Side Of Paradise Research Articles

Scenarios for New Zealand tourism: a COVID-19 response

PurposeA case study about the creation of four scenarios that were used to make sense of the fast-moving pace of COVID-19 and the consequences for New Zealand tourism.Design/methodology/approachAdapting global visitor economy scenarios, a set of New Zealand tourism scenarios were constructed using a “back of house Shell” method and were supplemented with an expert panel to test the reliability and validity of the scenarios.FindingsThe four scenarios constructed were based on two critical uncertainties, namely economic recession and the moral dilemma of the consumer. Four scenarios were portrayed using film and TV titles to help participants visualise the scenarios. Crazy Rich Asians: Recovery represented many of the attributes of tourism in New Zealand prior to COVID-19 i.e. a focus on high value tourists from Asia. Contagion: Survival of the Fittest represented the reality of the COVID-19 pandemic. This Side of Paradise: ReThinking Tourism focused on rebuilding tourism based upon the principles of sustainability. The Colony: Gated Communities represented fortress destinations trying to keep COVID-19 at bay. Each scenario portrayed several features including a unique narrative, tourism, the tourist, vision, strategy and risks. The paper highlighted the trade-offs and conflicts between the scenarios as COVID-19 unfolded in different directions.Originality/valueIn a fluid situation, the paper reminds readers of the value of scenarios as framing devices to understand the fast-moving pace of COVID-19 when New Zealand was in unchartered waters. Thus, this study highlights how a scenario-planning process builds resilience and foresight to help stakeholders and actors make sense of crisis situations.

Экспрессивный потенциал английских ономатопических элементов в романе Ф. С. Фицджеральда “This Side of Paradise”: семантико-функциональный аспект

The research aims to reveal the expressive potential of onomatopoeic elements in F. S. Fitzgerald’s novel “This Side of Paradise”. The authors consider the semantic properties of onomatopoeia, the integrating function of which is to make the entire canvas of the literary work “come to life” to the greatest possible extent, allowing the reader to “hear” characters’ real flow of life in the examined novel. This accounts for scientific novelty of the research, which lies in carrying out a semantic classification and identification of expressive functions performed by onomatopoeic lexemes in the studied work. The research findings demonstrate the special role that onomatopoeic elements play in F. S. Fitzgerald’s individual style.

Katharine Tighe Fessenden: Midwife of Paradise

Abstract In July 1919, F. Scott Fitzgerald famously quit a low-level advertising job in New York City to return home to St. Paul, Minnesota. It was his last-ditch effort to rewrite a manuscript that had been rejected twice by Charles Scribner’s Sons. He hoped a publishing contract might finally convince Zelda Sayre to marry him. That novel, This Side of Paradise, established him as the voice of his generation and ushered in the Jazz Age. Although scholars are well-aware of the major changes Fitzgerald made to the manuscript that summer, they largely ignore the role that a childhood friend played in the revision that became Paradise. This article explores the author’s relationship with St. Paul native Katharine Tighe, who worked closely with Fitzgerald on this third revision before its final submission to Maxwell Perkins. Although James L. W. West III catalogues her input in the 1995 Cambridge edition of the novel, little biographical information about Tighe has surfaced. This article demonstrates why she was the right person to serve as a “midwife” to the manuscript. Tighe understood the St. Paul, Eastern prep-school, and college milieux of the story. She had her own Great War experience, treating the wounded after completing Vassar College’s training camp for nurses. Like Fitzgerald, the Great Influenza epidemic claimed the life of one of her friends. Although it is doubtful Tighe and Fitzgerald saw each other after 1922, the pair corresponded as late as 1940, just months before Fitzgerald’s death. Although biographers Henry Dan Piper and Andrew Turnbull interviewed her during their research, Katharine Tighe Fessenden represents a rare unexplored aspect of Fitzgerald’s otherwise closely examined life.

Anxiety, a Psychoanalisis Study on Amory Blaine, the main character of This Side of Paradise, a novel by Francis Scott Fitzgerald

This Side of Paradise (first published in 1920) is the debut novel of Francis Scott Fitzgerald, the famous modern novelist in twentieth-century America. This novel is concerned with a modern industrial society that created a new culture that broke the tradition; one of the elements of this culture is the emergence of anxiety. This paper aims to describe the process of self-acceptance of Amory Blaine, the main character of This Side of Paradise. Amory Blaine faced anxiety in his early mature life as a part of the World War I aftermath. At the exact moment, many old American values should be broken. Using Sigmund Freud’s Psychoanalysis theory, it was found that This Side of Paradise was the expression of the author’s anxiety, Fitzgerald, when experiencing his self-acceptance. Anxiety is the main theme of this novel, besides the breaking tradition. This study applies a descriptive qualitative method that shows anxiety as a specific psychological disease in the modern industrial era, which correlates to the progress of industrial activities. The complexity of modern life has become a trigger for people living with anxiety. The undetected disease could also be a product of the anxious world. In this decade was what we named Covid-19 and its pandemic.

