F.

Scott Fitzgerald's Evolving American Dream: The "Pursuit of Happiness" in Gatsby,

Tender Is the Night, and The Last Tycoon
Author(s): John F. Callahan
Source: Twentieth Century Literature , Autumn, 1996, Vol. 42, No. 3 (Autumn, 1996),
pp. 374-395
Published by: Duke University Press

Stable URL: https://www.jstor.org/stable/441769

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 F. Scott Fitzgerald's Evolving American
Dream: The "Pursuit of Happiness"
in Gatsby, Tender Is the Night,
and The Last Tycoon

JOHN F. CALLAHAN

Since the first stirrings of the F. Scott Fitzgerald revival in the 1940s,
readers have been fascinated by the oppositions in his work and char-
acter. Critics from several different generations have noted how
Fitzgerald used his conflicts to explore the origins and fate of the
American dream and the related idea of the nation.' The contradic-
tions he experienced and put into fiction heighten the implications o
the dream for individual lives: the promise and possibilities, violatio
and corruptions of those ideals of nationhood and personality
"dreamed into being," as Ralph Ellison phrased it, "out of the chaos
and darkness of the feudal past."2 Fitzgerald embodied in his tissues
and nervous system the fluid polarities of American experience: success
and failure, illusion and disillusion, dream and nightmare.
"I did not care what it was all about," Hemingway's Jake Barnes
confessed in The Sun Also Rises. "All I wanted to know was how to live
in it."3 Fitzgerald, who named and chronicled that brash, schizo-
phrenic decade, was no stranger to the dissipation of values and the
pursuit of sensation in the Jazz Age of the 1920s. But for all that, he
strained to know what life is all about and how to live in it. To him,
Hemingway's it was not simply existence and the soul's dark night of
melancholia and despair. It also stood for an American reality that,
combined with "an extraordinary gift for hope" and a "romantic
readiness,"4 led to the extravagant promise identified with America

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 F. SCOTT FITZGERALD

and the intense, devastating loss felt when the dream fails
another of its guises.
Face to face with his own breakdown, Fitzgerald traced hi
change of mind and mood in his letters and Crack-Up pieces.
conviction during his amazing early success in his 20s tha
something you dominated if you were any good,"5 Fitzgerald,
of his life, came to embrace "the sense that life is essentially a
its conditions are those of defeat, and that the redeeming
not 'happiness and pleasure' but the deeper satisfactions that
of struggle."6 Abraham Lincoln was Fitzgerald's American exe
this "wise and tragic sense of life" (Turnbull, Letters [L] 96).
Last Tycoon (LT) he associates Monroe Stahr's commitment to
movie industry closer to an ideal mix of art and entertain
Lincoln's creative response to the contradictions of Americ
racy embodied in the Union.
Fitzgerald's invocation of Lincoln recalls the proud and
claim he made to his daughter from Hollywood. "I don't d
wrote; then, as if freed from a demon's grasp, he recounted
civil war he fought to keep his writer's gift intact: "I am not a
but sometimes I think the impersonal and objective quality of
and the sacrifices of it, in pieces, to preserve its essential
some sort of epic grandeur." "Some sort" he qualifies, as if
for the ironic, self-deflating admission in the next sentence.
after hours I nurse myself with delusions of that sort" (L 62
Fitzgerald did preserve the "essential value" of his talent; the
left confirm that. Like Lincoln who lived only long enough t
out what a truly reconstructed nation might look like, Fitzge
defeated in his attempt to finish his last novel. Yet what he
the more poignant because, finished, The Last Tycoon might
and reformulated the intractable oppositions of The Great Ga
Tender Is the Night.

"The test of a first rate intelligence," Fitzgerald wrote in Th

(Wilson, CU), that posthumous collection full of his sinew
self-reliant thought, "is the ability to hold two opposed id
mind at the same time and still retain the ability to function
By function, Fitzgerald means more than cope; he's affirming
ness to act in the world with something approaching
powers-"a willingness of the heart" combined with enabli
intelligence. Fitzgerald's fictional alter egos, Jay Gatsby and

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TWENTIETH CENTURY LITERATURE

lost this stance of simultaneous detachment and engageme

ever possessed it, for they could live in the world only with
consuming mission. In his life, Fitzgerald, too, had to ste
against the tendency toward Gatsby's self-destroying romant
sion, and like Diver, he had to wrench free from the opposed,
complimentary shoals of identification and alienation in his marriage
with Zelda.

After Tender Is the Night and before his fresh start in Hollywood i
1937, Fitzgerald reflected on his earlier search for an equilibrium
craft, reputation, and power as expressed in the literary vocation and
his large personal ambition. "It seemed," he remembered,
a romantic business to be a successful literary man-you were not
ever going to be as famous as a movie star but what note you had
was probably longer-lived-you were never going to have the
power of a man of strong political or religious convictions but you
were certainly more independent.
To the end, like the vivid, still-evolving Monroe Stahr in The Last
Tycoon, Fitzgerald stays in motion, keeps the dialectic between life and
craft going, if not to resolution-"Of course within the practice of
your trade you were forever unsatisfied" (CU 69-70)-at least in
pursuit of new and unrealized novelistic possibilities. "But I, for one,
would not have chosen any other" (CU 69-70), he concludes, and
keeps faith with his vocation by writing about craft and character in
the life of a gifted movie man, whose form Fitzgerald feared might
subordinate the novel, "which at my maturity was the strongest and
supplest medium for conveying thought and emotion from one
human being to another," to "a mechanical and communal art that,
whether in the hands of Hollywood merchants or Russian idealists,
was capable of rendering only the tritest thought, the most obvious
emotion" (CU 78).
Meeting Irving Thalberg, Fitzgerald becomes more open to the
craft of the movies as practiced in Hollywood. Like Fitzgerald the
novelist, Monroe Stahr produces movies, not opportunistically (for the
most part) but from within. There is a fluidity to Fitzgerald's concep-
tion of Stahr missing from Gatsby and his dream, so ill defined in its
worldly guise, so obsessive and absolute in its fixation on Daisy; and
missing also from the aspiring hubris of Dick Diver, trapped by his
misguided, innocent mingling of love and vocation in his dream of
personality in Tender Is the Night. Stahr, like the writer who created him,
learns that daring to function can be a first step toward loosening the
paralyzing grip of "opposed ideas."

