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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 12:26, 27 February 2021
, 27 February 2021Added missing Dickstein ref supplied by author.
Jules Carry (talk | contribs) (Again, more major corrections and additions in §2. Please be careful as you add. This is a complex essay. (Missing Dickstein ref in original.)) |
Jules Carry (talk | contribs) (Added missing Dickstein ref supplied by author.) |
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{{quote|Fitzgerald’s insight into Jay Gatsby revealed, according to critic Alfred Kazin, the author’s “tragic moodiness” and “a burst of self-understanding” that set the book apart from those of his 1920s contemporaries and writers ever since. . . . It took a special comprehension of the lives of the wealthy and the lives of ordinary people to create such a broad swath. . . . Kazin’s idea captures the strength and beauty of the novel and may actually reveal why it has such staying power. Fitzgerald, despite his claims of not really understanding Gatsby as he created him, desperately identified with the dreams the character espoused. He knew the pain of losing the girl and the joy in attaining her.{{sfn|Batchelor|2013|pp=76–77}} }} | {{quote|Fitzgerald’s insight into Jay Gatsby revealed, according to critic Alfred Kazin, the author’s “tragic moodiness” and “a burst of self-understanding” that set the book apart from those of his 1920s contemporaries and writers ever since. . . . It took a special comprehension of the lives of the wealthy and the lives of ordinary people to create such a broad swath. . . . Kazin’s idea captures the strength and beauty of the novel and may actually reveal why it has such staying power. Fitzgerald, despite his claims of not really understanding Gatsby as he created him, desperately identified with the dreams the character espoused. He knew the pain of losing the girl and the joy in attaining her.{{sfn|Batchelor|2013|pp=76–77}} }} | ||
Scott Donaldson agrees with this general point. “It is true of Fitzgerald,” he writes, “not only that his characters are modeled on himself but that he sometimes becomes his characters after the fact.”{{sfn|Donaldson|1980|p=185}}{{efn|“Thus his retreat to Ashville, Tyron, Hendersonville in North Carolina during the two years of his personal depression virtually repeat Dick Diver’s drifting among the small towns of upstate New York. . . . He will now be ‘a writer only,’ he announces in the last of the ‘Crack-Up’ articles, just as Dick Diver finally became only a doctor, no longer a scientist or entertainer or bon vivant.”{{sfn|Donaldson|1980|p=185}} }} Batchelor cites other critics who agree that Fitzgerald “virtually invented the confessional mode” of writing, and that his own life seems to mirror his greatest artistic creations, characters such as Jay Gatsby.{{sfn|Batchelor|2013|p=78}}{{efn|Morris Dickstein discusses the author’s transformation from literary and celebrity prince to “representative man,” which led to him producing more “introspective” work. The result, Dickstein explains, was that the great novelist “virtually invented the confessional mode in American writing.”{{Sfn|Dickstein| | Scott Donaldson agrees with this general point. “It is true of Fitzgerald,” he writes, “not only that his characters are modeled on himself but that he sometimes becomes his characters after the fact.”{{sfn|Donaldson|1980|p=185}}{{efn|“Thus his retreat to Ashville, Tyron, Hendersonville in North Carolina during the two years of his personal depression virtually repeat Dick Diver’s drifting among the small towns of upstate New York. . . . He will now be ‘a writer only,’ he announces in the last of the ‘Crack-Up’ articles, just as Dick Diver finally became only a doctor, no longer a scientist or entertainer or bon vivant.”{{sfn|Donaldson|1980|p=185}} }} Batchelor cites other critics who agree that Fitzgerald “virtually invented the confessional mode” of writing, and that his own life seems to mirror his greatest artistic creations, characters such as Jay Gatsby.