The Cambridge Edition of the Works of F. Scott Fitzgerald – serie

Flappers and Philosophers was F. Scott Fitzgerald's initial encore - his first collection of short fiction, published in 1920 to capitalize on the success of This Side of Paradise, the novel that had made him famous at the age of twenty-three. Some of his best early stories are included here: 'The Offshore Pirate', 'Bernice Bobs Her Hair', 'The Ice Palace' and 'Benediction'. In these narratives Fitzgerald presented his prototypical Jazz-Age heroines, beautiful and wilful young women who later became trademarks of his fiction. Part of the authoritative Cambridge Edition of F. Scott Fitzgerald, this volume now appears in paperback for the first time. It offers detailed explanatory notes, a record of variants and appendices tracing the composition and publication history of the stories.

Fitzgerald's second collection of short stories, Tales of the Jazz Age (1922), includes two masterpieces - 'May Day' and 'The Diamond as Big as the Ritz' - as well as other stories from his earlier career. Tales of the Jazz Age reproduces the original collection in full, along with several uncollected stories from the early 1920s, including 'Dice, Brassknuckles and Guitar', a 1923 narrative which closely anticipates the themes and characters of The Great Gatsby. In his introduction James L. W. West, III offers an account of the textual history of the stories, reconstructs Fitzgerald's decisions about which stories to include and exclude, and examines reproductions of surviving manuscripts and typescripts. He supplies a full record of variants, tracing Fitzgerald's extensive revisions to the stories, and he provides detailed historical notes, references and glosses.

F. Scott Fitzgerald's This Side of Paradise is the opening statement of his literary career. Published originally in 1920, the novel captures the rhythm and feel of the gaudy decade that was to follow in America. This Side of Paradise made Fitzgerald simultaneously famous and infamous: famous for the stylish exuberance of his writing and infamous for the errors - in spelling, fact, grammar and chronology - that peppered his text. This authoritative critical edition offers an accurate, fully annotated text based on Fitzgerald's original manuscript, explanatory notes, textual apparatus and appendices.

Since its publication in 1925, The Great Gatsby, F. Scott Fitzgerald's account of the American dream gone awry, has established itself as one of the most popular and widely read novels in the English language. Until now, however, no edition has printed the novel exactly as Fitzgerald himself wrote it. From its first edition onward, the text has been subject to rigorous house-styling that has distorted the characteristic rhythms and structure of his sentences. This critical edition draws on the manuscript and surviving proofs of the novel, together with Fitzgerald's subsequent revisions to key passages, to provide the first authoritative text of The Great Gatsby. This volume also includes a detailed account of the genesis, composition, and publication of the novel; a full textual apparatus; crucial early draft material; helpful glosses on the peculiar geography and chronology of the book; and explanatory notes on topical allusions and historical references that contemporary readers might otherwise miss. Fitzgerald's great masterpiece is thus brought closer to a cross-section of readers, more accessibly and more authentically than ever before.

F. Scott Fitzgerald began composing Tender Is the Night in the summer of 1925, but he struggled with the novel and reworked it intensively over the next nine years. A study of the disintegration of a talented young American psychiatrist, set among wealthy American expatriates living in Europe after the First World War, the novel, finally published in 1934, is now considered one of his major works. Fitzgerald saved a great many of his working materials - notes, diagrams, holographs, typescripts, proofs and correspondence - making it possible to reconstruct in detail the passage of Tender Is the Night from manuscript to print. The Cambridge edition follows the order of the first edition; it includes a history of composition, an analysis of Fitzgerald's plan for republication and an explanation of the chronology of the narrative. The edition also contains full historical annotations, facsimiles of surviving drafts and a record of emendations.

The twenty short stories in A Change of Class were published by F. Scott Fitzgerald between September 1931 and March 1937. Fitzgerald wrote these stories for money, which he badly needed. His wife was being treated at expensive sanitariums and he was heavily in debt to his publisher and literary agent. The stories in A Change of Class are not all among Fitzgerald's best, but they are important in his career. They concern the Great Depression, social striving, class divisions, and professionalism. Several are set in the world of medicine and depict the lives of doctors, nurses, and their patients. The writing is strong, with vivid descriptions and sharp dialogue. A Change of Class provides freshly edited texts, based on surviving manuscripts and typescripts. Important readings, edited out or censored by magazine publishers, have been restored. The volume includes facsimiles, historical annotations, and a full record of emendation.