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 F. SCOTT FITZGERALD

Fitzgerald's characters, like the seismograph alluded to in

register changes in his sensibility. Not that Monroe Stahr is F
like the others, he is a composite character. "There never
biography of a good novelist," Fitzgerald wrote in his notebo
too many people if he's any good." Nevertheless, Fitzgeral
Stahr's character much of the awareness he came to have in the melan-
choly troubled years after Tender Is the Night. "Life, ten years ago," h
wrote in 1936, "was largely a personal matter." Without telling ho
that's changed but making it clear that it has, Fitzgerald confronted hi
present imperative:
I must hold in balance the sense of the futility of effort and th
sense of the necessity to struggle; the conviction of the inevitability
of failure and the determination to "succeed"-and, more than
these, the contradiction between the dead hand of the past and
the high intentions of the future. (CU 177, 70)
To be sure, Fitzgerald did not always hold these contradictions of
mind and will, memory and imagination, in equilibrium. But increas-
ingly, as he worked on The Last Tycoon during his last year and a half in
Hollywood, he sensed a progression from his earlier novels-enough
that he strove to set a standard mingling intelligence with "a willingness
of the heart." Intelligence identifies and holds in suspension "opposed
ideas," but the "ability to function" in the midst of what Keats called
"uncertainties, mysteries, doubts"7 follows from that "willingness of the
heart" Fitzgerald identified as a peculiarly intense American urge to do
something about one's condition, to take risks for a better self, a better
life, a better nation. "For example," Fitzgerald wrote, illustrating his
embrace of contradiction, "one ought to be able to see that things are
hopeless and still be determined to make them otherwise" (CU64). So
he was. And as a writer, until the end of his life, Fitzgerald linked his
pursuit of craft and personality, if not any longer simply happiness-
"the natural state of the sentient adult is a qualified unhappiness" (CU
84)-with the unfolding story of America.
Perhaps because of Fitzgerald's struggles and his paradoxical,
sometimes exhilarated serenity alongside the pain and loss reflected in
the diminishing hourglass of his life, in The Last Tycoon he was able at
least to break the stalemate between previously opposed ideas. For this
reason, Fitzgerald's passing before he could finish The Last Tycoon is an
incalculable loss, only to be guessed at from the drafts he left, however
much in progress, and his rich, copious notes, charts, and outlines.
With Hollywood as milieu and the producer Stahr as protagonist, the
American dream becomes even more identified with the urge to inte-

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TWENTIETH CENTURY LITERATURE

grate private and public pursuits of happiness than in Fi

other novels.

In The Last Tycoon Fitzgerald does for the American dream what
Ralph Ellison argues every serious novel does for the craft of fiction.
Even as a fragment, the work extends the range of idea and
phenomena associated with the dream. As a man and a writer, he
became at home in that country of discipline and craft he had discov-
ered but, later lamented, did not truly settle down in until it was too
late. As he wrote to his daughter Scottie, a student and aspiring writer
at Vassar, I wish I'd said "at the end of The Great Gatsby: 'I've found my
line-from now on this comes first. This is my immediate duty-without
this I am nothing"' (L 79). In 1939 and 1940, The Last Tycoon did come
first. But burdened with expenses, lacking the quick, lucrative Saturday
Evening Post markets of his youth, lacking in any case the "romantic
readiness" to write stories with happy endings, and in sporadic, failing
health, Fitzgerald had to balance his novel with other work, and eke it
out in pieces. Nevertheless, he ended up a writer's writer. From that
single window, he looked beyond his circumstances and saw the
American dream not as a personal matter and no longer a nostalgic,
romantic possibility but as a continuing defining characteristic of the
American nation and its people. Far from being behind him, as Nick
Carraway had claimed in The Great Gatsby, the dream, refigured in The
Last Tycoon, is a recurring phenomenon in each phase, place, and guise
of Fitzgerald's imagination of American experience.

The American story, Fitzgerald wrote late in life, "is the history of all
aspiration-not just the American dream but the human dream...."8
The story that Fitzgerald told was his version of a dream hauntingly
personal and national. "When I was your age," he wrote his daughter in
1938, "I lived with a great dream. The dream grew and I learned how
to speak of it and make people listen." Like Keats, who, Fitzgerald imag-
ined, was sustained to the end by his "hope of being among the English
poets" (CU81), Fitzgerald aspired to be among the novelists. But, as he
confessed to his daughter in a bone-scraping passage, he compromised
his artist's dream by indulging the very thing that inspired it-romantic
love. Of his marriage to Zelda, he wrote in retrospect, "I was a man
divided-she wanted me to work too much for her and not enough for
my dream" (L 32). The imbalance Fitzgerald attributed to Zelda was
also his own tension and tendency. Nevertheless, what gave his life and
work such fascination was exactly that dream of mingling craft and

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 F. SCOTT FITZGERALD

accomplishment with love-first with Zelda, and at the en

muted fashion with Sheilah Graham, his companion in Hollyw
In its American guise, the dream Fitzgerald sought t
flowed from that most elusive and original of the rights pro
the Declaration of Independence. Framed as an "unalienable
Thomas Jefferson and espoused by the other founders of thi
tionary nation, the "pursuit of happiness" magnified the
dream into an abiding, almost sacred promise. Going back to
ture of nationhood, it is striking to note that although J
amended John Locke's "life, liberty, and property or estat
liberty, and the pursuit of happiness," neither he nor any ot
tory explained or remarked in writing on the change. But na
"pursuit of happiness" an unalienable right confirmed t
declared American nation as an experimental, necessarily
tional society dedicated to the principle that every human pe
is sacred and inviolable. Yes, blacks, women, Native Americans, and
even indentured servants were excluded, but excluded then, not
forever. For as Lincoln was to imply in the Gettysburg Address,
Declaration's eloquent language strained toward the proposition t
all persons were free, and, therefore, implicated in and responsible f
the nation's destiny. And the idea and covenant of American citiz
ship required that all individuals make themselves up in the mids
the emerging new society. And the process of creation would be ver
ular, arising from native ground, the weather, landscape, custom
habits, peoples, and values of this new world in the making.
That was and remains the promise of America. But, Fitzgeral
novels remind us, things were never this simple. And as the late Ral
Ellison, who seems closer and closer kin to Fitzgerald, put it, "a dem
racy more than any other system is always pregnant with its
contradiction."9 One such contradiction unresolved by the Declaration
or the ensuing Constitution, and played out since in national experi-
ence and Fitzgerald's novels, is between property and the "pursuit of
happiness." Certainly, as Eugene McCarthy has noted, the third
unalienable right "undoubtedly included the right to pursue property
as a form of happiness, or as 'a happiness.""' For some the "pursuit of
happiness" was simply a euphemism for property. Officially, the tension
went unresolved and scarcely acknowledged until the 14th Amendment
forbade the states to "deprive any person of life, liberty, or property,
without due process of law." The less concrete, more elusive "pursuit of
happiness" went unmentioned except by implication. Yet, for over 200
years, before and after passage of the 14th Amendment, Americans

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TWENTIETH CENTURY LITERATURE

have sought to balance property's material reality with the imag

possibilities hinted at in the phrase the "pursuit of happiness."

