PROOF

Contents

General Editor’s Preface x Acknowledgements xi Note on Quotations xii List of Abbreviations xiii

Introduction 1

Part I ANALYSING THE GREAT GATSBY AND TENDER IS THE NIGHT

1 Beginnings 5 Gorgeous Gatsby: The Great Gatsby, pp. 7–8 5 On the Edge: Tender is the Night, pp. 11–12 11 Gatz into Gatsby: The Great Gatsby, pp. 94–6 14 Lucky Dick: Tender is the Night, pp. 130–2 19 Conclusions 25 Methods of Analysis 27 Suggested Work 28

2 Society 29 The Fifth Guest: The Great Gatsby, pp. 19–21 29 The Vanishing Hosts: Tender is the Night, pp. 43–6 34 Gatsby’s Guests: The Great Gatsby, pp. 60–2 40 Quick Odyssey: Tender is the Night, pp. 88–9 48 Conclusions 54 Methods of Analysis 56 Suggested Work 57

vii

9780230292222_01_prexiv.indd vii 6/24/2011 2:56:35 PM PROOF

viii Contents

3 Money 59 Buying Power: The Great Gatsby, pp. 29–30 59 Shopping Spree: Tender is the Night, pp. 64–5 64 Courtship and Money: The Great Gatsby, pp. 141–2 68 Marriage and Money: Tender is the Night, pp. 175–8 74 Conclusions 80 Methods of Analysis 84 Suggested Work 85

4 Gender 87 Blocked Energies: The Great Gatsby, pp. 12–15 87 Under Whose Sway?: Tender is the Night, pp. 313–15 94 Lies and Driving: The Great Gatsby, pp. 58–9 100 Dick’s Debacle: Tender is the Night, pp. 303–5 104 Conclusions 109 Methods of Analysis 110 Suggested Work 111

5 Trauma 113 Blood in the Dust: The Great Gatsby, pp. 131–2 114 Blood on the Bed: Tender is the Night, pp. 123–6 118 Death of a Dream: The Great Gatsby, pp. 153–4 126 Cutting the Cord: Tender is the Night, pp. 322–4 132 Conclusions 138 Methods of Analysis 139 Suggested Work 140

6 Endings 142 Dust in the Eyes: The Great Gatsby, pp. 169–70 142 Blessing the Beach: Tender is the Night, pp. 335–7 146 Beating On: The Great Gatsby, pp. 171–2 152 Dying Fall: Tender is the Night, pp. 337–8 157 Conclusions 160 Beginnings 160 Society 161 Money 161 Gender 162

9780230292222_01_prexiv.indd viii 6/24/2011 2:56:35 PM PROOF

Contents ix

Trauma 162 Endings 163

Part II THE CONTEXT AND THE CRITICS

7 F. Scott Fitzgerald: Life and Works 167

8 The Historical, Cultural and Literary Context 183 The Historical Context 183 The Cultural and Literary Context 189

9 A Sample of Critical Views 195 James E. Miller, Jr. 196 Richard D. Lehan 199 Sarah Beebe Fryer 201 Barbara Will 203 Susann Cokal 206 Conclusions 208

Further Reading 209 Index 213

9780230292222_01_prexiv.indd ix 6/24/2011 2:56:36 PM PROOF

Introduction

The Great Gatsby (1925) and Tender is the Night (1934) are the most highly regarded of F. Scott Fitzgerald’s four completed novels and remain widely read and much studied. Gatsby is the more famous of the two: it has been fi lmed four times, in 1926, 1949, 1974 and 2000, attracting key actors to the lead role – Warner Baxter, Alan Ladd, Robert Redford and Toby Stephens – and a fi fth fi lm is now in the making, starring Leonardo DiCaprio and directed by Baz Luhrmann (famed for his William Shakespeare’s Romeo + Juliet). Through the novel and fi lms, Jay Gatsby has become an iconic fi gure in American and perhaps global culture, a symbol of high aspiration, glamorous success and romantic defeat, like Fitzgerald himself. Very much a product of its time, Gatsby also seems to speak vividly to many readers today. But Tender, likewise engaging with aspiration, success and defeat, also continues to fi nd many readers and interpreters and its concern with the traumas of sexual abuse and of war speaks to us perhaps more strongly than ever in the twenty-fi rst century. Both Gatsby and Tender exemplify Fitzgerald’s achievement of a style which might be called ‘romantic modernism’, in which a sustained lyrical grace associated with Romantic poetry (Keats, Shelley) is combined with that unsparing engagement with the fragmentation and abrasiveness of modernity which characterises Modernist writing (Eliot, Joyce). Both novels are rich in complexities and ambiguities; but each is distinctive in terms of its structure and narrative technique. Gatsby is a concentrated fi rst-person narrative which exemplifi es Modernist compression and selection while remaining an accessible and compelling read; Tender is an episodic, extended chronicle with, for the most part, an omniscient narrator, more reminiscent in some respects of nineteenth-century fi ction

