American Women Short Story Writers A Collection Of Critical Essays

American Women Short Story Writers A Collection Of Critical Essays-5
Eble systematically examines the novels and the stories against the backdrop of Fitzgerald biography, finally drawing conclusions about the relative strengths of the works, particularly the novels, by new-critical standards.

Eble systematically examines the novels and the stories against the backdrop of Fitzgerald biography, finally drawing conclusions about the relative strengths of the works, particularly the novels, by new-critical standards.He typically proceeds in chronological order, though in the case of groups of stories like the Basil Duke Lee series, written in the late Twenties, his analysis comes early since these retrospective autobiographical works cast light on Fitzgerald's life as an adolescent.Ebel also, in his final appraisal of Fitzgerald's work, clearly articulates the reasons why Fitzgerald's reputation has remained high, positioning him with other such great American writers as Melville, Hawthorne, and James: "The first is the hard core of morality....

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The pinnacle of Fitzgerald's achievement, according to Miller, is The Great Gatsby, in which "[f]or the first time in his career [Fitzgerald] was able to disengage himself from his subject and treat his material from an artistic and impersonal perspective." In the 1964 edition Miller carries his thesis beyond The Great Gatsby and shows that Tender Is the Night and The Last Tycoo are magnificent failures of sorts because Fitzgerald's artistic standards were carefully considered during the time of composition of these works; he simply could not realize them as fully as he had done in The Great Gatsby.

The earlier novel, The Beautiful and Damned, by contrast, failed because it grew out of a time of theoretical uncertainty and transition Fitzgerald's life.

Scott Fitzgerald, University of Missouri Press, 1995).

Counting Eble's book and Miller's 1964 revised volume, the decade of the 1960's saw fifteen books devoted exclusively to Fitzgerald's work published in the United States, more book-length critical studies on Fitzgerald than have been published in any other single decade.

But what Eble manages to do with this observation is to demonstrate which kinds of life experiences and which kinds of narrative points of view seem to work best for Fitzgerald.

Eble shows, for example, how much stronger dramatic episodes in the Basil stories are artistically than those based on similar episodes drawn from life in Fitzgerald's first novel, This Side of Paradise, a point which leads to the conclusion that Fitzgerald does better with experiences that have had time to cool.

We hope you enjoy reading these stories (there are actually thirty).

They represent the first collection published at American Literature.

But he was also from the beginning of his career a serious literary artist who worked diligently to reconcile in his own life the central dilemma of professional authorship in America: how to create works of high literary merit while earning a living from his own writing.

Eliot, the latter of whom called The Great Gatsby "the first step that American fiction has taken since Henry James." As the poet laureate of the Jazz Age, the creator of the flapper in fiction, as author of more than one hundred fifty stories in slick magazines like the Saturday Evening Post and, with his wife Zelda, a visible public figure pictured on the cover of popular magazines and the top of taxicabs on Fifth Avenue in New York during the 1920's, Fitzgerald became an easy target for superficial evaluations of his work during his lifetime.


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