By Flannery O'Connor
The gathering that verified O’Connor’s popularity as one of many American masters of the fast tale. the amount includes the prestigious identify tale, a story of the murderous fugitive The Misfit, in addition to “The Displaced Person” and 8 different tales.
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Extra info for A Good Man Is Hard to Find and Other Stories
To Number – ” (both 1934) garnered little attention, but the culminating triptych, collectively known as The Crack-Up, incited controversy in 1936. Although hardly candid by today’s standards, the essays are lyrically compelling and yet transparently evasive; no mention is made of Zelda’s illness, and alcohol is addressed only to deny its negative effect. Most damagingly, their defeated aura seemed to substantiate Fitzgerald’s reputation as a hasbeen. In response, Hemingway ungenerously described Scott as “wrecked” in “The Snows of Kilimanjaro” (1936) (also published in Esquire).
Similarly, the Divers’ inebriated adventures in Paris are described as a “slapstick comedy,” with Abe North passing himself off as General Pershing to commandeer champagne from the Ritz Hotel and Rosemary climbing atop a market wagon of carrots to ride through the streets. Rosemary’s vision of Dick as the master of these ceremonies likewise suggests how alcohol inspires such spectacles: “The enthusiasm, the selflessness behind the whole performance ravished her” (77–8). Of course, Fitzgerald’s fiction comments upon any number of other 1920s trends, from the emergence of modern music (including – obviously enough – jazz) to the rise of communism, fascism, and other political ideologies.
He is continuously autobiographic . . ”5 If Eagleton sounds irritated, it is because at the peak of his fame Fitzgerald so flaunted the connection between his life and his writing that the resulting fac¸ade of self-absorption became a defining facet of his literary persona. In 1958 The Smart Set co-editor George Jean Nathan remembered the author reneging on a promise to make him a major character in The Beautiful and Damned (1922): “He came to me somewhat apologetically and explained that he had tried, but could not lionize me in his novel.