The Ghosts of Eden Park: The Bootleg King, the Women Who Pursued Him, and the Murder That Shocked Jazz-Age America

The Ghosts of Eden Park: The Bootleg King, the Women Who Pursued Him, and the Murder That Shocked Jazz-Age America

Jay Gatsby, Scion of America

Abstract Published ninety-five years ago, The Great Gatsby today continues to yield surprises. This article examines elements of F. Scott Fitzgerald’s artistic development between his first two novels, This Side of Paradise and The Beautiful and Damned, and his third. First exhibited in The Great Gatsby, his mature style lies in linking a basic story to a transcendent theme, providing meaning to the narrated experience. Influenced by the groundbreaking work of his contemporaries James Joyce and T. S. Eliot, Fitzgerald elevated the story of Jay Gatsby to become a metaphor for the cultural history of America. In reviewing the evolution of the “SCHEDULE” that James Gatz writes in the flyleaf of his copy of Hopalong Cassidy in 1912, this article argues that this seemingly minor device is the armature of the novel and an index to Gatsby’s life.

“The Scandal Detectives”

Abstract Scholars have long known that when F. Scott Fitzgerald describes Myrtle Wilson in The Great Gatsby as a consumer of a gossip magazine called “Town Tattle,” he was making a thinly veiled reference to a real magazine called Town Topics. Perhaps the most infamous scandal sheet in the history of American periodicals, this forerunner of contemporary tabloids ran for nearly fifty years (1879–1937). Especially under the 1891–1920 editorship of its colorful owner, Colonel William d’Alton Mann, Town Topics blackmailed members of the Four Hundred, the wealthiest of American families, to keep embarrassing insinuations about sexual identity, adultery, parentage, and abortion (among other “unmentionable” aspects of social life) off of its pages. In 1905, the magazine’s modus operandi became a national sensation when Emily Post’s husband, Edwin, refused an extortion demand, resulting in a headline-grabbing court case. Mann also founded The Smart Set, the magazine that eventually, after the Colonel sold it off, published Fitzgerald’s earliest stories. Fitzgerald himself made fourteen appearances in Town Topics between 1916 and 1923, the most significant of which involve the celebrity that he and his wife, Zelda Sayre, acquired amid the success of This Side of Paradise in 1920. These references, along with the history of Town Topics, expand our understanding of the significance of “Town Tattle” in Gatsby, revealing that Mann’s notorious publication was not just a “New York gossip magazine,” as critics have suggested, but one with national reach, whose propensity for travestying its subjects provided an agency essential to self-making in the social economy of a rapidly transforming United States and renders its appearance in The Great Gatsby far more meaningful than scholars have yet appreciated.

The Other Side of Paradise: Life in the New Cuba by Julia Cooke, and: The Domino Diaries: My Decade Boxing with Olympic Champions and Chasing Hemingway’s Ghost in the Last Days of Castro’s Cuba by Brin Jonathan Butler

