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The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself: Difference between revisions
The Mailer Review/Volume 13, 2019/Angst, Authorship, Critics: “The Snows of Kilimanjaro,” “The Crack-Up,” Advertisements for Myself (view source)
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In conclusion, the angst expressed in the “Crack-Up” articles was disturbing, so the shocked reaction of friends and critics was not totally unwarranted. However, most failed to recognize that there was a degree of “artistic detachment or aesthetic distance” (Mangum, “Introduction” xx) even in his “laments” (Hampl ).18 Today, with our contemporary understanding of memoir, confessional literature, and other creative nonfiction, we may recognize more clearly that aesthetic distance. We are able to see continuity between Fitzgerald’s self-creation in “The Crack-Up” and the creation of his fictive characters such as Jay Gatsby, Dick Diver, and others. | In conclusion, the angst expressed in the “Crack-Up” articles was disturbing, so the shocked reaction of friends and critics was not totally unwarranted. However, most failed to recognize that there was a degree of “artistic detachment or aesthetic distance” (Mangum, “Introduction” xx) even in his “laments” (Hampl ).18 Today, with our contemporary understanding of memoir, confessional literature, and other creative nonfiction, we may recognize more clearly that aesthetic distance. We are able to see continuity between Fitzgerald’s self-creation in “The Crack-Up” and the creation of his fictive characters such as Jay Gatsby, Dick Diver, and others. | ||
It seems undeniable that Fitzgerald was indeed “a romantic, and the greatest of his writing is charged with feeling and haunted by a longing for something irretrievable” (Robinson xi). But he was also a Modernist. We recognize that his peculiar genius was both to subjectively experience the angst and also—as an artist—to objectively analyze his experience, thereby creating art that was “charged with feeling.” | It seems undeniable that Fitzgerald was indeed “a romantic, and the greatest of his writing is charged with feeling and haunted by a longing for something irretrievable” (Robinson xi). But he was also a Modernist. We recognize that his peculiar genius was both to subjectively experience the angst and also—as an artist—to objectively analyze his experience, thereby creating art that was “charged with feeling.” | ||
== The Cultural Context of the 1930's == | ==== The Cultural Context of the 1930's ==== | ||
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