The subject of endless biographies, fictional depictions, and critical debate, Ernest Hemingway continues to command attention in popular culture and in literary studies. He remains both a definitive stylist of twentieth-century literature and a case study in what happens to an artist consumed by the spectacle of celebrity. The New Hemingway Studies examines how two decades of new-millennium scholarship confirm his continued relevance to an era that, on the surface, appears so distinct from his-one defined by digital realms, ecological anxiety, and globalization. It explores the various sources (print, archival, digital, and other) through which critics access Hemingway. Highlighting the latest critical trends, the contributors to this volume demonstrate how Hemingway's remarkably durable stories, novels, and essays have served as a lens for understanding preeminent concerns in our own time, including paranoia, trauma, iconicity, and racial, sexual, and national identities.

Although F. Scott Fitzgerald remains one of the most recognizable literary figures of the twentieth century, his legendary life - including his tempestuous romance with his wife and muse Zelda - continues to overshadow his art. However glamorous his image as the poet laureate of the 1920s, he was first and foremost a great writer with a gift for fluid, elegant prose. This introduction reminds readers why Fitzgerald deserves his preeminent place in literary history. It discusses not only his best-known works, The Great Gatsby (1925) and Tender Is the Night (1934), but the full scope of his output, including his other novels and his short stories. This book introduces new readers and students of Fitzgerald to his trademark themes, his memorable characters, his significant plots, the literary modes and genres from which he borrowed, and his inimitable style.

Finalist, ForeWord Reviews Book of the Year Awards 2012, Performing Arts and Music (Adult Non-Fiction) Brian Wilson is a musical genius. Ever since British press agent Derek Taylor launched a publicity campaign with that theme to promote the landmark LP Pet Sounds in 1966, some variation of that claim has been obligatory when discussing the significance of the Beach Boys' founder and chief composer. Originally designed to liberate Wilson from his outmoded image as a purveyor of sun-and-surf teen pop so the symphonic sophistication of his music might be properly appreciated, the assertion has been repeated so often in the forty-plus years since as to render it virtually meaningless. Indeed, if anything, the label today seems an albatross around the man's neck, inasmuch as Wilson's slow-but-steady reemergence as a working musician since 1998 after three decades of mental illness and drug abuse, has been freighted with expectations that he again produce something as epochal as "Good Vibrations" to justify the adoration he inspires in impassioned defenders. Brian Wilson interrogates this and other paradigms that stymie critical appreciation of Wilson's work both with the Beach Boys and as a solo artist. This is the first study of Wilson to eschew chronology for a topical organization that allows discussion of lyrical themes and musical motifs outside of any prejudicial presumptions about their place in the trajectory of his career. The chapter on lyrics explores questions of quality, asking why the words to Wilson's songs are often considered a detriment, before surveying such tendencies as melancholy and introspection, the conceit of childlike wisdom, his depiction of women, and Americana/nostalgia. The section on music focuses on his falsetto, the famous harmonies, the peculiar whiteness of the Beach Boys' sound, as well as song structure. A final chapter on iconicity asks how rock criticism's investment in auteurship both maintains and limits his reputation. Finally, Curnutt examines what Brian Wilson means to his most fervent fans. Together, these issues emphasize the often overlooked point that, despite his status as a "living legend," Brian Wilson does not always fit neatly into the paradigms of taste and value by which critics grant certain artists entry into the pantheon of pop and rock importance.

Although F. Scott Fitzgerald remains one of the most recognizable literary figures of the twentieth century, his legendary life - including his tempestuous romance with his wife and muse Zelda - continues to overshadow his art. However glamorous his image as the poet laureate of the 1920s, he was first and foremost a great writer with a gift for fluid, elegant prose. This introduction reminds readers why Fitzgerald deserves his preeminent place in literary history. It discusses not only his best-known works, The Great Gatsby (1925) and Tender Is the Night (1934), but the full scope of his output, including his other novels and his short stories. This book introduces new readers and students of Fitzgerald to his trademark themes, his memorable characters, his significant plots, the literary modes and genres from which he borrowed, and his inimitable style.

