Audio Reading of F Scott Fitzgerald My Lost City

F. Scott Fitzgerald 1896-1940

All-time known for The Great Gatsby (1925) and Tender Is the Night (1934)—two keystones of modernist fiction—Francis Scott Fitzgerald (1896-1940) was the poet laureate of the "Jazz Age," a term he popularized to convey the post-Earth War I era'due south newfound prosperity, consumerism, and shifting sexual mores.

Fitzgerald starting time rose to fame at twenty-three past chronicling those changes in This Side of Paradise (1920). Before the historic period of xxx he published his masterpiece, Gatsby, but its artistic maturity was stymied for a decade past alcoholism, financial issues, and the mental illness of his married woman, Zelda Sayre (1900-1948). By the time he completed Tender, the Depression had rendered the Roaring Twenties irrelevant, and Fitzgerald was considered a has-been. A one-half-decade later, he died in semi-obscurity, considered a failure, despite publishing 160+ short stories in his 20-year career. Only posthumously would critics appreciate his claim, although understanding of his talent would compete with popular interest in his life and marriage.

Fitzgerald'due south main themes are ambition and loss, discipline vs. cocky-indulgence, love and romance, and money and grade. Much like Ernest Hemingway and William Faulkner, his work is instantly recognizable due to its distinctive prose way. Whereas Hemingway'south is sparse and Faulkner's veers toward psychological brainchild, Fitzgerald's is intensely poetic to the point of rhapsodic, elevating his laments into veritable threnodies for the sureties and stable values that he felt modernity superannuated.

Born September 24, 1896, Fitzgerald suffered from a life-long inferiority complex that he later claimed distinguished him from Hemingway, his principal rival. "I talk with the authority of failure," he insisted. "Ernest with the authority of success" (Notebooks 318). His sense of defeat was the production of several formative setbacks that became the building blocks of his fiction. The son of an unsuccessful man of affairs who had to rely upon his wife's inheritance to support his children, Fitzgerald was sensitive to his family's outsider status amidst the monied elite of his native St. Paul, Minnesota. An indifferent educatee, he found his craving for recognition hampered by poor grades that interfered with his extracurricular pursuits of popularity, especially after he flunked out of Princeton University in 1917.

Nor were his aspirations for military heroism any more than successful. Although deputed as a second lieutenant during the Great War, he described himself every bit the "army's worst aide-de-military camp" (Fissure-Up 85)—largely because he preferred writing his first novel to tactics and training. As his 1936 story "I Didn't Go Over" suggests, the fact that he never saw gainsay—the Armistice arrived as his infantry regiment was preparing to ship away—was an additional lifelong regret.

Of fifty-fifty greater influence were his early romantic disappointments. Fitzgerald's desire for acceptance in the haute monde led him to court debutantes from whose circles he was doomed to be rejected. At nineteen, while dating Ginevra King, the daughter of a wealthy Illinois broker, he overheard a family fellow member of hers (accounts differ equally to whom) remark, "Poor boys shouldn't think of marrying rich girls" (Ledger 17). 2 years later, while he was stationed at Military camp Sheridan in Montgomery, Alabama, Zelda Sayre declined his initial marriage proposal because of his poor career prospects.

These snubs combined to go his most feature plotline, which typically revolves around the efforts of young men of humble backgrounds to prove themselves worthy of the daughters of a wealthier class. That Fitzgerald explored this theme both farcically ("The Offshore Pirate" [1920]) also as tragically ("Winter Dreams" [1922], Gatsby) is indicative of how thoroughly his perceived unworthiness stamped him.

Because Fitzgerald promoted his fiction as autobiographical, early critics tended to dismiss him as a "facile" writer. All the same he never would have attracted the wide audience he did during his peak years of popularity (1920-1925) had he non possessed a talent for presenting personal milestones as representative of peers' collective experience. This Side of Paradise sold upwards of 50 1000 copies because protagonist Amory Blaine'southward thwarted ambitions are depicted as generational dilemmas: his failures in love and college are attributed not just to personal shortcomings but to the sweeping changes of modern life, which caused young people to grow up "to detect all gods expressionless, all wars fought, all faiths shaken" (260). With its unflattering portraits of adults and unrepentant vignettes of teenage initiation rituals—drinking and petting, virtually notoriously—Paradise gave vocalism to postwar youth past offering a realistic treatment of adolescent disaffection. In doing and then, the book established the template for such 20th-century coming-of-age novels as J. D. Salinger'south The Catcher in the Rye (1951) and Sylvia Plath's The Bell Jar (1963)—works that, like Paradise, resist the traditional Bildungsroman model by declining to conclude with their heroes entering adulthood.