Fitzgerald's second collection of short stories, Tales of the Jazz Age (1922), includes two masterpieces - 'May Day' and 'The Diamond as Big as the Ritz' - as well as other stories from his earlier career. Tales of the Jazz Age reproduces the original collection in full, along with several uncollected stories from the early 1920s, including 'Dice, Brassknuckles and Guitar', a 1923 narrative which closely anticipates the themes and characters of The Great Gatsby. In his introduction James L. W. West, III offers an account of the textual history of the stories, reconstructs Fitzgerald's decisions about which stories to include and exclude, and examines reproductions of surviving manuscripts and typescripts. He supplies a full record of variants, tracing Fitzgerald's extensive revisions to the stories, and he provides detailed historical notes, references and glosses.

Twice during the last decade of his life, in 1934 and 1936, F. Scott Fitzgerald proposed a collection of his personal essays to Maxwell Perkins, his editor at Charles Scribner's Sons. Perkins was unenthusiastic on both occasions, and Fitzgerald died in 1940 without having put his best essays between hard covers. Fortunately Fitzgerald left behind a table of contents, and with this list as a guide it has been possible to publish here the collection that he envisioned, under the title My Lost City. This volume also includes several of Fitzgerald's autobiographical writings. My Lost City, like the other volumes in the Cambridge Edition, provides accurate texts based on Fitzgerald's surviving manuscripts and typescripts. Words and passages cut by magazine editors have been restored to several of the essays. A textual apparatus has been included, along with full explanatory notes identifying people, places, books, historical events, and other details.

F. Scott Fitzgerald had a busy and productive literary apprenticeship, writing in a great variety of genres. This volume contains his writings for the student magazine at his high schools and his Princeton writings for the Daily Princetonian, the Princeton Tiger, and the Nassau Literary Magazine. Of special note in this volume are the complete lyrics that Fitzgerald composed for three student musical comedies mounted by the Triangle Club at Princeton - Fie! Fie! Fi-Fi! (1914), The Evil Eye (1915), and Safety First! (1916). The volume includes a scholarly introduction, a record of variants and emendations, and numerous facsimiles and other illustrations. Explanatory notes identify the literary works, Broadway shows, movie queens, stage stars, politicians, historical figures, criminals, sports heroes, and popular songs referred to by Fitzgerald in these early writings.

Last Kiss brings together some of the most interesting and idiosyncratic of F. Scott Fitzgerald's writings from throughout his career. Included in this volume are Fitzgerald's Thoughtbook, a revealing adolescent diary; an amusing self-interview, written in the early days of his initial fame; The Vegetable, his only published play; the five poems that he published after becoming a full-time author; twelve early book reviews, published between 1921 and 1923; seven short stories from the last decade of his career; seventeen public letters; six items of journalism, four of which attempt to explain the 'flapper' phenomenon; and unusual miscellaneous pieces. The texts, many of which are based on surviving manuscripts and typescripts, are fully annotated and are supported by an apparatus that records all emendations and editorial adjustments.

This eighteenth and final volume in the Cambridge Edition of the Works of F. Scott Fitzgerald is a variorum edition of The Great Gatsby (1925), the author's masterpiece. The variorum text is based on multiple witnesses including the extant holograph of the novel and Fitzgerald's revised galley proofs; the first edition and later impressions from the first-edition plates; and importantly, Fitzgerald's personal copy of the novel, which bears corrections and revisions in his hand. This edition removes instances of over-correction in later editions of the novel, where there are numerous examples of textual corruption, thus giving control of the text back to Fitzgerald. This critical edition includes an introduction, tracing the history of the novel, an emended text, emendation tables, Fitzgerald's 1935 introduction, and fourteen illustrations. Historical annotations provide identifications of persons, places, events, popular songs, and literary works - all now made available to readers, teachers, critics, and scholars.

This volume brings together three series of short stories by F. Scott Fitzgerald - the Basil Duke Lee stories of 1928-29, the Josephine Perry stories of 1930-31, and the Gwen Bowers stories of 1936. The texts published here are based on surviving typescripts that preserve Fitzgerald's final revisions for their first publication in the Saturday Evening Post. Collations have revealed cuts and revisions by the Post editors aimed at removing profanity and blasphemy, sexual innuendo, real names of people and places, and references to racial prejudice. These passages have been restored to the Cambridge texts. This volume includes a scholarly introduction, a record of variants, facsimiles and other illustrations, and an appendix that presents early endings for the stories 'The Captured Shadow' and 'Basil and Cleopatra'. Full historical notes identify popular songs, sports heroes, literary works, Broadway shows, and sources for the stories.

