By Robert Beuka
Fitzgerald's the nice Gatsby is generally visible because the vital 'great American novel,' and the vast physique of feedback at the paintings bears out its value in American letters. American Icon lines 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 booklet in 1925, to very combined reports, via Fitzgerald's demise, whilst it were almost forgotten. subsequent, it examines the posthumous revival of Fitzgerald experiences within the Nineteen Forties and its intensification by means of the hot Critics within the Fifties, targeting how and why the radical started to be thought of a masterpiece of yankee literature. It then strains the expansion of the 'industry' of Gatsby feedback within the resulting a long time, stressing how critics of modern a long time have spread out learn of the industrial, sexual, racial, and old points 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 lots into which it used to be firstly discarded, but additionally that it has turn into a part of the material of yank tradition in a manner that few different works have.
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Extra info for American Icon: Fitzgerald's the Great Gatsby in Critical and Cultural Context
The roots of this revival go back to the years immediately following Fitzgerald’s death — when publication and reissuing of his work sparked a renewed critical interest. The Great Gatsby itself had not been entirely forgotten by critics in the later years of Fitzgerald’s life. Reviews of his final completed novel, Tender Is the Night, and of the last story collection he published during his lifetime, Taps at Reveille (1935), both made references to Gatsby, often citing it as the author’s best work.
He worked hard and patiently to find the exact color of a season that would never be repeated. And isn’t that a virtue inherent in his writing, rather than a weakness falsely imputed to it by the critics? . And it seems to me that if Fitzgerald’s best books succeeded in detaching themselves from his decade — as Dos Passos says they did — it is precisely and paradoxically because he immersed himself in it, plunging deep into the river of time until he ended by glimpsing the landscape of the river’s bed.
No longer the commercial success he once was as a short story writer, he moved to Los Angeles in 1937 and took up work as a Hollywood screenwriter to pay the bills and get out of debt. Though he had long felt an affinity for the movies, and had twice earlier tried his luck in Hollywood, in fact Fitzgerald found little success in his screenwriting efforts in the latter part of his life, though he would remain in Hollywood from 1937 until his death in 1940. He was credited as a writer on only one film, Three Comrades for Metro-Goldwyn-Mayer Pictures, in 1938.
American Icon: Fitzgerald's the Great Gatsby in Critical and Cultural Context by Robert Beuka