Entries cover the life and writings of Fitzgerald as well as significant letters, movie projects, fictional characters, and friends, family, and associates

"When I saw that Amazon Prime was unveiling its original pilot for Z, a biographical series based on Therese Anne Fowler's novel about Zelda Sayre Fitzgerald, I raised a wary eyebrow. . . But I was wrong, oh me of little faith. . . I]t's an enveloping period piece, perfectly cast, and I would like to see the pilot green-lighted into a series so that we can see this romance go up like a rocket with one loud champagne pop and strew debris across mansion lawns and luxury hotel lobbies in its transcontinental path." --Vanity Fair I wish I could tell everyone who thinks we're ruined, Look closer...and you'll see something extraordinary, mystifying, something real and true. We have never been what we seemed. When beautiful, reckless Southern belle Zelda Sayre meets F. Scott Fitzgerald at a country club dance in 1918, she is seventeen years old and he is a young army lieutenant stationed in Alabama. Before long, the "ungettable" Zelda has fallen for him despite his unsuitability: Scott isn't wealthy or prominent or even a Southerner, and keeps insisting, absurdly, that his writing will bring him both fortune and fame. Her father is deeply unimpressed. But after Scott sells his first novel, This Side of Paradise, to Scribner's, Zelda optimistically boards a train north, to marry him in the vestry of St. Patrick's Cathedral and take the rest as it comes. What comes, here at the dawn of the Jazz Age, is unimagined attention and success and celebrity that will make Scott and Zelda legends in their own time. Everyone wants to meet the dashing young author of the scandalous novel--and his witty, perhaps even more scandalous wife. Zelda bobs her hair, adopts daring new fashions, and revels in this wild new world. Each place they go becomes a playground: New York City, Long Island, Hollywood, Paris, and the French Riviera--where they join the endless party of the glamorous, sometimes doomed Lost Generation that includes Ernest Hemingway, Sara and Gerald Murphy, and Gertrude Stein. Everything seems new and possible. Troubles, at first, seem to fade like morning mist. But not even Jay Gatsby's parties go on forever. Who is Zelda, other than the wife of a famous--sometimes infamous--husband? How can she forge her own identity while fighting her demons and Scott's, too? With brilliant insight and imagination, Therese Anne Fowler's New York Times bestseller brings us Zelda's irresistible story as she herself might have told it.

A manifesto reclaiming the wives and mistresses of literary modernism that inspired a generation of writers and scholars, reissued after more than a decade. I am beginning to realize that taking the self out of our essays is a form of repression. Taking the self out feels like obeying a gag order—pretending an objectivity where there is nothing objective about the experience of confronting and engaging with and swooning over literature. On the last day of December 2009, Kate Zambreno, then an unpublished writer, began a blog called "Frances Farmer Is My Sister," arising from her obsession with literary modernism and her recent transplantation to Akron, Ohio, where her partner held a university job. Widely reposted, Zambreno's blog became an outlet for her highly informed and passionate rants and melancholy portraits of the fates of the modernist “wives and mistresses," reclaiming the traditionally pathologized biographies of Vivienne Eliot, Jane Bowles, Jean Rhys, and Zelda Fitzgerald: writers and artists themselves who served as male writers' muses only to end their lives silenced, erased, and institutionalized. Over the course of two years, Frances Farmer Is My Sister helped create a community of writers and devised a new feminist discourse of writing in the margins and developing an alternative canon. In Heroines, Zambreno extends the polemic begun on her blog into a dazzling, original work of literary scholarship. Combing theories that have dictated what literature should be and who is allowed to write it—she traces the genesis of a cultural template that consistently exiles feminine experience to the realm of the “minor,” and diagnoses women for transgressing social bounds. “ANXIETY: When she experiences it, it's pathological,” writes Zambreno. “When he does, it's existential.” With Heroines, Zambreno provided a model for a newly subjectivized criticism, prefiguring many group biographies and forms of autotheory and hybrid memoirs that were to come in the years to follow. A book that has become its own canon, Heroines was named one of the "50 Books that define the past 5 Years in Literature" by Flavorwire, an "Essential Feminist Manifesto" by Dazed, and one of the "50 Greatest Books by Women" in Buzzfeed.

“Pure and lovely…to read Zelda’s letters is to fall in love with her.” —The Washington Post Edited by renowned Jackson R. Bryer and Cathy W. Barks, with an introduction by Scott and Zelda Fitzgerald's granddaughter, Eleanor Lanahan, this compilation of over three hundred letters tells the couple's epic love story in their own words. Scott and Zelda Fitzgerald's devotion to each other endured for more than twenty-two years, through the highs and lows of his literary success and alcoholism, and her mental illness. In Dear Scott, Dearest Zelda, over 300 of their collected love letters show why theirs has long been heralded as one of the greatest love stories of the 20th century. Edited by renowned Fitzgerald scholars Jackson R. Bryer and Cathy W. Barks, with an introduction by Scott and Zelda's granddaughter, Eleanor Lanahan, this is a welcome addition to the Fitzgerald literary canon.