Download American Icon: Fitzgerald's the Great Gatsby in Critical and by Robert Beuka PDF

By Robert Beuka

Fitzgerald's the nice Gatsby is largely obvious because the imperative 'great American novel,' and the wide physique of feedback at the paintings bears out its importance in American letters. American Icon strains its reception and its canonical prestige in American literature, pop culture, and academic event. It starts off via outlining the novel's serious reception from its e-book in 1925, to very combined studies, via Fitzgerald's dying, while it have been almost forgotten. subsequent, it examines the posthumous revival of Fitzgerald reviews within the Nineteen Forties and its intensification via the hot Critics within the Nineteen Fifties, targeting how and why the unconventional started to be thought of a masterpiece of yankee literature. It then strains the expansion of the 'industry' of Gatsby feedback within the resulting a long time, stressing how critics of contemporary many years have unfolded examine of the industrial, sexual, racial, and historic elements of the textual content. the ultimate part discusses the larger-than-life prestige Gatsby has attained in American schooling and pop culture, suggesting that it has not just risen from the severe ash tons into which it was once first and foremost discarded, but additionally that it has turn into a part of the material of yankee tradition in a manner that few different works have.

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Extra info for American Icon: Fitzgerald's the Great Gatsby in Critical and Cultural Context

Sample text

His failure was the defect of his virtues,” Troy writes, “And this is perhaps the greatest meaning of his career to the younger generation of writers. . The stakes for which he played were of a kind more difficult and more unattainable than ‘Ernest’ or any of his contemporaries could have even imagined. And his only strength is in the consciousness of this fact” (60). Troy’s most convincing case for Fitzgerald comes in his discussion of The Great Gatsby, in which he lays out several ideas that would help to spur scholarly discussion of both the author and the novel in the ensuing decade.

He regarded himself as a pauper living among millionaires . . and he said that his point of vantage “was the dividing line between two generations,” prewar and postwar. It was this habit of keeping a double point of view that distinguished his work. There were popular and serious novelists in his time, but there was something of a gulf between them; Fitzgerald was one of the very few popular writers who were also serious artists. There were realists and romantics; Fitzgerald was among the wildest of the romantics, but he was also among the few Americans who tried, like Stendhal in France, to make the romance real by showing its causes and its consequences.

It is appropriate that these tycoons made movie westerns: they too were pioneers” (Love, xvii). 6 A case could be made that there is a certain irony in Fitzgerald’s confiding in Wilson about critics who failed to take him seriously. Bruccoli has argued that Wilson set the tone for future dismissals of Fitzgerald’s intelligence and artistic integrity in a 1922 Bookman essay. For Bruccoli, Wilson’s “condescending” assessment of Fitzgerald’s literary intelligence — “that he was a natural, but not an artist” — influenced the author’s critical standing “for the next thirty years” (Some Sort, 165).

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