Reviewed by: The Other Side of Paradise: Life in the New Cuba by Julia Cooke, and: The Domino Diaries: My Decade Boxing with Olympic Champions and Chasing Hemingway’s Ghost in the Last Days of Castro’s Cuba by Brin Jonathan Butler Jesse Horst JULIA COOKE, THE OTHER SIDE OF PARADISE: LIFE IN THE NEW CUBA. BERKELEY: SEAL PRESS, 2014. 248 PP. Brin Jonathan Butler, The Domino Diaries: My Decade Boxing with Olympic Champions and Chasing Hemingway’s Ghost in the Last Days of Castro’s Cuba. New York: Picador Press, 2015. 304 pp. Brin Jonathan Butler begins his Domino Diaries (2015) with an epigraph from Italo Calvino: “Cities, like dreams,” he writes, “are made of desires and fears, even if the thread of their discourse is secret, their rules are absurd, their perspectives deceitful, and everything conceals something else.” Though not written about Havana, the passage feels relevant here, where paranoia and utopia intertwine so easily. As the uncertainties (if not the difficulties) of Cuba’s “Special Period” fade into twilight, paranoia and utopia are central concerns of Butler’s Diaries and Julia Cooke’s The Other Side of Paradise (2014), books whose narrators wrestle with their own desires and fears as foreigners on a seemingly forbidden island. Cooke and Butler address similar questions, examining the sometimes-irreconcilable gaps between personal ambition and patriotism for Cubans. Butler focuses on world-class boxers, some of whom opted to stay in conditions of relative poverty, despite multimillion-dollar offers abroad. Cooke takes a broader approach, tackling young people—“the last generation raised under Fidel”—as they contemplate their futures on and off the island (8). Both find the socialist project in its current form lacking. Yet both are driven by deeper explorations of their own paranoia as they look beneath Havana’s surface. In peeling back its “layers,” they take different paths, Cooke by charting new social territories, Butler by foregrounding the psychology of his own journey. At first glance, Butler’s central concern is to examine the price of loyalty for boxers who faced the lure of exile, but on this account, his narrative offers only modest reflections. His boxers hustle in Cuba’s black market like [End Page 398] everyone else he meets, and on their reasons for staying they offer little beyond platitudes about family and pride. To thicken the plot, he weaves his time with athletes into a riff on tropical desire. “I liked the poetry of prostitutes withholding a kiss and giving up all that other stuff,” he writes to frame his efforts (140). In this way, the irony of boxers whose honor compelled them to turn down millions even as they now accept petty cash for interviews becomes a larger exploration of Butler’s romantic turmoil amidst the sexual norms of post-Soviet socialism and tourism in el Caribe. Indeed, if cities are like dreams, the terms of the Diaries’ urban dream-scape are clear: “Cuba is a wet dream,” Butler learns from a seasoned tourist (50). True to promise, his narrative marches with overwhelming masculinity through classic tropes of imperialist Caribbean encounters. He describes taking a first punch as comparable to the mystery of “the first time you put your dick inside a girl” (20). “Meeting a city for the first time at night is like making love to a woman before you’ve even spoken with her,” we learn (53). The narrative is speckled with mixed-race women as objects, either hideous, “hopelessly beautiful,” or even “peeled off a cigar box” (151, 270). This overpowering id is tempered by self-analysis, but rarely sensitivity. “Femininity here in any permutation,” he elaborates, “overwhelms and intimidates me” (121). As the plot’s central tension of sexual conquest climaxes in an alleged foray with none other than Fidel Castro’s granddaughter, Butler’s misogynist objectification of Cuba is complete. By contrast, Cooke eschews questions of her own desire, as she populates her account with a range of characters drawn from the bohemian circuits of Havana’s wealthier neighborhoods. Where Butler’s grasp of Cuban slang (and indeed, Spanish) is limited, Cooke’s is encyclopedic. Her keen observations reveal often excruciating calculations as her informants prepare for...

Another Side of Paradise

Another Side of Paradise

1964.1968. Memórias de um tempo em que tanques e fuzis atropelaram sonhos e deixaram espíritos sem rumo

Os anos 1960 foram convulsivos em grande parte do mundo. Lembrado como a era da imaginação e das revoluções políticas e sociais, no Brasil, esse percurso que foi interrompido pelo Golpe Militar de 1964, cortando de forma abrupta os vínculos que fundavam a ação política e a criatividade da vida intelectual. Pensando naqueles anos sugiro para essa resenha o filme O outro lado do paraíso (2014), de André Ristum, e o documentário Marighella (2012), de Isa Grinspum Ferraz. O filme foi baseado na obra homônima de Luiz Fernando Emediato, escrita em homenagem a seu pai, Antônio Trindade, e o documentário de Isa Grinspum Ferraz, realizado em homenagem a seu tio Carlos Marighella. A escolha dos filmes é uma oportunidade para conhecermos duas personagens que sonharam e tentaram realizar seus sonhos no Brasil dos anos 1960. Uma anônima e a outra conhecida, duas personagens igualmente atropeladas em seus sonhos e banidas da mesma história.

Infusive “Spots of Time”: Young F. Scott Fitzgerald's Traumatic Summer of 1910

Abstract This article addresses the overlapping backstories to the first three of four auto fatalities that affected F. Scott Fitzgerald's life and art. It explores biographical information about Fitzgerald's relationship with his rich St. Paul neighbor Stuart Beebe Shotwell Jr., and two Princeton classmates, Robert E. Sniffin and Charles O. Wiegand. All three individuals died in automobile accidents that deeply cut into Fitzgerald's psyche. At age thirteen young Fitzgerald saw Mr. Shotwell get run over by a pretty woman driving a fancy car. Seven years later, on the eve of World War I, two of his former Princeton dorm-mates were killed in DUI accidents one night apart. These terrible events may have caused deep-seated trauma for Fitzgerald. This article argues that the author infused an array of “focal points” and Wordsworthian “spots of time” emanating from those traumatic events into This Side of Paradise and prepared Fitzgerald to dramatize a fourth automobile fatality in The Great Gatsby.

