ACADEMIC YEAR 2022—MEMBERSHIP DUES

Abstract

$30 Full membership$25 Student and Retiree MembershipMembership includes the annual The F. Scott Fitzgerald Review, published by Penn State University Press, and the annual F. Scott Fitzgerald Society Newsletter, discounts on special offers, and correspondence with news of Society’s activities, including conferences.If you have questions about your membership, contact Kirk Curnutt at kirk.curnutt@gmail.com.Please indicate to which address you wish mail to be sent.Name: _________________________________________________________Address: _______________________________________________________Phone: _________________________________________________________Affiliation: ______________________________________________________E-Mail: _______________________ Fax No: __________________________The John Kuehl Fellowship Fund helps graduate students pay travel expenses to participate in Fitzgerald conferences. If you would like to contribute, please make your check out to the F. Scott Fitzgerald Society, John Kuehl Fellowship Fund and send to Prof. Kirk Curnutt, English Dept., Troy University, 274 Smith Hall, Troy AL 36082.Season Two Featuring Recent Episodes on “The Four Fists,” “Crazy Sunday,” “The Fiend,” “He Thinks He’s Wonderful,”—with more to come every three weeks in 2022!In 1929 F. Scott Fitzgerald wrote Ernest Hemingway that because his short stories now earned $4000 a pop he was “an old whore” who had “mastered the 40 positions” when “in her youth one was enough.” But were the upwards of 180 stories he cranked out when not writing The Great Gatsby really the work of a literary prostitute selling out his talent for a fast buck? Kirk Curnutt and Robert Trogdon don’t think so. Each episode they draw a random title from a hat and explore its place in Fitzgerald’s career, in the magazines such as The Saturday Evening Post or Esquire where it may have appeared, and in the overall development of the American short story. Along the way, they talk literary politics, history, and gossip from the 1920s and 1930s, rediscovering the lively personalities and rivalries that tried to define the porous boundaries between commercial and artistic fiction, between the popular and the avant-garde, between the forgotten and the canonized.