What if we were to read Gatsby, Tender Is the Night, and The Last Tyc
projections of that sometime struggle, sometime alliance between
erty and the pursuit of happiness? As human impulses, property a
pursuit of happiness are sometimes contradictory, sometimes com
mentary metaphors for experience. Let property stand for
compulsion to divide the world and contain experience within
arbitrary boundaries. And let the "pursuit of happiness" become
nation's embrace of the complexity, fluidity, and possibility o
human personality. In Jefferson's time, if not so strongly in Fitz
or our own, the "pursuit of happiness" also implied individual res
bility for the "spirit of public happiness" that John Adams felt so stro
in the colonies, which he judged the American Revolution won al
before it began. Jefferson did not include the word public, but his
implies the individual's integration of desire with responsibility,
fulfillment with the work of the world. In short, in this promissory i
American context, the pursuit of happiness was bound up with c
ship, and citizenship with each individual's responsibility for demo
The first thing to be said about Fitzgerald's novels is that
enactments of the American dream are expressed in the love aff
worldly ambitions of Jay Gatsby, Dick Diver, and Monroe Stahr.
Great Gatsby (TGG), Tender Is the Night, and The Last Tycoon, the
of the dream differs, but in each case, the hero is, like Fitzge
man divided," yet he seeks to integrate love of a woman with
plishment in the world. Telling his story to Nick Carraway after
lost Daisy Fay for the second and last time, Gatsby remembe
when he first met her, he felt like the latest plunderer in the line
Cody, his metaphorical father, and a mythical figure who, in Fitz
interpretation, "brought back to the Eastern seaboard the sav
violence of the frontier brothel and saloon." Sensitive to the demarca-
tions of background, money, and status, Gatsby
knew he was in Daisy's house by a colossal accident. Howev
glorious might be his future as Jay Gatsby, he was at presen
penniless young man without a past, and at any moment the in
ible cloak of his uniform might slip from his shoulders.
Meanwhile, "he had deliberately given Daisy a sense of security; he
her believe he was a person from much the same stratum as herself
Gatsby pursues Daisy knowing that her sense of happiness and the

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 F. SCOTT FITZGERALD

life depends on money and property. Nevertheless, "he took w

could get, ravenously and unscrupulously-eventually he took Dais
still October night, took her because he had no real right to touc
hand" (TGG 76, 113). Ironically, Gatsby's lieutenant's uniform
him proximity to Daisy simply as a man long enough to seduce h
Until Gatsby makes love to Daisy, he projects little soul or fe
only a self-absorbed passion mixed up with his urge to defy Am
boundaries of class, status, and money. The experience of love
moves and changes Gatsby, but so pervasive is the culture of ma
success that his new reverence and tenderness toward her are
rable from money and possessions, and perhaps from Carraway's
of Daisy "gleaming like silver, safe and proud above the hot stru
the poor"-Gatsby's struggles, maybe, as a boy and penniless
man in North Dakota and Minnesota. Earlier that same day in
Gatsby calls Daisy's voice a voice "full of money." But his sub
words to Carraway about that experience of love in wartime
time that obscured boundaries of class and background in fav
seemingly all-powerful fluidity and equality, convey the myster
tenderness of his earlier emotion. "I can't describe to you how
surprised I was to find out I loved her, old sport," Gatsby tells Carraway
in his sometimes too well-chosen words whose tone nonetheless carries
a touch of wonder. "I even hoped for a while that she'd throw me ove
but she didn't, because she was in love with me too." The more vividly
Gatsby remembers, the more the tricks of his voice yield to the feelin
underneath. "She thought I knew a lot because I knew different thing
from her.... Well, there I was, 'way off my ambitions, getting deeper i
love every minute, and all of a sudden I didn't care" (TGG 114, 91, 114
Gatsby discovers that Daisy loves him because of his different expe
rience, not despite it as he feared. He surrenders his ambitions, as ye
inchoate, unfocused, adolescent, to his intense feeling for Daisy. B
their love is an interlude, happening "in the meantime, in betwee
time." More vividly alive because of his love for Daisy, Gatsby "d
extraordinarily well in the war," becoming a captain and, following t
Argonne, a major given "command of the divisional machine gu
(TGG 72, 114). He emerges as a leader. Although his ambitions ar
vague, thinking of other American trajectories, a pioneering future i
politics or in some other new venture, aviation, say, or advertisin
might have awaited Gatsby if Daisy had stayed true to her love for him
Instead, Daisy Fay turns fickle and self-indulgent. Desperate f
Gatsby to return, impatient and petulant over his mistaken assignme
to Oxford, she must have her life "shaped now, immediately-and t

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TWENTIETH CENTURY LITERATURE

