Search

The Great Gatsby is one of the most recognized texts by Francis Scott Fitzgerald, considered a classic of American literature, whose exquisite work maintains all its relevance and freshness. Gatsby, the gentleman who reigns over West Egg, the host of the restless nights, but also the winner marked by the tragic fate of an unintended loneliness, is the archetype of those twenties that began with Prohibition and ran through the gangsterism and organized political corruption. Protagonist of a decade that would culminate in the catastrophe of 1929, his image of splendor does nothing but announce an inevitable drama. The Great Gatsby has been made into films, with great success and popularity.

Step into the Roaring Twenties with'The Great Gatsby'by F. Scott Fitzgerald. This iconic novel immerses you in the glitz and glamour of the Jazz Age, where mysterious millionaire Jay Gatsby hosts extravagant parties in pursuit of lost love, Daisy Buchanan. Through the eyes of Nick Carraway, the story unravels, revealing the dark underbelly of wealth and privilege. With lyrical prose, Fitzgerald explores the American Dream, love, and obsession. A timeless classic,'The Great Gatsby'is a vivid portrait of an era that still captivates readers today. Delve into the opulence and tragedy of the Gatsby era in this literary gem.ABOUT THE AUTHORFrancis Scott Fitzgerald, born Francis Scott Key Fitzgerald on September 24, 1896, was a celebrated American author of the Jazz Age, known for his iconic novel'The Great Gatsby'. His life and work epitomize the spirit and excesses of the Roaring Twenties. Fitzgerald was born in St. Paul, Minnesota, and he attended Princeton University, where he began to nurture his passion for writing. His debut novel,'This Side of Paradise,'published in 1920, brought him immediate success, making him a literary sensation. However, it was'The Great Gatsby', published in 1925, that solidified his reputation as one of America's greatest novelists. Set in the opulent world of Long Island's elite, the novel explores themes of wealth, love, and the American Dream. Today, it is considered one of the greatest American novels ever written. Fitzgerald's writing was characterized by its vivid portrayal of the era's excesses and its sharp social commentary. He and his wife, Zelda Fitzgerald, became iconic figures of the Jazz Age, known for their extravagant lifestyle. Unfortunately, Fitzgerald's personal life was marred by struggles with alcoholism and financial difficulties. His later works, like'Tender Is the Night', also received critical acclaim but didn't achieve the same level of success as'The Great Gatsby.'Tragically, F. Scott Fitzgerald passed away on December 21, 1940, at the age of 44. While he didn't live to witness the full extent of his literary legacy, his works continue to be celebrated for their exploration of the American experience, making him a timeless figure in American literature.

Un retrato de los felices años veinte, de la llamada Jazz Age. Hermosos y malditos narra la historia de una pareja de recién casados, Anthony Patch, de Nueva York, y Gloria Gilbert, de Kansas City, punto de partida que escoge Francis Scott Fitzgerald para describir la decadencia de un matrimonio y de una sociedad hedonista donde la belleza y la fortuna son siempre demasiado fugaces. Muchos años después de su aparición, este clásico sigue siendo el más deslumbrante retrato de la alta sociedad estadounidense, de sus glorias y miserias; un retrato que trasciende su época y se erige en universal. «Fitzgerald era mejor escritor que nosotros dos juntos.» Carta de John O'Hara a John Steinbeck

Volume numero 11 della collana'Classici'a cura di Pierluigi Pietricola.Nick Carraway, voce narrante del romanzo, trasferitosi a New York nel 1922, affitta una casa a Long Island, brulicante di nuovi ricchi disperatamente impegnati a festeggiarsi a vicenda. Un vicino di casa colpisce Nick particolarmente: il misterioso Jay Gatsby, che abita in una casa enorme riempiendola ogni sera di invitati alle sue feste. Eppure vive in una disperata solitudine e si innamorerà insensatamente della cugina sposata di Nick, Daisy.Un capolavoro che, ambientato a cavallo fra gli anni Venti e l'ombra del disastro economico e morale successivo al primo conflitto bellico, che narra aspirazioni e psicologie di un mondo attraversato da fantasmatici eroi pronti a rinunciare anche a sé stessi pur di inseguire un sogno. Ma che, restando fedeli ai propri ideali, vengono schiacciati da una società indifferente e finiscono con il soccomberne.Dal romanzo è stato tratto l'omonimo film diretto da Baz Luhrmann e interpretato da Leonardo Di Caprio.

El gran Gatsby y El extraño caso de Benjamin Button son dos de los textos más reconocidos de Francis Scott Fitzgerald, considerado un clásico de la literatura norteamericana, cuya obra exquisita mantiene toda su actualidad y frescor. Gatsby, el caballero que reina sobre West Egg, el anfitrión de las noches sin tregua, pero también el triunfador marcado por el trágico sino de una soledad no pretendida, es el arquetipo de esos años veinte que se iniciaron con la Prohibición y discurrieron en el gansterismo y la corrupción política organizada. Protagonista de una década que culminaría con la catástrofe de 1929, su imagen de esplendor no hace sino anunciar un drama inevitable. El curioso caso de Benjamin Button es un relato de gran originalidad, inspirado en Mark Twain, quien comentó que era una pena que la mejor parte de la vida se diera al principio y la peor parte al final. Scott Fitzgerald decidió experimentar el proceso inverso en este relato: Benjamin Button nace con setenta años y misteriosamente cumple cada vez menos, rejuveneciendo paulatinamente. Tanto El gran Gatsby como El extraño caso de Benjamin Button han sido llevados al cine, con gran éxito y popularidad.

