The Great Gatsby (MCI) (Bloom's Modern Critical Interpretations) 1986 HC ExLib

Description: Has a sticker on the front just of dust jacket from the previous library Has a stamp on the inside front title page by the previous library The Great Gatsby (MCI) (Bloom’s Modern Critical Interpretations) 1986 HC ExLib. Condition is "Very Good". Shipped with USPS Media Mail. Modern Critical Interpretations A finely crafted chronicle of fantasy and ob- session, dazzling success and hidden failure, The Great Gatsby unfolds around the ulti- mately unbearable tension between a ro- mantic ideal of the self anda less than ideal world. In his introductory essay Harold Bloom comments that this book "has become part of what must be called the American my- thology, just as Fitzgerald himself now pos- sesses mythological status." This volume, part of the Modern Critical Inter- pretations series, gives a complete critical survey of The Great Gatsby. Essays by such respected scholars as Marius Bewley, David Parker, Keath Fraser, and Kenneth Eble con- sider the noel's structure and narrative stance, its implicit redefinition of the hero, and its position in both the English and American Romantic traditions. Also included are psychoanalytic and sociological analy- ses of the The Great Gatsby's characters, as well as essays which link Fitzgerald to Joseph Conrad and T. S. Eliot. The Great Gatsby is one of over one hun- dred volumes in the Modern Critical Inter- pretations Series, edited by Harold Bloom and published by Chelsea House. These vol- umesrepresentacomprehensive collection of the best current criticism of the most widely read poems, novels, stories and dra- mas of the Western world. Cover Design by Robin Peterson Editor's Note Introduction Harold Bloom vii The Structure of The Great Gatsby Kenneth Eble Scott Fitzgerald's Criticism of America Marius Bewley II Two Versions of the Hero David Parker 29 Gatsby and the Failure of the Omniscient "I'" Ron Neuhaus 45 Another Reading of The Great Gatsby Keath Fraser 57 Oral Aggression and Splitting A. B. Paulson The Great Gatsby Brian Way 71 87 The Waste Land Myth and Symbols in The Great Gatsby Letha Audhuy 109 Chronology 123 Contributors 125 Bibliography 127 Acknowledgments 129 Index 131 Editor's Note This volume represents a selection of the best criticism available on E. Scott Fitzgerald's now classic short novel, The Great Gatsby. It begins with the editor's introduction, which centers upon the book's relation to the poetry of John Keats, and so in a sense to Fitzgerald's own "negative capability." The eight essays and extracts gathered together here follow in the chronological sequence of their publication, starting with Kenneth Eble's consideration of the novel's structure in the light of the revisions it underwent in manuscript. Marius Bewley's remarkable reading follows, with its unrivaled bal- ance between the complex senses in which The Great Gatsby is at once Fitzgerald's criticism of, and tribute to, the American dream. In David Parker's shrewd "Two Visions of the Hero," the novel is juxtaposed to Browning's great monologue "Childe Roland to the Dark Tower Came," as two versions of a romance tradition older than America. With the essay by Ron Neuhaus, we move to a different juxtapo- sition of Fitzgerald and his tradition, particularly as exemplified by the influence of Conrad upon The Great Gatsby. Neuhaus ingeniously sug- gests that the weakness of Carraway, Fitzgerald's omniscient "I," com- pared to Conrad's Marlow, becomes an intriguing element of aesthetic survival for the novel, since it helps us to reject all moralizing that might damage The Great Gatsby's fragile Romanticism. This contrasts to Keath Fraser's reading, where Carraway's narrative opacities are subtly read as signs of an ambiguous sexuality that pervades the novel. This ambiguity is explored more categorically in A. B. Paulson's overtly psychoanalytic study of the novel as a complex instance of the defensive stances that Freud called "oral aggression" and "splitting." In Paulson's reading, the ambiguity's focus moves from Carraway to Jordan Baker and to Daisy. With Brian Way's study, we move to the very different orientation of a social vision, which illuminates the novel by way of comparisons v ith Madame Bovary, and with Shakespeare's Falstaff. The final essay, by the French critic Letha Audhuy, complements Parker's earlier reading by analyzing the direct influence of Eliot's The Waste Land upon The Great Gatsby. Since, in the editor's judgment, Eliot's poem was massively indebted to Victorian waste land visions, including Browning's "Childe Roland" and Percivale's quest for "The Holy Grail" (Ildylls of the King) there is an intensification of the entire allusive structure of The Great Gatsby when Fitzgerald's finest achieve- ment is contextualized in its romance tradition.

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