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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)
Revision as of 14:51, 26 February 2021
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So what was the response to the 1936 “Crack-Up” articles in Esquire? Scott Donaldson, writing in , says, “Above all, and despite their evasions, one is never in doubt in reading them that they come from the heart, that they convey the very real depths of the author’s depression” {{sfn|Fitzgerald’s Nonfiction|2002|p=179}}. Often in his work, Fitzgerald seems to express a sense of angst, but much of that angst seems focused in the three “Crack-Up” essays appearing in 1936. Are these essays merely an expression of “the author’s de- pression”{{sfn|Fitzgerald’s Nonfiction|2002|p=179}}, as Donaldson has said? Is there little else? | So what was the response to the 1936 “Crack-Up” articles in Esquire? Scott Donaldson, writing in , says, “Above all, and despite their evasions, one is never in doubt in reading them that they come from the heart, that they convey the very real depths of the author’s depression” {{sfn|Fitzgerald’s Nonfiction|2002|p=179}}. Often in his work, Fitzgerald seems to express a sense of angst, but much of that angst seems focused in the three “Crack-Up” essays appearing in 1936. Are these essays merely an expression of “the author’s de- pression”{{sfn|Fitzgerald’s Nonfiction|2002|p=179}}, as Donaldson has said? Is there little else? | ||
Patricia Hampl would go further, claiming that “The Crack-up” should be recognized as signaling “a fundamental change in American consciousness”{{sfn|Hampl|2002|p=108|}}She sees these essays as a “sharp pivot,” a change in narrative style that was a forerunner of American autobiographical writing: | |||
{{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|}} | |||
===Notes=== | ===Notes=== | ||