Escrita por Francis Scott Fitzgerald en Francia durante una tormentosa etapa de la relación con su mujer, Zelda Sayre, El gran Gatsby es su mejor novela, considerada actualmente un clásico de la literatura norteamericana. Fue publicada en 1925, cuatro años antes de que estallara la gran depresión económica de 1929, y narra una historia de amor imposible entre Jay Gatsby, un hombre de origen humilde que ha hecho fortuna tras combatir en la I Guerra Mundial, y Daisy Fay, emblema de una generación de jóvenes ricos y descontrolados que viven rápido, inmersos en una resaca colectiva que acabará por destruirlos. Definida por la crítica como la traición del sueño americano, ha sido llevada al cine en varias ocasiones, la última de ellas en 2012 por Baz Luhrmann, con Leonardo Di Caprio y Carey Mulligan de protagonistas.

«El gran Gatsby tiene pocos rivales como la gran novela americana del siglo XX. Al volver a leerla, una vez más, mi inicial y primera reacción es de renovado placer». Harold Blomm En los felices años veinte, en la era del jazz, la ciudad de Nueva York es el centro del universo. Hay música desenfrenada, noches en blanco y champán a raudales; hay contrabando, tiroteos y bonanza económica; y además está Gatsby. Jay Gatsby, enigmático, millonario y hecho a sí mismo, que organiza fiestas de ensueño en su babilónica mansión de Long Island, bailes a los que acude el mundo entero. Y eso incluye a la arrebatadora Daisy Buchanan, la mujer que una vez lo amó, antes de que la abandonase para luchar en Europa, antes de que permitiera que se casara con otro, tan deslumbrante, tan imposible de recuperar como lo es todo tiempo pasado... Una de las grandes novelas de la literatura estadounidense del siglo XX que se ofrece aquí en una nueva traducción, una obra única que, como escribe Jesús Ferrero en su esclarecedor prólogo, «hay que abordar como quien se adentra en un espacio oscilante y mágico, donde todo está matizado y sugerido hasta el dolor y la extenuación, y donde el lenguaje discurre como música de jazz, emitiendo en cada párrafo la luz resplandeciente y líquida de la más profunda y evanescente melancolía».

En una carta a Harold Ober, su editor, Francis Scott Fitzgerald le explicaba que concebía sus relatos como si fueran novelas. No se refería a la extensión naturalmente, ni a la complejidad de la trama, sino a las emociones que debían provocar, a su capacidad de conmover a los lectores. Esta explicación quizás encierra la clave de su modo de concebir relatos. Los mejores de ellos, que son muchos, podrían haber sido novelas. Por la hondura de los personajes, por el absoluto dominio sobre la historia que se está narrando, por la capacidad de hacer visible aquello que no se narra y que el lector descubre. La insistencia en las emociones recorre toda su obra, marcada por una serie de temas en los que probablemente sea el maestro indiscutido: las ambiciones de la juventud, el miedo al fracaso, las diversas y dolorosas maneras de desperdiciar una vida, el desamor, la soledad, lo irrecuperable. No hay que olvidar que uno de sus textos más célebres se titula Bancarrota emocional. Como tantos otros novelistas, Fitzgerald durante largo tiempo fue menospreciado como escritor de cuentos. El tiempo corrigió este desdén. Algunos de sus relatos son obras maestras y están entre lo mejor de la literatura norteamericana del siglo XX. Baste mencionar Babilonia revisitada, El diamante tan grande como el Ritz o El extraño caso de Benjamin Button. Esta antología preparada por Carlos Gamerro es una muestra reiterada de ese talento, de una voz distintiva. La prosa clara e iluminadora de Fitzgerald sorprende y emociona igual hoy que en su tiempo. Aquello en lo que tanto trabajó constituye su triunfo póstumo.

The Great Gatsby, F. Scott Fitzgerald's third book, stands as the supreme achievement of his career. First published in 1925, this quintessential novel of the Jazz Age has been acclaimed by generations of readers. The story of the mysteriously wealthy Jay Gatsby and his love for the beautiful Daisy Buchanan, of lavish parties on Long Island at a time when The New York Times noted “gin was the national drink and sex the national obsession,” it is an exquisitely crafted tale of America in the 1920s.

