Abstract

By now the parabola of criticism on Fitzgerald has a recognizable shape. Up to and including the fifties, criticism was essentially biographical or concerned with pointing out the writer's representative role in the Jazz Age. From then on, it took special pains to vindicate the narrative qualities of his work, to analyze its various components and the writer's literary achievement, and to secure a well-defined position for him alongside other twentieth-century writers. The results were remarkable. One could cite half a dozen volumes of criticism and

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