A Distant Drummer attends more to F. Scott Fitzgerald’s aesthetic merits, ideas, style, techniques, context of his works and less to biographical details which, critics believe, are intricately interwoven within his works. In striving to respond to Fitzgerald’s artistry away from the impulse of the author’s personal experience, it is – in a very strange paradox – more attuned and, in consequence, closer to Fitzgerald, who wanted his fiction to be objectively judged and free of the stigma which besmirches his reputation.
New York, Bern, Berlin, Bruxelles, Frankfurt am Main, Oxford, Wien, 2007. VIII, 150 pp.
Contents: Jamal Assadi: Introduction – Bonnie Shannon McMullen: «This Tremendous Detail»: The Oxford Stone in the House of
Gatsby» – Nicole Guetin: Icons and Myths in The Great Gatsby – Michel Viel: Translations as Instruments of Analysis:
The Great Gatsby in French – Somdatta Mandal: Of Celebrity Status, Posthumous Publications, Scholar’s Choice, and the
American Novel: A Case Study of F. Scott Fitzgerald’s Trimalchio – Horst Kruse: The Anxiety of the Diver: F. Scott
Fitzgerald and the Swimmer Motif – Elisabeth Bouzonviller: The Frontiers that Artists Must Explore – Marie-Agnès Gay: Vision
and Loss in F. Scott Fitzgerald’s Tender is the Night – Pascale Antolin: F.S. Fitzgerald’s Lists as Lexical Playfields
in Tender Is the Night – Patricia Fra-López: Fitzgerald’s Professional Women: Jenny Prince in ‘Jacob’s Ladder’ and
Helen Avery in ‘Magnetism’ as Antecedents of Rosemary Hoyt in Tender is the Night – Andrew Hook: Scott Fitzgerald’s
Current British Reputation.