More immediately, both the novel and Fitzgerald'southward earliest curt stories—nigh published in The Saturday Evening Mail service—popularized a character type with which he remains inexorably associated: the flapper. With their bobbed hair, knee joint-baring skirts, and unapologetic coquetry, heroines such equally Paradise's Rosalind Connage, Marcia Meadow in "Head and Shoulders," Ardita Farnam in "The Offshore Pirate," and Emerge Carrol Happer in "The Ice Palace" (all 1920) modeled for female readers a self-consciously rebellious subcultural identity that freed them from the strictures of Victorian femininity. Nowhere is that liberty more obvious than when a character invokes Louisa May Alcott in "Bernice Bobs Her Hair" (also 1920): "Oh, please don't quote Fiddling Women!" Marjorie Harvey responds. "What modern daughter could live similar those inane females?" (Short Stories 33).

Fitzgerald capitalized upon adult worries over "flaming youth" by entitling his first story collection Flappers and Philosophers (1920), his 2nd Tales of the Jazz (1922), and by opining on adolescent mores in interviews and articles. Fifty-fifty after the vogue for flappers faded, he remained fascinated with youth. Between 1927 and 1931, he wrote a series of 13 "juveniles" for the Mail that follow Basil Knuckles Lee and Josephine Perry through their tardily teens. Although nowhere near likewise-known as Gatsby or Tender, these pieces, posthumously collected as The Basil and Josephine Stories (1973), offer as nuanced a portrait of the paysage moralisée as one will observe on any shortlist of "young-developed" classics.

Despite his fixation with youth, Fitzgerald knew that to be regarded equally more a "flapper novelist" he must reach across his firsthand generational focus to accost broader cultural concerns. One interest that immune him to practise this was coin. Keenly aware of the expanding consumer marketplace, he examined the ways in which the Victorian values of difficult work and frugality were losing their moral valence to a new mindset of abundance and leisure-time indulgence. At times he parodied the previously unimaginable wealth amassed by barons such every bit John D. Rockefeller. "The Diamond as Big as the Ritz" (1922) tells the fantastical story of the world's richest man, who lives on a mountain-sized diamond in the Montana Rockies. The irony is that Braddock Washington'southward net worth is far from stable, for his diamond is so big that "if it were offered for sale not merely would the lesser fall out of the marketplace, merely besides, if the value should vary … there would not be enough gold in the world to purchase a tenth of information technology" (Short Stories 193). Washington must thus keep the diamond'due south existence secret, which in turn requires him to either imprison or kill anyone who trespasses upon his Xanadu-like estate—a commentary both on the cutthroat extremes men like Rockefeller were said to go to protect their fortunes from the volatility of commodity markets but also the increasingly abstruse and transitory nature of monetary values themselves.

In other cases, Fitzgerald preferred to moralize rather than satirize. His second novel, The Cute and Damned (1922), traces the disuse of an upperclass New York couple, Anthony and Gloria Patch, as they look an inheritance from Anthony's wealthy grandfather. Without any guiding motivation in life, Anthony and Gloria succumb to drinkable, concupiscence, and infidelity, their degeneration only accelerating after they observe themselves excluded from their patriarch's will. Heavily influenced by naturalist fiction, The Beautiful and Damned is marred by didactic authorial intrusions and a disruptive ending whose irony escaped many contemporary readers. (The Patches win a legal battle that recovers their lost fortune, but only later a breakdown that renders Anthony an invalid). Yet, despite its flaws, the novel captures the fearfulness that prosperity encouraged laxity and dissipation.

Fitzgerald would explore this theme more than successfully in his nigh anthologized short story, "Babylon Revisited" (1931). Charles Wales is a more sympathetic graphic symbol than Anthony Patch considering he recognizes how the extravagance afforded by the balderdash market place cost him his family and landed him in a sanitarium. Fifty-fifty if his nostalgia for reckless living undermines his insistence that he has regained his moorings, his regret inspires incisive criticism of how abundance distorted his sense of reality: "The snowfall of twenty-ix wasn't real snow," Charlie concludes. "If you didn't want information technology to be snow, you just paid some money" (Brusk Stories 633). In still other efforts, Fitzgerald trumpeted the Protestant work ethic as intently as any Babbittesque Rotarian that Sinclair Lewis might skewer. One of his most widely read stories during his lifetime, "George Jackson's Arcady" (1924), concerns a disillusioned businessman who discovers how many lives he has benefited by epitomizing the virtues of honorable effort and civic giving. Although nigh forgotten today, this proto-It'southward a Wonderful Life tale was accounted so inspirational that in 1928 it was republished in pamphlet form equally part of a series promoting public readings of motivational texts.

