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Gender, Madness and the Search for Identity in Selected Works of F. Scott Fitzgerald

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Gender, Madness and the Search for Identity in Selected Works of F. Scott Fitzgerald RD.1 University of Essex Registry ______________________________________________________________ Submission form for a thesis to be presented for a Research Degree Candidate’s Full Name Helen TURNER Department Literature, Film & Theatre Studies Qualification Sought PhD Title of Thesis Gender, Madness and the Search for Identity in selected works of F. Scott Fitzgerald I certify that this thesis has been compiled and submitted in accordance with the Regulations for the degree of Doctor of Philosophy and particularly that (a) In accordance with the Regulations I have acknowledged any assistance or use of the work of others or any earlier work of my own. (b) The word count of the thesis, excluding any appendices and references is ………… (NB: Special permission from the Deputy Dean is required for a thesis beyond the maximum word length) (c) The thesis incorporates a summary of the work not exceeding 300 words. (d) The above thesis title is correct. (If your title has changed, please contact Registry (Room 6.116)) To be signed by the candidate Signature ………………………………………………………………………….… Date ………………………. NOTE: 1. Copies of the Regulations are available on request from the Registry. 2. Under the Regulations, candidates are required to conduct and present original investigations, test ideas (whether their own or those of others), understand the relationship of the theme of their investigations to a wider field of knowledge and express themselves clearly and concisely. Gender, Madness and the Search for Identity in selected works of F. Scott Fitzgerald Helen Turner A thesis submitted for the degree of Doctor of Philosophy Department of Literature, Film and Theatre Studies University of Essex September 2015 Abstract In this thesis I engage with the subject of identity and how it is formed and undermined in the work of F. Scott Fitzgerald. In many of the novels and short stories a tension exists between two opposing forces. The first is the pursuit of a social identity which values inherited wealth and familial connections, mirroring in the values of the Old European World. In opposition to this is the protagonists’ personal identity that is not dependent on these long established connections to others. In characters such as Jay Gatsby and Dick Diver the latter is sacrificed in order to pursue the former. However, such an act of self-betrayal is shown to have significant, indeed disastrous consequences resulting in alcoholism, narcissism and melancholia. Alongside this study of Fitzgerald’s male characters is a consideration of women in his work and the manner in which they are used as symbols of masculine success. I chart the development of these female characters from his first novel, This Side of Paradise , in which women are primarily used to demonstrate the fears, desire and indeed character of the protagonist to more complex representations in the mature novels The Great Gatsby and Tender is the Night. In Gatsby , Daisy Buchanan demonstrates a growing awareness of the female voice, even as, at times, Nick Carraway’s narration attempts to suppress it. In Tender is the Night , I suggest that there are two distinct stories evident in one narrative. In this novel “her” story is as significant as “his” story. I argue that this dialogism is, in part, a product of the author’s biography at the time of the novel’s composition. The depiction of these masculine acts of self-betrayal result in locating the most important aspects of identity in work. Or, as Fitzgerald wrote in 1936, “I have at last become a writer only.” Contents Acknowledgements . .. .. 8 Introduction . .10 Chapter One: Masculinities . .. 21 Defining Masculinities . .. .22 World War One and American Manhood . .. 24 “I Eternally See Her Figure Eternally Vanishing”: The Absent but Ever Present Feminine . .27 Men Without Women. 47 Edward Fitzgerald and the Failure of Action . .. .. .56 Fitzgerald’s Emasculating Relationships . 66 Challenging Masculinity: Fitzgerald, Hemingway and Faulkner . 71 Chapter Two: Femininities . .. .79 Foucault, Madness and Social Identity . .83 Madness, Women and the Cultural Feminine. 85 Asylums and Gendered Identities . 88 Zelda Fitzgerald as a Reader of Male Texts . .91 Zelda Fitzgerald as a Writer of Autobiographical Texts . .. .101 Experienced Madness as Metaphor: Zelda Fitzgerald and Feminist Biography. 121 Chapter Three: The Great Gatsby . … . 135 The Dialogic Narration of Nick Carraway in The Great Gatsby . 135 Nick’s Narration as a Means of Re-Establishing Identity Through Story-Telling. 150 Identity as a Product of Masculine Exchange . .. 168 Gatsby’s Shifting Personal Identity . .176 Chapter Four: Tender is the Night . 201 Simultaneity and the Self’s Unique Position. .. .206 The Influence of Biography on the Text’s Simultaneity. .211 Repetition, Dualities and Trauma. 