Friday, November 21, 2014
Wednesday, November 19, 2014
The book is divided into six highly engaging chapters pointing out several thematic categories: “Compensating Visions in The Great Gatsby,” “Fitzgerald as a Southern Writer,” “The Importance of Repose,” “An Almost Theatrical Innocence,” “Fitzgerald and the Mythical Method,” and “On the Son’s Own Terms.” Throughout these episodes, Irwin emphasizes Fitzgerald’s theatrical performance as writer vs. his real-life character and the conflict originated by his self-creations, resulting in a meritorius analysis of the range of his prose—far more varied and complex than many critics who pigeonholed him as the ephemeral Jazz Age’s chronicler could ever presume.
In 1915, Scott had written in his ledger: “If I couldn’t be perfect, I wouldn’t be anything” -which can be linked to his fragment from The Great Gatsby (now considered the great American novel but unfortunately rejected from the Modern Library in the early 1940s because of low sales): “Jay Gatsby of West Egg sprung from his Platonic conception of himself. He was a son of God — and to this conception he was faithful to the end.” Edmund Wilson, Fitzgerald’s editor and ‘intellectual conscience’, completed the unfinished novel The Last Tycoon (1941) using Fitzgerald’s personal notes and drafts, and reckoned his Princeton friend as “a martyr, a sacrificial victim, a semi-divine personage” after his premature death (aged 44).
Likewise, in So We Read On: How The Great Gatsby Came to Be and Why It Endures (2014), Maureen Corrigan draws parallels between Fitzgerald’s scenarios with frequent allusions to his era’s pop culture tropes. In her chapter “Rhapsody in Noir,” she stretches the notion that “Gatsby” is a herald of the hardboiled pulp fiction, as is reflected in James Gatz/Jay Gatsby’s underworld activities.
Article first published as F. Scott Fitzgerald's Fiction and Self-Creation on Blogcritics.
Also republished in the Seattle Post-Intelligencer and obtained the stamp of approval of F. Scott Fitzgerald's granddaughter Eleanor Anne Lanaham (author of "Scottie: The Life of Frances Scott Fitzgerald Lanahan Smith" and co-author of "Zelda: An Illustrated Life: The Private World of Zelda Fitzgerald") with her encouraging and kind words: "What an extraordinary blog! Shows the complexity, talent and charm of F. Scott" Thank you very much, Eleanor, a true honor for me to be appreciated by my article on one of the greatest writers, F. Scott Fitzgerald.
Friday, November 14, 2014
Wednesday, November 12, 2014
Monday, November 10, 2014
TILLIE'S PUNCTURED ROMANCE
Mack Sennett Productions 6000 ft., released Nov. 14, 1914 (Dressler No. 1) dir. Mack Sennett cast: Marie Dressler (Tillie Banks), Charlie Chaplin (Charlie, a City Slicker), Mabel Normand (Mabel, his girl friend), Mack Swain (John Banks, Tillie's Father), Charles Bennett (Douglas Banks, Tillie's Uncle), Charles Murray (Detective), Charley Chase (Detective), Edgar Kennedy (Restaurant Proprietor), Harry McCoy (Pianist), Minta Durfee (Maid), Phyllis Allen (Wardress), Alice Davenport (Guest), Slim Summerville (Policeman), Al St. John (Policeman), Wallace MacDonald (Policeman), Joe Bordeaux (Policeman), G. G. Ligon (Policeman), Gordon Griffith (Newsboy), Billie Bennett (Girl), Rev. D. Simpson (Himself), William Hauber (Policeman) Location: Keystone studio, Los Angeles, CA finished: 7/25/1914