1

9780230292222_02_intro.indd 1 6/24/2011 2:57:26 PM PROOF

2 F. Scott Fitzgerald: The Great Gatsby / Tender is the Night

than Gatsby but nonetheless fully engaged with the crises of modernity. Both novels represent societies in which the bonds of community and family have been loosened and in which other modes of human association – primarily the party – prevail. Both examine how money and consumerism can intimately shape relationships and behaviour. Both address questions of gender at a time when feminine and masculine roles and possibilities are especially in fl ux. Both unsparingly examine physical and psychological trauma (war, murder, manslaughter, suicide, incest, bereavement, disappointment, dissolution, disintegration) and move towards the status of modern tragedies. Both have memorable, haunting endings which reverberate in the reader’s mind. Both raise many questions and have generated a huge amount of criticism and commentary. The aim of this book is to look closely at the style of the two novels and relate its distinctive features to their structures, themes and broader implications. In Part I, Analysing The Great Gatsby and Tender is the Night, we select short extracts for close analysis, examining them in terms of the kinds of sentences of which they consist, their diction (their choice and use of words), their imagery, their handling of time, their use of point-of-view, and, where appropriate, their intratextual relations (the links between different parts of the same text) and their intertextual relations (the ways in which they allude to and invoke other literary and cultural texts). We shall consider how such elements contribute to the topics of each extract and relate those topics to the wider themes of the novels, steadily expanding our knowledge and understanding of them. In Part II, The Context and the Critics, we shall explore the bio- graphical, historical, cultural and critical contexts of the novels. There is a summary of Fitzgerald’s life and works, a survey of the relevant aspects of the history and culture of Fitzgerald’s times, a sample of key critical views, and suggestions for Further Reading to help readers navigate the vast and fascinating critical and cultural territory which now forms the hinterland of Gatsby and Tender.

9780230292222_02_intro.indd 2 6/24/2011 2:57:27 PM PROOF

Index

Alger, Horatio, 204 Twenty-First Amendment (1933), 189 Allen, Louisa (FSF’s grandmother), 168 Wall Street Crash, 83–4, 162, 186, 188–9, America (USA) 193 American Dream, 27, 159, 161 women’s role, 186–7, 201 American Expeditionary Force (AEF), 54, World War One (First World War), 172, 183–4 173, 183–4, 187, 191 California, 65, 67, 185 Arbuckle, Roscoe (‘Fatty’), 119, 121 Chicago, 65, 67, 185 economic growth, 183, 185–6 Barron Collier advertising agency, 173 Eighteenth Amendment (1919), 184, 189 Baughman, Judith S., 212 fl appers, 187 Baxter, Warner, 1, 177 gangsters, 183, 185 Belasco, David, 44 Great Depression, 188, 189, 192 Benét, Stephen Vincent, 182 immigration, 183, 187–8, 205 Benét, William Rose, 195 Midwest, 9, 144, 153, 175, 210 Berman, Ronald national identity, 27, 161, 168, 205–6 The Great Gatsby and Fitzgerald’s World National Origins Act (1924), 187–8 of Ideas (1997), 211 National Prohibition (Volstead) Act The Great Gatsby and Modern Times (1919), 184 (1994), 211 New York City, 9, 30, 32, 41, 44, 47, 59, Bible 60, 62, 70, 74, 83, 103, 114, 116, Genesis, 23 143–4, 146, 153, 154, 173, 174, 175, Luke, 19 180, 184, 185, 192, 210 Bishop, John Peale, 171 New York State, 159, 169, 180 Blazek, William Nineteenth Amendment (1920), 186 Twenty-First Century Readings of Tender is Prohibition, 57, 183, 184–5, 189, 193 the Night (2007), 212 Quota Law (1921), 187 Book of Common Prayer (1662), 116, 140 Teapot Dome scandal, 183, 185 Brooke, Rupert, 170, 172