Aproximaciones a la "inquietante extrañeza" en la pintura contemporánea: una perspectiva de género

En el contexto del arte contemporáneo, cada vez es más frecuente encontrar mujeres artistas nacidas en la segunda mitad del siglo XX que elaboran sus obras desde un lenguaje pictórico construido a través de un esmerado dominio de la técnica y el oficio y que se interesan en representar escenas de una alta tensión narrativa, inquietante y turbadora. En este artículo vamos a partir de tres exposiciones que en torno a estos temas se han organizado a nivel internacional (Nightfall: New tendencies in figurative painting, This side of Paradise y New Black Romanticism) que son un ejemplo más de la escasa representación femenina en este tipo de eventos y que constatan la marginación y el silencio que la historia del arte ha otorgado a la mujer. Como consecuencia de ello, planteamos este artículo desde un posicionamiento crítico feminista que pretende no sólo dar visibilidad a un grupo numeroso de pintoras figurativas sino también reivindicar las diferencias de sus propuestas respecto a las narrativas de los artistas varones incluidos en dichas exposiciones y a los cánones predominantes.

Moral and Manners of Flappers (New Woman) in F. Scott Fitzgerald Works

Flapper's phenomenon appeared in the 1920s in line with the feminist achievement on women's suffrage. Industrialism opened the possibility for vistas of young American generations at that time to undergo a good member of changes both in moral and manners. The characteristics of flappers are reflected in literary works by Fitzgerald, an American famous novelist. In achieving the objective of this research, a qualitative method is applied by the way of library research - collecting data from both primary and secondary sources. The former, This Side of Paradise (1919), a novel telling about the young generation, The Great Gatsby (1925) and Tender is The Night, both describing the maturity of the flappers. The outcome of the research proves that there is a similarity, in moral and manners, between the flappers in Fitzgerald's fictions and those in reality during the 1920s. The new values differed from the old ones which were maintained by the cult of true womanhood, especially in concern with those young generations performances, manners, and morals. The media encouraged the development of the new values. There is also a sense of paradox: on one hand Fitzgerald implicitly tended to spread out the moral and manners of flappers, but on the other hand, he criticizes them.

The other side of paradise: A post civil war Sri Lanka attracts tourists, but locals were hoping for greater freedoms

The other side of paradise: A post civil war Sri Lanka attracts tourists, but locals were hoping for greater freedoms

“Bouleversement”: Fitzgerald’s changing representation of being “thrown over”

Critics bemoan the affectations in F. Scott Fitzgerald’s first novel, This Side of Paradise. Amory Blaine, the closely related narrator, and the author all receive sharp criticism on this count. Mi...

Alone and Alone: Defense, Justification, and Apology in Fitzgerald's Late Prefaces

Abstract Over the course of his career, F. Scott Fitzgerald regularly attempted to gain both popular and critical respect. However, when The Great Gatsby first appeared in 1925, market tendencies assured Fitzgerald of the critical community's paradoxical position regarding his fictional output, which stunted his production over the next several years. Although he would continue to produce magazine fiction throughout the nine-year gap between novels, Fitzgerald's process in creating what would become Tender Is the Night offers a natural window into the author's mental and artistic state for the majority of the 1920s and 1930s. His three prefaces of the decade—two unpublished and one published—present Fitzgerald's authorial anxiety and reveal the opposite of the youthful and naïve author of This Side of Paradise. Fitzgerald's decline in the 1930s is ably traced not only through public documents—such as “The Crack-Up” essays written for Esquire in 1936—but also through his published and unpublished prefaces which aimed to defend, justify, and ultimately apologize for his artistic material.

