Scott Donaldson - Böcker

F. Scott Fitzgerald and Ernest Hemingway might have been contemporaries, but our understanding of their work often rests on simple differences. Hemingway wrestled with war, fraternity, and the violence of nature. Fitzgerald satirized money and class and the never-ending pursuit of a material tomorrow. Through the provocative arguments of Scott Donaldson, however, the affinities between these two authors become brilliantly clear. The result is a reorientation of how we read twentieth-century American literature. Known for his penetrating studies of Fitzgerald and Hemingway, Donaldson traces the creative genius of these authors and the surprising overlaps among their works. Fitzgerald and Hemingway both wrote fiction out of their experiences rather than about them. Therefore Donaldson pursues both biography and criticism in these essays, with a deep commitment to close reading. He traces the influence of celebrity culture on the legacies of both writers, matches an analysis of Hemingway's Spanish Civil War writings to a treatment of Fitzgerald's left-leaning tendencies, and contrasts the averted gaze in Hemingway's fiction with the role of possessions in The Great Gatsby.He devotes several essays to four novels, Gatsby, Tender Is the Night, The Sun Also Rises, and A Farewell to Arms, and others to lesser-known short stories. Based on years of research in the Fitzgerald and Hemingway archives and brimming with Donaldson's trademark wit and insight, this irresistible anthology moves the study of American literature in bold new directions.

F. Scott Fitzgerald and Ernest Hemingway might have been contemporaries, but our understanding of their work often rests on simple differences. Hemingway wrestled with war, fraternity, and the violence of nature. Fitzgerald satirized money and class and the never-ending pursuit of a material tomorrow. Through the provocative arguments of Scott Donaldson, however, the affinities between these two authors become brilliantly clear. The result is a reorientation of how we read twentieth-century American literature. Known for his penetrating studies of Fitzgerald and Hemingway, Donaldson traces the creative genius of these authors and the surprising overlaps among their works. Fitzgerald and Hemingway both wrote fiction out of their experiences rather than about them. Therefore Donaldson pursues both biography and criticism in these essays, with a deep commitment to close reading. He traces the influence of celebrity culture on the legacies of both writers, matches an analysis of Hemingway's Spanish Civil War writings to a treatment of Fitzgerald's left-leaning tendencies, and contrasts the averted gaze in Hemingway's fiction with the role of possessions in The Great Gatsby.He devotes several essays to four novels, Gatsby, Tender Is the Night, The Sun Also Rises, and A Farewell to Arms, and others to lesser-known short stories. Based on years of research in the Fitzgerald and Hemingway archives and brimming with Donaldson's trademark wit and insight, this irresistible anthology moves the study of American literature in bold new directions.

In The Impossible Craft, Scott Donaldson explores the rocky territory of literary biography, the most difficult that biographers try to navigate. Writers are accustomed to controlling the narrative, and notoriously opposed to allowing intruders on their turf. They make bonfires of their papers, encourage others to destroy correspondence, write their own autobiographies, and appoint family or friends to protect their reputations as official biographers. Thomas Hardy went so far as to compose his own life story to be published after his death, while falsely assigning authorship to his widow. After a brief background sketch of the history of biography from Greco-Roman times to the present, Donaldson recounts his experiences in writing biographies of a broad range of twentieth-century American writers: Ernest Hemingway, F. Scott Fitzgerald, John Cheever, Archibald MacLeish, Edwin Arlington Robinson, Winfield Townley Scott, and Charlie Fenton. Donaldson provides readers with a highly readable insiders’ introduction to literary biography. He suggests how to conduct interviews, and what not to do during the process. He offers sound advice about how closely biographers should identify with their subjects. He examines the ethical obligations of the biographer, who must aim for the truth without unduly or unnecessarily causing discomfort or worse to survivors. He shows us why and how misinformation comes into existence and tends to persist over time. He describes “the mythical ideal biographer,” an imaginary creature of universal intelligence and myriad talents beyond the reach of any single human being. And he suggests how its very impossibility makes the goal of writing a biography that captures the personality of an author a challenge well worth pursuing.