This first edition ever published of Trimalchio, an early and complete version of F. Scott Fitzgerald's classic novel The Great Gatsby now appears in paperback. Fitzgerald wrote the novel as Trimalchio and submitted it to Maxwell Perkins, his editor at Scribner's, who had the novel set in type and the galleys sent to Fitzgerald in France. Fitzgerald then virtually rewrote the novel in galleys, producing the book we know as The Great Gatsby. This ur-version, Trimalchio, has never been published and is markedly different from The Great Gatsby: two chapters were completely rewritten for the published novel, and the rest of the book was heavily revised. Characterization is different, the narrative voice of Nick Carraway is altered and, most importantly, the revelation of Jay Gatsby's past is handled in a wholly different way.

Since its publication in 1925, The Great Gatsby, F. Scott Fitzgerald's account of the American dream gone awry, has established itself as one of the most popular and widely read novels in the English language. Until now, however, no edition has printed the novel exactly as Fitzgerald himself wrote it. From its first edition onward, the text has been subject to rigorous house-styling that has distorted the characteristic rhythms and structure of his sentences. This critical edition draws on the manuscript and surviving proofs of the novel, together with Fitzgerald's subsequent revisions to key passages, to provide the first authoritative text of The Great Gatsby. This volume also includes a detailed account of the genesis, composition, and publication of the novel; a full textual apparatus; crucial early draft material; helpful glosses on the peculiar geography and chronology of the book; and explanatory notes on topical allusions and historical references that contemporary readers might otherwise miss. Fitzgerald's great masterpiece is thus brought closer to a cross-section of readers, more accessibly and more authentically than ever before.

The twenty short stories in A Change of Class were published by F. Scott Fitzgerald between September 1931 and March 1937. Fitzgerald wrote these stories for money, which he badly needed. His wife was being treated at expensive sanitariums and he was heavily in debt to his publisher and literary agent. The stories in A Change of Class are not all among Fitzgerald's best, but they are important in his career. They concern the Great Depression, social striving, class divisions, and professionalism. Several are set in the world of medicine and depict the lives of doctors, nurses, and their patients. The writing is strong, with vivid descriptions and sharp dialogue. A Change of Class provides freshly edited texts, based on surviving manuscripts and typescripts. Important readings, edited out or censored by magazine publishers, have been restored. The volume includes facsimiles, historical annotations, and a full record of emendation.

Last Kiss brings together some of the most interesting and idiosyncratic of F. Scott Fitzgerald's writings from throughout his career. Included in this volume are Fitzgerald's Thoughtbook, a revealing adolescent diary; an amusing self-interview, written in the early days of his initial fame; The Vegetable, his only published play; the five poems that he published after becoming a full-time author; twelve early book reviews, published between 1921 and 1923; seven short stories from the last decade of his career; seventeen public letters; six items of journalism, four of which attempt to explain the 'flapper' phenomenon; and unusual miscellaneous pieces. The texts, many of which are based on surviving manuscripts and typescripts, are fully annotated and are supported by an apparatus that records all emendations and editorial adjustments.

F. Scott Fitzgerald had a busy and productive literary apprenticeship, writing in a great variety of genres. This volume contains his writings for the student magazine at his high schools and his Princeton writings for the Daily Princetonian, the Princeton Tiger, and the Nassau Literary Magazine. Of special note in this volume are the complete lyrics that Fitzgerald composed for three student musical comedies mounted by the Triangle Club at Princeton - Fie! Fie! Fi-Fi! (1914), The Evil Eye (1915), and Safety First! (1916). The volume includes a scholarly introduction, a record of variants and emendations, and numerous facsimiles and other illustrations. Explanatory notes identify the literary works, Broadway shows, movie queens, stage stars, politicians, historical figures, criminals, sports heroes, and popular songs referred to by Fitzgerald in these early writings.