213

9780230292222_13_index.indd 213 6/22/2011 2:25:57 PM PROOF

214 Index

Bruccoli, Matthew J., 77 Douglas, Aaron, 192 The Composition of Tender is the Night Dreiser, Theodore, 175 (1963), 212 An American Tragedy (1925), 192, 210 Reader’s Companion to Tender is the Night (1996), 212 Eddington, Sir Arthur Stanley, 189 The Romantic Egoists (1974), 210 Einstein, Albert, 189, 190 Some Sort of Epic Grandeur (1981), 210 Eliot, Dr Charles W., 149 Bunyan, John Eliot, George, Middlemarch (1871–2), 159 The Pilgrim’s Progress (1678–84), 131 Eliot, T. S., 1, 191 Burnett, Frances Hodgson, 34, 37 The Waste Land (1922), 33, 57, 190, 191, Little Lord Fauntleroy (1886), 37 193 The Secret Garden (1911), 37 Ellington, Duke, 192 Burton, Robert, 181 Esquire (magazine), 181 Etty, William, 45 Callahan, John F., The Illusions of a Nation Europe, 21, 22, 35, 38, 54, 57, 64, 77,153, (1972), 211 157, 159, 173, 175, 177, 178, 179, Capone, Al, 185 183, 184, 187, 188, 189, 191, 192 Carlyle, Thomas, 164 existentialism, 130 Cather, Willa A Lost Lady (1923), 194 Fadiman, Clifton, 59 My Ántonia (1918), 194 Fall, Albert B., 185 Cézanne, Paul, 191 Fay, Father Sigourney, 170, 173 Chicago University, 85 Fitzgerald, Annabel (FSF’s sister), 169 Cokal, Susann, ‘Caught in the Wrong Story’ Fitzgerald, Edward (FSF’s father), 168–9 (2005), 206–8, 212 Fitzgerald, F. Scott, life College Humor, 178 and Ernest Hemingway, 177 Conrad, Joseph Ginevra King, 171, 172, 173 Heart of Darkness (1902), 19 Harold Ober, 174 ‘Preface’, The Nigger of the Narcissus Irving Thalberg, 178, 182 (1897), 194 Lois Moran, 178 Coolidge, Calvin, 185, 189 Maxwell Perkins, 173–4, 176, 177 Cowan, Leslie, 182 Shane Leslie, 170, 172 Cowley, Malcolm, 25, 209 Sheilah Graham, 168, 181, 182 Crane, Hart, The Bridge (1930), 191 Sigourney Fay, 170, 173 Crawford, Joan, 181 Zelda Fitzgerald (née Sayre), 167, 173, Cullen, Countee, Color (1925), 192, 193 174–6, 178–81, 209–10, 210 at Barron Collier advertising agency, 173 Davies, Owen, 177 Newman School, 169–70 deconstruction, 203, 205, 206 Princeton University, 170–2 Derrida, Jacques, 205, 206 St Paul Academy, 169 DiCaprio, Leonardo, 1 in Asheville, North Carolina, 181 Donaldson, Scott, Critical Essays on F. Scott Baltimore, 180, 181 Fitzgerald’s The Great Gatsby (1984), Capri, 177 211 Delaware, 178 Donne, John, ‘A Valediction: Forbidding France, 176, 177, 178, 179 Mourning’, 131, 140 Great Neck, Long Island, 175–6 Dos Passos, John, 67, 181, 195 Hollywood, 178, 179, 181–2 Manhattan Transfer (1925), 210 Italy, 176