This carefully crafted ebook:'The Great Gatsby - The Original 1925 Edition'is formatted for your eReader with a functional and detailed table of contents. The Great Gatsby is a novel written by American author F. Scott Fitzgerald and first published in 1925. It follows a cast of characters living in the fictional town of West Egg on prosperous Long Island in the summer of 1922. The story primarily concerns the young and mysterious millionaire Jay Gatsby and his quixotic passion for the beautiful Daisy Buchanan. Considered to be Fitzgerald's magnum opus, The Great Gatsby explores themes of decadence, idealism, resistance to change, social upheaval, and excess, creating a portrait of the Jazz Age or the Roaring Twenties that has been described as a cautionary tale regarding the American Dream. Francis Scott Key Fitzgerald (1896 – 1940) was an American author of novels and short stories, whose works are the paradigmatic writings of the Jazz Age, a term he coined. He is widely regarded as one of the greatest American writers of the 20th century.

This book contains the following works arranged alphabetically by authors last names - What's Bred in the Bone [Grant Allen] - The Golden Ass [Lucius Apuleius] - Meditations [Marcus Aurelius] - Northanger Abbey [Jane Austen] - Lady Susan par [Jane Austen] - The Wonderful Wizard of Oz [Lyman Frank Baum] - The Art of Public Speaking [Dale Breckenridge Carnegie] - The Blazing World [Margaret Cavendish] - The Wisdom of Father Brown [Gilbert Keith Chesterton] - Heretics [Gilbert Keith Chesterton] - The Donnington Affair [Gilbert Keith Chesterton] - The Innocence of Father Brown [Gilbert Keith Chesterton] - Fanny Hill: Memoirs of a Woman of Pleasure [John Cleland] - The Moonstone [Wilkie Collins] - Lord Jim [Joseph Conrad] - The Further Adventures of Robinson Crusoe [Daniel Defoe] - The Pickwick Papers [Charles Dickens] - A Christmas Carol [Charles Dickens] - Notes From The Underground [Fyodor Mikhailovich Dostoyevsky] - The Gambler par Fyodor [Mikhailovich Dostoyevsky] - The Lost World [Arthur Conan Doyle] - The Hound of the Baskervilles [Arthur Conan Doyle] - The Sign of the Four [Arthur Conan Doyle] - The Man in the Iron Mask [Alexandre Dumas] - The Three Musketeers [Alexandre Dumas] - This Side of Paradise [Francis Scott Fitzgerald] - Curious, If True: Strange Tales [Elizabeth Cleghorn Gaskell] - King Solomon's Mines [Henry Rider Haggard] - The Hunchback of Notre Dame [Victor Hugo] - Kim [Rudyard Kipling] - Captains Courageous [Rudyard Kipling] - The Jungle Book [Rudyard Kipling] - Lady Chatterley's Lover [David Herbert Lawrence] - The Son of the Wolf [Jack London] - The Einstein Theory of Relativity [Hendrik Antoon Lorentz] - The Dunwich Horror [Howard Phillips Lovecraft] - At the Mountains of Madness [Howard Phillips Lovecraft] - The Prince [Niccolò Machiavelli] - The Story Girl [Lucy Maud Montgomery] - The Antichrist [Friedrich Wilhelm Nietzsche] - The Republic [Plato] - The Last Man [Mary Shelley] - Life On The Mississippi [Mark Twain]