F. Scott Fitzgerald's second novel, The Beautiful and Damned, has frequently been dismissed as an outlier and curiosity in his oeuvre, a transitional work from the coming-of-age plot of This Side of Paradise to the masterful critique of American aspiration in The Great Gatsby The Beautiful and Damned belongs to a genre that is widely misunderstood, the "bright young things" novel in which spoiled and wealthy characters succumb to decay because of their privilege and lack of purpose. Set between 1913 and 1922, Fitzgerald's longest novel touches on many of the decisive issues that mark the passage from the Gilded Age and the Progressive Era into the Jazz Age: conspicuous consumption, income inequality, yellow journalism, the Great War, the rise of the movie industry, automobile travel, Wall Street stock scams, immigration and xenophobia, and the fixation with youth and aging. Published to coincide with the novel's centennial in 2022, this collection approaches The Beautiful and Damned for its insights more than its faults. Prominent Fitzgerald scholars analyze major themes and reveal unappreciated issues with attention to history, biography, literary influence, gender studies, and narratology. While acknowledging the novel's shortcomings, the essayists illustrate that The Beautiful and Damned has much more to say about its milieu than previously recognized. This collection provides a guide for understanding Fitzgerald's aims while demonstrating the richness of ideas that this novel explores, alongside the anxieties and ambitions that reverberate within it.

During his Roaring Twenties heyday, F. Scott Fitzgerald wrote three stories about the belles of Tarleton, Georgia, a setting readers recognized as a thinly veiled version of his wife Zelda Sayre's hometown of Montgomery, Alabama. In different ways, the heroines of these tales—Sally Carol Happer in "The Ice Palace," Nancy Lamar in "The Jelly-Bean," and Allie Calhoun in "The Last of the Belles"—rebel against Southern expectations of women, revel in the newfound freedoms young people enjoyed at the outset of the modern age, and ultimately discover that home is far harder to run away from than they ever expected. Remarkably, although these minor masterpieces have long been regarded as among the very best of the 160-plus short stories Fitzgerald published during his short life, the stories have never (until now) been published as a trio. Gathered here to commemorate the centennial of both Scott and Zelda's 1920 marriage and the beginning of the Jazz Age they symbolize, All of the Belles captures all the winsome qualities readers love about F. Scott Fitzgerald's writing: the keen observation of manners, the comic insights, the lyricism, and the poignant, powerful sense of loss.

American Literature in Transition, 1970-1980 examines the literary developments of the twentieth-century's gaudiest decade. For a quarter century, filmmakers, musicians, and historians have returned to the era to explore the legacy of Watergate, stagflation, and Saturday Night Fever, uncovering the unique confluence of political and economic phenomena that make the period such a baffling time. Literary historians have never shown much interest in the era, however - a remarkable omission considering writers as diverse as Toni Morrison, Thomas Pynchon, Marilyn French, Adrienne Rich, Gay Talese, Norman Mailer, Alice Walker, and Octavia E. Butler were active. Over the course of twenty-one essays, contributors explore a range of controversial themes these writers tackled, from 1960s' nostalgia to feminism and the redefinition of masculinity to sexual liberation and rock 'n' roll. Other essays address New Journalism, the rise of blockbuster culture, memoir and self-help, and crime fiction - all demonstrating that the Me Decade was nothing short of mesmerizing.

Huckleberry Finn, Anna Karenina, Harry Potter, Hester Prynne...these are just a handful of remarkable characters to be found in literature, but of course, the list of memorable characters is virtually endless! But why ponder which of these creations are the greatest? More than just a topic to debate with friends, the greatest characters from fiction help readers comprehend history, culture, politics, and even their own place in today's world. Despite our reliance on television, film, and technology, it is literature's great characters that create and reinforce popular culture, informing us again and again about society and ourselves. In The 100 Greatest Literary Characters, three scholars of literature identify the most significant figures in fiction published over the last several centuries. From Jay Gatsby to Jean Valjean, the characters profiled here represent a wide array of storytelling, and the authors explore each one's significance at the time they were created as well as their relevance today. Included in this volume are characters from literature produced around the world, such as Aladdin, James Bond, Holden Caulfield, Hercule Poirot, Don Quixote, Lisbeth Salander, Ebenezer Scrooge, and Yuri Zhivago. Readers of this volume will find their beloved literary figures, learn about forgotten gems, or discover deserving choices pulled from history's dustbin. Providing insights into how literature shapes and molds culture via these fabricated figures, The 100 Greatest Literary Characters will appeal to literature lovers around the globe.