9780230292222_13_index.indd 214 6/22/2011 2:25:57 PM PROOF

Index 215

St Paul, Minnesota, 168, 169, 170, 173, Fitzgerald, F. Scott, plays, poems and shows 175, 178 The Captured Shadow (1912), 170 birth, 168 The Coward (1913), 170 daughter, 167, 175, 176, 178, 181 Fie! Fie! Fi-Fi! (1914), 171 death, 182 ‘Football’ (1911), 170 family origins, 168 The Girl from Lazy J. (1911), 169 fi nances, 167, 173, 174, 175, 177, 178, 180 The Vegetable: From President to Postman illnesses, 171, 172, 182 (1923), 176 marriage, 167, 174 Fitzgerald, F. Scott, short stories parents, 168–9 ‘Absolution’ (1924), 177–8 physique, 168 ‘Babes in the Wood’ (1917), 172, 173 Roman Catholicism, 73, 169, 170, 173, ‘Babylon Revisited’ (1931), 84, 180, 182, 175, 178 209 US Army service, 172–3 ‘Bernice Bobs Her Hair’ (1920), 175 Fitzgerald, F. Scott, movies of his fi ction ‘The Captured Shadow’ (1928), 170 The Chorus Girl’s Romance (1920), 174 ‘Crazy Sunday’ (1932), 180 The Great Gatsby (1926), 1, 177 ‘The Diamond as Big as the Ritz’ (1922), The Great Gatsby (1949), 1 175 The Great Gatsby (1974), 1 ‘First Blood’ (1930), 179 The Husband Hunter (1920), 174 ‘Head and Shoulders’ (1920), 174, 175 The Last Time I Saw Paris (1954), 182 ‘The Ice Palace’ (1920), 175 The Offshore Pirate (1921), 174 ‘I Didn’t Get Over’ (1936), 173 Fitzgerald, F. Scott, movie-writing jobs ‘Indecision’ (1931), 209 ‘Cosmopolitan’ (1940), 182 ‘Jacob’s Ladder’ (1927), 209 ‘Lipstick’ (1927), 178 ‘The Last of the Belles’ (1929), 180 Madame Curie (1938–9), 181 ‘Magnetism’ (1928), 209 Three Comrades (1937–8), 181 ‘May Day’ (1920), 175, 184 Winter Carnival (1939), 181 ‘Myra Meets His Family’ (1920), 174 The Women (1938), 181 ‘The Mystery of the Raymond Mortgage’ Fitzgerald, F. Scott, nonfi ction (1909), 169 ‘Author’s House’ (1936), 168 ‘The Offshore Pirate’ (1920), 174 ‘The Crack-Up’ (1936), 181, 194, 209 ‘One Trip Abroad’ (1930), 209 ‘Early Success’ (1937), 174, 209 ‘On Your Own’ (wr. 1931; pub. 1979), ‘Echoes of the Jazz Age’ (1931), 184, 209 179, 209 ‘Handle with Care’ (1936), 164 ‘Pat Hobby’s Christmas Wish’ (1940), ‘My Lost City’ (1932), 159, 209 181 ‘Pasting it Together’ (1936), 171 ‘The Rich Boy’ (1926), 73, 83, 177 ‘Princeton’ (1927), 170–1 ‘The Scandal Detectives’ (1928), 178 Fitzgerald, F. Scott, novels (except Gatsby and ‘“The Sensible Thing”’ (1924), 178, 209 Tender) ‘A Short Trip Home’ (1927), 123, 209 The Beautiful and Damned (1922), 44, ‘Tarquin of Cheapside’ (1917), 172 170, 175, 192, 196, 209 ‘Winter Dreams’ (1922), 177, 209 The Last Tycoon (1941), 178, 182, 196, 209 Fitzgerald, F. Scott, short-story collections ‘The Romantic Egotist’ (written 1918), All the Sad Young Men (1926), 177 170, 172, 173 Flappers and Philosophers (1920), 175 This Side of Paradise (1920), 123, 168, 170, Tales of the Jazz Age (1922), 172, 175 172, 173, 174, 175, 196, 197, 209 Taps at Reveille (1935), 180 Trimalchio (2000), 209 The Pat Hobby Stories (1962), 181

