald (1970) and John F. Callahan’s The Illusions of a Nation: Myth and History in the Novels of F. Scott Fitzgerald (1972), both viewed Fitzgerald’s work through the lens of the American experience. Stern saw at “the center of Fitzgerald’s imagination” the “uses of history, the American identity, the moral reconstruction of the American past,” and examined the four completed novels in that context. Callahan’s book focused heavily on Tender is the Night, with briefer sections on Gatsby and The Last Tycoon, and described their author as “a novelist who captured the complexity of the American idealist, the frailty of his historical and psychic awareness together with his ‘willingness of the heart.’ ”
John A. Higgins’s F. Scott Fitzgerald: A Study of the Stories (1971) was the first book to focus exclusively on Fitzgerald’s short fiction. Because Higgins covered virtually every story, his analyses were often superficial; but, in many instances, his comments stood for many years as the only attention a story received. Just as Higgins’s volume established the bases for serious study of Fitzgerald’s short stories, Joan M. Allen’s Candles and Carnival Lights (1978) did the same for the equally important topic of the ways, both positive and negative, in which Fitzgerald’s Catholic education and upbringing “formed his moral consciousness” and influenced his fiction.
Of the other critical books of the decade, Thomas J. Stavola’s Scott Fitzgerald: Crisis in an American Identity (1979) was hampered by its author’s tendency to read Fitzgerald’s fiction as autobiography but did use Erik Erikson’s psychoanalytic theories interestingly in looking at Fitzgerald’s life and marriage. William A. Fahey’s F. Scott Fitzgerald and the American Dream (1973), Rose Adrienne Gallo’s F. Scott Fitzgerald (1978), and Eugene Huonder’s The Functional Significance of Setting in the Novels of Francis Scott Fitzgerald (1974) were not very significant contributions. There were also two full-length studies of Gatsby, Robert Emmet Long’s The Achieving of “The Great Gatsby” (1979), which did an excellent job of tracing how Fitzgerald’s pre-Gatsby fiction led to the novel and of examining its “structure of interwoven detail and nuance,” and John S. Whitley’s F. Scott Fitzgerald: “The Great Gatsby” (1976), a sixty-four-page monograph which focused on Nick and Gatsby.
1980-1989
The 1980s saw substantial book-length updated revisions of the two major bibliographical resources on Fitzgerald, the first bibliography of foreign criticism, and a detailed composition study of This Side of Paradise; the first edition of Fitzgerald’s poetry and the most comprehensive collection to date of his short stories; the largest and most comprehensive volume of Fitzgerald correspondence we have ever had; four new book-length biographies; three collections of original essays, one the first to be devoted exclusively to the short stories; seven full-length critical studies, including the first one on Fitzgerald’s women characters and another a significant second one on the short stories.
As noted earlier in this essay, Matthew J. Bruccoli issued two subsequent editions of his 1972 bibliography of Fitzgerald’s works—Supplement to “F. Scott Fitzgerald: A Descriptive Bibliography” (1980) and F. Scott Fitzgerald: A Descriptive Bibliography—Revised edition (1987). The first corrected and updated the original volume and added valuable new sections on translations and republications; while the Revised Edition incorporated these changes but condensed the two earlier versions by eliminating several sections found in them.
Jackson R. Bryer’s The Critical Reputation of F. Scott Fitzgerald: A Bibliographical Study—Supplement One through 1981 (1984), similarly to Bruccoli’s updated bibliography, both picked up items inadvertently omitted from Bryer’s 1967 volume, added items on stage and screen adaptations of Fitzgerald’s fiction and a section of reviews of Zelda Fitzgerald’s Save Me the Waltz, and—most importantly—enumerated in annotated form the some 2,200 reviews, essays, books and book sections, and graduate theses which had appeared in the seventeen years since the earlier book. Linda C. Stanley’s The Foreign Critical Reputation of F. Scott Fitzgerald: An Analysis and Annotated Bibliography (1980) provided accounts of Fitzgerald’s reception in, principally, France, Great Britain, Germany, Italy, and Japan—with briefer sections on Australia, Canada, Denmark, India, the Low Countries, Norway, Brazil, Russia, South Africa, Spain, and Sweden.
James L. W. West III, in The Making of “This Side of Paradise” (1983), provided a detailed reconstruction of the process which Fitzgerald employed in, literally, piecing together his first novel from his first draft, already published poems, stories, and playlets, and even letters from friends. West also looked at the post-publication textual history of Fitzgerald’s most carelessly written and sloppily proofread book. Milton R. Stern’s “Tender is the Night: The Text Itself” (Critical Essays on F. Scott Fitzgerald’s “Tender is the Night” [1986]) reviewed the novel’s composition history and argued persuasively for the efficacy of Fitzgerald’s second thoughts on and revision of the 1934 edition.
The seemingly indefatigable Matthew J. Bruccoli gave us two new collections of material by Fitzgerald and a new edition of Fitzgerald’s correspondence. Bruccoli’s edition of Fitzgerald’s Poems 1911-1940 (1981) collected in book form for the first time 149 poems, jingles, and doggerel verses, plus the fifty-five lyrics he wrote for three Triangle Club musicals at Princeton. His edition of The Short Stories of F. Scott Fitzgerald: A New Collection (1989) was—and remains—the single largest collection of Fitzgerald’s short fiction, containing forty-three stories, twenty more than in Cowley’s 1951 collection. In a similar fashion, Bruccoli and Margaret M. Duggan’s edition of Correspondence of F. Scott Fitzgerald (1980) was and still is the largest and most comprehensive collection of Fitzgerald letters we have had. It does not include any letters previously published but it does contain a generous selection of letters to Fitzgerald, most notably the first appearance in print of some of Zelda Fitzgerald’s marvelous letters to her husband.