F. Scott Fitzgerald began composing Tender Is the Night in the summer of 1925, but he struggled with the novel and reworked it intensively over the next nine years. A study of the disintegration of a talented young American psychiatrist, set among wealthy American expatriates living in Europe after the First World War, the novel, finally published in 1934, is now considered one of his major works. Fitzgerald saved a great many of his working materials - notes, diagrams, holographs, typescripts, proofs and correspondence - making it possible to reconstruct in detail the passage of Tender Is the Night from manuscript to print. The Cambridge edition follows the order of the first edition; it includes a history of composition, an analysis of Fitzgerald's plan for republication and an explanation of the chronology of the narrative. The edition also contains full historical annotations, facsimiles of surviving drafts and a record of emendations.

This eighteenth and final volume in the Cambridge Edition of the Works of F. Scott Fitzgerald is a variorum edition of The Great Gatsby (1925), the author's masterpiece. The variorum text is based on multiple witnesses including the extant holograph of the novel and Fitzgerald's revised galley proofs; the first edition and later impressions from the first-edition plates; and importantly, Fitzgerald's personal copy of the novel, which bears corrections and revisions in his hand. This edition removes instances of over-correction in later editions of the novel, where there are numerous examples of textual corruption, thus giving control of the text back to Fitzgerald. This critical edition includes an introduction, tracing the history of the novel, an emended text, emendation tables, Fitzgerald's 1935 introduction, and fourteen illustrations. Historical annotations provide identifications of persons, places, events, popular songs, and literary works - all now made available to readers, teachers, critics, and scholars.

This volume brings together three series of short stories by F. Scott Fitzgerald - the Basil Duke Lee stories of 1928-29, the Josephine Perry stories of 1930-31, and the Gwen Bowers stories of 1936. The texts published here are based on surviving typescripts that preserve Fitzgerald's final revisions for their first publication in the Saturday Evening Post. Collations have revealed cuts and revisions by the Post editors aimed at removing profanity and blasphemy, sexual innuendo, real names of people and places, and references to racial prejudice. These passages have been restored to the Cambridge texts. This volume includes a scholarly introduction, a record of variants, facsimiles and other illustrations, and an appendix that presents early endings for the stories 'The Captured Shadow' and 'Basil and Cleopatra'. Full historical notes identify popular songs, sports heroes, literary works, Broadway shows, and sources for the stories.

F. Scott Fitzgerald's Taps at Reveille is one of the author's strongest collections of short fiction. It brings together several of his best stories from the late 1920s and early 1930s, including 'Crazy Sunday', and 'Babylon Revisited', a story considered by many to be his masterpiece in the genre. Fitzgerald assembled the collection in a time of debt and personal difficulty, working with texts that had, in many cases, been censored by the Saturday Evening Post and other magazines. Using evidence from the drafts that bear Fitzgerald's final revisions, this edition presents for the first time restored texts of the stories, with censored material reinstated and sexual innuendo as Fitzgerald originally intended. This volume offers as well an extended historical introduction, explanatory notes, textual apparatus, and, in an appendix, 'Thank You for the Light', a vignette recently discovered among Fitzgerald's literary remains and published for the first time in 2012.

Even in its incomplete form The Love of The Last Tycoon has achieved a reputation as the best novel about Hollywood. When F. Scott Fitzgerald died in 1940 he had written seventeen of thirty projected episodes. In 1941 the 'unfinished novel' was published in a text for general readers by Edmund Wilson under the title The Last Tycoon. For more than fifty years this edition, which is not true to the original work in progress, has been the only one available. This critical edition of The Love of The Last Tycoon, first published in 1994, utilises Fitzgerald's manuscript drafts, revised typescipts, and working notes to establish the first authoritative text of the work. The volume includes a detailed history of the gestation, composition, and publication of the novel; full textual apparatus with editorial notes; fascimiles of the drafts; and explanatory notes on topical allusions and historical references for contemporary readers. The reconstruction of Fitzgerald's plan for the thirteen unwritten episodes is particularly useful. F. Scott Fitzgerald's incomplete masterpiece is restored its 1940 state, and thus made fully accessible to a cross-section of readers.

During the last six years of his life, F. Scott Fitzgerald was an Esquire author. Between 1934 and 1940, Fitzgerald sold some forty-five pieces of writing to the magazine - fiction, nonfiction, and personal essays. This volume of the Cambridge Edition includes thirteen short stories published by Fitzgerald in Esquire, together with the entire Pat Hobby Series -seventeen stories about an aging screenwriter scrambling to make a living in Hollywood during the 1930s. One other story - 'Dearly Beloved', submitted to Esquire but not published there - is included as an appendix. The volume provides restored, accurate texts based on Fitzgerald's surviving manuscripts, typescripts, and proofs. A textual apparatus records editorial decisions; explanatory notes identify people, places, literary works, historical events, and references to Hollywood actors, directors, and films. The volume also includes selected facsimiles of Fitzgerald's manuscripts and typescripts for the Esquire writings.