9780230292222_13_index.indd 215 6/22/2011 2:25:57 PM PROOF

216 Index

Fitzgerald, Mary (née MacQuillan) (FSF’s diction, 2, 8, 17, 25, 27, 28, 32, 56, 84, mother), 168 101–2, 103, 110, 140 Fitzgerald, Michael (FSF’s grandfather), ending, 2, 142–6, 152–7, 163–4 168 euphemism, 9–10, 25, 27–8, 61, 73 Fitzgerald, Scottie (FSF’s daughter), 167, guest list, 40–8, 54, 56, 57, 63 175, 176, 178, 180, 210 imagery, 2, 8, 9, 10, 17–18, 27, 28, 32–3, Fitzgerald (née Sayre), Zelda, 167, 173, 57, 62, 63, 84, 92, 98–9, 106, 111, 174–5, 176, 178–80, 181 128, 130, 131, 140, 155, 156, 157 ‘A Millionaire’s Girl’ (1930), 178 indirection, 5, 7, 25, 130, 139, 140, Save Me the Waltz (1932), 180, 201, 202, 160–1 209–10 intertextual links, 2, 18–19, 28, 33, 45, ‘Scandalabra’ (1933), 180 57, 85, 93, 111, 116, 131, 140, 193 Ford, Ford Madox, 196–7 intratextual links, 2, 10, 27–8, 42, 57, 84, Franklin, Benjamin, 204 91, 111, 140 Freud, Sigmund, 189, 190, 202, 206–7 irony, 32, 61, 74, 81, 92, 118, 131, 156, 199 Fryer, Sarah Beebe lists, 22, 55, 62, 81, 84 ‘Beneath the Mask: The Plight of Daisy metaphor, 8, 9, 18, 19, 53, 54, 57, 90, 92, Buchanan’ (1984), 201–2, 211 93, 103, 108, 128, 145, 151, 155–6, Fitzgerald’s New Women: Harbingers of 157 Change (1988), 201, 211 metonymy, 33, 57, 116, 153 ‘Nicole Warren Diver and Alabama Beggs: mythical references, 42, 47, 54, 57, 72, 79, Women on the Threshold of Freedom’ 129, 193, 199, 205 (1985), 201, 202–3, 211 narrator, 1, 5, 7–10, 25, 26–7, 55, 60–1, 101, 115, 117, 127, 130, 134, Garbo, Greta, 181 193–4, 196, 197 Gauguin, Paul, 191 nouns, 15, 45, 63, 71, 90–1, 102, 103, Geismar, Maxwell, The Last of the Provincials 111, 116, 140 (1943), 195 Owl-Eyed Man, 44, 47, 63, 79, 129, 145 Girard, René, 71 oxymoron, 32 Gogh, Vincent van, 191 parallelism, 16 Goldberg, Rube, 50, 53 personifi cation, 33, 55, 57 Goldsmith, Meredith J., ‘White Skin, White point of view, 197 Mask: Passing, Posing and Performing religious references, 16–17, 28, 72, 73, in The Great Gatsby’ (2003), 211 81–2, 108, 116, 124, 128 Graham, Sheilah, 168, 181, 182 romantic modernism, 1, 71, 139 Grant, General Ulysses S., 19, 21, 24–5, 28, romantic vocabulary, 8, 9, 10, 93 45, 54, 158, 159–60 sentences, 7, 8, 9, 16–17, 27, 28, 31, 38, Gray, James, 195 56, 60, 61, 72, 73, 84, 90, 93–4, 99, The Great Gatsby, textual features 110, 117–18, 127, 129, 130–1, 140, adjectives, 7, 17, 18, 57, 62, 71, 90–1, 155, 156 101–2, 110, 116, 129, 130, 144 simile, 18, 70, 73, 92, 93, 117–18, 131, 145 adverbs, 31–2, 62, 72, 84, 130 tenses, 61 aposiopesis, 56, 156 timescales/signals, 16, 26, 27, 28, 31, beginning, 5–11, 13–19, 25–8, 160–1 42–3, 57, 90, 94, 127, 153, 154, 156, circumlocution, 9–10, 25, 27–8 196–7 dashes, 16–17, 27, 31, 55, 56 verbs, 18, 31, 61, 72, 81, 84, 90, 102, 103, dialogue, 31, 55, 56, 62–3, 103, 143, 108, 116, 117, 128–9, 154, 155, 157 144 zeugma, 153