It is hardly surprising that Mizener’s magisterial 1951 Fitzgerald biography stood virtually alone for three decades; but the 1980s did produce four new biographies, none of which displaced Mizener’s work but all of which were worthwhile as supplements to it. Chief among them was Matthew J. Bruccoli’s Some Sort of Epic Grandeur (1981), which succeeded best as a documentary account utilizing the many new published and unpublished materials which had surfaced since 1951 and remains a valuable resource for all manner of information about Fitzgerald’s life. Andre Le Vot’s F. Scott Fitzgerald (1983), which had appeared in French in 1979, was notable primarily for its fresh (perhaps because its author was not American) views of Fitzgerald and his era; his sections on Princeton, on America in 1920, on the Jazz Age, on Prohibition, and, predictably, on Paris in the 1920s were especially rewarding. Scott Donaldson, in Fool for Love (1983), eschewed a chronological approach and presented a mosaic of chapters on various facets of Fitzgerald’s career and personality—his childhood, his Princeton years, his drinking, his womanizing, his attitudes toward Jews and blacks, his crack-up—with a healthy reliance on letters to Fitzgerald as well as on other primary documents. Invented Lives: F. Scott and Zelda Fitzgerald (1984) by James R. Mellow, while a beautifully written account which brought to life the social and literary worlds of the Fitzgeralds, had very little new to offer and was colored by Mellow’s admitted lack of sympathy for his subjects. Frances Kroll Ring’s memoir of her time as Fitzgerald’s secretary during the last twenty months of his life, Against the Current (1985), was a poignant and respectful portrait of a professional writer bravely persevering against great internal and external obstacles.
For the first time, in the 1980s, collections of critical material about Fitzgerald began to consist entirely of new essays. Three such collections appeared: Bruccoli’s New Essays on “The Great Gatsby” (1985), Bryer’s The Short Stories of F. Scott Fitzgerald: New Approaches in Criticism (1982), and A. Robert Lee’s Scott Fitzgerald: The Promises of Life (1989). To speak of the last first, remarkably enough, this volume, published in England originally and containing essays by British and Continental scholars, was the first gathering of original essays on the full range of Fitzgerald’s career to be published—and it remained the only such collection for eleven years. It included essays on This Side of Paradise (Andrew Hook), on Gatsby (Lee), on Tender is the Night (Harold Beaver), on The Last Tycoon (Robert Giddings), on women in the novels (Elizabeth Kaspar Aldrich), on Fitzgerald and Spengler (John S. Whitley), on Fitzgerald’s “Ethics and Ethnicity” (Owen Dudley Edwards), and two essays on the short stories (Brian Harding and Herbie Butterfield). All were sensible and worthwhile. The same high standard applied to the five original essays on Gatsby in the Bruccoli collection. Two were usefully concerned with the novel’s structure and style—Kenneth E. Eble’s “The Great Gatsby and the Great American Novel” and novelist George Garrett’s “Fire and Freshness: A Matter of Style in The Great Gatsby.” Two others, Roger Lewis’s “Money, Love and Aspiration in The Great Gatsby” and Susan Resneck Parr’s “The Idea of Order at West Egg,” focused on theme through close readings of the text; while Richard Anderson’s “Gatsby’s Long Shadow: Influence and Endurance” traced the novel’s impact on American literature and culture.
Bryer’s collection contained twenty-two new essays (this total probably just about equalled the number of serious critical essays devoted to Fitzgerald’s short fiction prior to 1982) and an extensive checklist of criticism on Fitzgerald’s short stories. It was divided into two basic sections: “Overviews” included general pieces on groups of stories, considered either from the point of view of their subject matter (fantasy [Lawrence Buell], the use of place [Richard Lehan], the Southern Belle [C. Hugh Holman], money and marriage [Scott Donaldson], alcoholism and mental illness [Kenneth E. Eble]), and Basil Duke Lee [Joseph Mancini, Jr.]) or the period in which they were written (stories written for the movie market [Alan Margolies], stories written during the Depression [Ruth Prigozy], stories written for Esquire [James L. W. West III], and stories written during Fitzgerald’s last years in Hollywood [Robert A. Martin]). The second half of the book consisted of essays on individual stories, ranging from well-known ones like “The Ice Palace” (John Kuehl), “May Day” (James W. Tuttleton), “Winter Dreams” (Neil D. Isaacs), “Absolution” (Irving Malin), “The Rich Boy” (Peter Wolfe), “Babylon Revisited” (Carlos Baker), and “Crazy Sunday” (Sheldon Grebstein) to more obscure stories such as “Rags Martin-Jones and the Pr-nce of W-les” (Victor Doyno), “The Adjuster” (Christiane Johnson), “The Swimmers” (Melvin J. Friedman), “The Bridal Party” (James J. Martine), and “Financing Finnegan” (George Monteiro). In the case of this latter group, these were the first essays published on these stories.
Two of the other collections published in the 1980s contained both reprinted and original essays, with a preponderance of the former. Both were in the G. K. Hall Critical Essays on American Literature Series. Scott Donaldson’s Critical Essays on “The Great Gatsby” (1984) was a well organized combination of a judicious selection of the best previously published commentary on Gatsby and five substantial new essays. The latter included Robert Roulston’s on literary influences on the novel, Jackson R. Bryer’s study of small stylistic units in the text, Donaldson’s own discussion of “The Trouble with Nick,” Alan Margolies’s definitive examination of the three films and one stage play based on Gatsby, and Ross Posnack’s exploration of its Marxist elements. Milton R. Stern’s Critical Essays on F. Scott Fitzgerald’s “Tender is the Night” (1986) also combined reprinted reviews and critical essays chronologically arranged with new pieces. In this instance, there were three of the latter: Stern’s own comparison of the 1934 and 1951 texts, alluded to above; James W. Tuttleton’s study of the “motif of female vampirism latent” in the novel; and Joseph Wenke’s useful cross-referenced bibliography of criticism of Tender. The other two collections published in the 1980s are composed entirely of reprinted materials and both appeared in Harold Bloom’s massive Chelsea House project: F. Scott Fitzgerald’s “The Great Gatsby” (1986) and F. Scott Fitzgerald (1985).