A Fitzgerald összes elbeszéléseinek általam összeállított harmadik kötete a következő elbeszéléseket tartalmazza. (Igyekeztem a kronológiai sorrendet betartani, de ez különböző okokból kifolyólag nem mindig sikerül): 1924-ben Fitzgerald még képes volt családi problémáit úgy kezelni, hogy egyszerűen „pénzcsináló” humoros elbeszéléseket írt belőlük. Így a Rag Marin Jones és a walesi herceg III. Kötet szemmel látható megismétlése annak, amit a Kalóz a szigeten mesél: egy gazdag fiatalember azzal nyeri el egy unatkozó dúsgazdag örökösnő kezét, hogy színjátékot rendez neki. Az egy éjszaka alatt megírt Babazsúr egy roppant egyszerűnek látszó kis történet arról, hogy miért veszett össze két szomszédos házaspár egy gyerekzsúr miatt. A Kidobott pénz (The Penny Spent) is egy olyan elbeszélés, mely azt mondja el, hogy a pénznek, vagy a vagyonnak semmi köze sincs az igazi nagy szerelemhez. Ez is többször ismétlődő téma Fitzgeraldnál. Lásd például a Rags Martinn Jones-t. A Saturday Evening Postban jelent meg először 1925. október 10-én, de aztán csak az Egy csöppnyi Édenben (Bits of Paradise) 1976-ban, és utoljára. Valamiért nem tartozott a népszerű novellák közé, és a kritika sem foglakozott vele eléggé, pedig jó és szellemes. A Tánc (The Dance) olyan, mint egy modern krimi, de a témája szintén a szerelem, valamint az Észak és a Dél közötti kulturális ellentét, mely szintén nem új keletű téma Fitzgerald oeuvre-jében. Megjelent a Red Book Magazine-ben, 1926 júniusában, majd 1976-ban a Bits of Paradise-ban (Egy csöppnyi Éden) is. Ezt a történetet (Your Way and Mine) Fitzgerald 1926 februárjában írta a Salies-de-Bearn-i gyógyfürdőn a Francia Pireneusokban, ahol két hónapig „lebzselt” Zelda betegsége miatt. Az elbeszéléshez mellékelt levélben Fitzgerald ezt írta Obernek: „Ettől rosszabb elbeszélést talán még soha életemben nem írtam. Egyszerűen borzalmas! A közepénél már egyáltalán nem érdekelt… Nagyon kérlek – és ezt komolyan mondom – ne ajánld a Post-nak. Ahogy most állnak a dolgaim, azt hiszem, ez nem lenne jó taktika. A Red Book-nak se ajánld. Ebben a történetben semmi sincs az igazi énemből. Kétségbeesetten belevágtam egy történetbe – kitaláltam egy üzleti témát – olyasmit, amiben nem mozgok otthonosan. Kapjak inkább 1000 dollárt érte valamilyen másodrendű folyóirattól, mint a kétszeresét más valakitől. Nagyon erősen így érzek.” Az elbeszélést 1927 májusában viszont a Woman's Home Companion szívesen közreadta, és olvasóknak nyilván tetszett, mert ez követően a Metro Newspaper Service szintén közölte. Ezek szerint mégsem lehetett olyan rossz, mint amilyennek Fitzgerald képzelte. A Látogatás egy régi házban (A Short Trip Home) egy kísértethistória, méghozzá remek, Edgar Allan Poe stílusában. Az embernek a hideg futkos a hátán olvasás közben. Egy fiatal férfi találkozik a természetfelettivel, és megpróbál – sikeresen – megakadályozni egy életveszélyes viszonyt egy kísértet és egy elő széplány között. Matthew J. Bruccoli, Fitzgerald életrajzírója elmondja, hogy 1926 decemberében két és fél éves franciaországi tartózkodása után az író visszatért Amerikába. Montgomeryben (Zelda szülővárosa) elfogadta John W. Considine-nak, az United Artist producerének felkérését arra, hogy írjon filmet a flapperek világáról. Fitzgerald elfogadta a felkérést, mert (mint mindig) kellett a pénz. Az volt a megállapodás, hogy Considine 3.500 dollárt fizet, amint elkészül a forgatókönyv, és 12.000 dollárt, ha jónak találja és elfogadja. Fitzgerald úgy gondolta, hogy három hét alatt megírja, ám e helyett Zelda és ő 1927. január elejétől március közepéig csak szórakozással, mulatozásokkal töltötte idejét Hollywoodban. A forgatókönyvet (Lipstick = A rúzs) Considine áprilisban visszadobta, nem tetszett ne

Az én „Fitzgerald-összesem” első kötetének utolsó elbeszélése A jégpalota volt, a huszadik. Így időrendben a huszonegyedik a Majális New Yorkban (May Day), ami tulajdonképpen, nem is elbeszélés, hanem már majdnem egy egész regény, de annak azért rövid lenne. Ezért szaknyelven „csak” kisregénynek mondjuk. Az eredeti címe – a May Day – mélyen szimbolikus. Először is általános tavaszi népünnepélyt jelent az egész északi féltekén. Sok kultúrában is hagyományos tavaszi ünnep a május elseje, a majális. Táncolnak, énekelnek, sütnek, főznek, örvendeznek ezen a napon az emberek. A nemzetközi munkásmozgalom napjaként is méltatják, méltatták nálunk, Magyarországon is, de csak a tizenkilencedik század végétől a chicagói Haymarketben kirobbant véres események nyomán, de ez az ünnepnap nem azonos a hagyományos májusi népünnepélyekkel. Ennek az elbeszélésnek a háttere viszont az 1919 évi májusi zendülés Ohióban, melynek következtében két ember meghalt és vagy százat letartóztattak. A zendülés politikai jellegű volt: a tiltakozók egy csoportja piros zászlókkal akart felvonulni. Ezt az eseményt követően az Egyesült Államokban általános lett a kommunizmus terjeszkedésétől való félelem, ami aztán erősen beárnyékolta az amerikai történelmet az elkövetkező évtizedekben. Az író ennek is hangot ad kisregényében. 1919. május elsején, azon a napon, amikor a Fitzgerald elbeszélésében történtek elkezdődtek, kommunistaellenes tűntetések vagy lázongások voltak több amerikai nagyvárosban. New Yorkban katonák és tengerészek támadták meg a szocialista The Call újság irodáit a Negyedik Avenue 112-ben. Az egyik újságíró huszonöt láb magasból kiugrott az ablakon, hogy az inzultust elkerülje, és meghalt. A lap tizenegy munkatársa sérült meg komolyabban. Ugyanakkor Fitzgerald rámutat az „elveszett nemzedék” helyzetére is és szembehelyezi a tavaszvárást, egy új életforma (a dzsesszkorszak) kezdetét e nemzedék lelki állapotával, kilátástalanságával, mely elől nem egy fiatal csak a halálba való menekülésben látott kiutat. Ilyen értelemben az eredeti cím nemcsak, sőt egyáltalán nem munkásmozgalmi eseményekre utal, hanem sok minden másra. Ezért is cseréltem fel B. Nagy László korábbi fordításának címét (Május 1 New Yorkban) ezzel: Majális New Yorkban. A szerző egyébként így vall erről a történetről: „Ez a kissé komor mese, mely a Smart Set-ben jelent meg 1920.július havában, azokról az eseményekről kíván beszámolni, melyek az ezt megelőző év tavaszán történtek New Yorkban. Mind a három eset nagy hatás gyakorolt rám. Az események tulajdonképpen nem is függtek össze egymással, legfeljebb csak annyiban, hogy akkor tavasszal kezdődött egy általános hisztéria, mely a dzsesszkorszaknak volt a beharangozója. Ám ebben az elbeszélésben megpróbáltam – tartok tőle, sikertelenül – mégis összefüggően ábrázolni őket, hogy az akkori New York-i fiatalok legalább egyike fel tudja fogni, mi is történt ténylegesen azokban a keserves hónapokban.” A Nagyobb gyémánt, mint a Ritz úgyszintén Fitzgerald halhatatlan kisregényeinek egyike. A saját mondanivalóm helyett inkább újfent a szerzőt idézem: „ A Nagyobb gyémánt, mint a Ritz, melyet az elmúlt nyáron hozott le a Smart Set, csupán csak azért született, mert a megírása kimondottan elszórakoztatott. Akkoriban épp abban az általam szokvány hangulatomban voltam, amikor is az ember a legnagyobb luxusra vágyik, és a történet valahogy úgy is kezdődik, hogy megpróbálja kielégíteni az ilyen képzeletbeli táplálék iránti vágyakozásomat. Egy közismert kritikusnak úgy tetszett, hogy ezt a szertelenségemet valahogy jobban kedveli, mint bármi mást, amit eddig írtam. Nekem személyesen jobban tetszik a Kalóz a szigeten (Offshore Pirate), de hogy – nem egészen pontosan – Lincoln szavaival éljek, „ha az ilyesmit szereted, akkor ez valószínűleg olyasmi, amit szeretsz.” A Benjamin Buttonról pedig a szerző így