1 reason that Fitzgerald's critiques of Roaring Twenties mores continue to resonate has to do with what critics phone call his "dual perspective" or "double vision." His work does not merely sermonize confronting easy coin and irrational exuberance. Instead, information technology acknowledges their appeal with great empathy, allowing readers to experience their allure rather than condemning them from a altitude. The result, as Malcolm Cowley observed, is a mixture of a "maximum of immersion" combined with a "maximum of critical attachment" that creates a beguiling aureola of ambiguity ("Double Man" 9).

The summit of this trait is The Peachy Gatsby, in which narrator Nick Carraway stands both within and exterior of the activity, at one time enabling the enigmatic, nouveau riche Jay Gatsby in his quest to win dorsum lost love Daisy Fay Buchanan with a fortune congenital from bootlegging and shady bonds while recognizing the unlikelihood of its success. Whether attention Gatsby'south lavish Long Island parties, traveling into New York Urban center with Daisy's philandering married man, Tom, or lending Gatsby his cottage for a rendezvous with Daisy, Nick is implicated in the intrigue in ways he cannot admit, especially when he is decumbent make statements such as, "Every one suspects himself of at least ane of the cardinal virtues, and this is mine: I am one of the few honest people that I have always known" (59). Whether such comments are meant sincerely or ironically is impossible to determine, suggesting that the dramatis personae are then defenseless in the flux of dubiousness that pragmatism and willful blindness have become their survival mechanism. In the end, Gatsby conveys a earth so prone to contemptuous expedience and plausible deniability that the optimism of its titular hero can just seem tragically naïve.

Gatsby is considered Fitzgerald's crowning achievement because of its stylistic and structural concision. Both This Side of Paradise and The Beautiful and Damned suffer from episodic forms that dilute their drama, while label is frequently conveyed through omniscient exposition rather than organic development. Past narrowing the temporal scope of his timeline (the story occurs over the summer of 1922) and employing Nick Carraway every bit an observer-narrator, Fitzgerald was able to both intensify and internalize the tensions surrounding Gatsby'southward pursuit of Daisy. At in one case imagistic, dream-like, and profoundly distressing, the novel contains several of the nearly evocative symbols in all of American literature, including the green light at the end of Daisy's dock, the valley of ashes that separates Long Isle from New York Metropolis, and the disembodied optics of Dr. T. J. Eckleburg that peer out from an abased billboard. The plot, moreover, asks to be read on unlike thematic levels: ostensibly a dearest story, Gatsby explores the limits of cocky-making, the delusions of materialism, and the intangibility of aspiration in a supposedly classless guild. In the last paragraphs—Fitzgerald's well-nigh cited passage—Gatsby's ambition is even elegized equally an expression of the American Dream:

Gatsby believed in the green light, the orgastic hereafter that year by twelvemonth recedes before u.s.. Information technology eluded u.s.a. so, but that's no matter—tomorrow we will run faster, stretch out our arms farther.… And i fine morning time—

So we beat on, boats against the electric current, borne dorsum ceaselessly into the past. (189)

Fitzgerald's other major novel, Tender Is the Night, is the obverse of Gatsby in almost every imaginable way. Written over the course of a tempestuous nine-yr catamenia that saw the author handicapped by alcoholism and Zelda'southward descent into mental affliction, the book is cluttered, non-chronological, and fraught with "ruminations" and rhetorical "sideshows" that expound upon the historical, cultural, and philosophical import of its action (Life in Letters 467). Nevertheless, the story of the degeneration of a promising psychologist, Dr. Dick Diver, and his unstable married woman, Nicole Warren, explores how the ruptures of modernity return by ideals of character obsolete. On one level, the volume refutes the "Great Man" theory of historical progressivism, showing how the moral fiber of Romantic destiny in which Fitzgerald wanted to believe had given style to fashionable decadence and self-destruction. It also captures the peculiar placelessness of the 1920s' globalization, depicting the drift of privileged Americans who expatriated to Europe (much as Fitzgerald and Zelda did throughout the 2d half of the decade).