Brian Wilson is a genius. Ever since British press agent Derek Taylor launched a publicity campaign with that theme to promote the landmark LP Pet Sounds in 1966, some variation of that claim has been obligatory when discussing the significance of the Beach Boys' founder and chief composer. Originally designed to liberate Wilson from his outmoded image as a purveyor of sun-and-surf teen pop so the symphonic sophistication of his music might be properly appreciated, the assertion has been repeated so often in the forty-plus years since as to render it virtually meaningless. Indeed, if anything, the label today seems an albatross around the man's neck, inasmuch as Wilson's slow-but-steady reemergence as a working musician since the mid-nineties after three decades of mental illness and drug abuse, has been freighted with expectations that he again produce something as epochal as "Good Vibrations" to justify the adoration he inspires in impassioned defenders. Brian Wilson interrogates this and other paradigms that stymie critical appreciation of Wilson's work both with the Beach Boys and as a solo artist.This is the first study of Wilson to eschew chronology for a topical organization that allows discussion of lyrical themes and musical motifs outside of any prejudicial presumptions about their place in the trajectory of his career. The chapter on lyrics explores questions of quality, asking why the words to Wilson's songs are often considered a detriment, before surveying such tendencies as melancholy and introspection, the conceit of childlike wisdom, his depiction of women, and Americana/nostalgia. The section on music focuses on his falsetto, the famous harmonies, the peculiar whiteness of the Beach Boys' sound, as well as song structure. A final chapter on iconicity asks how rock criticism's investment in auteurship both maintains and limits his reputation. Finally, Curnutt examines what Brian Wilson means to his most fervent fans. Together, these issues emphasize the often overlooked point that, despite his status as a "living legend," Brian Wilson does not always fit neatly into the paradigms of taste and value by which critics grant certain artists entry into the pantheon of pop and rock importance.

Conventional wisdom holds that Hemingway's Key West years were among his least productive, and many are dismissive of the works he produced during that time. In this collection, several leading Hemingway scholars focus on his overlooked short stories and essays, especially those written for Esquire from 1933 to 1936. They demonstrate how the island inspired some of his most vivid work and discuss how the ""Hemingway industry"" continues to endure.

'Lie to me by the moonlight. Do a fabulous story.' F. Scott Fitzgerald's first story collection, Flappers and Philosophers, appeared in 1920 on the heels of his debut novel, This Side of Paradise, and immediately established him as a master of popular fiction. Love stories such as 'The Offshore Pirate' and 'Head and Shoulders' capture the spectacle and fantasy of the Jazz Age, celebrating that modern icon of feminine self-possession, the flapper, while comedies of manner like 'Bernice Bobs Her Hair' and 'The Ice Palace' showcase Fitzgerald's eye for humour. In addition to these four classic tales, which first appeared in The Saturday Evening Post , this edition highlights the author's proficiency with other crowd-pleasing story types: from Gothic fiction ('The Cut-Glass Bowl') to didactic moral stories ('The Four Fists'), from satire ('Dalyrimple Goes Wrong') to spiritual quests ('Benediction'), Fitzgerald tried his hand at many genres--and succeeded at all.

F. Scott Fitzgerald's second novel, The Beautiful and Damned, has frequently been dismissed as an outlier and curiosity in his oeuvre, a transitional work from the coming-of-age plot of This Side of Paradise to the masterful critique of American aspiration in The Great Gatsby. The Beautiful and Damned belongs to a genre that is widely misunderstood, the "bright young things" novel in which spoiled and wealthy characters succumb to decay because of their privilege and lack of purpose. Set between 1913 and 1922, Fitzgerald's longest novel touches on many of the decisive issues that mark the passage from the Gilded Age and the Progressive Era into the Jazz Age: conspicuous consumption, income inequality, yellow journalism, the Great War, the rise of the movie industry, automobile travel, Wall Street stock scams, immigration and xenophobia, and the fixation with youth and aging. Published to coincide with the novel's centennial in 2022, this collection approaches The Beautiful and Damned for its insights more than its faults. Prominent Fitzgerald scholars analyze major themes and reveal unappreciated issues with attention to history, biography, literary influence, gender studies, and narratology. While acknowledging the novel's shortcomings, the essayists illustrate that The Beautiful and Damned has much more to say about its milieu than previously recognized. This collection provides a guide for understanding Fitzgerald's aims while demonstrating the richness of ideas that this novel explores, alongside the anxieties and ambitions that reverberate within it.