decision must be made by some force-of love, of money, of

tionable practicality-that was close at hand" (TGG 115). Daisy's
pursuit of happiness in the form of her dangerous, defiant love for
Gatsby surrenders to the palpability of a safe, material, unequal prop-
ertied union with Tom Buchanan. Afterwards, on his forlorn lover's
progress through the streets of Louisville, Daisy's hometown and scene
of their love, Gatsby understands: To win Daisy he gathers money and
property, the latter transient and garish, in the quick and illegal ways
open to him-Meyer Wolfsheim and the rackets. After another interval
of love inspired by the possibilities of human personality-remember,
Daisy sees Gatsby's possessions for the Horatio Alger emblems that they
are and responds only to the passion, will, and tenderness that lie
behind them-the struggle over Daisy (and, parabolically, America) is
fought on the field of property. Whose money is solid wealth, whose
possessions land, oil, and the like? And whose property stays in the
same hands for generations?
In Gatsby, sooner or later human feelings are negotiated in relation
to property or some other form of material reality subject to ownership.
Gatsby's wonder of discovery, Daisy's magic of "bringing out a meaning
in each word that it had never had before and would never have again"
(TGG 82), these unanticipated, intense moments of experience recede
before Tom Buchanan's relentless revelation of the shady transience of
Gatsby's wealth. But perhaps Gatsby, too, gives Daisy little choice between
two opposed fixed ideas. When Tom Buchanan forces a showdown with
Gatsby at the Plaza Hotel, the two men turn Daisy into a prized posses-
sion to be fought over on the basis of social and economic conventions.
In effect, Buchanan invokes the droit du seigneur. He is the lord, Gatsby
the serf, Daisy the woman belonging to the vast American estate.
Contending on that ground, Gatsby may well pay an emotional tithe to
the poor boy from North Dakota, and again feel he has no right to touch
Daisy's hand. In any case, the scene at the Plaza is an acrimonious "irri-
table reaching after fact or reason"" without love. Who can blame Daisy
for withdrawing after her perspective goes unheard by both men? On this
occasion, Gatsby is no more able than Buchanan to consider Daisy a
woman in her own right, a unique and equal person whose voice has had
the power to give the words she sings singular feeling and meaning. For
each man, Daisy is a possession; for Buchanan material, for Gatsby ideal.
So Daisy, the actual woman, the flawed and vulnerable human person-
ality, flees. Held to no standard of decency or accountability by either
man after her hit-and-run killing of Myrtle Wilson, she once again
chooses the conventional, worldly protection of Tom Buchanan.

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 F. SCOTT FITZGERALD

Gatsby's dream of love corroded to nightmare, the passio

from his work, such as it is. And no wonder. His flimsy net
"gonnegtions" and sinister underworld deals in booze and bon
all for love of Daisy. When she returns to Tom Buchanan an
leisure-class world, partly because of Gatsby's desperate bargain
American underworld, and partly because of his narcissistic, ro
inability to comprehend her attachment to Buchanan, Gatsby is
of love and ambition alike. The heart and wonder are gone from
there is no happiness to pursue. His time of love and "aesthetic
plation" passed, Gatsby, Nick imagines, sees around him only a
frightening physical landscape-"a new world, material without being
real" (TGG 123), an American world bleaker and, for all its glut of accu-
mulations, more insubstantial than the spare, monotonous prairieJames
Gatz started from in rural North Dakota. For all his romantic gifts of
personality, lacking a discerning critical intelligence, Gatsby seems
destined to have served that same "vast, vulgar meretricious [American]
beauty" of which Dan Cody is the apotheosis (TGG 75).

"France was a land, England was a people, but America, having about it
still that quality of the idea, was harder to utter." In this passage from
"The Swimmers," a 1929 story later distilled into his Notebooks,
Fitzgerald evokes the anguished intense patriotism he finds in
American faces from Abraham Lincoln's to those of the "country boys
dying in the Argonne for a phrase that was empty before their bodies
withered" (CU 197). For Fitzgerald that American "quality of the idea"
finds most worthy expression in the impulse to offer the best of your-
self on behalf of someone or something greater than yourself. Directed
toward the world, a "willingness of the heart" intensifies the individual's
feelings and experience. In Tender Is the Night (TITN) as in Gatsby, the
dream of love and accomplishment is distorted by the values of prop-
erty and possession. Like Gatsby, Dick Diver has large ambitions: "...
to be a good psychologist-maybe to be the greatest one that ever
lived."'2 Dick's colleague, the stolid Swiss, Franz Gregorovius, stops
short hearing his friend's pronouncement, as did the aspiring
American man of letters, Edmund Wilson, when the undergraduate
Fitzgerald declared: "I want to be one of the greatest writers who have
ever lived, don't you?"'3 Like Fitzgerald, Diver mingles love with ambi-
tion, though passively, almost as an afterthought: "He wanted to be
loved too, if he could fit it in" (TITN 23).

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TWENTIETH CENTURY LITERATURE

Reminiscent of Gatsby, Diver's dream resides initially in a m

line world in which one man's ambition and achievement are measured
against another's. But, as with Gatsby, experience changes the val
implicit in Diver's equation. Stirred by professional curiosity, he mee
Nicole Warren. Because of her youth and beauty, the patient beco
in Diver's eyes primarily a woman, though a woman imagined as
scarcely saved waif of disaster bringing him the essence of a continen
To the inexperienced Diver-"only hot-cheeked girls in hot secre
rooms" (TITN 27)-Nicole is a figure for the romantic possibility of an
America that, like the "fresh green breast of the new world" wh
"vanished trees . . . had made way for Gatsby's house" (TGG 137)
though violated and compromised, suggestive of innocence, vitali
and possibility, and above all, still worthy of love.
So Dick Diver gambles his "pursuit of happiness" on marriage
Nicole. But his desire to be loved-"I want to be extravagantly admire
again," Fitzgerald said as he was writing Tender-seduces him away fr
his scholarly writing as a psychiatrist. Once diverted from his work,
does not find happiness as curator of the leisure-class expatriat
American world he and Nicole create on the Riviera, or as psychiatrist
charge of the clinic bought with Warren money, or as Nicole's husba
or, finally, "wolf-like under his sheep's clothing" a pursuer of wome
more in mind than in actuality. For Diver, like Gatsby, the pursuit o
happiness becomes personally hollow in love, and professionally so in h
work. Again, perhaps like Gatsby, only more so, Diver is more respons
than he knows for the dissolution of his dream of love and work.