Monroe Stahr é um bem-sucedido e carismático produtor de Hollywood, magnata e workaholic. Vive em uma fogueira das vaidades, em meio a cinismo, hipocrisia, promiscuidade e pessoas dispostas a tudo para serem imortalizadas nas telas do cinema. Mas Stahr, este Grande Gatsby da indústria cine­matográfica, não consegue superar a morte de sua esposa, Minna, uma famosa atriz. Até que uma visão o domina: a de uma desconhecida muito parecida com sua falecida mulher...

Pubblicato per la prima volta nel 1920 sulla rivista «The Smart Set», è uno dei racconti appartenenti alla raccolta L'età del jazz, in cui Fitzgerald raccontò la vita, gli eccessi e le sommosse che squassarono gli Stati Uniti del primo dopoguerra. Alla narrazione delle difficili vite di nuovi e vecchi ricchi, reduci di guerra, membri delle confraternite e modaioli di party esclusivi, fanno da sfondo gli scontri e le aggressioni della “Paura rossa” (1917-1920), il periodo disseminato di attentati politici, assalti nelle redazioni dei giornali socialisti, ribellioni sindacali e scioperi nelle fabbriche. Il Primo maggio si mostra così in tutta la sua natura bifronte: da una parte la festa gioiosa per l'inizio della primavera, dall'altra il simbolo della lotta e della ribellione.

Toți acei tineri triști reunește nouă povestiri scrise de Scott Fitzgerald într-o perioadă mai puțin luminoasă a vieții, marcată de deziluzii artistice și sentimentale, de dificultăți financiare și de boală. Volumul realizează o tranziție de la povestirile șlefuite din epoca jazzului la unele mai mature, admirabil construite, care abordează teme extrem de variate, precum căutarea adevărului absolut sau a femeii ideale, destrămarea visurilor din tinerețe, dar și vanitatea, egoismul, neastâmpărul și plictiseala femeii din America anilor'20-'30. Sentimentul de profundă decepție față de femei ce impregnează aceste povestiri nu devine însă nici o clipă apăsător, fiind contrabalansat cu o dexteritate de jongler de umor spumos, ironie acidă și răsturnări de situație absolut surprinzătoare.

Povestiri cu Basil și Josephine reunește cele 14 povestiri scrise de Scott Fitzgerald de-a lungul anului 1928, în timp ce lucra la romanul Blândețea nopții. Cei doi eroi, Basil Duke Lee, personaj în care se poate distinge profilul autorului însuși, surprins în copilărie și adolescență, și replica sa feminină, Josephine Perry, a cărei sursă de inspirație este Ginevra King, prima iubire a lui Scott Fitzgerald, sunt doi tineri privilegiați. Povestirile înfățișează evoluția dramatică a celor două personaje și vorbesc despre relații sociale, moralitate, putere, ambiție, frumusețe și emoții – despre devenire și viața ca suită de nenumărate începuturi.