9780230292222_13_index.indd 216 6/22/2011 2:25:57 PM PROOF

Index 217

The Great Gatsby, themes and topics Homer, 92 aesthetics, 18, 56, 62, 71, 82, 90, 93, 152, The Illiad, 42 155, 162 The Odyssey, 54, 57 automobiles (cars), 41, 45, 46, 69, 71, 84, Hoover, Herbert, 185, 189 92, 100, 102–3, 108, 111, 113, 114, Howard University, 192 115–16, 124, 126, 127, 140, 143, Hughes, Langston, Weary Blues (1926), 192 145, 152, 153, 154 Hurston, Zora Neale, Their Eyes Were class, 42, 62–3, 204 Watching God (1937), 192 commodity, 17, 62, 71, 81, 145, 146 consumerism, 2, 59, 62, 64, 66, 71, 81, Impressionism, 191 84, 144 ethnicity, 188, 193, 204–6 James, Henry, 189, 194, 196 gender, 2, 7, 62, 87–94, 100–4, 109–12, James, William, 189–90 110, 111, 162, 187 The Meaning of Truth (1909), 190 identity, 7, 10, 16, 27, 59, 61, 62, 101, Pragmatism (1907), 190 161, 173, 205–6 The Principles of Psychology (1890), 190 innocence, 154, 155 The Will to Believe (1897), 190 liminality, 91–2 Johns Hopkins University, 21 mimetic desire, 71 Jonson, Ben, Volpone (1607), 47 money, 2, 43, 59–64, 68–74, 80–6 Joyce, James, 1, 177, 191, 206 nature, 47, 85 Ulysses (1922), 190 parties, 2, 29–33, 40–8, 54–8, 87–94, 161 Jozan, Édouard, 176 society, 2, 29–33, 40–8, 54–8, 63, 81, 85, 110, 111, 145, 161 Keats, John, 1 trauma, 2, 55, 84, 113–18, 126–32, ‘Ode on a Grecian Urn’, 80, 85, 164 138–41, 162–3 Kerr, Joan P., 210 value, 17, 69, 71, 74, 82, 83, 85, 145 Key, Francis Scott, ‘The Star-Spangled war, 2, 19, 47, 131 Banner’ (1814), 168 World War One (First World War), 42, King, Ginevra, 171, 172, 173 44, 46, 74, 109, 113, 153, 183, 184, 193, 197 Ladd, Alan, 1 Lahood, Marvin J., Tender is the Night: Essays Haegert, John, ‘Repression and counter- in Criticism (1969), 212 memory in Tender is the Night’ Larsen, Nella (1994), 212 Passing (1929), 193 Harding, Warren G., 185, 189 Quicksand (1928), 192 Harlem Renaissance, 192–3 Lee, Robert E., 24 Harvard University, 22, 35, 79, 106, 149 Lehan, Richard D. Hayes, Roland, 192 F. Scott Fitzgerald and the Craft of Fiction Hemingway, Ernest, 177, 191 (1966), 198–201, 211 In Our Time (1925), 192 The Great Gatsby: The Limits of Wonder A Moveable Feast (1964), 177 (1990), 211 ‘The Snows of Kilimanjaro’ (1936), 73, Leslie, Shane, 170, 172 177 Le Vot, André, Scott Fitzgerald (1983), 210 ‘Soldier’s Home’ (1925), 184 Lewis, Sinclair, Main Street: The Story of Carol The Sun Also Rises (Fiesta) (1927), 210 Kennicott (1920), 210 Hollywood, 38, 48, 50, 160, 178, 179, 180, Lincoln, Abraham, 163 181, 182 Locke, Alain, The New Negro (1925), 192

