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You may also enjoy Favorite Short Story Collections or search The Short Story Library You may also be interested in Ready for more?You may enjoy our Favorite Short Stories Collection. Try one of these Short Short Stories, sorted to suit your mood.Miller establishes a context for his theories about Fitzgerald's artistic development by first clarifying his definition of the term "technique." Rejecting narrow definitions of the term as concerned simply with point of view, Miller settles on Mark Shorer's comprehensive definition: "Everything is technique which is not the lump of experience itself, and one cannot properly say that a writer has no technique or that he eschews technique, for, being a writer, he cannot do so." Miller, therefore, examines Fitzgerald's technique in broad terms of "the development of theme, point of view, and the manner of representing events." At the core of Miller's thesis is a belief that Fitzgerald's development as a writer can be followed in relation to his belief in the novel of saturation or the novel of selected incident; in effect, in terms of Fitzgerald's shifting position in the H. Wells-Henry James debate, which squarely confronts the positive and negative aspects of these theoretically different kinds of novels.
Miller's discussion of the technique of Fitzgerald's first three novels and selected stories which cluster around them is based on detailed, sensitive analysis of the works, almost scene by scene.
He also includes pertinent sections of letters and reviews by Fitzgerald which indicate beyond much doubt that Fitzgerald's shift from the novel of saturation to the novel of selected incident was conscious and carefully reasoned.
There are two versions of this book: the 1957 edition, which traces the development of Fitzgerald's fictional technique from This Side of Paradise(1920) through The Great Gatsby (1925); and the 1964 edition, F.
Scott Fitzgerald: His Art and His Technique, which reprints the first edition and extends the thesis through to the end of Fitzgerald's life, including discussions of Tender Is the Night and The Last Tycoon, not included in the first edition.
But he was also from the beginning of his career a serious literary artist who worked diligently to reconcile in his own life the central dilemma of professional authorship in America: how to create works of high literary merit while earning a living from his own writing.
Eliot, the latter of whom called The Great Gatsby "the first step that American fiction has taken since Henry James." As the poet laureate of the Jazz Age, the creator of the flapper in fiction, as author of more than one hundred fifty stories in slick magazines like the Saturday Evening Post and, with his wife Zelda, a visible public figure pictured on the cover of popular magazines and the top of taxicabs on Fifth Avenue in New York during the 1920's, Fitzgerald became an easy target for superficial evaluations of his work during his lifetime.
In the course of his analyses Eble makes observations, some of them original and some of them echoes of earlier appraisals, that are now the foundation of the conventional wisdom of Fitzgerald scholarship.
Drawing heavily on Arthur Mizener's 1951 Fitzgerald biography, The Far Side of Paradise, he demonstrates beyond any question that Fitzgerald's fictional works typically come directly from his personal experience, scarcely a startling proposition for anyone mildly acquainted with Fitzgerald's life and work.
Scott Fitzgerald: American Novelist and Short Story Writer, Reader's Guide to Literature in English, London: Fitzroy-Dearborn, 1995, pp. Reprinted with permission of Fitzroy-Dearborn Publishers. During his lifetime only a handful of serious critics conscientiously debated Fitzgerald's artistic development, and though they were quick to point out weaknesses as well as strengths, their assessments now have the eerie feeling of prophesy in predicting the status of Fitzgerald's posthumous literary reputation and the direction of the critical response that has established it during the five decades since his death. Since 1940 there have been hundreds of journal articles, a dozen biographical studies, and more than thirty critical volumes devoted to Fitzgerald and his work. Scott Fitzgerald (1957) is the first book-length critical study devoted exclusively to Fitzgerald's work.
The fifty odd years of careful scrutiny of the body of Fitzgerald's work have more than borne out the confidence of those few contemporary critics who, in his lifetime, saw for him a permanent place among the immortals of American literature.