Ca și Marele Gatsby, Cei frumoși și blestemați (1922) este o poveste despre America anilor'20, o epocă tumul¬tuoasă în care arta, dragostea și banii sînt aproape invariabil însoțite de ambiții nebunești, talente irosite și eșecuri ireparabile, cînd consumul nemăsurat de alcool și strălucirea vieții de noapte devin adevăratul crez al acelei generații despre care Fitzgerald însuși a spus că'a crescut pentru a-și găsi toți sfinții morți, toate războaiele purtate, toată credința în om zdrunci-nată“. Anthony Patch, figura centrală a romanului, este un tînăr estet sofisticat cu studii la Harvard, pe care aburii alcoolului îl vor transforma într-o'epavă josnică și dezgustătoare“. Episodul nefericitei căsătorii cu Gloria – despre care s-a spus că ar fi inspirat din povestea reală de dragoste a lui Fitzgerald și a Zeldei Sayre – se încheie cu prăbușirea celor doi în abisul degradării fizice și morale, un memento amar al strălucirii risipite și al tinereții distruse.'Cei frumoși și blestemați este, printre altele, un studiu al vieții conjugale – o schiță în nuanțe întunecate de sepia. Egoiști, dar fermecători, Anthony și Gloria ar putea să se îndrepte spre cariere de succes în literatură și cinematografie. Cuplul lor radiază o strălucire aparte, însă, pentru că nici unul din ei nu este înzestrat cu scînteia care ar face din această strălucire o flacără creatoare, nimbul care îi înconjoară pălește, se întunecă și dispare. Poate că acesta este rezultatul concluziei amare a lui Fitzgerald că aura unor asemenea oameni este un dar otrăvit dacă nu conduce la o capodoperă, așa cum este romanul de față.“ (The New York Times)

Volumul cuprinde o selecție de povestiri celebre, începând cu „Strania poveste a lui Benjamin Button“, care a inspirat în anul 2008 o celebră ecranizare, cu Brad Pitt și Cate Blanchett în rolurile principale. Filmul a fost distins cu trei premii Oscar, trei premii BAFTA și a obținut cinci nominalizări la Globul de Aur.

Un tânăr fascinat de visul american, proaspăt venit la New York și doritor de succes, Nick Carraway, împărtășește povestea transformării lui James Gatz în Jay Gatsby. Pe fundalul unei Americi prospere, dar haotice, Gatz, mânat de mirajul iubirii față de Daisy Buchanan, își schimbă viața, devenind din student la Oxford gangster, traficant de băuturi alcoolice și apoi milionar. Iubirea sa pentru Daisy nu se împlinește însă; rămâne povestea donquijotescă a Marelui Gatsby, desfășurată odată cu un iluzoriu, nesfârșit American dream.

In 1922, F. Scott Fitzgerald announced his decision to write'something new--something extraordinary and beautiful and simple + intricately patterned.'That extraordinary, beautiful, intricately patterned, and above all, simple novel became The Great Gatsby, arguably Fitzgerald's finest work and certainly the book for which he is best known. A portrait of the Jazz Age in all of its decadence and excess, Gatsby captured the spirit of the author's generation and earned itself a permanent place in American mythology. Self-made, self-invented millionaire Jay Gatsby embodies some of Fitzgerald's--and his country's--most abiding obsessions: money, ambition, greed, and the promise of new beginnings.'Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eluded us then, but that's no matter--tomorrow we will run faster, stretch out our arms farther.... And one fine morning--'Gatsby's rise to glory and eventual fall from grace becomes a kind of cautionary tale about the American Dream. It's also a love story, of sorts, the narrative of Gatsby's quixotic passion for Daisy Buchanan. The pair meet five years before the novel begins, when Daisy is a legendary young Louisville beauty and Gatsby an impoverished officer. They fall in love, but while Gatsby serves overseas, Daisy marries the brutal, bullying, but extremely rich Tom Buchanan. After the war, Gatsby devotes himself blindly to the pursuit of wealth by whatever means--and to the pursuit of Daisy, which amounts to the same thing.'Her voice is full of money,'Gatsby says admiringly, in one of the novel's more famous descriptions. His millions made, Gatsby buys a mansion across Long Island Sound from Daisy's patrician East Egg address, throws lavish parties, and waits for her to appear. When she does, events unfold with all the tragic inevitability of a Greek drama, with detached, cynical neighbor Nick Carraway acting as chorus throughout. Spare, elegantly plotted, and written in crystalline prose, The Great Gatsby is as perfectly satisfying as the best kind of poem.

There's little comfort in the wise. Rupert Brooke. Experience is the name so many people give to their mistakes. Oscar Wilde / To SIGOURNEY FAY Amory Blaine inherited from his mother every trait, except the stray inexpressible few, that made him worth while. His father, an ineffectual, inarticulate man with a taste for Byron and a habit of drowsing over the Encyclopedia Britannica, grew wealthy at thirty through the death of two elder brothers, successful Chicago brokers, and in the first flush of feeling that the world was his, went to Bar Harbor and met Beatrice O'Hara. In consequence, Stephen Blaine handed down to posterity his height of just under six feet and his tendency to waver at crucial moments, these two abstractions appearing in his son Amory. For many years he hovered in the background of his family's life, an unassertive figure with a face half-obliterated by lifeless, silky hair, continually occupied in'taking care'of his wife, continually harassed by the idea that he didn't and couldn't understand her. But Beatrice Blaine! There was a woman! Early pictures taken on her father's estate at Lake Geneva, Wisconsin, or in Rome at the Sacred Heart Convent—an educational extravagance that in her youth was only for the daughters of the exceptionally wealthy—showed the exquisite delicacy of her features, the consummate art and simplicity of her clothes. A brilliant education she had—her youth passed in renaissance glory, she was versed in the latest gossip of the Older Roman Families; known by name as a fabulously wealthy American girl to Cardinal Vitori and Queen Mar-gherita and more subtle celebrities that one must have had some culture even to have heard of. She learned in England to prefer whiskey and soda to wine, and her small talk was broadened in two senses during a winter in Vienna. All in all Beatrice O'Hara absorbed the sort of education that will be quite impossible ever again; a tutelage measured by the number of things and people one could be contemptuous of and charming about; a culture rich in all arts and traditions, barren of all ideas, in the last of those days when the great gardener clipped the inferior roses to produce one perfect bud.

