This Norton Critical Edition includes: The 1925 first American edition text of the novel. A full introduction, a note on the text and explanatory annotations by David J. Alworth. An unusually rich selection of contextual materials, including Fitzgerald's sources for his greatest novel, excerpts from his ledger and notebooks, three of his related short stories, twenty-two carefully chosen letters concerning The Great Gatsby and eight selections-four of them by Fitzgerald-on the Jazz Age and American Modernism. A wide range of critical assessments, covering initial reviews and reactions, Fitzgerald's revival, and reconsiderations and recent readings. A chronology and selected bibliography. About the Series Read by more than 12 million students over fifty-five years, Norton Critical Editions set the standard for apparatus that is right for undergraduate readers. The three-part format-annotated text, contexts and criticism-helps students to better understand, analyse and appreciate the literature, while opening a wide range of teaching possibilities for instructors. Whether in print or in digital format, Norton Critical Editions provide all the resources students need.

Offers essential perspectives on the Cold War and post-9/11 eras and explores the troubling implications of the American tendency to fight wars without end. "Featuring lucid and penetrating essays by a stellar roster of scholars, the volume provides deep insights into one of the grand puzzles of the age: why the U.S. has so often failed to exit wars on its terms."- Fredrik Logevall, Laurence D. Belfer Professor of International Affairs, Harvard University Vietnam, Iraq, Afghanistan: Taken together, these conflicts are the key to understanding more than a half century of American military history. In addition, they have shaped, in profound ways, the culture and politics of the United States-as well as the nations in which they have been fought. This volume brings together international experts on American history and foreign affairs to assess the cumulative impact of the United States' often halting and conflicted attempts to end wars. From the introduction: The refusal to engage in historical thinking, that form of reflection deeply immersed in the US experience of war and intervention, means that this cultural amnesia is related to a strategic incoherence and, in these wars, the United States has failed in its strategic objectives because it did not define, precisely, what they were. If Vietnam was the tragedy, Iraq and Afghanistan were repeated failures. The objectives and the national interests were elusive beyond issues of credibility, identity, and revenge; the end point was undefined because it was not clear what the point was. What did the United States want from these wars? What did it want to leave behind?

Published to coincide with the 124th anniversary of F. Scott Fitzgerald's birth Enigmatic, intriguing and fabulously wealthy, Jay Gatsby throws lavish parties at his West Egg mansion to impress Daisy Buchanan, the object of his obsession, now married to bullish Tom Buchanan. Over a Long Island summer, his neighbour Nick Carraway, a writer and a cousin to Daisy, looks on as Gatsby and Daisy's affair deepens. Tragedy looms in F. Scott Fitzgerald's masterpiece, frequently named among the best novels of the twentieth century. This new edition includes a foreword by critically acclaimed novelist Michael Farris Smith, as well as an exclusive extract of his forthcoming novel, NICK, which imagines narrator Nick Carraway's life before The Great Gatsby.

Shortlisted for the Booker Prize. In a small East Anglian town, Florence Green decides, against polite but ruthless local opposition, to open a bookshop. Hardborough becomes a battleground. Florence has tried to change the way things have always been done, and as a result, she has to take on not only the people who have made themselves important, but natural and even supernatural forces too. Her fate will strike a chord with anyone who knows that life has treated them with less than justice.

Offers essential perspectives on the Cold War and post-9/11 eras and explores the troubling implications of the American tendency to fight wars without end. "Featuring lucid and penetrating essays by a stellar roster of scholars, the volume provides deep insights into one of the grand puzzles of the age: why the U.S. has so often failed to exit wars on its terms."- Fredrik Logevall, Laurence D. Belfer Professor of International Affairs, Harvard University Vietnam, Iraq, Afghanistan: Taken together, these conflicts are the key to understanding more than a half century of American military history. In addition, they have shaped, in profound ways, the culture and politics of the United States-as well as the nations in which they have been fought. This volume brings together international experts on American history and foreign affairs to assess the cumulative impact of the United States' often halting and conflicted attempts to end wars. From the introduction: The refusal to engage in historical thinking, that form of reflection deeply immersed in the US experience of war and intervention, means that this cultural amnesia is related to a strategic incoherence and, in these wars, the United States has failed in its strategic objectives because it did not define, precisely, what they were. If Vietnam was the tragedy, Iraq and Afghanistan were repeated failures. The objectives and the national interests were elusive beyond issues of credibility, identity, and revenge; the end point was undefined because it was not clear what the point was. What did the United States want from these wars? What did it want to leave behind?

Ex-IRA member and former boxing champion Danny Flynn (Daniel Day-Lewis) comes out of prison after fourteen years and returns to his native Belfast. He falls in with his old coach, Ike (Ken Stott), and the pair open a gym together. Danny meets his old flame, Maggie (Emily Watson), and hopes to rekindle their affair until he discovers that while he was inside she married his best friend, also an IRA member and now serving time himself. As Danny and Ike's gym attracts young talent and Danny successfully resurrects his boxing career, pressure from IRA thug Harry, an opponent of the burgeoning peace process, threatens to destroy everything they are working towards.

Culling the Masses questions the widely held view that in the long run democracy and racism cannot coexist. David Scott FitzGerald and David Cook-Martin show that democracies were the first countries in the Americas to select immigrants by race, and undemocratic states the first to outlaw discrimination. Through analysis of legal records from twenty-two countries between 1790 and 2010, the authors present a history of the rise and fall of racial selection in the Western Hemisphere. The United States led the way in using legal means to exclude "inferior" ethnic groups. Starting in 1790, Congress began passing nationality and immigration laws that prevented Africans and Asians from becoming citizens, on the grounds that they were inherently incapable of self-government. Similar policies were soon adopted by the self-governing colonies and dominions of the British Empire, eventually spreading across Latin America as well. Undemocratic regimes in Chile, Uruguay, Paraguay, and Cuba reversed their discriminatory laws in the 1930s and 1940s, decades ahead of the United States and Canada. The conventional claim that racism and democracy are antithetical-because democracy depends on ideals of equality and fairness, which are incompatible with the notion of racial inferiority-cannot explain why liberal democracies were leaders in promoting racist policies and laggards in eliminating them. Ultimately, the authors argue, the changed racial geopolitics of World War II and the Cold War was necessary to convince North American countries to reform their immigration and citizenship laws.