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This book charts Fitzgerald's use of racial stereotypes to encode the dual nature of his literary ambition: his desire to be on the one hand a popular American entertainer, and on the other to make his mark among the elite members of an international literary field. Taking his cue from some under-appreciated stories, Michael Nowlin argues that Fitzgerald's early use of tropes from blackface minstrelsy anticipated his race-inflected treatment of divided artist figures in the major novels from "The Beautiful and Damned" to the unfinished "The Love of the Last Tycoon." At issue in all these…mehr

Produktbeschreibung
This book charts Fitzgerald's use of racial stereotypes to encode the dual nature of his literary ambition: his desire to be on the one hand a popular American entertainer, and on the other to make his mark among the elite members of an international literary field. Taking his cue from some under-appreciated stories, Michael Nowlin argues that Fitzgerald's early use of tropes from blackface minstrelsy anticipated his race-inflected treatment of divided artist figures in the major novels from "The Beautiful and Damned" to the unfinished "The Love of the Last Tycoon." At issue in all these novels, both formally and thematically, is the dynamic state of the modern, multi-faceted, and ethnically diverse American cultural field Fitzgerald was constantly re-negotiating in order to meet his goal of long-term literary success.
Autorenporträt
MICHAEL NOWLIN is Associate Professor of English at the University of Victoria, Canada.
Rezensionen
'Nowlin's scholarly and interesting book illuminates the street-of-dreams intersection where Fitzgerald the literary artist confronted his counterpart, the popular fiction writer.' - Scott Donaldson, Biographer of Hemingway vs. Fitzgerald