9780230292222_13_index.indd 217 6/22/2011 2:25:57 PM PROOF

218 Index

Lockridge, Ernest H., Twentieth Century poststructuralism, 203 Interpretations of The Great Gatsby Pound, Ezra, 191 (1963), 211 pragmatism, 190 Lowell, Robert, 181 Prigozy, Ruth, The Cambridge Companion to Luce, Claire Boothe, 181 F. Scott Fitzgerald (2002), 211 Luhrmann, Baz, 1 Princeton Tiger, 171 Princeton University, 45, 170–2, 174, 184 Magoffi n, Elizabeth, 169 Prohibition, 57, 183, 184–5, 189, 193 Manet, Édouard, 191 psychoanalysis, 163, 206, 212 McClennan, Howard (Dean of Princeton), 172 Rappe, Virginia, 121 McKay, Claude, Home to Harlem (1928), 192 Rattray, Laura, Twenty-First Century McQuillan, Louisa (FSF’s grandmother), 169 Readings of Tender is the Night McQuillan, Philip F. (FSF’s grandfather), 168 (2007), 212 Meyers, Jeffrey, Scott Fitzgerald (1994), 210 Redbook Magazine, 177 Miller, James E., Jr., F. Scott Fitzgerald His Art Rennie, James, 177 and Technique (1964), 195–8, 200–1, Robeson, Paul, 192 210–11 Rockefeller, John D., 60, 63, 81 Milton, John, 191 Roosevelt, Franklin D., 189 Minerva, 47, 79 see also Pallas Athene Rothstein, Arnold, 185 Mizener, Arthur, 195 The Far Side of Paradise (1951), 210 Sartre, Jean-Paul Scott Fitzgerald: A Collection of Critical Being and Nothingness (1943), 97 Essays (1963), 211 Nausea (1938), 129 Modernism, 1, 37, 71, 190–4 Saturday Evening Post, 174, 178 Monet, Claude, 191 Schreier, Benjamin, ‘Desire’s Second Act: Moran, Lois, 178 “Race” and The Great Gatsby’s Motley, Archibald, 192 Cynical Americanism’ (2007), 211 Mulready, William, 45 Schulberg, Budd, The Disenchanted (1950), Murphy, Gerald, 176 181 Murphy, Sara, 176 Scott, Cecilia Ashton (FSF’s grandmother), 168 Nassau Literary Magazine, 171 Scribner’s (FSF’s publisher), 172, 173, 174, New Testament, 19, 28 176, 180 Newton, Sir Isaac, 189 Scribner’s Magazine, 180 Norris, Frank, 175 Seldes, Gilbert, 195 Shah of Persia, 49, 50, 51, 52 Ober, Harold, 174 Shakespeare, William, 1, 163 O’Hara, John, 164 Hamlet, 154 Henry IV 1, 45 Pallas Athene, 76, 79, 85 see also Minerva A Midsummer Night’s Dream, 19 Perkins, Maxwell, 173–4, 175, 176, 177, Sonnet: ‘When my love swears that she is 178, 180, 206 made of truth’, 135 Pershing, General John J., 49, 50, 54, 184 Twelfth Night, 158 Picasso, Pablo, 77, 191 Shelley, Percy Bysshe, 1, 191 Les Demoiselles d’Avignon (The Maids of ‘Ode to the West Wind’, 68 Avignon, 1906–7), 190 Sinclair, Harry F., 185 Plath, Sylvia, 181 The Smart Set, 173

9780230292222_13_index.indd 218 6/22/2011 2:25:57 PM PROOF

Index 219

Smith, Bessie, 192 intertextual links, 2, 23, 28, 37, 54, 57, Snyder, Ruth, 195 85, 111, 135 Spengler, Oswald, 200 intratextual links, 2, 27–8, 84, 111, 140 Stein, Gertrude, 177, 191, 206 lists, 22, 39, 57, 64–5, 66, 81, 84, Tender Buttons (1914), 206 136–7 Steinbeck, John, 67, 164 metaphor, 12, 23, 53, 54, 65, 67, 79, 106, Stella Dallas (1925 movie), 178 108, 137, 140, 151 Stephens, Toby, 1 mythical references, 23–4, 28, 54, 79–80 Stern, Milton R. narrative description, 36, 97 The Golden Moment: The Novels of F. Scott narrator, 1–2, 5, 21, 23–4, 25, 26, 38, 39, Fitzgerald (1970), 211 40, 50, 65, 66, 68, 96, 108, 121, 122, Tender is the Night: The Broken Universe 123, 134–5, 136, 158–9, 160, 194 (1994), 212 nouns, 12, 36, 66, 123 Stravinsky, Igor, 191, Le sacré du printemps oxymoron, 97, 134 (The Rite of Spring, 1913), 190 parallelism, 51, 56, 136 Styron, William, 181 personifi cation, 79 Swinburne, Algernon Charles, 93, 111 point of view, 2, 36, 50, 55, 97, 108, 121, Atalanta in Calydon, 93 123, 125, 135, 136, 137, 149, 158, ‘Faustine’, 45 197, 200, 206–7 realist mode, 126, 194 Talmadge, Constance, 178 religious references, 12, 13, 53–4, 68, 84, Tender is the Night, textual features 108, 123, 124, 151–2 adjectives, 12, 13, 36, 50, 65, 66–7, 123, romantic modernism, 1, 37, 139 150 semi-dialogue, 77–8, 84 adverbs, 13, 68, 150 sentences, 2, 12, 13, 21, 24, 27, 28, 40, aposiopesis, 40, 56, 99 50, 51–2, 56, 65, 66, 67–8, 79, 84, beginning, 11–13, 19–25, 25–8 96, 97, 99, 110, 123, 135–6, 136–7, dialogue, 36, 39–40, 56, 97, 98, 99, 138, 140, 148, 150 124–5, 136, 149 simile, 12, 13, 27, 50, 52, 53, 57, 78, 79, diction, 2, 12, 27, 28, 36, 52, 56, 84, 110, 108, 149–50 123, 140 tenses, 31, 51, 78, 84, 158 direct discourse, 135 thriller mode, 125 ellipses, 135, 150 time signals, 2, 12, 26, 27, 28, 31, 51, 57, ending, 2, 142, 146–52, 157–60, 163–4 77, 200, 206–7 enigma, 39, 125, 140 verbs, 12, 13, 36, 51, 52, 53, 66, 67, 68, free indirect discourse, 135–6 80, 97, 106, 107, 108, 123, 135, gothic mode, 79, 123, 126 150, 151 hyperbole, 122 Tender is the Night, themes and topics imagery, 2, 12, 26, 27, 28, 37, 50, 53, 54, aesthetics, 23, 56, 68, 84, 96, 106, 162 55, 57, 66, 68, 70, 71–2, 78–9, 84, automobiles (cars), 50, 52 90, 98–9, 106, 111, 134, 135, 136, class, 64, 66, 68, 81 137, 140, 151 consumerism, 2, 39, 57, 59, 64, 66, 67, irony, 21, 22, 54, 67, 97, 122, 136, 138, 78, 84, 85 149, 150, 151, 159, 160 ethnicity, 121, 188 indirect discourse, 50, 135–6 gender, 2, 87, 94–100, 104–9, 109–12, indirection, 25, 140, 160–1 150, 162, 187 interior monologue, 21, 27, 77, 82, 84, identity, 26, 53, 57, 59, 66, 138, 161, 99, 135, 160, 202 197–8

