F. Scott Fitzgerald

出版者:Cambridge University Press

作者:[美] F·Scott Fitzgerald

页数:276

出版时间:1991-8-30

价格:USD 99.00

装帧:Hardcover

isbn号码:9780521402309

丛书系列:Cambridge Edition of the Works of F. Scott Fitzgerald Series

具体描述

Since its publication in 1925, The Great Gatsby, F. Scott Fitzgerald's account of the American dream gone awry, has established itself as one of the most popular and widely read novels in the English language. Until now, however, no edition has printed the novel exactly as Fitzgerald intended. The first edition was marred by errors resulting from Fitzgerald's extensive rewriting in proof and the conditions under which the book was produced; moreover, the subsequent transmission of the text introduced proliferating departures from the author's words. This critical edition draws on the manuscript and surviving proofs of the novel, together with Fitzgerald's subsequent revisions to key passages, to provide the first authoritative text of The Great Gatsby. This volume also includes a detailed account of the genesis, composition, and publication of the novel; a full textual apparatus; crucial early draft material; helpful glosses on the peculiar geography and chronology of the book; and explanatory notes on topical allusions and historical references that contemporary readers might otherwise miss. Fitzgerald's masterpiece is thus brought closer to a cross-section of readers, more accessibly and more authentically than ever before. Matthew J. Bruccoli has published widely. He is the author of Some Sort of Epic Grandeur: The Life of F. Scott Fitzgerald (1980) and editor of New Essays on The Great Gatsby (CUP, 1985).

The timeless story of Jay Gatsby and his love for Daisy Buchanan is widely acknowledged to be the closest thing to the Great American Novel ever written.

作者简介

F. Scott Fitzgerald (1896-1940) is author of numerous acclaimed stories and novels, including The Great Gatsby, Tender Is the Night, and The Last Tycoon.

Biography

The greatest writers often function in multifaceted ways, serving as both emblems of their age and crafters of timeless myth. F. Scott Fitzgerald surely fits this description. His work was an undeniable product of the so-called Jazz Age of the 1920s, yet it has a quality that spans time, reaching backward into gothic decadence and forward into the future of a rapidly decaying America. Through five novels, six short story collections, and one collection of autobiographical pieces, Fitzgerald chronicled a precise point in post-WWI America, yet his writing resonates just as boldly today as it did nearly a century ago.

Fitzgerald's work was chiefly driven by the disintegration of America following World War I. He believed the country to be sinking into a cynical, Godless, depraved morass. He was never reluctant to voice criticism of America's growing legions of idle rich. Recreating a heated confrontation with Ernest Hemingway in a short story called "The Rich Boy," Fitzgerald wrote, "Let me tell you about the very rich. They are different from you and me. They possess and enjoy early, and it does something to them, makes them soft where we are hard, and cynical where we are trustful, in a way that, unless you were born rich, it is very difficult to understand. They think, deep in their hearts, that they are better than we are because we had to discover the compensations and refuges of life for ourselves. Even when they enter deep into our world or sink below us, they still think that they are better than we are. They are different."

The preceding quote may sum Fitzgerald's philosophy more completely than any other, yet he also hypocritically embodied much of what he claimed to loathe. Fitzgerald spent money freely, threw lavish parties, drank beyond excess, and globe-trotted with his glamorous but deeply troubled wife Zelda. Still, in novel after novel, he sought to expose the great chasm that divided the haves from the have-nots and the hollowness of wealth. In This Side of Paradise (1920) he cynically follows opulent, handsome Amory Blaine as he bounces aimlessly from Princeton to the military to an uncertain, meaningless future. In The Beautiful and the Damned (1922) Fitzgerald paints a withering portrait of a seemingly idyllic marriage between a pair of socialites that crumbles in the face of Adam Patch's empty pursuit of profit and the fading beauty of his vane wife Gloria.

The richest example of Fitzgerald's disdain for the upper class arrived three years later. The Great Gatsby is an undoubted American classic, recounting naïve Nick Carraway's involvement with a coterie of affluent Long Islanders, and his ultimate rejection of them when their casual decadence leads only to internal back-stabbing and murder. Nick is fascinated by the mysterious Jay Gatsby, who had made the fatal mistake of stepping outside of his lower class status to pursue the lovely but self-centered Daisy Buchanan.

In The Great Gatsby, all elements of Fitzgerald's skills coalesced to create a narrative that is both highly readable and subtly complex. His prose is imbued with elegant lyricism and hard-hitting realism. "It is humor, irony, ribaldry, pathos and loveliness," Edwin C. Clark wrote of the book in the New York Times upon its 1925 publication. "A curious book, a mystical, glamorous story of today. It takes a deeper cut at life than hitherto has been essayed by Mr. Fitzgerald."

Gatsby is widely considered to be Fitzgerald's masterpiece and among the very greatest of all American literature. It is the ultimate summation of his contempt for the Jazz-Age with which he is so closely associated. Gatsby is also one of the clearest and saddest reflections of his own destructive relationship with Zelda, which would so greatly influence the mass of his work.