In 1913, when Anthony Patch was twenty-five, two years were already gone since irony, the Holy Ghost of this later day, had, theoretically at least, descended upon him. Irony was the final polish of the shoe, the ultimate dab of the clothes-brush, a sort of intellectual'There!'—yet at the brink of this story he has as yet gone no further than the conscious stage. As you first see him he wonders frequently whether he is not without honor and slightly mad, a shameful and obscene thinness glistening on the surface of the world like oil on a clean pond, these occasions being varied, of course, with those in which he thinks himself rather an exceptional young man, thoroughly sophisticated, well ad-justed to his environment, and somewhat more significant than any one else he knows. This was his healthy state and it made him cheerful, pleasant, and very attractive to intelligent men and to all women. In this state he considered that he would one day accomplish some quiet subtle thing that the elect would deem worthy and, passing on, would join the dimmer stars in a nebulous, indeterminate heaven half-way between death and immortality. Until the time came for this effort he would be Anthony Patch—not a portrait of a man but a distinct and dynamic personality, opinionated, contemptuous, functioning from within outward—a man who was aware that there could be no honor and yet had honor, who knew the sophistry of courage and yet was brave. A WORTHY MAN AND HIS GIFTED SON Anthony drew as much consciousness of social security from being the grandson of Adam J. Patch as he would have had from tracing his line over the sea to the crusaders. This is inevitable; Virginians and Bostonians to the contrary notwithstanding, an aristocracy founded sheerly on money postulates wealth in the particular. Now Adam J. Patch, more familiarly known as'Cross Patch,'left his father's farm in Tarrytown early in sixty-one to join a New York cavalry regiment. He came home from the war a major, charged into Wall Street, and amid much fuss, fume, applause, and ill will he gathered to himself some seventy-five million dollars.

Trees filtering light onto dapple grass. Trees like tall, languid ladies with feather fans coquetting airily with the ugly roof of the monastery. Trees like butlers, bending courteously over placid walks and paths. Trees, trees over the hills on either side and scattering out in clumps and lines and woods all through eastern Maryland, delicate lace on the hems of many yellow fields, dark opaque backgrounds for flowered bushes or wild climbing garden. Some of the trees were very gay and young, but the monastery trees were older than the monastery which, by true monastic standards, wasn't very old at all. And, as a matter of fact, it wasn't technically called a monastery, but only a seminary; nevertheless it shall be a monastery here despite its Victorian architecture or its Edward VII additions, or even its Woodrow Wilsonian, patented, last-a-century roofing. Out behind was the farm where half a dozen lay brothers were sweating lustily as they moved with deadly efficiency around the vegetable-gardens. To the left, behind a row of elms, was an informal baseball diamond where three novices were being batted out by a fourth, amid great chasings and puffings and blowings. And in front as a great mellow bell boomed the half-hour a swarm of black, human leaves were blown over the checker-board of paths under the courteous trees. Some of these black leaves were very old with cheeks furrowed like the first ripples of a splashed pool. Then there was a scattering of middle-aged leaves whose forms when viewed in profile in their revealing gowns were beginning to be faintly unsymmetrical. These carried thick volumes of Thomas Aquinas and Henry James and Cardinal Mercier and Immanuel Kant and many bulging note-books filled with lecture data.

Traducere si note de Virgil Stanciu Primul dintre cele cinci romane ale lui F. Scott Fitzgerald Dincoace de Paradis (1920) scris ca un fel de pariu pentru a o cuceri pe frumoasa Zelda Sayre este semi-autobiografic: el relateaza anii de ucenicie ai unui alter-ego numit Amory Blaine student ca si autorul la Princeton University in anii de dinaintea si din timpul primului razboi mondial. Este un roman al formarii modelat dupa Portret al artistului in tinerete al lui Joyce si totodata un „roman american al campusului“ (printre primele de acest fel) care examineaza dintr-un unghi duios-comic viata studenteasca dintr-o universitate din Ivy League. Prin tulburarile sociale si amoroase ale lui Amory Blaine cititorul face cunostinta cu America inceputului de veac XX. Intr-un fel se poate spune ca Dincoace de paradis este romanul celebrei „generatii a jazz-ului“ a aspiratiilor viselor si contestarilor acesteia urmate de dezamagirile aduse de viata adulta si responsabila.

