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{{quote|The publication of the ‘Crack-Up’ essays looks now like a sharp pivot, marking a fundamental change in American conscious- ness and therefore in narrative voice, an evident moment when the center of authorial gravity shifted from the ‘omniscience’ af- forded by fiction’s third person to the presumption (accurate or not) of greater authenticity provided by the first-person voice with all its limitations.’}}{{sfn|Hampl|2002|p=108|}} | {{quote|The publication of the ‘Crack-Up’ essays looks now like a sharp pivot, marking a fundamental change in American conscious- ness and therefore in narrative voice, an evident moment when the center of authorial gravity shifted from the ‘omniscience’ af- forded by fiction’s third person to the presumption (accurate or not) of greater authenticity provided by the first-person voice with all its limitations.’}}{{sfn|Hampl|2002|p=108|}} | ||
We realize that such self-disclosure was rare in the 1930s, especially from a man. The language appeared antithetical to contemporary expectations of masculinity—expectations shaped by the hard-boiled novels of Raymond Chandler, the film persona of Humphrey Bogart, and the celebrity legends of Hemingway himself. In such a macho culture, it is not surprising that many were embarrassed by Fitzgerald’s revelations. After all, Fitzgerald had not hidden behind a fictional voice such as Harry’s; he had not used Joseph Conrad’s complex double framing device found in Heart of Darkness (1912); he had not written under a nom de plume as George Eliot had done.{{efn|“For George Eliot, the act of novelistic good faith is contained in the seventeenth chapter [of Adam Bede], where she moves ahead in “time” to tell the reader of a recent discussion she has had with Adam Bede, long after the events of the novel. Thus she brings Adam out of the story, | We realize that such self-disclosure was rare in the 1930s, especially from a man. The language appeared antithetical to contemporary expectations of masculinity—expectations shaped by the hard-boiled novels of Raymond Chandler, the film persona of Humphrey Bogart, and the celebrity legends of Hemingway himself. In such a macho culture, it is not surprising that many were embarrassed by Fitzgerald’s revelations. After all, Fitzgerald had not hidden behind a fictional voice such as Harry’s; he had not used Joseph Conrad’s complex double framing device found in Heart of Darkness (1912); he had not written under a nom de plume as George Eliot had done.{{efn|“For George Eliot, the act of novelistic good faith is contained in the seventeenth chapter [of Adam Bede], where she moves ahead in “time” to tell the reader of a recent discussion she has had with Adam Bede, long after the events of the novel. Thus she brings Adam out of the story, making him less totally defined by the frame of the plot, even while she also recalls to us her own role in the creation and articulation of the novel’s elements, not as Mary Ann Evans but as ‘George Eliot,’ the novelist.” {{sfn|Braudy|1981|p=628|}}.}} Yet, de- spite the suspicion and derision of contemporaries and critics, Fitzgerald was creating something new. | ||