9780230292222_13_index.indd 219 6/22/2011 2:25:57 PM PROOF

220 Index

Tender is the Night, themes and topics – F. Scott Fitzgerald: The Great Gatsby: A continued Reader’s Guide to Essential Criticism incest, 2, 56, 97, 113, 118, 124, 125, 138, (1997), 211 206, 212 Triangle Club, 171, 172 innocence, 12, 13, 26, 37, 150, Trilling, Lionel, 195 intactness, 20, 22, 23, 132, 134, 140 Troy, William, 195 money, 2, 59, 64–8, 74–80, 80–6, 95, Turnbull, Andrew, Scott Fitzgerald (1962), 99, 133, 137, 139, 158, 160, 161–2, 210 198 nature, 53 USA see America parties, 2, 29, 33–40, 48–58, 124, 151 pregnancy, 67, 78 Van Vechten, Carl, Nigger Heaven (1926), role-reversal, 135 193 romantic modernism, 1, 37 Vassar College, 167 society, 2, 29, 33–40, 48–54, 54–8, 110, Voltaire, 45 111, 161, 198 trauma, 1, 2, 23, 55, 84, 113, Wanger, Walter, 181 118–26, 132–8, 138–41, 162–3, Way, Brian, F. Scott Fitzgerald and the Art of 206–8 Social Fiction (1980), 211 value, 74, 83, 85 Wells, H. G., 196 war, 1, 2, 12, 13, 24, 79, 110 Westcott, Glenway, 195 World War One (First World War), 49, 53, Wexelblatt, Robert, ‘F. Scott Fitzgerald and 54, 113, 183, 193 D. H. Lawrence: Bicycles and Incest’ Tennyson, Alfred Lord (1987), 212 ‘The Eagle’, 150 Wharton, Edith, 194 Locksley Hall, 156–7 Will, Barbara, ‘The Great Gatsby and the Thalberg, Irving, 178, 182 Obscene Word’ (2005), 203–6, 211 Tolstoy, Leo, 170 Wilson, Edmund, 171, 172, 175, Toomer, Jean, Cane (1923), 192, 193 Wilson, Woodrow, 183 trauma studies, 163 Wurtzel, Elizabeth, 181 Tredell, Nicolas Fitzgerald’s The Great Gatsby: A Reader’s Yale University (New Haven), 19, 20, 21, 22, Guide (2007), 211 41, 88, 90, 159

9780230292222_13_index.indd 220 6/22/2011 2:25:57 PM