Max Perkins: Editor of Genius by A. Scott Berg

Reviewed by: Max Perkins: Editor of Genius by A. Scott Berg Wayne Catan Max Perkins: Editor of Genius. By A. Scott Berg. New York: New American Library, 2016. 498 pp. Paper $18.00. This is one of the finest works about the publishing industry. In fact, it stands alone at the top of the mountain in this category for a number of reasons, including A. Scott Berg's passion for the subject matter, his brilliant reportage skills, and the fact that he had access to primary sources, original author letters, and the Malcolm Cowley article about Perkins—"Unshaken Friend"—that appeared in The New Yorker. To buttress my assertion, Max Perkins: Editor of Genius won the 1980 National Book Award when Berg was only thirty-one years old. The book swells with facts and anecdotes about how Maxwell Evarts Perkins navigated the roadways and roadblocks of the New York City publishing world in the early 1900s. However, at times, Berg's book is a tedious read. The prose can be one hundred percent historically driven, but he purposely wrote his 498-page biography in this manner to display how difficult it was for Perkins to manage writers, to handle the media, and wrestle with the brass at Charles Scribner's Sons. Berg adroitly illustrates the fact that Perkins's post as an editor was one-tenth of his job: he was a talent scout, recruiter, mentor, best friend, money loaner, psychologist, and uncle. His authors adored him. F. Scott Fitzgerald called Perkins, "[his] most loyal and confident encourager and friend" (154), showing his trust and love for Perkins. Thomas Wolfe, who cherished Perkins, shows his encomium: "In all my life, until I met you, I never had a friend" (253). And although it was extremely difficult for Hemingway to reveal his feelings, "he wanted to assure Perkins that he thought just as much of him as Tom Wolfe ever did—'even if I can't put it so well'" (366). [End Page 138] Berg studiously writes about the Hemingway-Perkins relationship. According to Berg, Perkins, a former The New York Times reporter, who donned a signature fedora, was infatuated with Hemingway's writing: "Hemingway's writing had a distinctive sound, the likes of which Perkins had never heard: hard-hammered words that reverberated long after the short, staccato sentences had been read" (87). Furthermore, Berg recalls the story of Fitzgerald recommending Hemingway to Perkins: "He has a brilliant future … he's the real thing" (63). In today's publishing world, Fitzgerald would earn a commission for his endorsement. Berg masterfully reports on Max accepting The Torrents of the Spring and publishing the unseen novel—The Sun Also Rises, the Scribner's—Perkins imbroglio over the use of Hemingway's curse words in Sun and A Farewell to Arms, and how Owen Wister (author of The Virginian) lamented over Hemingway's use of curse words. Berg also provides an accurate report on the famous Max Eastman-Hemingway wrestling match, stemming from Eastman's negative review of Hemingway's Death in the Afternoon. Throughout the book, Berg writes about the Hemingway-Perkins editor-writer relationship for For Whom the Bell Tolls, To Have and Have Not, Green Hills of Africa, and he provides a humorous report about Perkins lacking the guts to write curse words: "What would Hemingway think of you if he heard that you couldn't even write that word?" (142), Mr. Scribner queried. Fitzgerald scholars will be particularly interested in the sections that highlight him. Scott was extremely important to Max, who made his mark by releasing This Side of Paradise (working title The Romantic Egotist). Berg's research highlights their introduction, which was through Scribner's author Shane Leslie. Berg also showcases the confrontation between Perkins and the Scribner's brass when the publisher wanted to pass on Fitzgerald: "If we're going to turn down the likes of Fitzgerald, I will lose all interest in publishing books" (16). Thus, This Side of Paradise was born. After This Side of Paradise, Berg takes the reader on a Fitzgerald express train that stopped in a New York Café for the release of The Beautiful and Damned, Long Island for...