Of the eight books on Fitzgerald published in English during the 1980s, the most worthwhile was the shortest, British scholar Brian Way’s F. Scott Fitzgerald and the Art of Social Fiction (1980). Way sensibly avoided a biographical interpretation and concentrated on skilled close readings of the novels and stories of “a novelist more subtly responsive to the cultural and historical aura that surrounded him than any American contemporary save Faulkner, a social observer more intelligent and self-aware than any since Henry James.” Sarah Beebe Fryer’s Fitzgerald’s New Women (1988) went well beyond previous commentary on Fitzgerald’s female characters, with individual chapters devoted to Clara, Rosalind, and Eleanor of This Side of Paradise; Gloria of The Beautiful and Damned; Daisy Buchanan; Nicole of Tender is the Night compared to Alabama of Save Me the Waltz; Nicole alone; and Kathleen and Cecelia of The Last Tycoon.
Alice Hall Petry’s Fitzgerald’s Craft of Short Fiction: The Collected Stories 1910-1935 (1989), while—as its title suggested—limited to the stories contained in the four collections published in Fitzgerald’s lifetime, provided excellent close readings of many stories which had not previously been treated this seriously and extensively. Dan Seiters’s concern, in Image Patterns in the Novels of F. Scott Fitzgerald (1986), was with how Fitzgerald’s use of “transportation imagery, communication imagery, light-dark imagery, dirt-disease-decay imagery, and water imagery” became “more sophisticated and more skillfully integrated into his fiction with each succeeding novel.”
Two of the other full-length studies dealt in very different ways with Fitzgerald’s relationship to the movies. Fiction, Film, and F. Scott Fitzgerald (1986) by Gene D. Phillips, S.J., was divided into three sections, one each on Fitzgerald as screenwriter, on films made from Fitzgerald’s stories, and on films made from his novels. Wheeler Winston Dixon’s focus in The Cinematic Vision of F. Scott Fitzgerald (1986) was much narrower, concentrating on Fitzgerald’s film work between 1937 and 1940 and on The Last Tycoon—although he did devote brief chapters to Gatsby and Tender in order to discern “the connections between the style and structure of these earlier works and Fitzgerald’s later work as a film scenarist.”
John B. Chambers’s The Novels of F. Scott Fitzgerald (1989) was another study by a British scholar which presented close readings of the four completed novels in an effort to examine the “intellectual coherence” they show. Benita Moore, in Escape into a Labyrinth: F. Scott Fitzgerald, Catholic Sensibility, and the American Way (1988), concentrated on Fitzgerald’s life and writing through the publication of Gatsby in 1925 in examining how his Catholic background contributed to his feelings of alienation and his sense of himself as an outsider.
1990-1999
By any measure, the 1990s was probably the most eventful period in the history of Fitzgerald’s critical reputation. Punctuated in 1996 by the celebration of the centenary of the author’s birth and the numerous publications which it occasioned, the decade also saw the founding of the F. Scott Fitzgerald Society, which sponsored four international Fitzgerald conferences, thereby generating dozens of potentially publishable essays; the first three volumes of an ongoing standard edition of Fitzgerald’s complete works; an eighteen-volume facsimile edition of Fitzgerald manuscripts and typescripts; the most comprehensive collection of reprinted secondary material we are ever likely to have; some twenty full-length studies (including two groundbreaking books on Gatsby); and a comprehensive collection of twenty-four original essays on Fitzgerald’s least studied stories.
F. Scott Fitzgerald: Manuscripts (1990-1), edited by Matthew J. Bruccoli, with Alan Margolies as associate editor and Alexander P. Clark and Charles Scribner III as consulting editors, reproduced in eighteen volumes facsimiles of the manuscripts and typescripts of Fitzgerald’s five novels, one play, short stories, and essays. As Bruccoli noted in his introduction, this set “democratized” Fitzgerald scholarship by affording all the opportunity previously available only to those able to access collections at Princeton and a few other libraries. These volumes also should greatly assist future textual scholarship and forever lay to rest what Bruccoli called “the myth of Fitzgerald’s irresponsibility” by demonstrating that “he was a painstaking reviser of his work-in-progress.”
Bruccoli’s prediction that the Fitzgerald Manuscripts “will provide the basis for definitive editions of Fitzgerald’s work” was realized when, in 1991, Cambridge University Press inaugurated the Cambridge Edition of the Works of F. Scott Fitzgerald with Bruccoli’s edition of The Great Gatsby, followed in 1993 by The Love of the Last Tycoon, also edited by Bruccoli. James L. W. West III assumed the editorship of the series with the publication of This Side of Paradise in 1995. In each case, the texts in the Cambridge Edition were subsequently published in paperback by Scribners.
The Fitzgerald centennial in 1996 was the occasion for the publication of a facsimile edition of the 1914 acting script of Fie! Fie! Fi-Fi!, the Princeton Triangle Show for which Fitzgerald wrote the book and lyrics; and for Chip Deffaa’s edition of F. Scott Fitzgerald: The Princeton Years—Selected Writings 1914-1920, a useful chronologically arranged reprinting of a generous sampling of the verse, fiction, and humor pieces Fitzgerald contributed to The Tiger and the Nassau Lit—with an excellent introduction by the editor. Budd Schulberg found a copy of Fitzgerald’s film adaptation of his story “Babylon Revisited” (it was called “the most perfect motion-picture scenario I ever read” by a screenwriter asked to revise it [it was never used]), in a carton in his house. It was published as Babylon Revisited: The Screenplay (1993), with a marvelous introduction by Schulberg. A scholarly edition of the screenplay version of Tender is the Night by Canadian novelist Malcolm Lowry, edited by Miguel Mota and Paul Tiessen, appeared in 1990. F. Scott Fitzgerald on Authorship (1996), edited by Bruccoli with Judith S. Baughman, was a valuable collection of Fitzgerald’s comments on his craft and his writing peers assembled from letters, notebook entries, and published essays and reviews. Again, as with the Manuscripts volumes, the intention was to challenge the misconception that Fitzgerald wrote brilliantly but did not know what he was doing and “squandered his genius.”
In 1994, Bruccoli and his wife sold their immense Fitzgerald collection to the Thomas Cooper Library at the University of South Carolina. The occasion was observed by a 1996 exhibition of highlights from the collection and the issuing in the same year of an illustrated catalogue of the exhibition, entitled F. Scott Fitzgerald Centenary Exhibition. The catalogue featured seven essays written by advanced graduate students on aspects of Fitzgerald’s career documented with material from the Bruccoli Collection. A detailed catalogue of the full collection, edited by Park Bucker, appeared in 1997.