For her part, Nicole, like Daisy, only more poignantly, veer
between two selves. Cured, she embraces her heritage as her rob
baron grandfather Warren's daughter; her white crook's eyes signify
proprietary attitude toward the world. More vividly and knowingly th
before, she becomes the goddess of monopoly and dynasty descri
early in the novel. "For her sake trains began their run at Chicago an
traversed the round belly of the continent to California." Nicole,
the whole system swayed and thundered onward," is, in Europe, rem
product and beneficiary of her family's multinational corporate inte
ests. Like Daisy, Nicole "has too much money"; like Gatsby, Dick Dive
"can't beat that" (TITN 113, 311).
Yet in Tender Is The Night, the matter is not so simple. Marryin
Nicole, Dick takes on a task demanding a heroic and perhaps a t
stringent discipline and self-denial. After the most violent and thre
ening of Nicole's schizophrenic episodes, he realizes that "someh
[he] and Nicole had become one and equal, not opposite and comp

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 F. SCOTT FITZGERALD

mentary; she was Dick too, the drought in the marrow of hi

Her personality reinforces rather than compensates for what
in him. Even more fatal for Diver's balance between husband and
psychiatrist, "he could not watch her disintegrations without p
pating in them" (207). Underneath the historical overtones
American dream gone terribly, incestuously, wrong, Fitzgerald
the strained and, finally, chilling intimacy of a marriage turned
against the autonomy and independence of each person. W
excruciating inevitability, Diver's "willingness of the heart," so c
to his imagination, charm, and discipline, deserts him.
She went up to him and, putting her arm around his should
touching their heads together, said:
"Don't be sad."
He looked at her coldly.
"Don't touch me!" he said. (TITN, 319)
Diver has come so far from his former love for Nicole, "a wild submer-
gence of soul, a dipping of all colors into an obscuring dye" (TITN
235), that he now recoils from her touch. The Divers are no longer
man and woman to each other. In truth, the conditions and pathology
sustaining the marriage are played out. Nicole is rid of her incestuous
dependence on Dick, and Dick seeks to recover the independence he
sacrificed as Nicole's husband, doctor, and, above all, protector.
Discipline, spirit, and imagination attenuated if not broken, Diver
returns to America a stranger. With Nicole now acting as Fitzgerald's
chronicler, the last news of Diver tells of the "big stack of papers on his
desk that are known to be an important treatise on some medical
subject, almost in process of completion." So much for his craft; as for
the dream of love, he becomes "entangled with a girl who worked in a
grocery store" (TITN 334). Homeless in spirit, Diver drifts from one
lovely, lonely Finger Lakes town to another, and whatever dreams he
has, he dreams in oblivion without his former promise and intensity of
feeling and action.
Fitzgerald created his deepest, most realized novel out of his own
predicament. His dissipation and need to write short stories for the
Saturday Evening Post to sustain his and Zelda's standard of living
seduced him away from his craft and to some extent his dream of love.
Still, Fitzgerald bled out Tender Is the Night at La Paix-"La Paix (My
God!)" (L 345)-in Rodgers Forge outside Baltimore. He brought his
"big stack of papers" to completion. But when reviews were mixed and
sales modest, also perhaps because, exhausted, he had no new novel

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TWENTIETH CENTURY LITERATURE

taking shape in his mind, only the early medieval tale of Phi
The Count of Darkness, with its curiously anachronistic tilt tow
Hemingway's modern code of courage, Fitzgerald sank de
drink and depression. Finally, as Scott Donaldson observes,
Tyron, and other North Carolina towns became suspiciousl
small towns of Diver's self-imposed exile at the end of T
the Night.14

For more than three years after publication of Tender Is the Night,
Fitzgerald continued to imitate the desolate trajectory he'd projected
for Dick Diver. Everything was a struggle. Perhaps "to preach at people
in some acceptable form" (L 63) and to show himself an unbowed
Sisyphus, without the camouflage of fiction, he dove into the confes-
sional Crack-Up pieces. To the chagrin of those who wished him well,
and even some who did not, he wrote an even more exposed confession
of faith than Tender Is the Night. His low point came with the appearance
of "The Other Side of Paradise," a portrait of the novelist as a broken-
down man and a failed writer that appeared on his fortieth birthday in
the New York Post in September of 1936. "A writer like me must have an
utter confidence, an utter faith in his star," he told the reporter. "But
through a series of blows, many of them my own fault, something
happened to that sense of immunity, and I lost my grip."'5 The reporter
featured the empty bottles and the desolate hotel room more than
Fitzgerald's words, however, and the self-inflicted blow of humiliation
Fitzgerald absorbed seeing the piece in print prompted him to make an
abortive gesture at suicide.
Only an offer from Hollywood less than a year later broke the
pattern of waste, the spell of despair, and roused Fitzgerald from his
uneasy, purgatorial hibernation. Slowly, tortuously, he came back to life
as a man and a novelist. Taking another crack at Hollywood, where the
"inevitable low gear of collaboration" (CU 78) had twice mocked his
sense of artistic vocation, Fitzgerald renewed his "pursuit of happiness."
His theme was another variation of the American dream. For as a place
and an industry, Hollywood was at once the consequence and the
purveyor of the dream, often an eager expression of the culture's
lowest common denominator. Unlike his earlier moves, to the south of
France to write Gatsby in 1924 and Baltimore to write Tender in 1932,
Fitzgerald saw going to Hollywood as a lucky last chance to recoup his
fortunes. He had a screenwriter's contract; perhaps if he got himself
together another novel would take shape. In the meantime, riding west

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 F. SCOTT FITZGERALD

on the train in July 1937, Fitzgerald welcomed the chance to

debts, educate Scottie, care for Zelda, and keep himself. And
Hollywood also offered a fresh start. "Of all natural forces," he had
written in The Crack-Up, "vitality is the incommunicable one" (CU 74).
And he did not flinch from taking stock of his condition. "For over
three years," he wrote his cousin Ceci, "the creative side of me has been
dead as hell" (L 419). So, he might have added, was the side of him that
lived in relationships at a high pitch of intensity.
In Hollywood almost two years, Fitzgerald pursued once more his
dream of love and craft. Cherished by Sheilah Graham who had her
own life and ambition, Fitzgerald felt alive enough in his pores to revive
the dream of being truly among the novelists. "Look," he wrote his
daughter late in October 1939 with a surge of the old vitality and self-
confidence, "I have begun to write something that is maybe great." And
he went on to tell her with touching understatement: "Anyhow I am
alive again" (L 61). In the last year of his life, Fitzgerald poured into
Monroe Stahr and The Last Tycoon the sense that life was ebbing and his
resolve to pursue happiness as a writer and a man to the end. Into Stahr
he put exhaustion-the sense of death in the mirror-and readiness
for love-"the privilege of giving himself unselfishly to another human
being," Fitzgerald's words for a love more mature than romantic. Into
his new book, he put the passion to make The Last Tycoon "something
new" that could "arouse new emotions, perhaps even a new way of
looking at certain phenomena."16 For him the "pursuit of happiness"
now meant, in Francis Kroll Ring's words, "the pursuit of the limits of
his craft," which she, who knew him well, notes that he felt "he had not
reached."17
Fitzgerald did not speak directly of the dream in The Last Tycoon as
he had in Gatsby, Tender Is the Night, and, with occasional bitter
nostalgia, the Crack-Up essays. But it was there in Monroe Stahr's pursuit
of private and public happiness, there with a measure of caution and
maturity as well as a dangerous, consuming intensity. Monroe Stahr is
both outside and inside the mold of Fitzgerald's previous heroes. Like
Gatsby, Stahr is self-made, a leader of men in Hollywood as Gatsby
briefly had been in France during the Great War. But Stahr's ambition
and creative power fuse with the public good; he does not become a
crook or a gangster to advance his ideal, romantic pursuit of happiness.
Neither does he confuse love with vocation. No,
Stahr like Lincoln was a leader carrying on a long war on many
fronts; almost singlehandedly he had moved pictures sharply
forward through a decade to a point where the content of the "A