Written by the preeminent Fitzgerald biographer and literary critic Scott Donaldson, this book presents a fresh, insightful exploration of the war between the sexes in F. Scott Fitzgerald’s fictional and autobiographical writings.The volume opens with a close reading of Tender Is the Night, in which Donaldson argues that the key theme of the novel is warfare—the struggle between the sexes for dominance in a marriage or relationship. Other essays expand on this theme, examining Fitzgerald’s assessment of love and the American dream in The Great Gatsby, Zelda Fitzgerald’s alleged affair with the French aviator Edouard Jozan, the writer’s relationship with his fellow author Dorothy Parker, and Fitzgerald’s autobiographical writings, in which he recounts his fast, extravagant life during the Jazz Age.Engagingly written and based on a deep understanding of Fitzgerald’s life and career, Fitzgerald and the War Between the Sexes will inform and influence fans and students of Fitzgerald’s work for many years to come.

Written by the preeminent Fitzgerald biographer and literary critic Scott Donaldson, this book presents a fresh, insightful exploration of the war between the sexes in F. Scott Fitzgerald’s fictional and autobiographical writings.The volume opens with a close reading of Tender Is the Night, in which Donaldson argues that the key theme of the novel is warfare—the struggle between the sexes for dominance in a marriage or relationship. Other essays expand on this theme, examining Fitzgerald’s assessment of love and the American dream in The Great Gatsby, Zelda Fitzgerald’s alleged affair with the French aviator Edouard Jozan, the writer’s relationship with his fellow author Dorothy Parker, and Fitzgerald’s autobiographical writings, in which he recounts his fast, extravagant life during the Jazz Age.Engagingly written and based on a deep understanding of Fitzgerald’s life and career, Fitzgerald and the War Between the Sexes will inform and influence fans and students of Fitzgerald’s work for many years to come.

When first published in 1929, Ernest Hemingway's A Farewell to Arms was decried as a vulgar novel, and was actually banned in Boston. In his extensive introduction, Scott Donaldson explains this initial reception, and then traces the change in perception toward the novel. The essays in this collection show that Farewell was a revolutionary novel that has only now begun to be understood - sixty years after publication. Sandra Spanier demonstrates how World War I determined the behaviour patterns of Catherine Barkley; James Phelan examines the first person narration; Ben Stoltzfus studies the novel from psychoanalytical (Lacanian) angles, and Paul Smith traces Hemingway's repeated attempts to write about the war.

This Companion serves both as an introduction for the interested reader and as a source of the best recent scholarship on the author and his works. In addition to analysing his major texts, the contributors provide insights into Hemingway's relationship with gender history, journalism, fame and the political climate of the 1930s. The essays are framed by an introductory chapter on Hemingway and the costs of fame and an invaluable conclusion providing an overview of Hemingway scholarship from its beginnings to the present. Students will find the selected bibliography a useful guide to future research. Contributors include both distinguished established figures and brilliant newcomers, all chosen with regard to the clarity and readability of their prose.

This Companion serves both as an introduction for the interested reader and as a source of the best recent scholarship on the author and his works. In addition to analysing his major texts, the contributors provide insights into Hemingway's relationship with gender history, journalism, fame and the political climate of the 1930s. The essays are framed by an introductory chapter on Hemingway and the costs of fame and an invaluable conclusion providing an overview of Hemingway scholarship from its beginnings to the present. Students will find the selected bibliography a useful guide to future research. Contributors include both distinguished established figures and brilliant newcomers, all chosen with regard to the clarity and readability of their prose.