The most valuable reference work published during the decade—and an indispensable one—was F. Scott Fitzgerald A to Z (1998) by Mary Jo Tate. With individual entries for every novel, story, play, essay, and book review Fitzgerald wrote, for the characters in his fiction, for persons associated with him, for places he lived, organizations with which he was involved, and publications in which his work appeared—along with longer entries on such specialized topics as “Biographical Studies,” “Editing Fitzgerald’s Texts” (written by Matthew J. Bruccoli), “Jazz Age,” and “Hollywood, California”—the volume functioned both as an introduction to Fitzgerald’s life and work for general readers and an invaluable source for specialists. Compared to Tate’s compilation, Robert L. Gale’s similar An F. Scott Fitzgerald Encyclopedia (1998) seemed elementary and incomplete.
The only new volume of Fitzgerald correspondence, Bruccoli’s F. Scott Fitzgerald: A Life in Letters (1994), brought together in one chronological arrangement letters already available in earlier collections, as well as a number previously uncollected. In a few cases, Bruccoli printed a full accurate text of a letter silently corrected or excerpted in a previous edition.
Jeffrey Meyers’s F. Scott Fitzgerald: A Biography (1994) contained very little new information and was a mean-spirited and gratuitously negative portrait which often seemed to emphasize the most damaging details at the expense of a more balanced assessment. By comparison, Bruccoli’s new edition of his 1978 exploration of the Fitzgerald-Hemingway relationship, retitled Fitzgerald and Hemingway: A Dangerous Friendship (1994), and Scott Donaldson’s book on the same subject, Hemingway vs. Fitzgerald: The Rise and Fall of a Literary Friendship (1999), both were carefully researched and helpful studies. Similarly, two other key relationships in Fitzgerald’s life were responsibly examined in Eleanor Lanahan’s biography of her mother, Scottie: The Daughter of…: The Life of Frances Scott Fitzgerald Lanahan Smith (1995) and Robert Westbrook’s account of his mother’s affair with Fitzgerald, Intimate Lies: F. Scott Fitzgerald and Sheilah Graham (1995).
The decade of the 1990s produced some seventeen book-length critical studies of Fitzgerald, just about twice as many as the number of his own books that he published in his lifetime. Interestingly and probably not surprisingly, the majority of them were not general in scope but tended to focus on a single work. The best of the more broadly focused books, Robert and Helen H. Roulston’s The Winding Road to West Egg (1995), examined Fitzgerald’s fiction published prior to 1925, principally the short stories, in order to “explore how Fitzgerald’s previous works do—and in some cases do not—anticipate Gatsby.” Next to this knowledgeable study, Elizabeth A. Weston’s The International Theme in F. Scott Fitzgerald’s Literature (1995), with its examination of Fitzgerald’s fiction alongside works by Wharton, James, Twain, Hawthorne, and Hemingway, seemed unoriginal and thin; as did Aiping Zhang’s Enchanted Places (1997), although the latter did deal with technique rather than theme. Zhang looked at “the five most frequently adopted and most essential settings” in Fitzgerald’s works—home, bars, schools, cities, and Hollywood—and explored how each functions “suggestively as a microcosm of the whole American society.” Andrew Hook’s F. Scott Fitzgerald (1992) devoted individual chapters to each of the five novels in what Hook described as a “psycho-biographical” study which contended that “Fitzgerald discovered that the kind of man he was, and the kind of writer he needed to be, were difficult to reconcile.”
Two other general studies found new and rather unusual Fitzgerald sources. Deborah Davis Schlacks’s American Dream Visions: Chaucer’s Surprising Influence on F. Scott Fitzgerald (1994) centered on “The Offshore Pirate,” “The Ice Palace,” “The Diamond as Big as the Ritz,” The Vegetable, and Gatsby in juxtaposition with Chaucer’s four dream visions. The parallels Schlacks suggested, while not always compelling, were often intriguing and certainly gave convincing evidence of Fitzgerald’s knowledge and use of the medieval period. Theodora Tsimpouki’s F. Scott Fitzgerald’s Aestheticism: His Unacknowledged Debt to Walter Pater (1992), by comparison, was puerile and superficial.
At just about the point in Fitzgerald studies when one would have expected that there surely was no more to say about The Great Gatsby, Ronald Berman, who had never previously published a word on Fitzgerald, produced two entirely original and seminal books. The first, “The Great Gatsby” and Modern Times (1994), placed the novel within the context of its time, as viewed principally in newspaper columns and editorials, advertisements, popular fiction, and other manifestations of the mass culture of the day. This was a genuinely new approach to Gatsby, an approach which reflected Berman’s vast familiarity with American culture and literature. His second book, “The Great Gatsby” and Fitzgerald’s World of Ideas (1997), combined close reading of Gatsby with knowledgeable discussion of what Berman called the “firsthand cultural and intellectual sources” upon which Fitzgerald drew—William James, H. L. Mencken, George Santayana, Josiah Royce, Walter Lipmann, and John Dewey. Again, the result was as insightful as it was fresh.
Of the decade’s three other books on Gatsby, Richard Lehan’s “The Great Gatsby”: The Limits of Wonder (1990) was the work of one of our most perceptive Fitzgerald critics and was, predictably, unfailingly authoritative. It dealt with both such external matters as the novel’s historical context and critical reception as well as with various aspects of the text. In I’m Sorry About the Clock: Chronology, Composition, and Narrative Technique in “The Great Gatsby” (1993), Thomas Pendleton concentrated on “the continual incoherences in Fitzgerald’s management of the chronology” in Gatsby, concluding, in what was at best a debatable assertion, that these “incoherences” limit the achievement of the novel. Stephen Matterson’s slim volume, “The Great Gatsby “ (1990), was redundant in its review of common approaches to the novel (which occupied two-thirds of his study) and his brief examination of such well-studied aspects of it as time, women, social class, and history.