Although Tender was at best a middling success when first published, its stature has grown over the years, with critics looking to its tangled subplots to appreciate how various phenomena shaped the era's sense of fragmentation. Based closely on Zelda'southward hospitalization in diverse Swiss sanitariums, Nicole's treatment for schizophrenia invites exploration of the psychoanalytic concepts of transference and counter-transference in her and her husband-doctor's mutual dependency. Dick Diver's infatuation with ingénue actress Rosemary Hoyt, meanwhile, illustrates the function of the movie house in fostering the unreality of modernistic life. Fifty-fifty the leitmotif of romantic warfare is illustrative, suggesting how the Great War militarized everyday interaction—including the battle between the sexes.

After Tender, Fitzgerald only attempted one more novel. The Last Tycoon remained unfinished at the time of his Dec 21, 1940, expiry, however. Posthumously published a year subsequently, it is notable for its treatment of the Hollywood studio organisation in which the author had intermittently toiled since the mid-1920s. Equally such, it is the culmination of several notable stories that explore his ambivalence toward both the industry and the medium, including "Jacob's Ladder" (1927), "Magnetism" (1928), and a serial of 1939-1940 tales featuring failed PR flak Pat Hobby.

Fitzgerald's nonfiction is also considered a major office of his oeuvre, in particular the Esquire triptych "The Cleft-Up," which ignited controversy in 1936 for its beguiling confessions of squandered talent. His more than commercial short stories—once derided equally distractions from his "serious" work—are increasingly recognized for their craft and wit. Although Fitzgerald will remain all-time known for the elegiac melancholy of The Great Gatsby and Tender Is the Dark, his short fiction reveals that he was every bit proficient at comedy and fantasy as at tragedy—a testament to the latitude and range of his talent.

REFERENCES AND SUGGESTED READINGS
Cowley, Malcolm. (1951). "The Double Man." Saturday Review of Literature 34 (February 14), nine-10, 42-44.
Fitzgerald, F. Scott. All the Sad Young Men. (1926, 2007). (ed.) James L. West. Westward Three. Cambridge and New York: Cambridge Academy Press.
_____. The Basil and Josephine Stories. (1973). (ed.) Jackson R. Bryer and John Kuehl. New York: Scribner's, 1973.
_____. The Beautiful and Damned. (1922, 2008). (ed.) James 50. W. Westward III. Cambridge and New York: Cambridge University Press.
_____. The Crack-Upwards. (1945). (ed.) Edmund Wilson. New York: New Directions.
_____. Flappers and Philosophers. (1920, 1999). (ed.) James L. W. West III. Cambridge and New York: Cambridge Academy Press.
_____. F. Scott Fitzgerald's Ledger: A Facsimile. (1973). (Intro.) Matthew J. Bruccoli. Washington D. C.: NCR Microcard Books/Bruccoli Clark.
_____. F. Scott Fitzgerald: A Life in Letters. (1994) (ed.) Matthew J. Bruccoli. New York: Scribner's.
_____. The Nifty Gatsby. (1925, 1991). (ed.) Matthew J. Bruccoli. Cambridge and New York: Cambridge University Press.
_____. The Final Tycoon. (1941). Republished (1993) every bit The Love of the Concluding Tycoon: A Western. Ed. Matthew J. Bruccoli. Cambridge and New York: Cambridge University Press.
_____. The Notebooks of F. Scott Fitzgerald. (1979). (ed.) Matthew J. Bruccoli. New York: Harcourt Brace Jovanovich.
_____. The Pat Hobby Stories. (1962). (ed.) Arnold Gingrich. New York: Scribner'south.
_____. The Short Stories of F. Scott Fitzgerald: A New Collection. (1989) (ed.) Matthew J. Bruccoli. New York: Scribner's.
_____. Tales of the Jazz Age. (1922, 2002). (ed.) James L. W. W 3. Cambridge and New York: Cambridge University Printing.
_____. Taps at Reveille. (1935). New York: Scribner'south.
_____. Tender Is the Night. (1934). New York: Scribner's.
_____. This Side of Paradise. (1920, 1995). (ed.) James Fifty. W. West Iii. Cambridge and New York: Cambridge University Press.
_____. The Vegetable. (1923). New York: Scribner's.