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TWENTIETH CENTURY LITERATURE

productions" was wider and richer than that of the st

(LT 106)

Like Dick Diver, Stahr's mind puts him in select company, and
Diver, Stahr is a man with a strong, specific sense of vocati
unlike Diver, Stahr distills his passion into a sustained, dis
appetite for his work. Stahr is also a Jew, whose identity as an A
outsider is more fully, consciously felt and put to more palpable
sional use than had been the case with either Gatsby or Diver.
Stahr makes it to the pinnacle in Hollywood-a world open
largely created by Jews-by virtue of his brains, judgment, lead
taste, and sense of craft and quality possible in the medium of f
its democratic accessibility and mass appeal. Compared to Lin
Fitzgerald, Stahr believes he's about to take a call from Pre
Roosevelt in front of the woman he's just recently met and
coming to love. "I've talked to him before," Stahr tells Kathleen
the phone call turns out to be from an agent whose orangu
dead ringer for McKinley" (LT 83). But Fitzgerald, always sen
the feel of a decade's turning points, implies parallels between S
protective role in the movie industry and Roosevelt's in gove
"There is no world but it has its heroes," he writes, "and Stahr was the
hero." He evokes Stahr's staying power during the evolving phases of
the movies, as well as in the making of an individual picture. "Most of
these men had been here a long time-through the beginnings and the
great upset, when sound came, and the three years of depression, he
had seen that no harm came to them." Stahr was perhaps a paternal
employer, as Roosevelt was a paternal, protective President. Both men
preside over transitional circumstances in ways more evolutionary than
revolutionary by force of character and impersonal compassionate
intelligence, and by taking a personal interest in the problems of their
constituencies. "The old loyalties were trembling now," Fitzgerald
concludes in the passage describing Stahr mingling with those who
work for him at the end of a day at the studio: "There were clay feet
everywhere; but still he was their man, the last of the princes. And their
greeting was a sort of low cheer as he went by" (LT 27).
Stahr dreams of and attains knowledge and success in Hollywood's
ambiguous, often insincere world of entertainment, art, and profit, the
solitary, Cartesian way. He "did his reasoning without benefit of
books-and he had just managed to climb out of a thousand years of
Jewry into the late eighteenth century." About the past, Fitzgerald notes
that Stahr "could not bear to see it melt away" (LT 118). Reading this
you can't help recall Fitzgerald's elegiac prose about the early promise

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 F. SCOTT FITZGERALD

of America "where the dark fields of the republic rolled on un

night" (TGG 137), or those pioneering Virginia "souls made
earth in the forest-heavy darkness of the seventeenth century
222). In a word, Fitzgerald continues, Stahr "cherished the p
passionate loyalty to an imaginary past" (LT 118). But, havin
Stahr's and his own nostalgia, Fitzgerald invokes checks and
against the romantic pull of the past. Stahr invents a peculiar,
tary collaboration among the screenwriters, and his broader
accomplishment as producer-"I'm the unity"-comes from his radical
pragmatic courage to grasp and implement innovations. In short, Stahr
is able "to retain the ability to function" amidst the contradictions of
democracy and corporate power and property. Fitzgerald, too, wanted
to achieve in The Last Tycoon what he felt he and his contemporaries so
far had not done with the novel. "I want to write scenes that are fright-
ening and inimitable,"'8 he writes in one of his notes.
Both Fitzgerald and Stahr are men whose creative powers flow
more richly into the world when they are involved in a satisfying, inti-
mate relationship with a woman. For all of Stahr's love affair with an
"imaginary past," Kathleen awakens his passion for life in the present.
Despite his "definite urge toward total exhaustion," when he and
Kathleen touch, Stahr feels the abiding elemental world again; at the
coast he comes alive to the rhythms of land and sea and sky. After he
and Kathleen make love at his unfinished Malibu beach house-"It
would have been good anytime, but for the first time it was mu
than he had hoped or expected"-they watch countless grun
come to touch land "as they had come before Sir Francis Dr
nailed his plaque to the shore" (LT 92, 108, 152).
Stahr's love for Kathleen intensifies his confidence about h
and worldly aspirations in a way reminiscent of Fitzgerald.
have a beautiful talent once, Baby," Fitzgerald told young
Schulberg during the Dartmouth Winter Carnival debacle. "I
be wonderful feeling it was there."'9 Page by page, Fitzgerald e
The Last Tycoon, his physical stamina no longer able to keep up
mind. Nor keep up with his will. As Frances Kroll Ring, Fit
then 20-year-old secretary tells it, he'd take a weekend off
needed money to pay bills. With single-minded discipline f
desire to have the coming week free for his novel, he would
write a Pat Hobby story for Esquire.2 But always the dream of
his promise as a pioneering American novelist was there, perha
more palpable by his love affair with Sheilah Graham and h
tion to her education, and, for that matter, to his daughter