Both books on Tender is the Night were the work of seasoned Fitzgerald scholar/critics. Milton R. Stern’s “Tender is the Night”: The Broken Universe (1994), while it drew heavily—and admittedly—on Stern’s important previous work on Tender, was an excellent first full-length study of what Stern saw as “the great novel about American history.” Matthew J. Bruccoli and Judith S. Baughman’s Reader’s Companion to F. Scott Fitzgerald’s “Tender is the Night” (1996) seemed directed at specialists rather than at the general reader in that more than half of it was a scholar’s guide to the editorial specifics necessary to establish a fair text of the novel, although it did also contain over 100 pages of “Explanatory Notes” which were valuable to those teaching and reading Tender.
The title of Jack Hendricksen’s “This Side of Paradise” as a Bildungsroman (1993) indicated its premise that Fitzgerald’s first novel followed in the tradition of Goethe’s Wilhelm Meisters Lehrjahre (1796) and Joyce’s A Portrait of the Artist as a Young Man (1916) and thus was far more than the immature autobiographical work that most critics consider it to be. Hendricksen’s careful literary study was part of the continuing tendency in Fitzgerald studies to show that he was a skilled craftsman who read widely.
Another positive direction which Fitzgerald studies took in the 1990s was toward greater attention to the short stories. Besides the Roulstons’ book already mentioned, which contained considerable analysis of many pre-1925 stories, the decade saw three critical books and a collection of original essays devoted to Fitzgerald’s short fiction. John Kuehl’s F. Scott Fitzgerald: A Study of the Short Fiction (1991) was yet another book by a veteran Fitzgerald critic which provided an overview of his short story career, a long section on his prep school and college stories, and brief but insightful analyses of individual stories—“The Ice Palace,” “May Day,” “Absolution,” “Majesty,” and “Two Wrongs.” Bryant Mangum, in A Fortune Yet: Money in the Art of F. Scott Fitzgerald’s Short Stories (1991), concentrated on how Fitzgerald tailored his stories to the particular requirements and readership of the magazines in which he published them. This enabled Mangum to account plausibly for both the strengths and weaknesses of a great number of Fitzgerald stories and to provide worthwhile analyses of many obscure ones. Stephen W. Potts’s The Price of Paradise: The Magazine Career of F. Scott Fitzgerald (1993) went over much of the same ground as Mangum but less authoritatively, blaming the mediocrity of many of the more than 170 stories he looked at on what he rather vaguely characterized as “personal factors.”
Jackson R. Bryer’s New Essays on F. Scott Fitzgerald’s Neglected Stories (1996) included twenty-four original pieces, many of them by leading Fitzgerald critics (Alan Margolies, Bryant Mangum, Robert Roulston, Scott Donaldson, John Kuehl, Ruth Prigozy, James L. W. West III, Alice Hall Petry, and Milton R. Stern) and several of them on stories which had never before been examined in such detail (“The Spire and the Gargoyle,” “Dalrymple Goes Wrong,” “Benediction,” “The Camel’s Back,” “John Jackson’s Arcady,” “Jacob’s Ladder,” “The Bowl,” “Outside the Cabinet-Maker’s,” “The Rough Crossing,” “Two Wrongs,” “One Trip Abroad,” “The Hotel Child,” “The Rubber Check,” “What a Handsome Pair!,” “Her Last Case,” “An Alcoholic Case,” and “The Lost Decade”).
There were three other collections of new essays published in the 1990s. J. Gerald Kennedy and Jackson R. Bryer’s French Connections: Hemingway and Fitzgerald Abroad (1998) published seventeen essays, most of them expanded versions of papers delivered at the 1994 Hemingway/Fitzgerald International Conference in Paris. Three (by John F. Callahan, Felipe Smith, and Jacqueline Tavernier-Courbin) dealt with Tender is the Night; while there were five comparative studies—of The Garden of Eden, A Moveable Feast, and The Great Gatsby by Jacqueline Vaught Brogan; of The Sun Also Rises and The Great Gatsby by James Plath; of “The Fitzgeralds, Hemingway, and the Matter of Modernism” by Nancy R. Comley; of Hemingway and Tender is the Night by Robert E. Gajdusek; and of “The Snows of Kilimanjaro” and “Babylon Revisited” by J. Gerald Kennedy. Compared with these uniformly informed and informative pieces (the book also included an essay on Fitzgerald and Paris by Ruth Prigozy), the briefer selections (mostly unrevised conference papers) gathered in two Indian centennial collections, Somdatta Mandal’s two-volume F. Scott Fitzgerald: A Centennial Tribute (1997) and Mohan Ramanan’s F. Scott Fitzgerald: Centenary Essays from India (1998), were much less valuable. The Fitzgerald centennial also produced two gatherings of brief tributes to Fitzgerald by leading contemporary writers, F. Scott Fitzgerald at 100: Centenary Tributes by American Writers (1996) and F. Scott Fitzgerald—24 September 1896 to 21 December 1940: 24 September 1996 Centenary Celebration (1996).
It is safe to say that Henry Claridge’s four-volume collection of reprinted Fitzgerald criticism, F. Scott Fitzgerald: Critical Assessments (1992), is likely to remain the most comprehensive such volume for many years to come. While the price (approximately $500) and the fact that only 600 copies were printed limited the set’s distribution, it is an indispensable resource. It included 226 selections, ranging from contemporary book reviews of the 1920s and 1930s and review-essays from the 1940s and 1950s through a section of “Memories and Reminiscences” and early scholarly essays down to a sensibly chosen gathering of critical pieces from the 1960s, 1970s, and 1980s (the book’s terminal point seemed to be the mid-1980s). The only other general collection published in the 1990s, Katie de Koster’s Readings of F. Scott Fitzgerald (1998), which reprinted some worthwhile pieces, was insignificant in comparison to Claridge’s book.
The other collections of reprinted material were all more narrowly focused. Five dealt with The Great Gatsby. Dalton and Maryjean Gross’s Understanding “The Great Gatsby”: A Student Casebook to Issues, Sources, and Historical Documents (1998) included a variety of materials relevant to the novel; while Nicolas Tredell, in F. Scott Fitzgerald: “The Great Gatsby” (1997), traced the novel’s critical reputation from 1925 into the 1990s, interweaving Tredell’s narrative with generous excerpts from reviews and critical essays. Katie de Koster’s Readings on “The Great Gatsby” (1998) and Harold Bloom’s Major Literary Characters: Gatsby (1991) and F. Scott Fitzgerald’s “The Great Gatsby” (1999) were more conventional collections of largely familiar materials. Bloom’s F. Scott Fitzgerald (1999) reprinted pieces on the short stories.