Fitzgerald only managed to complete one more novel -- Tender is the Night -- before his untimely death in 1940. An unfinished expose of the Hollywood studio system titled The Love of the Last Tycoon would be published a year later. Still The Great Gatsby remains his quintessential novel. It has been a fixture of essential reading lists for decades and continues to remain an influential work begging to be revisited. It has been produced for the big screen three times and was the subject of a movie for television starring Toby Stephens, Mira Sorvino, and Paul Rudd as recently as 2000. Never a mere product of a bygone age, F. Scott Fitzgerald's greatest work continues to evade time.

目录信息

Acknowledgments; Chronology of composition and publication; Introduction; 1. The composition and revision of The Great Gatsby; 2. Reception and reputation; 3. The manuscript; 4. The unrevised galleys; 5. The revised galleys; 6. Editorial principles and procedures; The Great Gatsby: Substantive emendations and textual notes; Emendations of accidentals in the base-text; Late Fitzgerald corrections and revisions; Revisions and textual annotations in Fitzgerald's copy; Word division; Explanatory notes; Appendices.
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读后感

撕开一本《MILK》的内页，给我的几本菲茨杰拉德包上了书皮。 最近又重新对他着迷。 重读了《了不起的盖茨比》，又重读了《夜色温柔》， 以及那些我最中意的他的短篇，每一个不同的翻译者，都让文章泛出不同的温柔光彩。 昨天和今天一直在读《了不起的盖茨比》。 故事惊人的高...  

盖茨比的死应该由谁来负责：是开枪的人？如果他是自杀的呢？还是说出肇事车是属于盖茨比从而达到嫁祸目的的汤姆·布坎农？还是守望者盖茨比的等待对象黛西？还是造梦者盖茨比本人？ 汤姆·布坎农在三个场合遇到盖茨比，第一次盖茨比是尼克（他在文章里充当叙述者）的朋友，双...  

最近看《了不起的盖茨比》，想起乔伊斯的《阿拉比》，小男孩爱上了同学的姐姐，做梦里这女孩都在闪金光，女孩老提有个阿拉比的市场，听上去充满了东方神秘的色彩，和女孩一样闪闪发光，小男孩于是发花痴，一定要到那市场去给女孩买件东西，于是一番折腾，汽车，火车，走错路，...  

写在前面 《了不起的盖茨比》是打动我最深、对我影响最大的五部小说之一。有时候会有朋友问我：“我也读过这本书啊，没觉得有那么出众啊，怎么会对你如此这般？”。我仔细思考过这个问题，然后很庆幸的发现，我是在自己人生的最合适的阶段读到了这本书。 如果我是在25岁第一次...  

最近看《了不起的盖茨比》，想起乔伊斯的《阿拉比》，小男孩爱上了同学的姐姐，做梦里这女孩都在闪金光，女孩老提有个阿拉比的市场，听上去充满了东方神秘的色彩，和女孩一样闪闪发光，小男孩于是发花痴，一定要到那市场去给女孩买件东西，于是一番折腾，汽车，火车，走错路，...  

用户评价

这本书，说实话，刚翻开的时候我还有点犹豫，毕竟“大时代”的烙印太深了，总担心会读到那些被翻来覆去咀嚼的陈词滥调。但接下来的阅读体验完全出乎我的意料。作者的笔触就像是镀了一层薄薄的香槟气泡，细腻到能捕捉到每一次宴会上空气中弥漫的欢笑与潜在的焦虑。我特别欣赏他描绘人物心理的细腻程度，那种介于渴望与幻灭之间的微妙情绪，简直让人感同身受。比如，书中对那种**“拥有却又失落”**的描写，它不是直白的控诉，而是通过一系列精心编排的场景——一个午后未接的电话，一束被遗忘在角落的花束——慢慢渗透出来。整个叙事节奏如同爵士乐一般，时而激昂，时而低沉，但始终保持着一种优雅的疏离感。我仿佛能闻到旧式轿车里皮革散发出的味道，能听到玻璃杯碰撞时发出的清脆声响。这是一种对逝去美好近乎病态的迷恋，却又清醒地认识到它的虚妄。读完之后，心里留下的是一种难以言喻的惆怅，不是为故事中的人物感到悲伤，而是为自己生活中那些同样转瞬即逝的美好瞬间感到惋惜。它成功地将一代人的集体失落感，浓缩在了几个核心人物的命运起伏之中，手法高超，回味无穷。