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TWENTIETH CENTURY LITERATURE

education. The latter is especially poignant, for Scottie, o

generation as Fitzgerald's narrator, Cecilia Brady, and his
rary and intellectual conscience, Edmund Wilson, were Fitzge
imagined readers of The Last Tycoon, and that connection
going on more than one desolate, discouraging occasion.
In the novel, Fitzgerald does not leave the connection
love and craft to speculation. While the grunion flop at their
the Malibu shore,-Stahr and Kathleen encounter a black man who tells
Stahr he "never go[es] to movies" and "never let[s his]children go" (LT
92). Later, at home alone, Stahr recalls the man-"He was prejudiced
and wrong, and he must be shown somehow some way." The man had
been reading Emerson, and for Stahr he becomes the representative
responsible good citizen whose allegiance Stahr must win for his soul's
sake, the movies' sake, and the sake of American culture, of which
Stahr sees himself a guardian. "A picture," Stahr thinks, "many pictures,
a decade of pictures, must be made to show him he was wrong." And
Stahr immediately commits himself to a specific action. "[H]e
submitted the borderline pictures to the Negro and found them trash.
And he put back on his list a difficult picture that he had tossed to the
wolves, . . . to get his way on something else. He rescued it for the
Negro man" (LT 95). Here Stahr puts his corporate property and
producer's power in service of a higher common good-democratic
(e)quality. Here the "pursuit of happiness" expresses his best potential
and the best of American popular culture. What's more, Stahr's respon-
siveness to the black man's criticism is bound up with his passionate
and tender love for Kathleen. His power to act as a public man is
perhaps brought to brief, occasional fullness by the experience of love
and intimacy.
Yet Stahr, Fitzgerald takes pains to observe, was not born to love
and intimacy. He worked hard to shape the raw materials of his person-
ality into a sensibility capable of an intimate relationship. "Like many
brilliant men, he had grown up dead cold." Looking over the way
things were,
he swept it all away, everything, as men of his type do; and then
instead of being a son-of-a-bitch as most of them are, he looked
around at the bareness that was left and said to himself, "This will
never do." And so he had learned tolerance, kindness, forbear-
ance, and even affection like lessons. (LT97)

Not surprisingly, Stahr's impulses toward the private happiness of in

macy are not as natural or sure-handed as his pursuit of public happin
in the world in the form of work and power, competition and money.

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 F. SCOTT FITZGERALD

For all his mingling of love and craft in what seems a

pursuit of happiness, Stahr hesitates with Kathleen. Perhaps Fit
would have changed somewhat the terms of his story; we do no
What we do know is that Stahr waits, fatally it turns out, thou
sure in his heart and his mind. "He could have said it then, said, 'It is
a new life,' for he knew it was, he knew he could not let her go now, but
something else said to sleep on it as an adult, no romantic" (LT 115).
What Stahr and Kathleen do not know is that outside forces are closing
in. The man Kathleen calls "The American," who rescued her from her
old life's quagmire in London, is already speeding toward Los Angeles
and the marriage ceremony they've agreed to, his train hours early. If
there's something hasty, even amateurish about this twist of Fitzgerald's
plot, so be it. To say he might have changed it or refined the terms is
to remember that he too, like Stahr, did not have the luxury of time.
In what Fitzgerald did write, Stahr says good night to Kathleen, but
keeps his feelings to himself. "We'll go to the mountains tomorrow," he
tells her with the public voice of the man in charge, the producer, as if
that were all. For his part, Fitzgerald the novelist, unable to resist one
of those asides that mark his relations with his characters, especially
those he loves, reflects on Stahr's temporizing judgment: "You can
suddenly blunt a quality you have lived by for twenty years" (LT 116).
This line does not belong entirely to Fitzgerald but to Cecelia
Brady, his narrator, who also loves Stahr, and in the way of a woman, not
a novelist. Here, too, Fitzgerald was breaking new and different ground
from that traversed in previous novels. He gambled that this young
woman, "at the moment of her telling the story, an intelligent and
observant woman" (LT 140), could reveal Stahr's complexity as well as
her own and that of Hollywood and American society in the transitional
time of the Depression and the coming of the Second World War.
Through Cecelia's sensibility as insider and outsider, Fitzgerald regis-
ters changes in what Ellison has called the American social hierarchy.21
In The Last Tycoon, Stahr, a Jew not far from the shtetl, makes a black
man his moviemaker's conscience, falls in love with an Irish immigrant,
and has his story told by another woman, a young Irish American who,
by virtue of her father's Hollywood money and her intelligence and
grace, moves among the well-to-do on both coasts.
In Fitzgerald's fascinating, fragmentary notes and sketches for the
novel's ending-three teenagers' discovery of the fallen plane and the
personal effects of Stahr and other passengers-and epilogue-Stahr's
lavish Hollywood funeral full of hypocrisy and intrigue-the dream
fights on in life-affirming, life-denying variations. Whatever Fitzgerald

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TWENTIETH CENTURY LITERATURE

might have done, we glimpse in Stahr what might unfold if the

of private and public happiness were to fuse in a common respo
ness. The one transforms and intensifies the other; the self trembles,
now fully alive.
Stahr, whether in conversation or the act of love with Kathleen, or
in his renewed sense of aesthetic possibility in response to a black
man's rejection of the movies, comes to know that his vitality depends
on mingling passion and tenderness toward Kathleen with the prag-
matic imagination of his producer's craft. Without one, the other
falters, as Fitzgerald shows in his draft of the last episode he wrote and
his notes for the novel's succeeding chapters. In the last months of his
life, Fitzgerald struggled toward the same equilibrium beyond Stahr's
grasp, but not his imagination, in his settled relationship with Sheilah
Graham and the steadfastness with which he pursued the limits of his
craft. Despite his efforts to finish The Last Tycoon, Fitzgerald left a frag-
ment that is, for all its promise, as Richard Lehan put it, "a brilliantly
incomplete work that has all the limitations of being a draft and thus
never fully conceptualized and polished by revision, where Fitzgerald
always did his best work."22 Nevertheless, Fitzgerald's fragment is a
palpable reminder, at once mocking and reassuring, about his novelist's
dream and the American theme.

"So we beat on," to echo and recast Gatsby's ending, not necess
"borne back ceaselessly into the past" (TGG 137). For in The L
Tycoon, there is a fluidity and ambiguity about property and the "pu
of happiness" missing from the social structures underlying Gatsb
Tender Is the Night. Even more than Tender Is the Night, in its protean
The Last Tycoon appears a work of ceaseless fluctuations. Unlike Ten
Tycoon's unfolding and denouement were to be governed by a m
and aesthetic principle underscored in Fitzgerald's notes. ACTIO
CHARACTER, he wrote in large block letters, and they are the
words in Edmund Wilson's edition of the fragment. As Fitzger
notes and outlines reiterate, Monroe Stahr was to struggle unt
end. He would not await his fate passively like Gatsby or, like Dick D
abdicate to a private corner of America. Fitzgerald imagines St
player to the last, and only the ironic contemporary deus ex ma
of a plane crash would interfere with his decision to call off a reta
tory murder he's arranged in sick desperation. Gatsby operates in
shadows of American violence and power; Diver becomes a s
walking Rip van Winkle in a time of transition, but Stahr lives in