The 1990s also witnessed continuing interest in Zelda Fitzgerald. A valuable and comprehensive volume of her Collected Writings (1991), edited by Matthew J. Bruccoli, included the full text of her novel Save Me the Waltz, her stories, her essays (only two had previously been collected), and a generous selection of her letters to her husband. Koula Svokos Hartnett’s Zelda Fitzgerald and the Failure of the American Dream for Women (1991) was a sloppily written and poorly researched study which was rendered implausible by its tendency to place all the blame for Zelda’s personal and literary difficulties on her husband.
2000 and beyond
As this chapter is being written, the first six months of the year 2000 have already produced an edition of Flappers and Philosophers, edited by James L. W. West III for the Cambridge Edition; two editions of Trimalchio (the previously unpublished first version of Gatsby), one a scholarly text edited by James L. W. West III for the Cambridge Edition and the other a facsimile of the unrevised galley proofs in the Bruccoli Collection at the University of South Carolina Library, with an afterword by Bruccoli; F. Scott Fitzgerald: New Perspectives, edited by Jackson R. Bryer, Alan Margolies, and Ruth Prigozy, a collection of twenty-one original essays expanded from papers delivered at the 1992 International F. Scott Fitzgerald Conference at Hofstra University; Linda C. Pelzer’s Student Companion to F. Scott Fitzgerald; and worthwhile periodical essays by Morris Dickstein (American Scholar, Spring 2000), Christopher Hitchens (Vanity Fair, May 2000), and James L. W. West III (American Scholar, Spring 2000). All indications are that critical and scholarly scrutiny of Fitzgerald will continue unabated into the new millennium and that his critical reputation will have many more “lives,” to end with the quotation with which this survey began.
NOTES
1 See Bryer, Critical Reputation, 211-12, for citations. The Cowley, Kazin, Powers, Schorer, Trilling, Troy, and Wanning essays are reprinted in Kazin, F. Scott Fitzgerald.
2 See Bryer, Critical Reputation, 300-1, 304-6, for citations of these essays.
Bibliography
This list includes all works cited in the chapters in this collection, as well as a selection—by Jackson R. Bryer—of significant periodical articles about Fitzgerald and books with sections on Fitzgerald.
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Astro, Richard. “Vandover and the Brute and The Beautiful and Damned: A Search for Thematic and Stylistic Reinterpretations.” Modern Fiction Studies 14 (Winter 1968-69): 397-413.
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Brown, Dorothy M. Setting a Course: American Women in the 1920s. Boston: Twayne, 1987.
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“Getting It Right: The Publishing Process and the Correction of Factual Errors—With Reference to ‘The Great Gatsby.’ ” Library Chronicle of the University of Texas, 21 (No. 3-4, 1991): 40-59.
“The Last of the Novelists”: F. Scott Fitzgerald and “The Last Tycoon.” Carbon-dale: Southern Illinois University Press, 1977.
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Scott and Ernest: The Authority of Failure and the Authority of Success. New York: Random House, 1978.
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Supplement to “F. Scott Fitzgerald: A Descriptive Bibliography.” Pittsburgh: University of Pittsburgh Press, 1980.
“Where They Belong: The Acquisition of the F. Scott Fitzgerald Papers.” Princeton University Library Chronicle 50 (Autumn 1988): 30-7. and Judith S. Baughman. Reader’s Companion to F. Scott Fitzgerald’s “Tender Is the Night.” Columbia: University of South Carolina Press, 1996.
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New Essays on F. Scott Fitzgerald’s Neglected Stories. Columbia: University of Missouri Press, 1996.
The Short Stories of F. Scott Fitzgerald: New Approaches in Criticism. Madison: University of Wisconsin Press, 1982.
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Sixteen Modern American Authors—Volume 2: A Survey of Research and Criticism Since 1972. Durham, NC: Duke University Press, 1990.
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Buttitta, Tony. After the Good Gay Times: Asheville—Summer of '35—A Season With F. Scott Fitzgerald. New York: Viking Press, 1974.
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Clark, Suzanne. Sentimental Modernism: Women Writers and the Revolution of the Word. Bloomington: Indiana University Press, 1991.
Clemens, Anna Valdine. “Zelda Fitzgerald: An Unromantic Revision.” Dalhousie Review 62 (Summer 1982): 196-211.
Cohen, Milton A. “Fitzgerald’s Third Regret: Intellectual Pretense and the Ghost of Edmund Wilson.” Texas Studies in Literature and Language 33 (Spring 1991): 64-88.
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“Fitzgerald: The Double Man.” Saturday Review of Literature 34 (February 24, 1951): 9-10, 42-4.
“The Fitzgerald Revival, 1941-53.” Fitzgerald/Hemingway Annual 6 (1974): 11-13.
“Fitzgerald’s ‘Tender’: The Story of a Novel.” New Republic 125 (August 20, 1951): 18-20. Reprinted as Introduction to Tender Is the Night. Revised edition. New York: Charles Scribner’s, 1951. ix-xviii.
“F. Scott Fitzgerald: The Romance of Money.” Western Review 17 (Summer 1953): 245—55.
“The Scott Fitzgerald Story.” New Republic 124 (February 12, 1951): 17-20.
A Second Flowering: Works and Days of the Lost Generation. New York: Viking Press, 1973.
Think Back on Us… A Contemporary Chronicle of the 1930s. Carbondale: Southern Illinois University Press, 1967.
“Third Act and Epilogue.” New Yorker 21 (June 30, 1945): 53-8.
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Cross, K. G. W. F. Scott Fitzgerald. Edinburgh: Oliver and Boyd, 1964; New York: Grove Press, 1964.
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Curry, Stephen, and Peter L. Hays. “Fitzgerald’s Vanity Fair.” Fitzgerald/Hemingway Annual 9 (1977): 63-75.