从文学技法的角度来看，这本书无疑是教科书级别的典范。它的对话场景设计堪称一绝，寥寥数语，便能将人物的权力关系、隐藏的动机和未言明的爱恨纠葛展现得淋漓尽致。我特别喜欢那些看似平淡却暗流涌动的交流，比如两性之间那种充满试探与误解的拉扯。作者几乎从不使用冗长的内心独白来解释人物的感受，而是通过他们**“说了什么”**和**“没有说什么”**之间的巨大张力来构建情感深度。这要求读者必须全神贯注，去捕捉那些只出现一次的、至关重要的暗示。这种留白的处理，使得每个读者都可以将自己的经验投射进去，从而获得高度个性化的阅读体验。对我而言，这本书更像是一面镜子，照出了人与人之间沟通的困境，以及在追求理想化关系时，我们是如何一步步地错位和迷失的。它不提供答案，只是把问题呈现得无比清晰和美丽。

这本书最让我震撼的，是它对于**“阶层固化与身份焦虑”**的描摹，简直是入木三分，充满了社会学的洞察力，但又完全没有学术著作的枯燥。我尤其赞叹作者在刻画人物的“原生环境”和他们试图“向上攀爬”过程中所产生的内在冲突。那种努力模仿、小心翼翼融入上流社会的姿态，被描绘得既心酸又可笑。你看着他们费尽心力去学习那些不成文的规矩，去购买那些象征身份的物品，却始终无法真正跨越那条无形的界线。这不仅仅是关于钱的问题，更是一种根深蒂固的气质与历史沉淀的较量。作者巧妙地将宏大的时代背景，细化到衣着面料的选择、谈吐中的细微停顿，乃至眼神的闪躲。读到那些主角在试图融入新环境时表现出的不自然，我几乎能体会到那种如同穿着不合身戏服般无所适从的窘迫感。这种对社会动态的敏锐捕捉，让这部作品超越了简单的爱情或悲剧叙事，上升到了对社会结构深刻反思的层面。

我几乎是怀着一种朝圣般的心情读完这部作品的。它最大的魅力在于其**永恒的共鸣感**，尽管故事设定在特定的年代，但其中探讨的主题——关于理想的破灭、青春的短暂、以及对某种“完美生活”的执念——却是跨越时空的。它让我反思，我们今天所追求的“成功”或“幸福”，是否也在以同样的方式，让我们错过了生命中更真实、更本质的东西？作者的叙事腔调有一种奇特的魔力，它既是极其浪漫的，又是极其清醒的，这种矛盾的融合，才真正捕捉到了人类经验的复杂性。这本书不是读完就束之高阁的作品，它像是一首萦绕心头的旋律，时不时就会在某个安静的时刻，重新浮现，提醒你去审视那些被你忽略的、却又至关重要的生命细节。它塑造了一种氛围，一种“在狂欢中感到孤独”的独特美学，值得反复品味。

我得承认，这本书的结构和语言风格对我来说，一开始是个小小的挑战。它不像那些情节驱动的小说那样直奔主题，反而像是一幅多层次的油画，需要你停下来，凑近了看细节，再退远了看整体的意境。作者对意象的运用达到了出神入化的地步，那些反复出现的符号——无论是关于财富的象征，还是关于爱情的幻影——都像是被反复打磨过的宝石，在不同的光线下折射出不同的光芒。我印象最深的是他对于“梦想”的解构，那些看似光鲜亮丽的追求，在作者冷峻的笔下，逐渐褪去了滤镜，露出了底层支撑的脆弱和不堪一击。这迫使我不得不停下来，思考自己追逐的那些“美好事物”的本质究竟是什么。这种阅读体验是需要投入精力的，但回报是巨大的。它不是提供廉价的安慰或刺激，而是提供了一种冷静的审视角度，去看待那些我们自以为拥有的东西，其实不过是时间河流中漂浮的泡沫。全书的氛围是压抑而又迷人的，它让你沉溺于那种奢靡的腐朽感中，同时又被一种强烈的道德警钟所敲击，非常矛盾，却又真实得令人不安。

因为爱情一个人一生的潮起潮落。里面的描写的那种age of extravagance and waste 让人很容易迷醉，这本书描写的就是这样的一个环境下挣扎的几个人。看完整本书，感觉就是一直裹挟在一个纸醉金迷的世界，感受着缠绵悱恻的爱情，最后幡然醒悟，这原来都只是南柯一梦。

因为爱情一个人一生的潮起潮落。里面的描写的那种age of extravagance and waste 让人很容易迷醉，这本书描写的就是这样的一个环境下挣扎的几个人。看完整本书，感觉就是一直裹挟在一个纸醉金迷的世界，感受着缠绵悱恻的爱情，最后幡然醒悟，这原来都只是南柯一梦。

不就是个巧合至极的love story

和人打赌说一天就能看完，但是看了一半觉得无趣就第二天才看完。或许是我对它的期盼太大，行文流畅 偶尔有闪光的句子 大多数细节到位且精准有力，只是结构似乎有些太过随意又大意 有一些拖 所以有一些疲乏。

和人打赌说一天就能看完，但是看了一半觉得无趣就第二天才看完。或许是我对它的期盼太大，行文流畅 偶尔有闪光的句子 大多数细节到位且精准有力，只是结构似乎有些太过随意又大意 有一些拖 所以有一些疲乏。