A collection of F. Scott Fitzgerald’s remarks on his craft, taken from his works and letters to friends and colleagues—an essential trove of advice for aspiring writers. As F. Scott Fitzgerald famously decreed, “An author ought to write for the youth of his own generation, the critics of the next, and the schoolmasters of ever after.” Fitzgerald's own work has gone on to be reviewed and discussed for over one hundred years. His masterpiece The Great Gatsby brims with the passion and opulence that characterized the Jazz Age—a term Fitzgerald himself coined. These themes also characterized his life: Fitzgerald enlisted in the US army during World War I, leading him to meet his future wife, Zelda, while stationed in Alabama. Later, along with Ernest Hemingway and other American artist expats, he became part of the “Lost Generation” in Europe. Fitzgerald wrote books “to satisfy [his] own craving for a certain type of novel,” leading to modern American classics including Tender Is the Night, This Side of Paradise, The Beautiful and Damned. In this collection of excerpts from his books, articles, and personal letters to friends and peers, Fitzgerald illustrates the life of the writer in a timeless way.

"Known not only for his brilliant novels but also for short stories chronicling the Jazz Age, such as 'Bernice bobs her hair' and 'The diamond as big as the Ritz, ' F. Scott Fitzgerald continued to write stories his entire life, some of which were never published--until now. Many of the stories in I'd die for you were submitted to major magazines and accepted for publication during Fitzgerald's lifetime but were never printed. A few were written as movie scenarios and sent to studios or producers, but not filmed. Others are stories that could not be sold because their subject matter or style departed from what editors expected of Fitzgerald in the 1930s. They come from various sources, from library archive to private collections, including those of Fitzgerald's family"--Jacket flap.

A vibrant self-portrait of an artist whose work was his life. In this new collection of F. Scott Fitzgerald's letters, edited by leading Fitzgerald scholar and biographer Matthew J. Bruccoli, we see through his own words the artistic and emotional maturation of one of America's most enduring and elegant authors. A Life in Letters is the most comprehensive volume of Fitzgerald's letters -- many of them appearing in print for the first time. The fullness of the selection and the chronological arrangement make this collection the closest thing to an autobiography that Fitzgerald ever wrote. While many readers are familiar with Fitzgerald's legendary "jazz age" social life and his friendships with Ernest Hemingway, Gertrude Stein, Edmund Wilson, and other famous authors, few are aware of his writings about his life and his views on writing. Letters to his editor Maxwell Perkins illustrate the development of Fitzgerald's literary sensibility; those to his friend and competitor Ernest Hemingway reveal their difficult relationship. The most poignant letters here were written to his wife, Zelda, from the time of their courtship in Montgomery, Alabama, during World War I to her extended convalescence in a sanatorium near Asheville, North Carolina. Fitzgerald is by turns affectionate and proud in his letters to his daughter, Scottie, at college in the East while he was struggling in Hollywood. For readers who think primarily of Fitzgerald as a hard-drinking playboy for whom writing was effortless, these letters show his serious, painstaking concerns with creating realistic, durable art.

A collection of F. Scott Fitzgerald's best drinking stories makes this the most intoxicating New Directions Pearl yet!

A self-portrait of a great writer 's rise and fall, intensely personal and etched with Fitzgerald's signature blend of romance and realism. The Crack-Up tells the story of Fitzgerald's sudden descent at the age of thirty-nine from glamorous success to empty despair, and his determined recovery. Compiled and edited by Edmund Wilson shortly after F. Scott Fitzgerald's death, this revealing collection of his essays—as well as letters to and from Gertrude Stein, Edith Wharton, T.S. Eliot, John Dos Passos—tells of a man with charm and talent to burn, whose gaiety and genius made him a living symbol of the Jazz Age, and whose recklessness brought him grief and loss. "Fitzgerald's physical and spiritual exhaustion is described brilliantly," noted The New York Review of Books: "the essays are amazing for the candor."

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.