Refracting Blackness: Slavery and Fitzgerald's Historical Consciousness

Refracting Blackness:Slavery and Fitzgerald's Historical Consciousness Garrett Bridger Gilmore When Amory Blaine declares in This Side of Paradise that he is "for the Southern Confederacy" (31), and when he reflects that patriotism comes easy "to a homogenous race" like the Confederacy (139), F. Scott Fitzgerald's youthful romanticism about the Lost Cause stands in full view. Fitzgerald's critics and biographers have thoroughly traced the evolution of his identification as the last son of a fallen Maryland planter family over the course of his career, arguing that aspects of southern and Civil War mythology provide an important language for the expression of Fitzgerald's sense of American modernity.1 For Fitzgerald as for any other Lost Cause thinker, the apparently admirable personal qualities associated with the Old South—honesty, honor, self-composure—mask a desire for the racial and economic relations that subtended them. Fitzgerald's readers, even as they have noted the importance both of the South and of racism in his fiction, have been seemingly uninterested in making sense of the role that the legacy of slavery plays in Fitzgerald's conception of modernity.2 While slavery [End Page 181] as such appears in Fitzgerald's fiction only in "The Diamond as Big as the Ritz" (1922), it nonetheless determines the scope of history explored in his mature fiction. If slavery has so far been unrecoverable from Fitzgerald's fiction, it is because its secrets constitute the whiteness that grounds his historical consciousness. Slavery must remain hidden in order for Fitzgerald's sense of the political and psychic stakes of the present—the domain of the white moneyed class—to cohere. For Fitzgerald, the end of slavery is the beginning of history; Emancipation implicitly proves to be the moment economic and racial relations become (for him) unnatural, when modernity with all of its various alienations begins.3 Much like Fitzgerald's romantic vision of the Confederacy, slavery occupies a place of ill-fated youthful desire in "The Diamond as Big as the Ritz." Fitz-Norman Culpepper Washington, the original owner of the story's titular diamond, moved west with "two dozen of the most faithful blacks, who, of course, worshipped him" (192). Fitzgerald revels in imagining and describing the world of the Washingtons, which includes still-enslaved black servants. These were, as Fitzgerald narrates, darkies who had never realized that slavery was abolished. To make sure of this, [Washington] read them a proclamation that he had composed, which announced that General Forrest had reorganized the shattered Southern armies and defeated the North in one pitched battle. The negroes believed him implicitly. (193) Clearly, then, the world of the Washingtons enacts an alternative—yet plausible—history. The enslaved people operate as a central piece of the [End Page 182] story's economic and racial imaginary. The Washington diamond is an economic paradox: the diamond in the mountain was approximately equal in quantity to all the rest of the diamonds known to exist in the world. There was no valuing it by any regular computation, however, for it was one solid diamond—and if it were offered for sale not only would the bottom fall out of the market, but also, if the value should vary with its size in the usual arithmetical progression, there would not be enough gold in the world to buy a tenth part of it. (193) To capitalize on the impossible value of the diamond, the Washington family engages in several forms of economic transubstantiation. On one hand, the diamond fragments that the first generation of the family brings to market are "invested with a history of enough fatalities, amours, revolutions, and wars to have occupied it from the days of the first Babylonian Empire" and thereby transformed into bearers of historical and social—rather than pure exchange—value. On the other hand, the second generation of Washingtons "converted [their diamonds] into the rarest of all elements—radium—so that the equivalent of a billion dollars in gold could be placed in a receptacle no bigger than a cigar box" (194). The economic reality of the diamond belies the apparent simplicity of its physical beauty, which "dazzled...

“The world only exists through your apprehension”: World War I in This Side of Paradise and Tender Is the Night

Abstract Scholars have spoken of Tender Is the Night as marking Fitzgerald's most “mature” representation of World War I in his fiction. This article, however, argues that all of the main facets of Fitzgerald's depiction of World War I in Tender Is the Night can be identified in his first novel, This Side of Paradise. Amory Blaine, like Dick Diver, is given to questioning the significance of the war, concluding as he does that it has resulted in a profound and irrevocable severance between his and preceding generations. Amory and Dick are further linked by the ways in which their self-conception is simultaneously challenged and empowered by World War I. Although divorced from the stability of the pre-war world, Amory and Dick appropriate the war, as they understand it, as a powerful new means of conceptualizing themselves and the generation to which they belong. The article concludes by arguing that This Side of Paradise and Tender Is the Night are further connected by Fitzgerald's incorporation of characters that hold readings of the war that contrast with those offered by the protagonist, a strategy that accentuates the subjectivity of Amory and Dick's views.

“The world only exists through your apprehension”: World War I in This Side of Paradise and Tender Is the Night

Abstract Scholars have spoken of Tender Is the Night as marking Fitzgerald's most “mature” representation of World War I in his fiction. This article, however, argues that all of the main facets of Fitzgerald's depiction of World War I in Tender Is the Night can be identified in his first novel, This Side of Paradise. Amory Blaine, like Dick Diver, is given to questioning the significance of the war, concluding as he does that it has resulted in a profound and irrevocable severance between his and preceding generations. Amory and Dick are further linked by the ways in which their self-conception is simultaneously challenged and empowered by World War I. Although divorced from the stability of the pre-war world, Amory and Dick appropriate the war, as they understand it, as a powerful new means of conceptualizing themselves and the generation to which they belong. The article concludes by arguing that This Side of Paradise and Tender Is the Night are further connected by Fitzgerald's incorporation of characters that hold readings of the war that contrast with those offered by the protagonist, a strategy that accentuates the subjectivity of Amory and Dick's views.