215 Nicole Diver and the Pursuit of Female Self-Authorship. .232 Dick Diver and the Loss of Masculine Certainty . .256 Conclusion. 261 Bibliography. .. 267 8 Acknowledgements I would like to take this opportunity to thank the many people who have helped me get to the point of submitting my thesis. My greatest debt is to Professor Richard Gray, my supervisor for the first three years of my postgraduate research. From the moment he responded positively to my first tentative e-mail with my research proposal to his delight in my submission of my thesis for examination, he has been a constant source of support and guidance and remains, for me, the perfect scholar. His insistence that I go back to William Faulkner after a disastrous first reading of The Sound and the Fury twenty years ago, is a debt that can never be re-paid. I am also in the debt of Doctor Jak Peake who kindly took over supervision of this project for my completion year after Richard’s retirement. His advice has been invaluable during this final period of my work. The encouragement and support of the F. Scott Fitzgerald Society both through financial assistance in order to attend and present at their conferences and in the welcome that is offered to new scholars, is something which all such societies should emulate. Particular thanks must be offered to Bill Blazek, Jackson R Bryer, Kirk Curnutt, Scott Donaldson Horst Kruse, Philip McGowan, Walter Raubicheck and Gail Sinclair. I have learnt so much through attending the conferences but also I have had so much fun. I would also like to thank two society members who attended their first Fitzgerald conference in Lyon as Keuhl Fellowship scholars as did I and have continued to be supportive of me whilst working on their own post graduate work - Jade Adams and Doctor Niklas Salmose. I would like to thank the Literature, Film and Theatre Studies Department of the University of Essex, in particular the Director of Graduate Studies and member of my supervisory board, Professor Sanja Bahun and the graduate administrator, Jane Thorp. Fellow PhD students and now Doctors, Jordan Savage and Sean Seeger have always been forthcoming with advice regarding the navigation of the intricacies of the PhD. Thanks must also be offered to my family. My mum and my sisters, Catherine and Laura, my brother, John, and their families. It is not an overstatement to say that without my husband, Andrew, this project could not have been undertaken. They never doubted that I would get to this stage even when I was doubting myself. My son, Joseph, should also be acknowledged, as at the age of eight he knows more about F. Scott Fitzgerald than most people ever will. My oldest friends have had complete faith in me and it has been greatly appreciated, so thanks to Caroline Watt, Kristy McKeon, my three Claires - Sheard, Miles and Hogg - Kelly Richards, Leigh Johnson and Joanna Barram. My dogs and cats have also been great company when escape from my desk was impossible. Finally, I must thank my father, who drove me to Colchester to register as a PhD student in 2011, the day after he was diagnosed with cancer. He was lost before this work was finished and to him, this work is dedicated with love, gratitude and admiration. This work has been a great consolation and a welcomed distraction during a time of great personal sadness. 9 The writing of this thesis, though at times challenging and frustrating, has been an experience of enormous satisfaction and joy. In large part because I have been privileged to immerse myself in the life and work of this complex man and experience on a daily basis the breathtaking beauty of his words in his novels, short stories, essays and letters. It has been an opportunity for which I shall always be grateful. 10 Introduction When considering the work of F Scott Fitzgerald a focus on identity may not appear to be the most original approach that could be taken. Questions surrounding how Fitzgerald presents identity in his fiction and understood it in his own life have been a constant presence in the critical debate surrounding the author. Milton R Stern, in his 1994 Tender is the Night: The Broken Universe divides his reading of Fitzgerald’s novel into chapters each of which deal with a different component of identity, national and sexual, amongst others. 1 Chris Messenger in his 2015 work Tender is the Night and F. Scott Fitzgerald’s Sentimental Identities is also concerned with how identity is created and maintained. 2 Scott Donaldson, in Fool for Love , approaches Fitzgerald’s biography through what Donaldson detects as “a compulsion to please” which led to an “inordinate amount of time and energy pleasing women” and connects these pursuits for approval with Fitzgerald’s sense of self until the eventual realisation that what was significant was “doing the work that mattered”.3 Similarly, discussions around gender and Fitzgerald are widespread. Main questions arising in this area are whether Fitzgerald’s women are a reflection of the new woman that he engaged with, or are they symptomatic of the fears and anxieties of the author.
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