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 F. SCOTT FITZGERALD

glare never believing that "things are [entirely] hopeless." Rath

"determined [to the end] to make them otherwise." Such, at least, is
the impression conveyed by Fitzgerald's posthumous, very much in-
progress fragment of a novel.
In Stahr's case and Fitzgerald's, the choices are contingent and
pragmatic rather than ideal. It is no longer the case, as Fitzgerald once
believed, that "life was something you dominated if you were any good"
(CU 69). This romantic categorical imperative is long gone from his life
and burned off the pages of The Last Tycoon. By 1940, life was the
pursuit of equilibrium, and the dream has become an ability to put
previously opposed ideas into relationship, what D. H. Lawrence, in
praise of the novel, called "the trembling instability of the balance."23
Perhaps this is why Fitzgerald, and his evolving patriot parvenu,
Monroe Stahr, come to the American dream still with a "willingness of
the heart." Its promise was not happiness at all, as Jefferson and Adams
realized so long ago, but the pursuit of happiness. The American exper-
iment looked toward an ideal of individuals straining for self-realization
with every nerve and muscle, every thought and feeling, in order to
create what Ellison identified as that "condition of being at home in the
world which is called love and which we term democracy."24 For
Fitzgerald the pursuit of happiness and the American Dream were
inseparable. Digging deeply into his experience and the nation's,
Fitzgerald made Monroe Stahr's story and character express the
complexity of American life, its contradictions and possibilities alike.
"The writing gave him hope," Frances Ring remembers from
Fitzgerald's last months, "that something good was happening, that he
was whole again."25
Perhaps the sense of his powers returning prompted Fitzgerald's
note to himself near the end. "I am the last of the novelists for a long
time now,"26 he wrote, and who can know what he meant? Could he
have meant that he was the last of his generation to keep faith with the
nineteenth-century view of the novel as a testing ground for the exper-
iment of American culture and democracy? Could he have meant his
remark as a challenge to succeeding writers to pick up where he left off
in exploring the American theme? Whatever he meant, even unfin-
ished, The Last Tycoon has had the effect of leading readers and writers
back to Fitzgerald's work knowing, as he knew, that the story of
America has an endless succession of takes, but no final script.

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TWENTIETH CENTURY LITERATURE

NOTES

'For a sense of Fitzgerald criticism over the past 41/2 decades,

R. Bryer's "Four Decades of Fitzgerald Studies: The Best and the Br
Sergio Perosa's "Fitzgerald Studies in the 1970s," both in Twent
Literature, 26 (1980). Also see Critical Essays on The Great Gats
Donaldson, and Critical Essays on Tender Is the Night, ed. Milton R
2 Ralph Ellison, Invisible Man, 433.
Ernest Hemingway, The Sun Also Rises, 148.
4 The Great Gatsby, 4. Henceforth The Great Gatsby will be cited
as TGG.
5 The Crack-Up, ed. Edmund Wilson, 69. Henceforth The Crack-Up will be
cited in the text as CU.
6Andrew Turnbull, ed., The Letters of F Scott Fitzgerald, 96. Henceforth t
Letters will be cited in the text as L.
Letter to George and Thomas Keats, 21 Dec. 1817, in Rollins, ed., 193.
8 Quoted by Andrew Turnbull in Scott Fitzgerald, 307.
9Ralph Ellison, Going to the Territory, 251.
'O Eugene McCarthy, Complexities and Contraries: Essays of Mild Discontent, 112.
"Keats, 193.
12 Tender Is the Night, 22. Henceforth Tender Is the Night will be cited in the
text as TITN.
' F. Scott Fitzgerald as quoted by Edmund Wilson in "Thoughts on Being
Bibliographed," 54.
4 Scott Donaldson, "The Crisis of Fitzgerald's 'Crack-Up,'" 185.
"Michel Mok, New York Post, 25 Sep. 1936.
16 The Last Tycoon, 139, 141. Henceforth The Last Tycoon will be cited in th
text as LT. (MatthewJ. Bruccoli, editor of The Love of The Last Tycoon [1993]
correct to say that Edmund Wilson assigned the title of The Last Tycoo
Nevertheless, Bruccoli's evidence for his title is less than convincing; thus m
decision to use the 1941 Wilson edition.)
7 Letter from Frances Kroll Ring to the author.
"8F. Scott Fitzgerald's Notes as quoted by Matthew J. Bruccoli in The Last o
the Novelists: F Scott Fitzgerald and The Last Tycoon, 156.
'9F. Scott Fitzgerald to Budd Schulberg as quoted by Arthur Mizener in Th
Far Side of Paradise, 317.
20 Frances Kroll Ring, Against the Current: As I Remember F Scott Fitzgerald,
52-55.
21This is a recurring phrase and theme of Ellison's, found in Shadow & Act,
Going to the Territory, and in some of his unpublished or uncollected pieces
included in Collected Essays.
22Richard Lehan, letter to the author.
2"D. H. Lawrence, Phoenix: The Posthumous Papers of D. H. Lawrence, 528.
24 Ralph Ellison, Shadow & Act, 105-06.
25 Frances Kroll Ring, unpublished remarks delivered at the
Fitzgerald-Hemingway International Conference in 1994.
26 Bruccoli, op. cit., 156.

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 F. SCOTT FITZGERALD

WORKS CITED

Bruccoli, Matthew J. The Last of the Novelists: F. Scott Fitzgerald

Tycoon. Carbondale: Southern Illinois UP, 1977.
Bryer. Jackson R. "Four Decades of Fitzgerald Studies: The B
Brightest." Twentieth Century Literature 26 (1980): 247-67.
Donaldson, Scott. "The Crisis of Fitzgerald's 'Crack-Up,'" Twent
Literature 26 (1980).
, ed. Critical Essays on The Great Gatsby. Boston: Hall, 1984
Ellison, Ralph. Collected Essays of Ralph Ellison. New York: Random
. Going to the Territory. New York: Random, 1986.
. Invisible Man. New York: Random, 1952.
. Shadow & Act. New York: Random, 1964.
Fitzgerald, F. Scott. The Great Gatsby. In Three Novels. New York: Scribner's, 1953.
. The Last Tycoon. In Three Novels. New York: Scribner's, 1953.
. Tender Is the Night. In Three Novels. New York: Scribner's, 1953.
Hemingway, Ernest. The Sun Also Rises. New York: Scribner's, 1926.
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