Dahlie, Hallvard. “Alienation and Disintegration in ‘Tender Is the Night.’ ” Humanities Association Bulletin 22 (Fall 1971): 3-8.
“The Dangerous Teens.” San Francisco Chronicle August 22, 1920: 2E.
Daniels, Thomas E. “Pat Hobby: Anti-Hero.” Fitzgerald/Hemingway Annual 5 (1973): 131-9.
“The Texts of ‘Winter Dreams.’” Fitzgerald/Hemingway Annual 9 (1977): 77-100.
“Toward a Definitive Edition of F. Scott Fitzgerald’s Short Stories.” Publications of the Bibliographical Society of America 71 (Third Quarter 1977): 295-310.
Dardis, Tom. Some Time in the Sun. New York: Charles Scribner’s, 1976.
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de Koster, Katie, ed. Readings on F. Scott Fitzgerald. San Diego, CA: Greenhaven, 1998.
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DeKoven, Marianne. Rich and Strange: Gender, History, Modernism. Princeton, NJ: Princeton University Press, 1991.
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de Mille, William. Hollywood Saga. New York: E. P. Dutton, 1939.
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“‘No, I Am Not Prince Charming’: Fairy Tales in Tender Is the Night.” Fitzgerald/ Hemingway Annual 5 (1973): 105-12.
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Dudley, Juanita Williams. “Dr. Diver, Vivisectionist.” College Literature 2 (Spring 1975): 128-34.
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“Nick Carraway’s Self-Introduction.” Fitzgerald/Hemingway Annual 3 (1971): 130-47.
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Evans, Oliver H. “ ‘A Sort of Moral Attention’: The Narrator of The Great Gatsby.” Fitzgerald/Hemingway Annual 3 (1971): 117-29.
Fahey, William A. F. Scott Fitzgerald and the American Dream. New York: Thomas Y. Crowell, 1973.
Fain, J. T. “Recollections of F. Scott Fitzgerald.” Fitzgerald/Hemingway Annual 7 (1975): 133-9.
Fairey, Wendy. “The Last Tycoon: The Dilemma of Maturity for F. Scott Fitzgerald.” Fitzgerald/Hemingway Annual 11 (1979): 65-78.
Fass, Paula S. The Damned and the Beautiful: American Youth in the 1920’s. New York: Oxford University Press, 1977.
Fedo, David. “Women in the Fiction of F. Scott Fitzgerald.” Ball State University Forum 21 (Spring 1980): 26-33.
Felski, Rita. The Gendering of Modernity. Cambridge, MA: Harvard University Press, 1995.
Ferguson, Robert A. “The Grotesque in the Novels of F. Scott Fitzgerald.” South Atlantic Quarterly 78 (Autumn 1979): 460-77.
Fetterley, Judith. The Resisting Reader: A Feminist Approach to American Fiction. Bloomington: Indiana University Press, 1978.
“Who Killed Dick Diver? The Sexual Politics of Tender Is the Night.” Mosaic 17 (Winter 1984): 111-28.
Fiedler, Leslie. An End to Innocence. Boston: Beacon Press, 1955.
Fitzgerald, F. Scott. Afternoon of an Author: A Selection of Uncollected Stories and Essays. Princeton, NJ: Princeton University Library, 1957; New York: Charles Scribner’s, 1958.
The Apprentice Fiction of F. Scott Fitzgerald, 1909-1917. Ed. John Kuehl. New Brunswick, NJ: Rutgers University Press, 1965.
“An Author’s Mother.” Esquire 6 (September 1936): 36.
Babylon Revisited: The Screenplay. New York: Carroll & Graf, 1993.
“ ‘Ballet Shoes’: A Movie Synopsis.” Fitzgerald/Hemingway Annual 8 (1976): 3-7.
The Basil and Josephine Stories. Ed. Jackson R. Bryer and John Kuehl. New York: Charles Scribner’s, 1973.
The Beautiful and Damned. New York: Charles Scribner’s, 1922.
The Beautiful and Damned. New York: Charles Scribner’s, 1995.
The Beautiful and Damned. Ed. Alan Margolies. Oxford, UK: Oxford University Press, 1998.
The Bodley Head Scott Fitzgerald, Volume I. London: Bodley Head, 1958.
The Bodley Head Scott Fitzgerald, Volume II. London: Bodley Head, 1959.
The Bodley Head Scott Fitzgerald, Volume III. London: Bodley Head, 1960.
The Bodley Head Scott Fitzgerald, Volume IV. London: Bodley Head, 1961.
The Bodley Head Scott Fitzgerald, Volume V. London: Bodley Head, 1963.
The Bodley Head Scott Fitzgerald, Volume VI. London: Bodley Head, 1963.
The Crack-Up. Ed. Edmund Wilson. New York: New Directions, 1945.
The Cruise of the Rolling Junk. Bloomfield Hills, MI: Bruccoli Clark, 1976.
“Dearly Beloved.” Fitzgerald/Hemingway Annual i (1969): 1-3.
“‘The Defeat of Art.’” Fitzgerald/Hemingway Annual 9 (1977): 11-12.
“‘The Feather Fan.’” Fitzgerald/Hemingway Annual 9 (1977): 3-5.
The Fitzgerald Reader. Selected by Arthur Mizener. New York: Charles Scribner’s, 1963.
Flappers and Philosophers. New York: Charles Scribner’s, 1920.
Flappers and Philosophers. Ed. James L. W. West III. New York: Cambridge University Press, 2000.
F. Scott Fitzgerald: Manuscripts. 18 vols. Ed. Matthew J. Bruccoli. New York: Garland, 1990-1.
F. Scott Fitzgerald’s Ledger: A Facsimile. Washington, DC: NCR/Microcard, 1973.
F. Scott Fitzgerald: A Life in Letters. Ed. Matthew J. Bruccoli. New York: Charles Scribner’s, 1994.
“F. Scott Fitzgerald’s Memo on the Typescript of A Farewell to Arms.” Fitzgerald/ Hemingway Annual 8 (1976): 146-52.
