By Robert Beuka
Fitzgerald's the good Gatsby is commonly visible because the crucial 'great American novel,' and the huge physique of feedback at the paintings bears out its value in American letters. American Icon strains its reception and its canonical prestige in American literature, pop culture, and academic event. It starts off through outlining the novel's serious reception from its ebook in 1925, to very combined reports, via Fitzgerald's dying, while it were nearly forgotten. subsequent, it examines the posthumous revival of Fitzgerald stories within the Nineteen Forties and its intensification through the recent Critics within the Fifties, targeting how and why the radical started to be thought of a masterpiece of yank literature. It then lines the expansion of the 'industry' of Gatsby feedback within the resulting many years, stressing how critics of contemporary a long time have unfolded examine of the commercial, sexual, racial, and ancient facets of the textual content. the ultimate part discusses the larger-than-life prestige Gatsby has attained in American schooling and pop culture, suggesting that it has not just risen from the serious ash tons into which it used to be at first discarded, but additionally that it has turn into a part of the cloth of yank tradition in a fashion that few different works have.
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Extra info for American Icon: Fitzgerald's the Great Gatsby in Critical and Cultural Context
Essentially symbolic like most art, tragedy cannot succeed if its symbols are not understood or are rejected. Too often Fitzgerald will meet with rejection” (144). Ironically, it was the dense symbolic patterning of the novel that would keep academic critics busy with interpretive forays for some time to come, and setting in motion the critical Gatsby industry of the later 1950s and onward. Still, Weir’s claim of a too-close personal connection between author and material would continue to surface in other critical analyses of the mid-forties.
Undoubtedly more influential in the resurgence of public interest in Fitzgerald, however, was Hollywood writer Budd Schulberg’s hit 1950 novel, The Disenchanted. As a young screenwriter Schulberg was assigned in 1939 to work with Fitzgerald on the screenplay for the collegiate romantic comedy Winter Carnival; their trip to the film’s location, Dartmouth College, turned into a disastrous drunken escapade that resulted in Fitzgerald’s removal from the project. ) Schulberg would offer a fictionalized account of this experience in The Disenchanted, with the Fitzgerald character renamed Manley Halliday.
The reviewer for the New York Sun makes this case in a review of Taps at Reveille: “It is hard, in these days of the depression, to be fair to Mr. Fitzgerald. The children of all ages — from 13 to 30 — that decorate his pages seem as remote today as the Neanderthal man” (in Bryer, 346). Nafisi, with the benefit of historical perspective, expands upon the problem and puts it in the context of Fitzgerald’s career trajectory: “The Great Gatsby was published in 1925 and Tender Is the Night in 1934.
American Icon: Fitzgerald's the Great Gatsby in Critical and Cultural Context by Robert Beuka
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