{{sfn|Batchelor|2013|p=78}}{{efn|Morris Dickstein discusses the author’s transformation from literary and celebrity prince to “representative man,” which led to him producing more “introspective” work. The result, Dickstein explains, was that the great novelist “virtually invented the confessional mode in American writing.”{{Sfn|Dickstein|2005|p=82}} Because of the “Crack-Up” essays in ''Esquire'', later writers felt free to explore the genre, including Norman Mailer in ''Advertisements for Myself''. Writing about Fitzgerald in late 1963, critic Malcolm Cowley assesses the author’s life as similar to one of his artistic creations, even greater than that perpetuated by Jay Gatsby. There is a certain duality, he concludes, between the study of Gatsby in high schools all over the nation and the author’s life becoming “a legend like that of Poe or even that of Davy Crockett.”{{sfn|Batchelor|2013|p=78}} }} | ||
It is also true that Fitzgerald is dealing with a profound sense of loss in “The Crack-Up” essays—whether we describe it as the loss of youth, innocence, naiveté or whatever. Moreover, that element of loss is characteristic of his best fiction: it is ''not'' restricted to the personal revelations of “The Crack-Up.” In a foreword to an anthology of Fitzgerald’s early short stories, Roxana Robinson writes: | It is also true that Fitzgerald is dealing with a profound sense of loss in “The Crack-Up” essays—whether we describe it as the loss of youth, innocence, naiveté or whatever. Moreover, that element of loss is characteristic of his best fiction: it is ''not'' restricted to the personal revelations of “The Crack-Up.” In a foreword to an anthology of Fitzgerald’s early short stories, Roxana Robinson writes: | ||
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* {{cite book |last=Conrad |first=Joseph |editor-last=Watts |editor-first=Cedric |date=2002 |title=Heart of Darkness and Other Tales |publisher=Oxford UP |ref=harv}} | * {{cite book |last=Conrad |first=Joseph |editor-last=Watts |editor-first=Cedric |date=2002 |title=Heart of Darkness and Other Tales |publisher=Oxford UP |ref=harv}} | ||
* {{cite book |contributor-last=Cowley |contributor-first=Malcolm |contribution=Introduction |last=Whitman |first=Walt |editor-last=Cowley |editor-first=Malcolm |orig-year=1955 |date=1978 |edition=first |title=Leaves of Grass |url= |location=New York |publisher=Penguin |pages=vii–xxxvii |isbn= |author-link= |ref=harv }} | * {{cite book |contributor-last=Cowley |contributor-first=Malcolm |contribution=Introduction |last=Whitman |first=Walt |editor-last=Cowley |editor-first=Malcolm |orig-year=1955 |date=1978 |edition=first |title=Leaves of Grass |url= |location=New York |publisher=Penguin |pages=vii–xxxvii |isbn= |author-link= |ref=harv }} | ||
* {{cite book |last=Dickstein |first=Morris |date=2005 |title=A Mirror in the Roadway: Literature and the Real World |url= |location=Princeton |publisher=Princeton UP |ref=harv }} | |||
* {{cite journal |last=Donaldson |first=Scott |date=1980 |title=The Crisis of Fitzgerald’s ‘Crack-Up’|journal=Twentieth Century Literature |volume=26 |issue=2 |pages=171-188 |ref=harv}} | * {{cite journal |last=Donaldson |first=Scott |date=1980 |title=The Crisis of Fitzgerald’s ‘Crack-Up’|journal=Twentieth Century Literature |volume=26 |issue=2 |pages=171-188 |ref=harv}} | ||
* {{cite book |last=Donaldson |first=Scott |author-mask=1 |chapter=Fitzgerald’s Nonfiction |date=2002 |title=The Cambridge Companion to F. Scott Fitzgerald |url= |editor-last=Prigozy |editor-first=Ruth |location=Cambridge |publisher=Cambridge UP |pages= |isbn= |author-link= |ref=harv }} | * {{cite book |last=Donaldson |first=Scott |author-mask=1 |chapter=Fitzgerald’s Nonfiction |date=2002 |title=The Cambridge Companion to F. Scott Fitzgerald |url= |editor-last=Prigozy |editor-first=Ruth |location=Cambridge |publisher=Cambridge UP |pages= |isbn= |author-link= |ref=harv }} | ||