F. Scott Fitzgerald’s St. Paul Plays 1911-1914. Ed. Alan Margolies. Princeton, NJ: Princeton University Library, 1978.
F. Scott Fitzgerald’s Screenplay for “Three Comrades” by Erich Maria Remarque. Ed. Matthew J. Bruccoli. Carbondale: Southern Illinois University Press, 1978.
The Great Gatsby. New York: Charles Scribner’s, 1925.
The Great Gatsby. Ed. Matthew J. Bruccoli. New York: Cambridge University Press, 1991.
The Great Gatsby. Ed. Ruth Prigozy. Oxford, UK: Oxford University Press, 1998.
“Imagination and a Few Mothers.” “Ladies’ Home Journal” Treasury. New York: Simon & Schuster, 1956. 180-1.
“Last Kiss.” Collier’s 123 (April 16, 1949): 16-17, 34, 38, 41, 43-4.
The Last Tycoon: An Unfinished Novel Together With “The Great Gatsby” and Selected Stories. New York: Charles Scribner’s, 1941.
“Letter to Ernest Hemingway.” Fitzgerald/Hemingway Annual 2 (1970): 10-13.
The Letters of F. Scott Fitzgerald. Ed. Andrew Turnbull. New York: Charles Scribner’s, 1963.
“Lipstick.” Fitzgerald/Hemingway Annual 10 (1978): 3-35.
The Love of the Last Tycoon: A Western. Ed. Matthew J. Bruccoli. New York: Cambridge University Press, 1993.
“My Generation.” Esquire 70 (October 1968): 119, 121.
The Notebooks of F. Scott Fitzgerald. Ed. Matthew J. Bruccoli. New York: Harcourt Brace Jovanovich/Bruccoli Clark, i978.
“‘Oh, Sister, Can You Spare Your Heart.’” Fitzgerald/Hemingway Annual 4 (1972): 114-15.
The Pat Hobby Stories. New York: Charles Scribner’s, 1962.
Poems 1911-1940. Ed. Matthew J. Bruccoli. Bloomfield Hills, MI and Columbia, SC: Bruccoli Clark, 1981.
The Portable F. Scott Fitzgerald. Selected by Dorothy Parker. New York: Viking Press, 1945.
“Preface to This Side of Paradise.” Fitzgerald/Hemingway Annual 4 (1972): 1-2.
The Price Was High: The Last Uncollected Stories of F. Scott Fitzgerald. Ed. Matthew J. Bruccoli. New York: Harcourt Brace Jovanovich/Bruccoli Clark, 1979.
The Short Stories of F. Scott Fitzgerald: A New Collection. Ed. Matthew J. Bruccoli. New York: Charles Scribner’s, 1989.
Six Tales of the Jazz Age and Other Stories. New York: Charles Scribner’s, 1960.
“ ‘Sleep of a University’: An Unrecorded Fitzgerald Poem.” Fitzgerald/Hemingway Annual 2 (1970): 14-15.
The Stories of F. Scott Fitzgerald. New York: Charles Scribner’s, 1951.
Taps at Reveille. New York: Charles Scribner’s, 1935.
Tender Is the Night. New York: Charles Scribner’s, 1934.
Tender Is the Night. Rev. edition New York: Charles Scribner’s, 1951.
Tender Is the Night. New York: Charles Scribner’s, i995 .
Tender Is the Night. Ed. Matthew J. Bruccoli. Everyman Centennial Edition. London: J. M. Dent, 1996.
This Side of Paradise. New York: Charles Scribner’s, 1920.
This Side of Paradise. New York: Charles Scribner’s, 1995.
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ABBREVIATIONS
AA Afternoon of An Author
ATSYM All the Sad Young Men
B&D The Beautiful and Damned
B&J The Basil and Josephine Stories
F&P Flappers and Philosophers
GG The Great Gatsby
LT The Last Tycoon
LOTLT Love of the Last Tycoon
PH The Pat Hobby Stories
TJA Tales of the Jazz Age
TITN Tender is the Night
TSOP This Side of Paradise
Apprentice Fiction The Apprentice Fiction of F. Scott Fitzgerald (ed. Kuehl)
As Ever, Scott Fitz As Ever, Scott Fitz: Letters Between F. Scott Fitzgerald and His Literary Agent, Harold Ober 1919-1940 (ed. Bruccoli and McCabe Atkinson)
Bits Bits of Paradise
Correspondence The Correspondence of F. Scott Fitzgerald (ed. Bruccoli and Duggan)
Crack-Up The Crack-Up (ed. Wilson)
Dear Scott/Dear Max Dear Scott/Dear Max: The Fitzgerald-Perkins Correspondence (ed. Kuehl and Bryer)
Ledger F. Scott Fitzgerald’s Ledger (ed. Bruccoli)
Letters The Letters of F. Scott Fitzgerald (ed. Turnbull)
Life in Letters F. Scott Fitzgerald: A Life in Letters (ed. Bruccoli)
Notebooks The Notebooks of F. Scott Fitzgerald (ed. Bruccoli)
Price The Price Was High: The Last Uncollected Stories of F. Scott Fitzgerald (ed. Bruccoli)
Short Stories The Short Stories of F. Scott Fitzgerald: A New Collection (ed. Bruccoli)
Stories The Stories of F. Scott Fitzgerald
NOTE ON CONTRIBUTOR
Jackson R. Bryer is Professor of English at the University of Maryland, College Park. He is the author of The Critical Reputation of F. Scott Fitzgerald (1967; 1984), editor of New Essays on F. Scott Fitzgerald’s Neglected Stories (1996), The Short Stories of F. Scott Fitzgerald: New Approaches in Criticism (1982), and F. Scott Fitzgerald: The Critical Reception (1978). He is co-editor of The Basil and Josephine Stories (1973), F. Scott Fitzgerald in His Own Time: A Miscellany (1971), Dear Scott/ Dear Max: The Fitzgerald-Perkins Correspondence (1971), the F. Scott Fitzgerald Newsletter (annually), and F. Scott Fitzgerald: New Perspectives (2000). He is co-founder and President of the F. Scott Fitzgerald Society.
Published in The Cambridge Companion to F. Scott Fitzgerald edited by Ruth Prigozy (Cambridge University Press 2002).