This is the same file as Dr. Drib's 2007 LRF (thanks!)
The LRF didn't convert right for me, so I had to reformat it a bit. I added the original NYT review (excerpt copied below as well,) and a different cover.
________________
The New York Times
April 19, 1925
Scott Fitzgerald Looks Into Middle Age
By EDWIN CLARK
Of the many new writers that sprang into notice with the advent of the post-war period, Scott Fitzgerald has remained the steadiest performer and the most entertaining. Short stories, novels and a play have followed with consistent regularity since he became the philosopher of the flapper with "This Side of Paradise." With shrewd observation and humor he reflected the Jazz Age. Now he has said farewell to his flappers-perhaps because they have grown up-and is writing of the older sisters that have married. But marriage has not changed their world, only the locale of their parties. To use a phrase of Burton Rascoe's-his hurt romantics are still seeking that other side of paradise. And it might almost be said that "The Great Gatsby" is the last stage of illusion in this absurd chase. For middle age is certainly creeping up on Mr. Fitzgerald's flappers.
In all great arid spots nature provides an oasis. So when the Atlantic seaboard was hermetically sealed by law, nature provided an outlet, or inlet rather, in Long Island. A place of innate natural charm, it became lush and luxurious under the stress of this excessive attention, a seat of festive activities. It expresses one phase of the great grotesque spectacle of our American scene. It is humor, irony, ribaldry, pathos and loveliness. Out of this grotesque fusion of incongruities has slowly become conscious a new humor-a strictly American product. It is not sensibility, as witness the writings of Don Marquis, Robert Benchley and Ring Lardner. It is the spirit of "Processional" and Donald Douglas's "The Grand Inquisitor": a conflict of spirituality set against the web of our commercial life. Both boisterous and tragic, it animates this new novel by Mr. Fitzgerald with whimsical magic and simple pathos that is realized with economy and restraint.
The story of Jay Gatsby of West Egg is told by Nick Caraway, who is one of the legion from the Middle West who have moved on to New York to win from its restless indifference-well, the aspiration that arises in the Middle West-and finds in Long Island a fascinating but dangerous playground. In the method of telling, "The Great Gatsby" is reminiscent of Henry James's "Turn of the Screw." You will recall that the evil of that mysterious tale which so endangered the two children was never exactly stated beyond suggested generalization. Gatsby's fortune, business, even his connection with underworld figures, remain vague generalizations. He is wealthy, powerful, a man who knows how to get things done. He has no friends, only business associates, and the throngs who come to his Saturday night parties. Of his uncompromising love-his love for Daisy Buchanan-his effort to recapture the past romance-we are explicitly informed. This patient romantic hopefulness against existing conditions symbolizes Gatsby. And like the "Turn of the Screw," "The Great Gatsby" is more a long short story than a novel.
...
This work is assumed to be in the Life+70 public domain OR the copyright holder has given specific permission for distribution. Copyright laws differ throughout the world, and it may still be under copyright in some countries. Before downloading, please check your country's copyright laws.
If the book is under copyright in your country, do not download or redistribute this work.
To report a copyright violation you can
contact us here.