SELECTED RESOURCES
Criticism
Berman, Ronald. (1994). The Corking Gatsby and Modern Times. Urbana.: Academy of Illinois Printing.
Bruccoli, Matthew J. (2002). Some Sort of Epic Grandeur. 2nd rev. ed. Columbia: U of South Carolina P, 2002.
Bryer, Jackson R. and Cathy Due west. Barks (eds.) (2002) Dear Scott/Dearest Zelda: The Honey Letters of F. Scott and Zelda Fitzgerald. New York: Scribner's.
Curnutt, Kirk. (2007). The Cambridge Introduction to F. Scott Fitzgerald. New York: Cambridge University Press.
Curnutt, Kirk. (ed). (2004). An Historical Guide to F. Scott Fitzgerald. New York: Oxford Academy Press.
Donaldson, Scott. (1983) Fool for Love. New York: Congdon and Weed.
Prigozy, Ruth. (ed). (2002) The Cambridge Companion to F. Scott Fitzgerald. New York: Oxford University Press.

Zelda Sayre Fitzgerald 1900-1948

Zelda Sayre Fitzgerald (1900-1948) was an artist, writer, and personality who helped to establish the Roaring Twenties image of liberated womanhood embodied by the "flapper." She and her husband, novelist F. Scott Fitzgerald (1896-1940), became icons of the freedoms and excesses of the 1920s Jazz Age and symbols of the emerging cultural fascination with youth, conspicuous consumption, and leisure. Best known for her extravagant public persona and descent into mental disease, she is also remembered as an creative person and author in her own right, and both her vivacity and tragedy live on in the many characters she inspired in her husband's novels and brusque stories.

Born on July 24, 1900, in Montgomery, Zelda Sayre was the youngest child of Alabama Supreme Court Justice Anthony Dickson Sayre and Minnie Buckner Machen Sayre, a prominent middle-class couple with roots in both Montgomery and Confederate history. (Judge Sayre'southward uncle William was a prominent Montgomery merchant whose home eventually became Jefferson Davis's start White Firm; Minnie Sayre's father was a Kentucky senator in the Confederate Congress). By her early boyhood, Zelda—named after the gypsy heroine of an obscure 1874 novel—was already a formidable presence in Montgomery social circles, starring in ballet recitals and basking in the glow of aristocracy land order dances. At such a trip the light fantastic in July 1918, barely a month after graduating from Sidney Lanier High School, Zelda met F. Scott Fitzgerald, a 21-yr-old army second lieutenant stationed at nearby Campsite Sheridan. Despite Scott'southward claim that he was on the verge of literary fame, Zelda doubted his financial prospects and entertained several other suitors, much to the chagrin of the aspiring author, who continued to press for an engagement. Zelda'south tactics fueled Scott's insecurities, and the motif of a fellow pursuing an elusive and conniving woman would later come up to define his fiction.

In early on 1920 prominent New York publisher Charles Scribner's Sons accepted Scott's first novel, This Side of Paradise, and Zelda finally accepted his proposal of marriage. The couple wed in New York on April 3, 1920, simply equally the book began to ignite a scandal for its portrayal of the gratis-wheeling lifestyle and relaxed morals of what became known as the "Lost Generation." Every bit the presumed inspiration for grapheme Rosalind Connage, Zelda became an instant celebrity; and for the first one-half of the 1920s, she frequently contributed her opinions on modernistic beloved, matrimony, and childrearing to an eager media. In 1921, Zelda gave birth to the couple'due south simply child, Frances "Scottie" Fitzgerald. Her reaction to the birth is purported to accept been used by Scott in The Great Gatsby, in which Daisy Buchanan states in response to the birth of her daughter: "I'm glad information technology'due south a girl. And I hope she'll exist a fool—that'south the best affair a girl can be in this world, a beautiful little fool."

Zelda'south influence on Scott's fiction in this menstruation is inestimable. In addition to inspiring his major heroines, she supplied him with many other memorable lines, including an evocative description of Montgomery'due south Oakwood Cemetery that appears in his short story "The Water ice Palace." When Scott's novel The Cute and Damned was published, the New York Tribune hired Zelda to review it, she hinted that a passage in the book was lifted straight from her missing diary. Such statements have fueled scholarly debate that Zelda was Scott'due south de facto collaborator and that he appropriated her personal experiences in his piece of work. Such charges were given additional weight by the frequent addition of his name to her bylines on nearly two dozen stories and manufactures she produced between 1922 and 1934. In fact, Scott's agent or editors added his name in several instances without his knowledge because the joint byline increased the price that these works received from leading magazines. Claims that Zelda "co-authored" her husband'south writing certainly are exaggerated, just few would deny that her personality was (and remains) fundamental to its appeal.