The Romance of Regionalism in the Work of F. Scott and Zelda Fitzgerald: The South Side of Paradise explores resonances of "Southernness" in works by American culture's leading literary couple. At the height of their fame, F. Scott and Zelda Fitzgerald dramatized their relationship as a romance of regionalism, as the charming tale of a Northern man wooing a Southern belle. Their writing exposes deeper sectional conflicts, however: from the seemingly unexorcisable fixation with the Civil War and the historical revisionism of the Lost Cause to popular culture's depiction of the South as an artistically deprived, economically broken backwater, the couple challenged early twentieth-century stereotypes of life below the Mason-Dixon line. From their most famous efforts (The Great Gatsby and Save Me the Waltz) to their more overlooked and obscure (Scott's 1932 story "Family in the Wind," Zelda's "The Iceberg," published in 1918 before she even met her husband), Scott and Zelda returned obsessively to the challenges of defining Southern identity in a country in which "going south" meant decay and dissolution. Contributors to this volume tackle a range of Southern topics, including belle culture, the picturesque and the Gothic, Confederate commemoration and race relations, and regional reconciliation. As the collection demonstrates, the Fitzgeralds' fortuitous meeting in Montgomery, Alabama, in 1918 sparked a Southern renascence in miniature.

Presenting the first interdisciplinary consideration of his political thought, Updike and Politics: New Considerations establishes a new scholarly foundation for assessing one of the most recognized and significant American writers of the post-1945 period. This book brings together a diverse group of American and international scholars, including contributors from Japan, India, Israel, and Europe. Like Updike himself, the collection canvases a wide range of topics, including Updike's too often overlooked poetry and his single play. Its essays deal with not only political themes such as the traditional aspects of power, rights, equality, justice, or violence but also the more divisive elements in Updike's work like race, gender, imperialism, hegemony, and technology. Ultimately, the book reveals how Updike's immense body of work illuminates the central political questions and problems that troubled American culture during the second half of the twentieth century as well as the opening decade of the new millennium.

From her early classic "Three Lives" to her best-selling "Autobiography of Alice B. Toklas" to "Brewsie and Willie, " a loving tribute to the G.I.s who adored her, Gertrude Stein's work was among the most controversial of the modernist movement. Alternately praised and derided, emulated and ridiculed, Stein was as unique a celebrity as the mass media of the early 20th century ever produced. As her influence spread through the lost generation she nurtured, critics from Edmund Wilson to confidant Carl Van Vechten defended her experimentation against the slings and arrows of the literary establishment. At the same time, Stein found herself parodied and caricatured from the pages of the "New York Sun" to the "New Yorker." Her reputation solidified only after her 1946 death from cancer prompted a series of reminiscences and reestimations from the "Chicago Tribune" to the "Saturday Review."

While previous collections of Stein criticism typically reprint commentary by her most ardent supporters, this study reconstructs her precarious position in the eyes of American newspaper and magazine columnists and is thus a guide to her critical reception. While including quintessential pieces on Stein by Carl Van Vechten, William Carlos Williams, and Katherine Anne Porter, this collection also includes previously obscure estimations from contemporaries such as H. L. Mencken, Mina Loy, and Conrad Aiken. The book borrows from a range of sources--from leading literary outlets such as the "New Yorker" to a number of regional newspapers. Some 75% of the material in the volume has never before been reprinted.

Although perceived in his own day as a lightweight chronicler of 1920s trends and fads, F. Scott Fitzgerald (1896-1940) is now recognized as one of the most important writers of the twentieth century. Whether for his classic novels (The Great Gatsby, Tender is the Night), his frequently anthologized short stories ("Babylon Revisited," "Bernice Bobs Her Hair"), or his searing essays of personal examination (The Crack-Up), Fitzgerald is rightly celebrated as a master stylist who plumbs the depths of love, loss, and longing. Unfortunately, much of the interest in Fitzgerald has focused on biographical concerns, including his meteoric rise to fame, his tempestuous marriage to quintessential flapper Zelda Sayre, his rivalry with Ernest Hemingway, and his tragic descent into alcoholism and depression. The resulting, somewhat distorted, image of Fitzgerald has been that of as a self-destructive literary playboy. Even scholarly treatments of the author have tended to depict him as a mere spokesman for the Lost Generation, a symbol of the excesses of his era, without properly appreciating the range of his writing or his intellect. This volume of historically minded, newly commissioned essays looks beyond the Jazz Age facade to topics that reveal how Fitzgerald's work both illumines and challenges conceptions of his milieu. Studies of the literary marketplace of the 1920s, the influence of public intellectuals such as Walter Lippmann and H. L. Mencken, film and its treatment of the New Woman, and the aftereffects of World War I all document the depth and breadth of Fitzgerald's thinking.