This volume of the Cambridge Fitzgerald Edition includes the original nine stories selected by Fitzgerald for All the Sad Young Men, together with eleven additional stories, published between 1925 and 1928, which were not collected by Fitzgerald during his lifetime. This edition is based on extensive surviving manuscripts and typescripts. The volume contains a scholarly introduction, historical notes, a textual apparatus, illustrations, and appendices. The complex history of composition for 'The Rich Boy' is untangled, and Fitzgerald's thorough revision of 'Winter Dreams' is described. Important passages of sexual innuendo and tabloid-style scandal in 'Jacob's Ladder', 'The Love Boat', and 'Magnetism' - removed by editors at the Saturday Evening Post - are restored to the Cambridge texts.

F. Scott Fitzgerald's second novel, The Beautiful and Damned (1922), was a pivotal book in his career. A trenchant satire of the Jazz Age, it is very much a novel of its times. This edition is based on the surviving manuscript, the serialized version from Metropolitan magazine, the Scribners 1922 first American edition, and the Collins 1922 first British edition. The volume includes a detailed account of the composition of the novel, a textual apparatus, a chronology of composition, and, uniquely, three versions of the ending. Explanatory notes identify Fitzgerald's topical and historical references - to books and authors, Broadway shows and Manhattan cabarets, movie stars and sports heroes, statesmen and criminals, business tycoons and historical figures. These notes situate The Beautiful and Damned in its times and deepen the reader's understanding of Fitzgerald's sources for the novel.

Twice during the last decade of his life, in 1934 and 1936, F. Scott Fitzgerald proposed a collection of his personal essays to Maxwell Perkins, his editor at Charles Scribner's Sons. Perkins was unenthusiastic on both occasions, and Fitzgerald died in 1940 without having put his best essays between hard covers. Fortunately Fitzgerald left behind a table of contents, and with this list as a guide it has been possible to publish here the collection that he envisioned, under the title My Lost City. This volume also includes several of Fitzgerald's autobiographical writings. My Lost City, like the other volumes in the Cambridge Edition, provides accurate texts based on Fitzgerald's surviving manuscripts and typescripts. Words and passages cut by magazine editors have been restored to several of the essays. A textual apparatus has been included, along with full explanatory notes identifying people, places, books, historical events, and other details.

This edition presents the manuscript of F. Scott Fitzgerald's The Great Gatsby, the earliest full version of the novel that survives. Study of this manuscript reveals much about the composition of the novel - about the development of its characters and themes and the revision of its language. Fitzgerald reworked the manuscript, putting it through several drafts and continuing to edit until a few weeks before publication. The period of its creation was an amalgamation of his talent, inspiration, and self-discipline which resulted in a masterpiece. An introduction by James L. W. West, III, the general editor of the series, gives the compositional history of the novel; a bibliographical commentary by Don C. Skemer, Curator of Manuscripts at Princeton University Library, describes the manuscript and gives the story of its preservation, acquisition, and restoration. The reading text is presented without emendation and with a minimum of editorial apparatus. This edition will allow critics, teachers, and students to study The Great Gatsby as a fluid text, evolving and progressing toward its final form from its very earliest incarnation.

This edition presents the manuscript of F. Scott Fitzgerald's The Great Gatsby, the earliest full version of the novel that survives. Study of this manuscript reveals much about the composition of the novel - about the development of its characters and themes and the revision of its language. Fitzgerald reworked the manuscript, putting it through several drafts and continuing to edit until a few weeks before publication. The period of its creation was an amalgamation of his talent, inspiration, and self-discipline which resulted in a masterpiece. An introduction by James L. W. West, III, the general editor of the series, gives the compositional history of the novel; a bibliographical commentary by Don C. Skemer, Curator of Manuscripts at Princeton University Library, describes the manuscript and gives the story of its preservation, acquisition, and restoration. The reading text is presented without emendation and with a minimum of editorial apparatus. This edition will allow critics, teachers, and students to study The Great Gatsby as a fluid text, evolving and progressing toward its final form from its very earliest incarnation.