"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 of All the Sad Young Men is the first of the short-fiction collections in the Cambridge edition to be based on extensive surviving manuscripts and typescripts. The volume contains a scholarly introduction, historical notes, a textual apparatus, illustrations, and appendixes."--BOOK JACKET.

A self-portrait of a great writer 's rise and fall, intensely personal and etched with Fitzgerald's signature blend of romance and realism. The Crack-Up tells the story of Fitzgerald's sudden descent at the age of thirty-nine from glamorous success to empty despair, and his determined recovery. Compiled and edited by Edmund Wilson shortly after F. Scott Fitzgerald's death, this revealing collection of his essays—as well as letters to and from Gertrude Stein, Edith Wharton, T.S. Eliot, John Dos Passos—tells of a man with charm and talent to burn, whose gaiety and genius made him a living symbol of the Jazz Age, and whose recklessness brought him grief and loss. "Fitzgerald's physical and spiritual exhaustion is described brilliantly," noted The New York Review of Books: "the essays are amazing for the candor."

"Known not only for his brilliant novels but also for short stories chronicling the Jazz Age, such as 'Bernice bobs her hair' and 'The diamond as big as the Ritz, ' F. Scott Fitzgerald continued to write stories his entire life, some of which were never published--until now. Many of the stories in I'd die for you were submitted to major magazines and accepted for publication during Fitzgerald's lifetime but were never printed. A few were written as movie scenarios and sent to studios or producers, but not filmed. Others are stories that could not be sold because their subject matter or style departed from what editors expected of Fitzgerald in the 1930s. They come from various sources, from library archive to private collections, including those of Fitzgerald's family"--Jacket flap.

A Lost Lady is a novel by American author Willa Cather, first published in 1923. It centers on Marian Forrester, her husband Captain Daniel Forrester, and their lives in the small western town of Sweet Water, along the Transcontinental Railroad. However, it is mostly told from the perspective of a young man named Niel Herbert, as he observes the decline of both Marian and the West itself, as it shifts from a place of pioneering spirit to one of corporate exploitation. Exploring themes of social class, money, and the march of progress, A Lost Lady was praised for its vivid use of symbolism and setting, and is considered to be a major influence on the works of F. Scott Fitzgerald. It has been adapted to film twice, with a film adaptation being released in 1924, followed by a looser adaptation in 1934, starring Barbara Stanwyck. A Lost Lady begins in the small railroad town of Sweet Water, on the undeveloped Western plains. The most prominent family in the town is the Forresters, and Marian Forrester is known for her hospitality and kindness. The railroad executives frequently stop by her house and enjoy the food and comfort she offers while there on business. A young boy, Niel Herbert, frequently plays on the Forrester estate with his friend. One day, an older boy named Ivy Peters arrives, and shoots a woodpecker out of a tree. He then blinds the bird and laughs as it flies around helplessly. Niel pities the bird and tries to climb the tree to put it out of its misery, but while climbing he slips, and breaks his arm in the fall, as well as knocking himself unconscious. Ivy takes him to the Forrester house where Marian looks after him. When Niel wakes up, he's amazed by the nice house and how sweet Marian smells. He doesn't't see her much after that, but several years later he and his uncle, Judge Pommeroy, are invited to the Forrester house for dinner. There he meets Ellinger, who he will later learn is Mrs. Forrester's lover, and Constance, a young girl his age.

Pigeonholed in popular memory as a Jazz Age epicurean, a playboy, and an emblem of the Lost Generation, F. Scott Fitzgerald was at heart a moralist struck by the nation’s shifting mood and manners after World War I. In Paradise Lost, David Brown contends that Fitzgerald’s deepest allegiances were to a fading antebellum world he associated with his father’s Chesapeake Bay roots. Yet as a midwesterner, an Irish Catholic, and a perpetually in-debt author, he felt like an outsider in the haute bourgeoisie haunts of Lake Forest, Princeton, and Hollywood—places that left an indelible mark on his worldview. In this comprehensive biography, Brown reexamines Fitzgerald’s childhood, first loves, and difficult marriage to Zelda Sayre. He looks at Fitzgerald’s friendship with Hemingway, the golden years that culminated with Gatsby, and his increasing alcohol abuse and declining fortunes which coincided with Zelda’s institutionalization and the nation’s economic collapse. Placing Fitzgerald in the company of Progressive intellectuals such as Charles Beard, Randolph Bourne, and Thorstein Veblen, Brown reveals Fitzgerald as a writer with an encompassing historical imagination not suggested by his reputation as “the chronicler of the Jazz Age.” His best novels, stories, and essays take the measure of both the immediate moment and the more distant rhythms of capital accumulation, immigration, and sexual politics that were moving America further away from its Protestant agrarian moorings. Fitzgerald wrote powerfully about change in America, Brown shows, because he saw it as the dominant theme in his own family history and life.

A self-portrait of a great writer. A Short Autobiography charts Fitzgerald's progression from exuberant and cocky with "What I think and Feel at 25", to mature and reflective with "One Hundred False Starts" and "The Death of My Father." Compiled and edited by Professor James West, this revealing collection of personal essays and articles reveals the beloved author in his own words.

F. Scott Fitzgerald left behind a substantial body of work on New York, yet his city remains in our time terra incognita, talked about but rarely well met. Lost City takes on this important and under-examined, indeed misunderstood and misrepresented, aspect of Fitzgerald's writing. The author shows that Fitzgerald's geography amounts to more than the Plaza Hotel and a wasteland. His writing depicts a variety of districts and neighborhoods. His is not the New York of the Roaring Twenties. Locating Fitzgerald's

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.

“Pure and lovely…to read Zelda’s letters is to fall in love with her.” —The Washington Post Edited by renowned Jackson R. Bryer and Cathy W. Barks, with an introduction by Scott and Zelda Fitzgerald's granddaughter, Eleanor Lanahan, this compilation of over three hundred letters tells the couple's epic love story in their own words. Scott and Zelda Fitzgerald's devotion to each other endured for more than twenty-two years, through the highs and lows of his literary success and alcoholism, and her mental illness. In Dear Scott, Dearest Zelda, over 300 of their collected love letters show why theirs has long been heralded as one of the greatest love stories of the 20th century. Edited by renowned Fitzgerald scholars Jackson R. Bryer and Cathy W. Barks, with an introduction by Scott and Zelda's granddaughter, Eleanor Lanahan, this is a welcome addition to the Fitzgerald literary canon.