Past the belatedly 1920s, the Fitzgeralds's highly publicized and often stormy relationship began to pause down as Zelda sought outlets for her ain inventiveness. In addition to writing, she returned to two childhood passions—fine art and dance. In 1930, stress resulting from her frustrated attempts to become a professional ballerina led to the first of what would be many psychological breakdowns. (Although Zelda was treated for schizophrenia, mental-health experts after would competition both the diagnosis and recovery regimen prescribed past her main doc, Dr. Oscar Forel). From June 1930 to September 1931, Zelda lived at Les Rives de Prangins Clinic in Nyon, Switzerland. After her release, the couple returned to Montgomery and rented a home in the metropolis's Erstwhile Cloverdale neighborhood (the dwelling is now the Scott and Zelda Fitzgerald Museum).

Scott before long left for Hollywood, and in February 1932 Zelda entered Johns Hopkins University'south Phipps Clinic, where she completed her simply novel, Relieve Me the Waltz, an autobiographical recounting of her unstable marriage. Scott securely resented the volume, blaming the fiscal burden of her hospitalization for his inability to consummate Tender Is the Nighttime, and he besides defendant Zelda of poaching its plot for her novel. When her novel failed to garner critical or commercial interest (royalties amounted to a paltry $120), Zelda abandoned her literary aspirations. She then tried writing for the phase and produced the unsuccessful comedy Scandalabra, mounted past an amateur drama troupe in Baltimore in 1933. It was her last public writing effort. Zelda adjacent turned to painting, but she fared no better. A 1934 show of her work in New York inspired a condescending notice in Fourth dimension mag that described the event as her "latest bid for fame" and her canvases as "the work of a brilliant introvert."

Morgan Le FayThe Fitzgeralds parted ways in 1934, although they never divorced. (Their daughter was largely raised by nannies before entering boarding school). From 1936 to 1940, Zelda resided at Highland Hospital in Asheville, North Carolina, and Scott descended into alcoholism and literary obscurity, eventually relocating to Hollywood in the hope of establishing himself as a screenwriter. He died of a eye attack there on December 21, 1940. That year, Zelda returned to Montgomery, where she lived under the care of her mother. In add-on to painting, she took occasional trip the light fantastic lessons and began a 2nd novel entitled Caesar'south Things, which remains unpublished. She returned occasionally to Highland Hospital when her depression became debilitating and was ane of nine women killed on the night of March x–11, 1948, when a fire swept through the hospital'southward main wing.

Zelda's final years coincided with her married man'south posthumous rediscovery equally a significant American writer. Early F. Scott Fitzgerald biographers and critics tended to depict Zelda equally equal parts liability and inspiration. Negative opinion culminated with the 1964 publication of Ernest Hemingway's A Moveable Feast, in which he portrays a fictionalized Zelda as a harridan who derailed her husband's career. In Nancy Milford's 1970 bestselling biography Zelda, she is a symbol of thwarted artistry, however—a theme echoed by many feminists, who meet her frustrated attempts to establish herself as an creative person equally exemplifying the struggle women face up in finding outlets and credence for their creativity. In recent years, scholars have both taught and written about Save Me the Waltz with increasing frequency, and exhibitions of Zelda's surviving artwork regularly travel the United States. The Fitzgeralds' story—of which Alabama is an indelible function—continues to fascinate scholars and the general public and has inspired an array of academic studies, movies, documentaries, and even musicals.

Additional Resources

Bruccoli, Matthew J., ed. The Nerveless Writings of Zelda Fitzgerald. New York: Charles Scribner'due south Sons, 1991.

Cline, Sally. Zelda Fitzgerald: Her Vocalisation in Paradise. New York: Arcade Publishing, 2003.

Kurth, Peter, Jane S. Livingston, and Eleanor Lanahan, eds. Zelda: An Illustrated Life: The Private World of Zelda Fitzgerald. New York: Harry Northward. Abrams, 1996.

Milford, Nancy. Zelda: A Biography. New York: Harper & Row, 1970.

Wagner-Martin, Linda. Zelda Sayre Fitzgerald: An American Woman'south Life. London: Palgrave, 2004.

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Source: https://fscottfitzgeraldsociety.org/about-us-2/biography/

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