Actuala ediție a romanului Dragostea ultimului magnat, realizată de Matthew J. Bruccoli, este rezultatul unor cercetări îndelungate și aprofundate, menite să restaureze structura, stilul și imagistica lui Fitzgerald. Rămasă neterminată, cartea a fost publicată într-o primă variantă în 1941, cu titlul Ultimul magnat. Inspirat din biografia lui Irving Grant Thalberg, „copilul-minune“ al cinematografiei hollywoodiene de la începutul secolului XX, romanul urmărește ascensiunea lui Monroe Stahr, un producător american care încearcă să-și croiască drum într-o lume dificilă și plină de intrigi, în care se îmbină strălucirea înșelătoare a platourilor de filmare cu tensiunile latente din culisele acestora, aventurile amoroase toride cu relațiile de putere. În 1976, Elia Kazan a ecranizat romanul, dându-i celebrului Harold Pinter sarcina adaptării și distribuindu-l în rolul principal pe Robert De Niro.

「他常想著要做個好人，要慈善、要勇敢、要睿智，不過這一切都相當困難。如果有機會的話，他也希望為人所愛。」 年輕貌美、正在影壇崛起的蘿絲瑪麗來到南法度假，結識了如神仙眷侶一般、魅力無窮的戴佛夫婦，並一見鍾情愛上了風度翩翩的迪克‧戴佛。不過這對夫妻表面光鮮亮麗，背後卻有難言之隱。迪克原是才華出眾、前程似錦的精神科醫師，卻愛上富家女病患妮可，抱著感情與憐憫娶了她，過起浮華閒散、相互依賴的生活。妮可不穩定的精神狀態讓迪克耗盡心神，蘿絲瑪麗的出現讓糾纏不清的情結更添複雜。時光荏苒，逐漸染上酒癮的迪克這才發覺，救贖與沉淪只有一線之隔，而一輩子的苦心到了最後卻什麼也留不下，只有夜色依舊溫柔。 《夜未央》是費茲傑羅完成的最後一部長篇小說，在妻子進出精神病院、個人酗酒問題纏身、債台日漸高築的八年間，嘔心瀝血著就。既是最貼近作者個人生命的告白之作，也是最具野心的微觀史詩。與璀璨耀眼如星光的《大亨小傳》相較，此書就有如廣闊黝暗的夜空，複雜的人物與敘事或許令人茫然，但細細體會可發覺其中包含著無限溫柔的胸懷，因此將永遠與《大亨小傳》並列為費茲傑羅的傳世之作。

O Curioso Caso de Benjamin Button é um conto tocante e inesquecível. Escrito por Francis Scott Fitzgerald em 1922, o livro conta a história de Benjamin que nasceu com a aparência de um homem idoso. Conforme cresce, Benjamin vai rejuvenescendo e vivendo experiências como o amor, a solidão, a perda e o medo. O autor declarou que o conto era de um de seus mais preciosos escritos. Esse mesmo trabalho inspirou o filme O Curioso Caso de Benjamin Button.

Il grande Gatsby è il primo passo fatto dalla narrativa americana dopo Henry James. T. S. Eliot

Innamorarsi di una paziente è pericoloso, Dick, e da psichiatra, tu, dovevi saperlo. Hai scelto la strada più difficile, hai preso la decisione più folle, hai deciso di sposarla e ora tutte le tue certezze rischiano di sgretolarsi. Forse non ti rendevi conto di cosa nascondeva la bellezza di Nicole. Di sicuro non potevi sapere che Rosemary, con il suo fascino da attrice e la sua candida ingenuità, avrebbe rotto questo equilibrio delicato, avrebbe fatto di Parigi, della Costa Azzurra e di Roma il simbolo del tuo disagio, il palcoscenico del tuo fallimento matrimoniale. E quando le feste e gli amici si trasformano in ombre sbiadite, quando la bottiglia diventa l'unico modo per affrontare i problemi, non resta che mettersi da parte, fuggire, lasciarsi alle spalle questa generazione perduta...

This carefully crafted ebook: “The Love of the Last Tycoon: a Western + Fitzgerald's Notes for The Last Tycoon - The Original 1941 Edition” is formatted for your eReader with a functional and detailed table of contents. The Love of The Last Tycoon is an unfinished novel by F. Scott Fitzgerald, compiled and published posthumously. The notes for the novel were initially collected and edited by the literary critic Edmund Wilson, who was a close friend of Fitzgerald, and the unfinished novel was published in 1941 as The Last Tycoon, though there is now critical agreement that Fitzgerald intended The Love of the Last Tycoon to be the book's title. Inspired by the life of film producer Irving Thalberg, on whom protagonist Monroe Stahr is based, the story follows Stahr's rise to power in Hollywood, and his conflicts with rival Pat Brady, a character based on studio head Louis B. Mayer. Francis Scott Key Fitzgerald (1896 – 1940) was an American author of novels and short stories, whose works are the paradigmatic writings of the Jazz Age, a term he coined. He is widely regarded as one of the greatest American writers of the 20th century.