Fool for Love is Scott Donaldson’s masterful biography of F. Scott Fitzgerald-written from a fresh and highly intimate perspective. Fool for Love follows Fitzgerald from his birthplace in St. Paul, Minnesota, to Princeton and upward into the highest reaches of literary and public success-and ultimately to Fitzgerald’s untimely death in Hollywood at the age of forty-four, broke and nearly forgotten. This engrossing, definitive study explores two classic Fitzgerald themes throughout-love and class-and the result is a striking portrayal of one of the twentieth century’s greatest writers, whose legacy and influence only continue to grow.

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Death of a Rebel tells the story of Charles Andrews Fenton (1919-1960), a charismaticteacher, scholar, and writer who took his own life by jumping from the top of the Washington Duke Hotel in Durham, North Carolina. At the time he was apparently at the peak of his career. He had written excellent books on Hemingway and Stephen Vincent Benét, had three other books in press, and was working on a new version of his novel about World War II(a 1945 account won the Doubleday Twentieth Century Fox award). He had earned Guggenheimand ACLS grants. Students flocked to his courses. He was widely regarded as the most popular professor at Duke.Charlie Fenton’s story is a compelling one, and takes on further meaning in the context of the times. An individualist during the notoriously conformist 1950s, he swam against the current, defying authority and openly inviting controversy. This jaunty refusal to accept received wisdom made him an appealing figure to many of his students and colleagues. But it was a dangerous stance that did not sit well with his superiors, and it cost him when his fortunes took a turn for the worse in the spring and summer of 1960.Love and war had a lot to do with his suicide as well. Charlie Fenton, who had come down to Duke from Yale two years earlier with a promotion to full professor, fell in love with one of his graduate students. His wife, outraged, left and took their son Andy with her. The scandal left him alone and a social pariah around campus. Then he suffered one of his bouts of depression. Usually these periods were triggered by trauma, most of it derived from his service as a tail gunner with the RAFbomber command in the summer and fall of 1942. In the past he’d always been able to shake free of his despondency. This time he was overcome by psychological pain deriving from loss: of wife and family, of public admiration, of companionship, and worst of all, of self-regard. The book recounts Fenton’s last days in vivid detail. In writing it, Donaldson had the assistance of family members, of his devoted students, and even – at a painful distance – of the woman he fellin love with fifty years ago. They all share an abiding sense of what might have been, and a deep regret that he could not go on to inspire the uncounted students who would never get to know and admire and learn from him.

In this collection of thirty interviews compiled by John Cheever's biographer Cheever moves from gentlemanly reticence in the early pieces to forthright commentary upon a variety of subjects in the later ones. This admirably articulate author of The Wapshot Scandal, Bullet Park, Falconer, and many New Yorker stories gives answers that are satisfying to the curious, though the expression of his views is very much under his control. Cheever, the conversationalist, like his fiction, is always casually in good form, always respected for his expression and his art.For most of his fifty-year career Cheever was unusually reticent about himself. He used to say he had no public image and no wish to cultivate one. When curious reporters invaded his suburban bailiwick in Westchester, he evaded their questions by taking them on hikes in their best clothes or trying to get them drunk.A remarkable change occurred in Cheever in the spring of 1975 when he stopped drinking. With his release from alcohol came renewed energy and a revivified sense of the importance of his work and of the audience he was addressing. Now Cheever became almost shockingly open in talking with fellow writers, with professional interviewers of magazines, newspapers, radio, and television, and with just about anyone who asked for an hour of his time. Now he spoke enthusiastically about the process and purpose of his writing and about the details of his private life.In these later interviews Cheever shucked of his Yankee reserve and spoke with candor about his alcoholism, his marriage and even his sexual orientation. Reporters drew him out on virtually every subject under the sun, including religion (""I go to church because prayer seems to contain certain levels of gratitude and aspiration that I know no other way of expressing"") and politics. He defended the suburbs, his literary milieu, against the usual charges of conformity and boredom.By the standards of sheer variety and scope of subject matter, it is hard to conceive of more interesting interviews than those Cheever gave in the back, he had something to say, and he said it with the grace and wit of the born storyteller.