This book charts Fitzgerald's use of racial stereotypes to encode
the dual nature of his literary ambition: his desire to be on the
one hand a popular American entertainer, and on the other to make
his mark among the elite members of an international literary
field. Taking his cue from some under-appreciated stories, Michael
Nowlin argues that Fitzgerald's early use of tropes from blackface
minstrelsy anticipated his race-inflected treatment of divided
artist figures in the major novels from "The Beautiful and Damned"
to the unfinished "The Love of the Last Tycoon." At issue in all
these novels, both formally and thematically, is the dynamic state
of the modern, multi-faceted, and ethnically diverse American
cultural field Fitzgerald was constantly re-negotiating in order to
meet his goal of long-term literary success.
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